THE GOLdEN TREE (2010) · Short Film

3.1.1 Story/Screenplay

3.2.1 Access Sacramento's Cast & Crew Call

Gerald received notice in early May of THE GOLdEN TREE's selection as one of the ten winners. He went down to Sacramento at the Coloma Center for a welcome meeting with Ron Cooper and Michelle A. Barbaria to get his packet when a lady came in, interrupting Ron in the middle of his presentation, to get her denial packet.^[2]

The 2010 “A Place Called Sacramento” Cast & Crew call was held at the Coloma Community Center on May 19th from 6:00 PM - 9:00 PM. Gerald had a table with his son Aria Leven Davenport and Gary Udell to help with questions and talking to anyone who would come up to the table — Gerald did not think there would be many, if any, takers.

People started coming to the table at 5:30 PM talking about the movie and dropping off their bio and headshot. They were told by some of the event organizers not to begin, but the people kept coming to the table, even during Ron Cooper's talk and introduction. When it was Gerald's turn to talk, he forgot his reading glasses and apologized to everyone.

“Sorry for taking too much time I do not want to bore you with what I wanted to read. We are looking for people interested in learning how to make a movie, being part of a team, and want to share their talents. It is about the Gold Rush in Sacramento and John Sutter. Thank you for your time.”

That was half of what he had prepared, and he forgot to say the title and what characters he needed which caused chaos when the line officially started they had three of them: one for Gary, one for Gerald in the middle, and one for Aria. The first person in front of the queue was Claire Elizabeth, and she opened up with “I really like the idea of your movie, as I love history and spent the night at Sutter's Fort.”

Gerald sadly looked up at her and said, “I do not have any roles for girls. I am sorry.” The crowd standing in the queue spread out and gave Gerald hard looks as well as a few questions. He returned with: “I do not have any now, but that will change now that I have met Claire.” The crowd returned to their spots in the queue and Gerald breathed a sigh of relief and began reworking the story to add more characters.

The outer queues talked with Aria or Gary but wanted to speak with Gerald, since he was the writer, producer, and director, this made the evening longer as he went from the left line to the center to the right and so on until after 9:30 PM when the event organizers were taking the table from them. One of the last few people that came to the table was Courtney Leonard-Maye, a beautiful, young, Black woman. Gerald became nervous, as he was not making a movie about the struggles of the Black people — not in 10 minutes anyway — and he did not want to put her into degrading role and then pretend he knew how to write about the plight of the Black people — He was not going to give her a role of a slave, he does not believe in it, even if he was making a period piece. She came up with a smile and glowing energy. Gerald explained to her the story he was making and his concerns. Courtney did not mind what role she played which surprised him and he told her, she was in that night and she would love the role.

An unusual first-time casting situation for Gerald occurred when Toni Corbett walked up to the table and handed Gerald her Bio with a great headshot. Looking up at her after thoroughly inspecting the front and back of the papers she gave him — Gerald always looks, reads, and examines anything anyone hands him out of respect, courtesy, and professionalism — he asks her, “What if you were in the film, but not in the film? ” Toni looked confused. “What I mean is, what if you being in the film was your headshot used as a photograph on a mantle in a scene where the lead character talks to your picture, and we see it full size on the screen? Would you be interested in that? Be the Grandmother? ” Toni paused for a moment or two and then smiled and agreed.

Hi Gerald. Can't tell you how many people I run into that recognize me from that photo!! Want to wish you great success and thank you for including me. I have been extremely busy. I will be in two important workshops on Feb 5 that could land me some commercial work, or I would have planned to come. Hope we can work again - with me live! Toni

Gerald went home with ninety bio's and headshots — and he thought he would not get close to ten. He received another fifty via email the proceeding weeks. “Where were these actors when I did Paint? ”

3.2.2 Version Thirty

Gerald started rewriting THE GOLdEN TREE on his way home, just like in 2009 when he drove home from Access Sacramento's 'A Place Called Sacramento' Cast & Crew call. He wondered how many actors he could use in a 10-minute movie.

Gerald revisited the sixty-page Gold Rush Story and used that as the basis keeping the more difficult and complex elements such as gunplay, horses, and a wagon out. Knowing he has people that want to be in the movie, he can work on that, but he still has no one to help him produce or make the film.

Gerald dug deeper into the Wimmer Family Tree and found it interesting, odd, and peculiar. The characters of the Wimmer family he originally wrote in the sixty-page version matched the people in the Wimmer family, including their ages at the time the story was taking place — almost like it was supposed to happen. The Wimmer Family included Jennie, Peter, Sarah, George, and William in the 1848 scene. In the 1859 scene, there is older Sarah and older William, which also includes Benjamin and Martha Jane.

Gerald was involved in researching his family's genealogy before his involvement with THE GOLdEN TREE began; it would be a valuable commodity during the writing process. He learned more about the Wimmer Family Tree than he knew about his own Davenport or Brakensiek Family Tree. “I enjoy learning about history and digging into the past. Genealogy is just digging into your Family Tree. It is like a treasure hunt. You never know what you will dig up.”

Gerald had a two bandits in the story, but with the influx of actors, he wanted to add more. He looked at Richard 'Rattlesnake Dick' Barter again and learned that he was part of gang that included, Romera Carter, An unidentified Mexican, Cyrus Skinner, George Skinner and a few others known for their robbery of stagecoaches. The gang is also notorious for the Well's Fargo heist that has never been solved. Rattlesnake Dick was also a local to Northern California and his grave is in Auburn.

Gerald added three more outlaws to the story for a total of five: George & Cyrus Skinner, Rafael Escobar, and Rattlesnake. Gerald added another miner, took the name Arlen from the outlaws, gave it to one of the miners, and named the other Henry.

Gerald added a sister for Sierra named Brooke, adding some fun dialogue and action between the two characters. Gerald also reworked the scene when John Sutter and James Marshal meet the Wimmer family on the North Fork of the American River, where Jennie tells them that it is gold she found.

There was a scene with a dance in a barn or community hall where William talked with Samuel Brennan and his date Mee Lien. William had an encounter with Rattlesnake Dick and Cyrus Skinner, but he did not know they were outlaws, just rude and obnoxious guests. And he meets up with a love interest in Victoria Marie and her over-protecting brother, Zeke. Gerald changed it from a dance to a walk down a rock path or road that led to Sutter's Fort. William was walking from the fort to bury some more gold.

Always rewriting, researching, and making the story more fluid, entertaining, and tighter^[3], Gerald finished version twenty-nine just before production began, but one more last minute idea arose when Aria started working on the artwork for the book Sierra reads in the film.

From: Editor Gerald
To: Access Sacramento - Ron Cooper
Sent: Thu, Jun 17, 2010 2:07 pm
Subject: Name and menton in movie
Mr. Cooper.
I am wondering if you would give us permission to use your name in our movie? It is a secret, and a surprise, but I realized I should get permission first. It is in NO WAY derogatory, mean, nasty, ugly, or in bad taste toward you, but an homage.
- gerald davenport
THE GOLdEN TREE

Sure..... anything for an homage.... ron

Version thirty has the addition of Ron Cooper for the artwork for the book Sierra reads in the film. “The addition of Ron Cooper into the story was asked and granted after THE GOLdEN TREE was already an official selection. Something I did not think would be allowed to happen.”

3.2.3 Audition Conditions

Having over one hundred and twenty people to sort through and not looking forward to a long day or several days of auditions, Gerald devised a plan where he did not have to say no to the actors; they would say no to him. Gerald had enough info from the actors he met at the cast & crew call and trusted his judgment with the actors who sent in their information via email. As much as he wanted to get to know the actors better through auditions, he bypassed them and sent out an email with certain conditions the production would have, such as locations, wardrobe requirements, and some of the actors would be seen but not heard in the 10-minute version. Still, their scene would be in full in the extended version. Gerald was hoping that just because there were so many having interest and submitting their bio, he wondered if their interest would continue after the conditions and terms he is sending them so he can cover the characters in the extended version.

Thank you for the response we got at the cast & crew call. WOW. Ninety people were more than we expected, and five were crew members. We are honored and delighted to have piqued your interest. I know most of you went around to every table, and I think that is great, but thanks for stopping by and talking with us, especially after I sounded like an idiot at the podium.

Everyone is important to me, and I know this will sound quite odd to some, interesting to others, and exciting to the four sitting in the back row — yes, I am a kid at heart who loves life and having fun but with a business side, anyway.

After many hours of viewing your headshots, remembering that evening, and making notes on how I can involve everyone without making them an EXTRA — I'm not too fond of that label on people who are actors. However, I understand that sometimes that is how you get into the biz, but, still, I'm not too fond of that word for real actors.

I have come up with a plan — again, review the odd, interesting, and exciting sentence above, but add peculiar to it — that will incorporate the seriousness in this project. There are plans to create a 30-minute short cut down to 10-minutes for the PCS requirement. What does this mean?

In the 10-minute version, everyone will have time on screen, not necessarily heard. And it may only be for 30-seconds, but in the 30-minute version, you will have lines, be on screen longer, and can use it for a demo reel — which is why most of us are doing this: to increase our body of work and experience for those A-LIST films!

Many people scoffed at the idea — and you may be one — that says, I cannot take everyone, I cannot show everyone in 10 minutes, or “You are an idiot, Gerald.” Be that as it may, I have my reasons. Now here is where you might back out of this project. I understand it is called 'A Place Called Sacramento' and therefore, most people think it will be lensed in Sacramento. Unfortunately, that is not the case. We already have locations in GRASS VALLEY and NEVADA CITY, along with the Sutter's Fort and other areas.

I would love to have everyone in the film, and I am working on doing it. But ninety people to cast, make that one hundred and twenty, some came in the email that was not there that evening, but out of the one hundred and twenty, I have fifteen that I am still trying to fit in. Come on, it was initially a cast of nine, and I only needed six that evening, but with such an outpouring of people, which I never thought I would get, I am revisiting scenes I took out for fear of not getting anyone.

Well, there you have it. If you can make it up to Grass Valley when we lens, dates coming real soon, and you do not mind the short time on screen, but having a 30-minute version to show off how you choose, then we would love to have you without a reading. I know I am a kind-hearted softy that cannot say no, but I may have to. Individual emails will go out after this weekend to inform you about the roles we would like you to do, so if you can reply with yea or nay or any questions, please do so.

There will be no hard feelings for those who do not accept or cannot meet the conditions and terms. I understand the difficulties and unusual requests we ask of you.

Peace, and again, thanks for the interest. I am humbled to have met everyone and some that I did not. I apologize. My abled-bodied assistants Gary Udell and my Son Aria, we're there to service you as quickly as possible and give everyone the attention they deserve. Again thanks, and I look forward to having you aboard — if you can help out as a crew, we need some critical spots filled, and then you MIGHT be able to do a walk-on as a BACKGROUND actor, NOT an EXTRA. Peace - God Bless - gerald davenport

Gerald received emails from people accepting the conditions and terms within an hour of sending the email. A few people replied, thanking Gerald for the opportunity, but they turned down the offer to be in the film for many reasons they could not commit. Gerald did not receive anything from most of the one hundred and twenty. Gerald was not hurt, saddened, or upset about getting rejections — he was prepared and was hoping most of them would turn him down. The diehard, dedicated actors who accepted were whom Gerald wanted to work with, no matter who they were.

A few of the actors Gerald connected with at the Cast & Crew call had not responded, giving him cause for concern. Gerald waited as long as he could before committing to people who responded to provide them with the role he was waiting for the other person to accept.

The count was twenty-three, but two more wanted in. Gerald liked these two, so he wrote them into version thirty-one giving him twenty-five actors for a 10-minute film.

3.2.4 Film Contracts and Agreements

Contracts and Agreements for a film protect the rights of the film and the people involved. They are necessary to be established with the cast and crew before principal photography begins. Everyone signs a Model Release giving the filmmakers the right to capture the likeness of the actors physical features and vocal features for the sole use in the film or to market the film either in print, digital, or video. and crew — yes crew get photographed for production memories and behind-the-scenes documentary or presentation — minors have a their own version of the model release.

• To demonstrate the filmmakers intent to operate with the highest standards of professionalism.
• Reinforces the commitment. The process of writing down the contract's terms and signing the contract forces both parties to think about, and be precise about, the obligations they are undertaking.
• Clarifies the agreement. When the terms of a contract are written down, the parties are likely to create a more complete and thorough agreement that anticipates and then addresses potential problems.
• Encourages the parties to take their promises seriously. It is harder to back out from a written contract than an oral one.
• Keeps the parties from making up the rules as they go along.
• Guards against forgetfulness. With an oral contract, the parties may have different recollections of the agreement. A written agreement can eliminate disputes over who promised what and when.
• Indicates that the negotiation stage is over and that the final terms have been reached.
• Serves as a record of the agreement for others who were not the original negotiators or signatories.
• Provides reasonable assurance that the contract will be enforceable in court.

Getting everyone involved with the film to fill out contracts and forms and turn them in before production begins is a arduous task that can be a headache for productions who are not organized; however, even on organized productions, there is always someone who has not turned in their legal agreements which can cause problems to the production.

Movie mogul Sam Goldwyn was right when he said “A verbal contract is not worth the paper it is written on.” Although many of us prefer to conduct business on a handshake, vague verbal agreements can result in ugly misunderstandings.

Most disputes are not intentional but rather the result of confusion that could have been avoided by a focused discussion delineating responsibilities followed by a written agreement. Of course, no piece of paper will compensate for lack of integrity or mutual respect. Even when the parties completely trust a “gentleman's handshake,” without a written contract, each is taking a risk that expectations might not be fully understood. Written agreements are the most reliable way to establish that a deal was actually made and what the terms were.

Before anyone is allowed on set to be capturedto halt once it is noticed, or will they have a difficult time getting the actor or crew member to return the signed forms once their day is done.

THE GOLdEN TREE was the first production Gerald did not do auditions in the traditional way. The actors were cast via email or over the phone. The contracts and forms were sent to them via email to print out and sign and bring on their first day of production. Principal photography could not begin until all actors and crew were signed in and legal. It was a good thing that Gerald brought extra copies as some actors and crew left theirs at home on the counter, in the printer, or never read the email or newsletter. Being a small production team, Actors wanted to talk to Gerald about their character, wardrobe, and dialog, and vice versa, but he was the person that reminded them to turn in their forms before production can begin.

No matter how organized a production is, there is always someone who has not turned in their legal agreements. Either production halts once it is noticed, or will they have a difficult time getting the actor or crew member to return the signed forms once their day is done — do it before they go on camera or touch any equipment.

3.3.1 Big Little Production

A theory Gerald wanted to put into motion that did not happen on Paint 2006 is to make the film look and feel like a big production. To give the people involved a sense of grandeur, yes, but also to provide them with a great experience they will hold onto for a long time. Gerald created a website for THE GOLdEN TREE (2010), THE GOLdEN TREE (2010) Official Facebook profile, and a newsletter called Roots of Gold for the film. He wanted to do everything he could to show the cast and crew that they were welcomed and appreciated for helping him make the story come to life on the big screen.

The newsletter keeps people involved in the film up-to-date with everything about the production, creates an exciting buzz about the film, actors, and crew, and lets them know they are a part of a family and are essential. Many newsletters introduced the cast and crew or explained what happened on a production day.

Roots of Gold in PDF.

• #2 May 26, 2010
• #3 May 28, 2010
• #4 May 29, 2010
• #5 June 3, 2010
• #6 June 9, 2010
• #7 June 15, 2010
• #8 June 22, 2010
• #9 July 21, 2010
• #10 July 7, 2010
• #11 July 8, 2010
• #12 July 13, 2010
• #13 July 19, 2010
• #14 July 19, 2010
• #15 August 8, 2010
• #16 August 19, 2010
• #17 September 1 2010
• #18 August 9, 2010
• #19 October 7, 2010
• #20 October 11, 2010
• #21. December 4, 2010
• #22 January 31, 2011
• #23 April 8, 2011
• #24 May 23, 2011

3.3.2 Gathering Wardrobe

One of the requested requirements that was asked of the actors was that they gather clothing for their own outfit, if they could. As it ended up, all but two came to the set with authentic look clothes for the era they were portraying.

Gerald gave them a hand with guidelines, information, and images for them to reference in a few of the Roots of Gold Newsletters.

I did some research on clothing — my (MINER) partner, Bill Bettencourt, said Levi's, but I was uncertain about this because Levi's were not around in 1849 the year of the Gold Rush (nor were they in 1848, 1856, and 1859, the dates we portray). They were not introduced until a few years later (to be exact, not until 1870 and the company itself says 1873).

I have some ideas, but have not attained anything yet. I saw one drawing of a miner where he was wearing a Spanish style canvas men's blouse-type thing, that made him look good, and liked that with Levis and some not-pointed-toe western boots. Also saw a miner, very iconic and the same pic on many sites, that was wearing an old long-john top. Now, with the script, and that I have a date, with a better sense of the character I'll come up with something good, and work along with my scene partner Bill and figure it out. - Rob Tillitz.

Rob Tillitz takes his role in a film very seriously. He researched the clothing, purchased an authentic pistol and holster of the era, two gold pans, a hat, and boots that complete his character Henry and Bill's character Arlen, so they look good together on camera.

Gerald, Today I went to the Costume Store for my wardrobe. They did not have a thing for me to be James Marshall. But, God went ahead of me, because the young man told me of a costume shop in Auburn. It was if the lady (Nancy?) was waiting for me. She had everything I needed. I went in with a picture of James Marshall, and she outfitted me just like the picture. She has an EXTENSIVE inventory, much more than the Costume Shop and she is extremely well informed. The shop - The Mad Hatters, 140 Hoffman Avenue, Auburn, 95603. 530.885.8860.

There was at least two others from our Cast who had already been in the store. It is of no coincidence that I found this place. God blessed me - again! Blessings, Dan L. Walters

3.3.3 Finding Crew & Equipment

While attending the Sierra Mousetrap Mac User Group in Nevada City in 2009, Brendan Brooks showed up with his home-made steady cam. The word got around that Gerald was heavily into filmmaking and the guy to go to for help, and Brendan needed help with Final Cut Pro. The two made a connection with video and film, but would not be revisited again until Gerald needed someone with a camera to make his film.

With Brendan aboard, a Mac User Member, Jim Heck, heard about the project and offered his talents and skills as still photographer. Steve Stubbs, a friend of Brendan's, started out as the production audio/boom operator, but had to leave the production allowing Aria Leven Davenport, Gary Udell, Jim Heck, and Jeremy Heck turns at operating the boom and recording audio for the film.

Aria Leven Davenport, Kyriè Sierra Davenport, and Tamara Maureen Davenport were major supporters of the film in many positions on the film, from acting to artwork, as well as, holding the reflector, to property masters.

Gerald and the production were lucky to get Megan Alicia Engle to be Script-Supervisor because she was so organized and supportive on set, but most importantly when the production needed authentic weapons for the outlaws she knew her dad, Noble Engle, had just what they needed. Noble came on as the Gun Wrangler bringing his collection of old west pistols.

3.3.4 Finding Locations

With the casting almost completed and the actors gathering their wardrobe & learning their lines, along with the crew behind the camera gathered and preparing for production, the final and third important thing THE GOLdEN TREE needed to begin production are locations to record the scenes.

Gerald volunteered Doug & Maureen Young's home for Sierra's room, but he needed a river bank for the Miners and Outlaws and the scene with John Sutter, James Marshal, and the Wimmer family.

from John Murray.

Did you know that if you go to the very very back part of Pioneer Park in Nevada City, and I mean past the horse shoe pits in the very very back, there is a stream area with might work for you. Its accessible and flat and pretty.

Oregon Creek half way up to Downieville off Hwy 49 (off a quiet spot of the Yuba River) might be good too. It seems to me you should have no problem finding something that will work.

There is a spot near the lower parking lot (off of Park St.) at Pioneer Park (where the picnic tables are) that looks a lot like the lower photo. If you walk up the creek a ways, you'll probably find one that looks similar to both. There's also a spot, with a little bridge over it, on the Buttermilk Trail above the Yuba that has a similar little stream (but it is more seasonal).

Tamara told Gerald about Peggy Levine and her North Star Historic Conservancy that was restoring the North Star House designed by Julia Morgan just passed the Nevada County Fair Grounds on Old Auburn Road. Peggy gave permission to use the grounds after their Farmers Market was over at noon.

On Wednesday, June 9, 2010, Gerald visited the North Star House properties to see if it would work for Scenes 13, 14, and 15. The place was smaller than he imagined from what it looked like with the online map. Peggy Levine told Gerald that they were removing trees from the north-westerly side to create a bigger car park and it may not be what he is looking for to put into his movie. When Gerald visited the site on Wednesday, June 9, 2010 to do some scouting, what he found was absolutely perfect for the movie.

From: Marty
Date: Wed, June 23, 2010 11:08 am
Regarding the stream for the film shoot, did you make it out to Joe Byrne's Dry Creek? It's a bit more accessible than the Bear River located on this map, though both are spectacular. Let me know if Dry Creek doesn't work and I will arrange for a visit to Garden Bar on the Bear. When do you want to do the shoot? I ask because fire season is quickly coming upon us and we will close Garden Bar for safety reasons within the next month.
Marty Coleman-Hunt
Executive Director
Nevada County Land Trust
NevadaCountyLandTrust.org

Greetings Sutter Creak City Council and government powers that be.
BACKSTORY:
Access Sacramento for the past 11 years has put on a a screen writing contest called “A place called Sacramento” and my screen play was one of ten chosen, out of 45, for this years event to be shown at the Crest Theatre on October 3rd.

I live in Nevada City and my story is called The Golden Tree, which is loosely based on the gold rush in Sacramento and it's surrounding areas. As you can see, if you have gone to the website, we have Rattlesnake Dick, James Marshall, John Sutter, and one bandit who was hung in Jackson by the name of Refael Escobar, as well as, other famous people.

Anyway, we have been looking for the perfect place to record two scenes that are near a creak / stream, in fact, on the beach area, as miners do a little gold panning before getting robbed by outlaws. The movie is to be 10 minutes long and it is all volunteer: cast and crew, except I have to feed everyone top keep them happy. We are a small group, with small equipment, but a big idea about making a good little movie to showcase everyone and the places we have been.

TODAY:
I have been all over the place in Sacramento, Auburn, Grass Valley, Nevada City, and Coloma and not finding or being allowed to access to the perfect spot. RON COOPER --- the head guy at Access Sacramento, sent me this earlier today:

Have you ever been to Sutter Creek, about a 40 minute drive from Sacramento out Hwy 16 Jackson Highway. I grew up there and played in the creek at the place I am describing. The Creek runs through the town and the city owned park has a nice picnic grounds, little league ball field and they might be thrilled to have a movie shot there by volunteers. It is perfect for what you are looking for.... much closer than Bridgeport and a nice place to visit. Call the Sutter Creek City Hall for details..... good luck.... ron

So I am doing as he suggests to find out for sure what here is and if it is even possible to do something like this in your neck of the woods. - gerald davenport

to: broderickhouse at marshallgold . org
Greetings. I am not sure of you can help me, but maybe you can send me to the right place. I do not know if you know about https://www.accesssacramento.org and their 11th annual film contest called "A place called Sacramento," but I was one of the 10 winning scripts out of 45.

My story is called The Golden Tree and it goes back in time back to when Marshall discovered gold. This is a 10 minute story, all volunteer (although I do have to feed them), and it will be seen on the big screen at the Crest theater in Sacramento on October 3rd.

What I am looking for is a creak or stream and a little beach where we can video a scene or two. We are a small group, low footprint, and honestly, a group of wanna be film makers that are professional in nature and respect property and going through the proper channels. do you know of a creak or stream that we could use? Is the location at the mill available during off peak times?

Greetings Kathleen Dodge.
I have contacted you before, but this time we actually got something going and it's through Access Sacramento, not sure if you know or have heard about it, but I am one of the ten winning screenplays for the 2010 Place called Sacramento contest.

Not sure if you can help us out or are connected in anyway, but I am looking for a stream or creak to reenact Sutter's Mill stream (soft flowing, quiet) where Marshall found gold on July 24th with 9 actors and on July 31, I need the same location but a little more rocky for a scene where bandits rob some miners with 7 actors.

Again, if you do not know, this is all volunteer work to educate, have fun, and spread the word about Sacramento's growing film community, so we have little to no funds for what ever may be needed, but then again, it all depends on the fabulous location we could use, but honestly, we spend the money on food for everyone — most important.

We have worked with the Nevada County Land Trust in Grass Valley for a few scenes at their North Star Properties and have volunteered our time to help do what needs to be done, if there is something like that we can do for the community or land owner, let us know.

Dr. Bill Gallant, DVM, El Dorado County. He may have the location you're looking for. A fork of the American River runs through his backyard. He's expecting your call. Tell him I referred you. - Steve Dakota

The location opportunity came from Steve Dakota who had a friend that lived on the North Fork of the American River in the city of Lotus, California — a couple of miles from the exact location where James Marshall discovered gold, and one of the scenes that was in the screenplay. Gerald had a wonderful visit with Dr. Bill Gallant a retired Doctor of Veterinary Medicine, who gave Gerald the VIP tour of the area including visiting Sutter's Mill and the museum.

3.3.5 Screenplay Breakdown and Scheduling

When Gerald did Paint 2006, there was not much of an issue with breaking the screenplay down for scheduling — it was a small production. THE GOLdEN TREE had twenty-eight actors, five locations, six days of principal photography, and a traveling crew of ten (most had not worked with each other before) with equipment, props, and food. Gerald wanted the schedule to be as simple as it could.

Gerald tried grouping the scenes by year. 1848 Sutter's Mill, 1855 Miners and Outlaws, 1859 Sutter's Mill, and 2010 Family. That helped schedule a location for the Group and kept things easy and straightforward.

1848 Sutter's Mill and 1855 Miners and Outlaws could use the same place but on different days. This location was essential to establish that the miners were gold panning and John Sutter was inspecting his mill. It was the hardest to find and scheduled last for the production. Gerald was searching for a small creek or stream through a park or something, but professionally he knew he needed something more reliable and controllable.

1859 Sutter's Fort had three locations for the scenes. The scenes with older William, Benjamin, and Martha Jane needed a tree-lined area, the scene when older William is walking alone, and the scene when older William meets up with the miscellaneous cast of characters on the rock or dirt road.

2010 Family had four locations. The scenes where Sierra is reading and her Dad and sister enter the room, the scene where they are searching for THE GOLdEN TREE (2010), a montage of scenes at Sutter's Fort — the actual fort, and the scene where they think they find THE GOLdEN TREE (2010) and start digging.

Once the first few locations were secured, dates were scheduled and the cast & crew were notified.

3.4.1 Principle Photography

3.4.2 Additional Photography

3.4.3 Production Photo Galleries

9:19:09 AM Megan Alicia Engle: well working on this has given me a whole new appreciate for movie making!
9:19:27 AM Gerald: sorry to not have been able to give your more
9:19:50 AM Gerald: there were things I had no control over with such a large ensemble.
9:19:52 AM Megan Alicia Engle: no no it's ok!
9:20:11 AM Megan Alicia Engle: This was my first time on an actual set so I appreciate being able to learn so much
9:20:25 AM Megan Alicia Engle: classes and being on set are completely different beasts
9:20:50 AM Gerald: when it's 3 actors or so, I can control more things, but with such a large cast and crew, I can only be in one place at a time, I needed a craft services manager, an assistant Director, a production manager, and...
9:22:11 AM Gerald: but see a craft services manager takes care of the food area on set keeping the area clean, ready or takers, you know, fills cups with fruit, water, and so forth and hands them to the actors who come up.
9:23:12 AM Gerald: Assistant director helps with organizing the actors, getting them to the set for their scene, telling them to get ready, telling other cast to be prepared, basically a traffic cop
9:24:24 AM Gerald: production manager is there to make sure the director gets the shots, angles, takes, and so forth from the script to make sure coverage is covered
9:25:22 AM Gerald: we were nearly technically a full blown production and needed those people to help me and the other crew to stay on top of the production.
9:25:48 AM Megan Alicia Engle: that would have been very nice to have
9:25:50 AM Gerald: AND: also, other than Brendan and myself, everyone else was new to this.
9:25:57 AM Megan Alicia Engle: yup! all green.
9:26:03 AM Megan Alicia Engle: and you had to try to teach us at the same time
9:26:11 AM Gerald: so, I relaxed and let it happen, because we were there to learn
9:27:24 AM Megan Alicia Engle: well next time you have more experienced people!
9:27:33 AM Megan Alicia Engle: I thought Jim had helped you before the first day
9:27:37 AM Megan Alicia Engle: I did not realize that was his first time as well
9:28:08 AM Gerald: He thought you and I worked together before
9:28:13 AM Megan Alicia Engle: lol
9:28:20 AM Gerald: thought you had done this before too
9:28:21 AM Megan Alicia Engle: here we all were thinking the others had experience
9:28:28 AM Megan Alicia Engle: nope you were trying to wrangle all the newbies
9:28:33 AM Megan Alicia Engle: and keep us in order
9:29:14 AM Gerald: it was a chore, but the key people, Brendan, Jim, and you made my life so much easier. I knew I could rely on all of you to be there
9:29:23 AM Gerald: we sure did miss you the saturday before though.
9:29:36 AM Gerald: hope you had fun and behaved at this party i heard about
9:30:01 AM Megan Alicia Engle: I missed it too! haha of course I did! It was fun but unfortunate that it was on the same day wish I could have been in two places at once
9:32:49 AM Gerald: I'm glad... I was lost without you, but susan covered it as best as she could
9:33:12 AM Gerald: slate doesn't sit, doesn't leave the camera area.
9:33:36 AM Megan Alicia Engle: no sitting
9:33:52 AM Megan Alicia Engle: I can't really stand to sit still unless I need to write things down
9:34:06 AM Gerald: but again, I do not blame anyone for their lack of trying, and I know to calm myself cause it was volunteer and newbies, but I think we did really good for what we had
9:35:23 AM Gerald: Well I tried to make your life a little easier and give you more responsibilities cause I know I could rely on you
9:35:49 AM Megan Alicia Engle: i appreciate that very much and hope I can help with other things too!
9:36:01 AM Megan Alicia Engle: as far as editing goes i was wondering if I could come watch the magic?
9:38:05 AM Gerald: I have one last shot to redo with aria carrying and burying the tin instead of taking the gold out of a pouch
9:38:18 AM Gerald: plus September 7th will come real fast
9:38:40 AM Megan Alicia Engle: ooo that is when it's due isn't it
9:38:44 AM Megan Alicia Engle: I can't believe how time is flying
9:39:21 AM Gerald: when this is all said and done and I get the longer version done, I've got to get it to my finance people to look over.
9:41:32 AM Gerald: your dad was a trooper and a glutten for punishment
9:42:39 AM Megan Alicia Engle: He was THRILLED to be there
9:42:44 AM Megan Alicia Engle: and to end up being in it
9:42:52 AM Megan Alicia Engle: He is just sorry he didn't know the script better
9:43:02 AM Megan Alicia Engle: I told him not to worry about that it's not like he knew
9:43:10 AM Megan Alicia Engle: that he'd really need to know it in and out
9:43:40 AM Gerald: it was fine...
9:43:48 AM Gerald: I felt bad putting him under that pressure
9:43:58 AM Megan Alicia Engle: I think he's immune to pressure
9:44:01 AM Megan Alicia Engle: he's far too easy going
9:44:03 AM Megan Alicia Engle: to feel pressure
9:44:09 AM Gerald: I was going to have Aria dso it but not take his mask off, but someone said "Noble" and he heard it and I could not renig on the deal
9:44:31 AM Gerald: he looked excited about it
9:45:55 AM Megan Alicia Engle: I think people maybe have noticed Aria was an outlaw and William
9:46:00 AM Megan Alicia Engle: Even with the bandana
9:46:03 AM Megan Alicia Engle: Did you ever hear from the actor?
9:46:25 AM Gerald: Well if he had a hat on covering the long hair it might have worked
9:46:38 AM Gerald: Yes I did
9:46:47 AM Gerald: He said he was mad at himslef for getting lost
9:46:52 AM Megan Alicia Engle: Oh my
9:46:55 AM Gerald: And that I did not give him my number
9:47:13 AM Megan Alicia Engle: Ha! Your number is included in every email that goes out
9:47:20 AM Gerald: Every newsletter or characer report that I formatted with the pretty stuff had my number on it.
9:47:25 AM Megan Alicia Engle: Yup
9:47:37 AM Gerald: Did you meet Rob Hayes
9:47:47 AM Gerald: The really large guy that showed up a little later
9:47:51 AM Megan Alicia Engle: Yes
9:48:07 AM Gerald: He knew the actor in question and was not really surprised
9:48:21 AM Megan Alicia Engle: aw man
9:48:27 AM Gerald: But he was disappointed in him cause he knows him personally.
9:49:06 AM Megan Alicia Engle: sheesh
9:59:34 AM Megan Alicia Engle: have a great day!

3.6.1 Music

Gerald found a group on LinkedIn named "I Need Music, I Make Music" and posted a message to the members explaining the situation and his needs. There were seven musicians who responded to Gerald's post on the LinkedIn group, but only two continued the conversation after Gerald replied to them.

Hi Gerald, I would be very interested in learning more about your project, and would like to be considered for your composition needs.

On 07/13/10 12:13 AM, Gerald Davenport wrote: Your samples are very professional in sound, clarity, and style, also love the emotional feeling they give off and I can tell yours could make a perfect fit.

Just a note: I am an unusual creative kind of guy... I am thinking about using you for the bulk of the score and adding one more to add additional music -- again, I say maybe, they have not replied, but we are not in critical time yet. Also, looking at several trailers. What do you need from me to final your interest? Story, screenplay, ideas? It would be great if you were closer to California so we can get you to the screening, you might win an award for original music (not too many of these do that and with such professionalism)

Hi Gerald,

I'm glad you liked my demos - I spent a lot of time on your company site this morning and I really like the look of this project!

No worries about the "additional music" thing, I've done that sort of arrangement before and it usually works out well. I've found that the one concern is finding two (or more) composers who can match their sounds into one seamless score - if that is even your intention - but with experienced composers its usually only a matter of good communication and a little brainstorming.

Regarding my questions - I'd like to read the complete screenplay so that I could really grasp your ideas for this. Also some practical questions about the production budget: I'm more than happy to do the composing on a for-credit basis, but what is your vision for the musical score? Would I be recording entirely with synthesizers - which would avoid having to pay professional musicians, but possibly limit the orchestral "bigness" of the sound? Or would you be interested in setting aside a small amount - a few hundred dollars at most - so that I could supplement the synths with two or three live players?

The reason I ask all of this upfront is that it would affect the type of score I write. A synth score needs to be very carefully done so that nothing sounds "fake." A score with even one or two live players affords a lot more flexibility and realism, but with some projects its simply not a financial possibility. Personally, I've found that even $300 or $400 towards musicians makes a HUGE difference. Other than that, you can pretty much consider my interest guaranteed. August is a good time for me and I'll be able to put plenty of time into this, if we decide to move ahead. Thanks again for your interest in my work, and I'm hoping we will be able to collaborate! Best, Danny

Danny. It is still under review about additional music, as I mentioned, but there will not be any conflicts, just looking at textures.

Budget is, as I mentioned before, all volunteer work for everyone, in fact, the 34 actors on this project have agreed to be apart of this on certain conditions:

• No pay
• drive an hour to the location
• gather their own period wardrobe
• and in the 10 minute version some actors may only be seen for 60 seconds or less, but they get a copy of the 30 min and I will isolate their performances for a demo reel if they choose.

The only monies going out of our pocket is for food. A happy crew is a well fed crew. we have $300 for this, but not everyone is at each days production (we have 5 days). So as much as I would love to have real instruments (I profess in that as a musician myself) it is not within the budget to do so.

I was hoping everyone saw the note on the LinkedIn "I Need Music, I Make Music" group's post that it was unpaid at this time to increase one's portfolio, i apologize if I did not make that clear enough.

Thank you for your interest and I do like your sound.

No problem about the budget. I always double check up front, since I've seen those miscommunications happen and they never end well!

I should have asked in my last message, though, whether you would offer screen credit to unpaid musicians? Sometimes that is a good incentive.

But at the absolute minimum, I can definitely still produce a very realistic, professional score for you on my own.

I took a quick look at the screenplay and will read it more thoroughly tonight, but I'm enjoying the concept very much, and I'd really like to be onboard. If you'd like to move ahead, I suppose the next thing for us to do is draft a simple contract, and then get down to the more enjoyable part - making all the artistic decisions.

From: Casting Director
To: Guitar Noises
Date: Tuesday, July 13, 2010, 2:39 PM
Too darn cool!
Another thing, I work different. I may give you ideas of what I think I want to hear, cause again, I am a composer as well, but I have no time to score this one, plus I want to open it up to more people as I can: actors, crew, post, and so forth.

I am going to leave it up to your creative mind to come up with a few possible ideas to pass by me, but nothing as of yet, cause I would like to get a rough cut to you by the first week of august for you to get the feel of the movie.

If this works for you... We will need to do a contractual agreement for both parties. One I credit you, and it will be big time, and only use the music in conjunction with the movie, such as trailers, teasers, and the movie at projection, DVD's (not selling as of yet, who wants to buy a 30 min DVD)? Any sound track cd's will be negotiated later, again, a 30 min movie will not have much, well, it will, but not yet. This starts out by adding you to the pre credit list on the web site, with links, bio, and head shot, if you wish.

Everything sounds good and in order. Contact me as needed for info, contractual questions/arrangements or direction. I will eagerly await the first rough for august. - Martin

Reply to Danny Gray

I should have asked in my last message, though, whether you would offer screen credit to unpaid musicians? Sometimes that is a good incentive.

WHAT?! SCREEN CREDIT IS A GIVEN! With me anyway. Of course we need to recognize and showcase peoples talents and time. I would not have it any other way.

It is not only illegal without written permission, but just unethical to not give credit where credit is due! Plus you get a copy of the 10 and 30-minute versions on DVD, along with all the other additional content on the DVD, which includes credit on the DVD. Also will be credited on the POSTER, WEBSITE, and where ever else we market it.

If you'd like to move ahead, I suppose the next thing for us to do is draft a simple contract, and then get down to the more enjoyable part - making all the artistic decisions.

The CONTRACT is being looked for now. I have made my decision on the two I will use, out of the seven that posted but have not returned a reply. You and another composer. and I am excited about both your opportunities, as each one will get equal time on screen, with two trailers each, so 10 minutes = 5 for contest, 30+ = 15+ minutes of music.

Steve Barden has sent you a message.
Subject: RE: Score needed ... for future reference
Hi Gerald,
Apparently I missed this post until now. Although you've filled this assignment, I'd like to ask you to add my name to your database for possible future projects.

I am a Los Angeles-based composer. My writing style is primarily orchestral, but often incorporate elements of electronica and rock into my scores. You can hear audio samples of my work at www.stevebarden.com.
I look forward to hearing from you.
Best regards,
Steve Barden

STEVE!
Sorry for the delay, I have been in production and pre-production of up coming scenes, as well as web design, editing, and family stuff. take a deep breath. As far as too late, I have two on board so far for a 10 minute version and a 30 plus minute. I love your sound and style, very nice. Drunken Cowboy and Narrow Escape are not just audio but visual. I could see it. Heck, all of them were awesome!

There are some great composers out there that need to get their dues and you are one of them, great credit list. You are on the list for the next call. Again this is my first time using music other than my compositions and so far, I am liking what I hear and the free time to do other things, but I miss composing.
- I will keep you posted!
- gerald

Hi Gerald,
Thanks so much for your kind words. I guess I didn't realize that you yourself are a composer. Hopefully we can work on something together in the future.
Take care.
Steve Barden

Hi Gerry - I've watched the film quite a few times now, and I have some sketches I'm working on. I think (and hope!) that you will be very pleased.

What is the deadline we are looking at? I know the screening is in October, and I'm sure you'll want a comfortable few weeks to finalize things before that.

If I sent you a product by the end of the first week of September, would that leave you with enough time? Maybe Saturday the 4th or Sunday the 5th? - Danny

3.6.2 10-Minute Version

Gerald used Final Cut Pro 7 to edit THE GOLdEN TREE instead of Avid or Premiere Pro. And with the Canon D7 there were no tapes just SD cards that were easy to offload the video onto the computer and rename the clips as 1A-1 — Scene 1A take 1. 1A-2 — Scene 1A take 2 and so on. This is usually the job of the Assistant Editor labelling the clips, putting them in bins in the editing software, and organizing them for the editor to do his creative job so they do not have to think about housekeeping and logic.

Gerald has a different, unique way of assembling a story together than most people who do the same thing and call themselves "Editors." It is what he is in the mood to accomplish and work on. He never forces a scene and never starts a scene before seeing it in his mind. Gerald views and reviews all the takes — ALL OF THEM — at a minumum of 4 times to acquaint himself with the available material to let each take, angle, and performance soak into his mind — there could be only 12 clips and there could be over 100, but he watches them all many times. He then assembles them in his mind before actually doing it. When he finally does use the editing software, he often ends up with a minimum of 4 different versions of a scene. Gerald plays these scenes for family and himself seeing and feeling which one plays best for the story, not because the angle was cool, the light was perfect, or the actor looked best, but for performance, character & story arch.

A rough cut of action portions of the film was completed in two under two weeks. Gerald felt the transition from scene 11 to 13 was missing Scene 12. And there needed to be more of the Sierra character searching for family history in the bedroom. Additional Photography at the North Star House and the Young's House took place the following days.

After putting scenes 12, 8, 88, 11, and 16 in their respective places in the film, Gerald added the intro and end credits. The completed rough cut was then previewed by the key team members. After a few more small revisions and a Picture Lock was completed on August 19, 2010. The film was exported and sent to Danny Gray to begin adding the music score while Gerald then worked on audio sweetening — as he calls it — cleaning the dialog from the actors, enhancing the audio effects such as gun-cocks, footsteps, gold-pouches, laughter, nature, book-pages, and room-tone. Color-Correction and Color-Grading was one of the last things Gerald does that gives the look of the film. There may have been a few changes in some takes but the length of each scene and such never changed as it could effect the syncing of the music score.

GREETINGS MY WONDERFUL CAST AND CREW
I have not forgotten about you ( I now see you everyday)

Well EDITING HAS BEGUN and I am nearly finished with the rough cut. Working with picture, pacing, and performance. After which I will tighten up the dialog then sweeten the audio. What have you been doing since July 31st?

I had to convert the files for THE GOLdEN TREE from h.264 from the camera we used to a format that the editing system can handle which also made the files larger — kind of like blowing up a balloon. If the file was a 2 minute clip at 600MB. It converted to 1.2GB. And we have over 80 clips. So that has been the hold up. The converting part was not a fast process — it took 3 days and many hours each day.

I do want to reiterate to most of you that to get this in under 10 minutes, some of you may just flash on the screen (not really, but pretty short). I do feel terrible about it and I have been working on cutting other things, but there is also a story that needs to be told. Everyone is in it, everyone is seen. I am working on getting everyone to at least have a line of dialog: I am talking about the July 17 and 24 cast (scenes 9 and 13), which were additional scenes that make the longer story, but not all of it will make the 10 minute. In fact scene 14 might just be left out. (ARIA, Aramis, and Claire) but they have scene 15.

I knew I could make this work and I told you all that you may be on screen for a few seconds, 30 or less, but the performances deserve to be seen. Bigger things are destined for THE GOLdEN TREE. Be patient and hang in there. -gerald davenport

Jim Heck, new to filmmaking and audio but not to photography learns of the speed that Gerald finished editing and achieved picture lock.

My gosh your fast. I was hoping to see you in action doing some of the video editing. Perhaps you can let me observe some of the 30 min editing.

I always like to learn from my experiences. Since it was my first time doing any sound I'm not sure how the things I did affected the usability of the audio. Ie: the gain settings, how the mike was held, the distance to the subject, the effect of the background noises with the different configurations, etc. (I attempted to keep the sound of the river in the background constant between takes. I don't know if that was effective in a good or bad way) It would great if I had the opportunity to observe you editing the audio to make it usable for TGT. This would give me a lot of good feedback. I won't get offended if I hear grumblings about the audio. That's how I learn.

I thoroughly enjoyed working with you, the rest of the production crew and all the actors. Everyone was always so nice and pleasant, even the director, even at 102.8F. Jim

PCS 2010 filmmakers you should be putting the final touches on your films as we speak. Hard deadline for finished films is next Tuesday (Sept. 7) by Noon.

But if you have them ready now, plan to bring them in this week. If you still have questions about format, bring your film in on a hard drive and Bhim will download for you onto his hard drive. We don't want DVD compressed video because we edit the "show reel" together for high quality, seamless playback onto the big screen. Questions? Call Dev NOW -- no time to waste.

Also, we are using "poster art" of digital stills from your films for our display card we will be placing around town and in the Crest lobby. If you have artwork, send to me as an attachment .jpg 300 d.p.i. Send this artwork NOW so we can use it for advanced marketing.

Even if you don't have your poster art ready yet send us a great digital still of you movie so we can add a title graphic. This will only be used for very small images but we need NOW to be useful. Take the rest of the month for your poster art but send us an image for your film quickly so we can create our marketing pieces.

The Board is planning and after film event at a downtown location immediately following the film from about 4-7 PM. It will have some treats to eat and a no-host bar. We are kicking off out 25th anniversary party and you and your friends are invited.

Each filmmaker will receive five (5) VIP passes. Additional tickets will be $10 each for all seats (no reserved seating). They will be on sale online during the first week of September. OK?

We look forward to seeing your film and promoting the event to a full house of 900 folks. Thanks you in advance for all your hard work and dedication. The finish line is in sight. Finish strong. All the best, ron cooper

Danny Gray finished the music in a relatively short amount of time and sent each segment for approval. Gerald put them into timeline where Danny said to and they should fit perfectly. There were few, if any, changes to the music.

Gerry - I've played the WAV files against the film in two different programs - Logic and ProTools - just to triple check that everything is in sync. A small problem that occurs in Logic, but not ProTools, is that halfway through the score there seems to be a moment of silence that is missing, and consequently everything following is slightly off.

You can check this easily enough. After the line “And then I saw an angel” there is a small piano riff, and then the playful "bouncy" pizzicato strings should line up with the shot of the children approaching the stream (at 00:05:57:10)

If that lines up, everything is fine. If for some reason, that musical riff begins a moment early, when the mother's giving orders to the kids, you (or I) can splice the entire file in half and nudge the second half up a fraction.

Can't be sure why this happened - if it even did, and its not just something I'm seeing on my end. Sorry for the extra hassle. - Danny

With the music in place, dialog & background audio cleaned up, color-correcting & color-grading done, intro & ending credits triple-checked for spelling, THE GOLdEN TREE was finished — and this was just the 10-minute version.

3.6.3 Access Sacramento Print-To-Tape

Gerald is experienced in exporting video from a computer in many ways. The way that Access Sacramento wanted the films delivered to them was on tape. This was not told to the filmmakers, or at least to Gerald, until they were ready to submit their finished film.

Access Sacramento did not want it as a .MOV, .WMV, .AVI, or on DVD — the most common, simplest, and easy ways for independent filmmakers to submit their films. They want it on tape: HDV (miniDV) tape that is — one of the earliest forms of submitting, transferring, and broadcasting video — and it is easy to do if you have a tape deck — which is quite pricey ($11,000.00 in 2010 for a basic one) — or a camera that records onto MINI HDV tape. Most independent filmmakers do not have either one, and none of the newbie filmmakers that entered a film into the 'A Place Called Sacramento' contest has either item.

The only way for them to output to tape is to go to Access Sacremento with their computer and hook-up to one of their tape decks. Most exported to a video file and sent that into Access who the printed to tape.

Gerald wanted to keep the quality of the image as best that it can be, and set an appointment at 9:30 A.M. on Friday, September 3, 2010.

- I left home at 7 to be there by 9; got in, set up, and proceeded to export to video.
- 60 minutes later, Bhim unplugged my computer. "Oh, was that yours?"
- restart, set up, and print to video, again, 3 hours later, after lunch, says it is working. but nothing is coming out. 30 minutes later is says it is done -- but nothing on tape.
- 1:30 pm now. Exported as movie, put on their computer to export to video, did an hour thing, to tell us wrong format.
- "OH. I exported as ProRess 422, not HDV 1080i60. CRUD."
- Took 1.5 hours to convert then it says it is working, black screen - GOOD, bars and tone - GOOD, title SWEET.
- It is printing to tape. finished just before 4 pm.

3.6.4 42-Minute Version

It was tossed around throughout the film's production that the longer version might be up to 30-minutes long, but no one really knew, even Gerald. The longer version ended up at being 42:39 total-run-time.

The longer version included extending scenes that were shortened for the 10-minute version. The actor's performances are seen and heard in full. A 5:30 minute intro credit sequence using the additional photography that Brendan and Gerald captured on September 18, 2020^[5] opened the film. And a 5-minute ending credit sequence showcasing each actor with a memorable phrase they spoke was only to be used for the Premier at the Del Oro Theater, but a newer ending credit segment was never created. Giving the final actual film 31 minutes of action to watch.

A preview was created during this time, as was marketing artwork such as posters, flyers, and an Electronic Press Kit.

Danny Gray created the extended music score.

5.1.1 Crest Theater 10-Minute Premiere

The anticipation of people wanting to see the film on the big-screen poured in on Facebook and emails to Gerald. Everyone was asking questions about what was going to happen and was anything planned before or after? Gerald sent out Issue #18 of the Roots of Gold Newsletter to help answer the questions and any others that might come up.

“I felt confident with the film we made, probably a little over confident, but I know we will be the one chosen for most, if not all, of the awards and be the talk of the festival.”

“We used 28 actors from Sacramento, we filmed on historic locations, and we made a story closer that is 'A Place Called Sacramento' much better than the ten films they showed last year.” - gerald

The 11th Annual 'A Place Called Sacramento' event took place at the Crest Theater in Sacramento California, on Sunday, October 3, 2010 at 1:00 PM. There were over 600 people at the 900+ theater to view the ten films that varied in story, quality, and entertainment. THE GOLdEN TREE played very well on the big screen. The Canon 7D proved itself of being a decent camera to capture low-budget independant film productions.

There is a rule of thumb that you want to be the first or very last performer for anything. The first one sets the bar — if they are really good then the rest are measured by them. The last one is the last thing people see and the first thing on their mind no matter how good it is, it usually wins. And this was no exception as a film that has a color effect on it, although the story was interesting, it was not worthy of the audience award or the producer's choice award. But it won both. THE GOLdEN TREE was the seventh film played out of ten.

Interesting enough those were the only awards handed out in 2010. They did not say why. View the Crest Theater Image Gallery

“Appalling. THE GOLdEN TREE deserved the assembled cast award, best story award, best technical achievement award, and some individual actor awards, but they did not hand any of those out. The last film took the prizes. We were slighted, the cast was slighted. It was the best picture on the big screen.” - gerald

Gerald with Ron Cooper at the Crest Theater for 11th Annual 'A Place Called Sacramento'

Sunday, October 3, 2010
Crest Theater, Downtown Sacramento

By Michelle Barbaria

The morning outside the Crest Theatre in Sacramento was filled with anticipation and excitement. Friends, family, and film crew members gathered in line to get in to see the 9 films they helped to create on the big screen. Once the doors opened and the people began to flow into the lobby the place was jumpin'. The sounds of Sister Swing could be heard in the background over the speaker system and the scent of popcorn filled the air.

In the lobby there were tables set up with the filmmaker's posters and souvenir flyers for their individual films were passed out. Photos were being snapped left and right and groups of family and friends huddled together to get everyone in the picture.

At exactly 1:00pm the lights went down and there was silence. Out of the corner of the packed theatre a booming voice could be heard with a powerful message. It was the voice of one of six poets from the Sacramento Area Youth Speaks (SAYS), a program for expression and creativity through poetry for youth at UC Davis. Ron Cooper, the Executive Director of Access Sacramento then took the stage to welcome everyone. The films officially started rolling with "BarTime" by Wayne Douglas Johnson; it's that 15 minute bar time differential that really has a huge effect for this film.

The films continued and there was such a touching moment when the film "Thugs Need Hugs" by DDSO E+ writing class started. There were so many hoots and hollers from the audience from the thrills of seeing friends and family members on in their movie on big screen. The E+ writing class also wrote and produced "Are You My Girlfriend?" There was a real sense of community and fun as each film came up on the screen and the crowd clapped and yelled for their productions.

Access Sacramento, 11th Annual 'A Place Called Sacramento' 2010 Film Producers

br: ?, Dänna Wilberg, Ron Cooper, Guy Pace, ?, Judith Plank, Gerald, Matt Leddy, ?, ?, Sean Stueve.
fr: Wayne Douglas Johnson, Somer Hoke

Each film touched a slightly different sentiment this year with love being a common theme. And not just romantic love, but the love of family and the appreciation of life. Films like "War at Home" touched on the experience of a soldier returning home to friends and family after being in Iraq. "Butterscotch" was a poetic and clever take on the mysteries of life and love.

"The Treasure Chest of South Sacramento" demonstrates personal growth through hardship and overcoming the status quo by looking inward at oneself. "THE GOLdEN TREE" by Gerald Martin Davenport delved into the history of the Sacramento region while bringing family together and "Little Thieves" reminds us to mind our manners and do what is right or else.

The film "Three Words for Dacia" by Sean Stueve really took the crowd by surprise with it's twist ending and modern noir styling. It is the only film to win both the Audience Favorite Award and the Producer's Choice Award in the festival's 11 year history. Each filmmaker took the stage and was honored for their achievements and for winning a spot in the festival. After soaking in all the films the crowd moved into the lobby to enjoy a live performance by Sister Swing and nibble on some treats and drink wine in the Lobby of the Crest Theatre. The lively crowd enjoyed mingling with the filmmakers as everyone shared their experiences on their PCS journey.

Overall, the day was exciting and the hustle and bustle in the lobby gave way to the contemplative and joyous crowd inside watching the big screen at beautiful Crest Theatre. The 11th PCS celebration and 25th Access Sacramento Anniversary Party was a great success. The films were so good this year, I'm looking forward to seeing what great films will be created next year!

5.1.2 Del Oro Theater 42-Minute Premiere

The preparation for the 42-minute version to play at the historic Del Oro Theater, another gold rush era theater in an actual gold rush town, underwent meticulous details.

“After the snubbing at the Crest Theater by Access Sacramento of receiving no awards or any accolades, or recognition for the story, cast, or the look of the film, I wanted to make it up to the cast and crew.” - gerald

Collector, hard-stock, premiere tickets were created; Tamara sewed gold nugget bags with the title of the film on them and filled them with gold candies for all the attendies; DVD's with the 10-minute, 42-minute, a production image slide show created by Jim Heck, and the teaser trailer were handed out to the cast and crew. More DVD's were sold before the event and after the showing to those who wanted extra copies or were not given one as part of the production team.

“For this premiere, I did not want people to sit and stare at a blank screen. Just like regular movies, they showed trivia and questions about films, actors, and such while you wait for the showtime. I put together my own version with items related to the gold rush, the characters in the film, and a few items of fact. Also, I did not want to just start the film. I wanted to give the attendees the typical movie going experience. When Chardonnay teaser began playing my heart sank. 'What have I done? ' There was a bit of harsh language in the teaser. I will hear about that at the end.” - gerald

Assembling of the 42-minute version went through several changes and alterations from October 2010 through the end of January 2011. Quite a few Final Cut Pro 7 output tests were made to keep the quality of the video as high as it could be and fit on the dvd. Several attempts failed. Final Cut Pro 7 wanted to be the only application running when exporting and any other operation, such as, accessing email would cause it to fail. Then there were issues with burning the output to the DVD. Once a perfect export would finish, the burning of the DVD was also temperamental. Certain settings would get reset to default in Final Cut Pro 7 and the export, although perfect, was a few megabytes to big, or a codec transcoding number was off that the DVD burning app would not accept it. The DVD burning that worked and looked good, finished 12 hours before the event.

“The Crest Theater incident was three months ago. I have been too busy preparing for the premiere at the Del Oro Theater to worry about it or to keep it inside. My focus is on delivering a spectacular film and a glorious showing for the hard working cast and crew. They deserve it and more. The time they gave driving to the locations, gathering their wardrobe any way they could, and giving their best on camera or behind it. I am truly blessed to have such a wonderful memory of working with such great people. That is all the matters now. That is my award.” - gerald - January 6, 2011

Bill Gallant, Rob Tillitz, Mark Hoffman, Gary Udell, Scott Slotterbeck, and Virginia Hicks & Family supported THE GOLdEN TREE premiere by helping with the rental of the theater and more. There was a small push for marketing and advertising the film's premiere to the local residents with a radio ad, newspaper article, and flyers posted around the community.

The Del Oro put the title of the film on their marquee in mid January which helped outside ticket sales. There were over one-hundred people that attended that no one knew. THE GOLdEN TREE was premiered in the big room that seats 400 people.

I greeted everyone who entered the theater for our film. The hundred plus people that I did not know or did not know me looked quizical when I welcomed them. I could see the realization on a few of their faces when I came up and introduced the film, the cast, and crew. It was awesome to view your work: the complex mess of scenes and takes, the perfomances, and music get assembled and finished on screen.

Teasers of Paint, Detective A, THE GOLdEN TREE, and Chardonnay were added to the Premiere edition of the DVD.

5.2.1 DVD

THE GOLdEN TREE was released on DVD on February 3, 2011 at the Del Oro Theater premiere to the cast, crew, and their friends and family. Version A disk, not the Premiere Disc, was the disc that was given away or sold that day.

THE GOLdEN TREE was one of 9 films on a compilation Blu-Ray of Aria Pictures short-films that was screened at the Sierra Cinemas in Grass Valley, California on April 9th, 2017 — Aria Leven Davenport's 27th birthday. Aria was not in attendance.

THE GOLdEN TREE is also on the Petite Chardonnay Disk

5.2.2 Blu Ray

Out of Print
Released: 9 April 2013 - Aria's 23rd Birthday present.
Runtime - 120 min
List Price: $15
Printed Keep Case
Aspect Ratio: 1.33:1 - Anamorphic Widescreen - FULL HD
Regional Information: 1 - USA NTSC, Color
Dolby Digital 5.1 Surround
Subtitles: English on both 10 and 42 minute versions

CONTENTS
• 42 Minute version with Premiere credits.
• 10-minute version from Access Sacramento's 'A place Called Sacramento' Film Festival 2010 Winning Selection
• 19-minute Behind-the-Scenes slideshow by Jim Heck
• 2 early Teasers
• 30 Minute Behind-The-Scenes Slideshow from remaining pictures including the Premiere at the Del Oro.
• 9 Interviews from the Cast at Wrap Party on July 31, 2010
• THE GOLdEN TREE final Trailer
• Paint, Chardonnay, and World Next Door promo trailers.
• Iron Pyrite Reel [bloopers].
• and more.

5.2.3 Video

5.2.4 Cast Interviews

Thanks for the opportunity and the great experience, Gerald! The interviews came out fine. My voice can be heard, but I might either edit it so my questions aren't heard, or re-record them in the studio (my den...it's a quiet place with no echos).

I think the actors that I interviewed will be pleased with the outcome. There is ambient noise from the kids by the river, but it's not obtrusive. I'm glad I did use my lav mike. That cut down the noise somewhat. AND: I would like to interview you in the near future. I envision a sit-down in a quiet place. Should only take 15 min or so. Just let me know. I'll have a new and better lav mike. The one I did order, which was supposed to be delivered on Tuesday last, did come on Saturday.

I also think you will be pleased with what the actors had to say about you. To a person they thought you were great. Now I don't have much to compare with, other than watching filming of George of the Jungle in SF a few years ago, but I thought you were great and gracious to me as well. I had a lot of fun and learned a lot. I'm glad you liked the four rolls of film I shot (I think some of them turned out nice, as well). I did have trouble with the different light in the shade and very bright sun; I had to over-expose the background to get the detail in the faces, but all-in-all, I'm not unhappy with the shots. You can have any you want. I shot another five rolls on the last day of shooting. They're being developed as well.

BTW the video I shot at the three days of filming turned out nice as well. One of the dads (Bourassa?) shot some on the last day of filming, and his video turned out well, too. He shot it on a tape I gave him. I have the video he shot. Finally...Shamless hint...if you need any help on any other films, I'd be more than happy to help out. - Scott Slotterbeck

5.3.1 Nevada City Film Festival

Email correspondence with the festival director

On Mar 23, 2011, at 4:30 PM, Aria Pictures / Gerald Davenport wrote:
Greetings.
I have just gotten all my EPK and other material finished and was on Withoutabox and your website to see when the deadline was and I see it is almost ending.
I am local filmmaker in Nevada City and did a movie with Access Sacramento and their Place Called Sacramento film festival and the 10 minute version premiered at the crest theater.
I lensed it in a way I knew I was going to make a longer version and I have a 40 minute version that premiered at the Del Oro theater in Grass Valley on February 5th 2011.
I was wondering if you could make some concessions or bend some rules to allow a local to show his work?
- gerald
peace and God bless

On Mar 30, 2011, at 10:39 AM, David Nicholson wrote:
Locals are always welcome to show their work. Please drop it by the Magic Theatre in Nevada City, 107 Argall Way. Put it through the mail slot if no one is around. Also, please put that it's a local entry for the NCFF and I'll be sure that it gets to me.
Thanks!
David Nicholson

To: David Nicholson
Date: Tuesday, April 5, 2011, 2:06 PM
Mr. Nicholson.
thanks for the reply.
been busy here and wanted to get my ducks in a row. what is your criteria? format? DVD - NTSC - HD DVD - stereo - surround sound EPK?
you know all that stuff so I get it to you without any hold ups.
- gerald

Locals can submit for free. If you want to use withoutabox, then you can use our fee waiver code (BCOGI6C)
A standard DVD will do just fine for a screener. If your film gets into the festival, then I will need a HD .mov file from you.
Thanks!

Wanting to be professional and enter it through the proper channels, Gerald did not take the DVD to the theater but registered with WithoutABox.

ENTRY CONFIRMATION
The International Film Festival Submission System powered by Withoutabox
2011-Apr-06 06:58:09 GMT

Dear Gerald,
Your submission to Nevada City Film Festival was successful.
Submitted in: Short Film over 5 Minutes
Tracking Number: 11-192
========= READ ALL INSTRUCTIONS CAREFULLY =========
WHAT WAB SUBMITTED:
- Entry Form for the project THE GOLdEN TREE in Short Film over 5 Minutes
- No Entry Fee Required
- Online Press Kit

WHAT YOU SUBMIT:
- Submission Copy (send 1 copy)
You chose to submit DVD - NTSC - R0. You are always welcome to submit instead in any of the formats below. Make sure your submission copy is LABELED with Title, Runtime, NTSC/PAL/SECAM and DVD Region (if necessary).
___ Secure Online Screener
___ DVD Region 0 - NTSC
___ DVD Region 1 - NTSC
___ Save Time and Submit a Secure Online Screener Now!
SHIPPING INSTRUCTIONS:
Regular Deadline: 25-Apr-2011
BUT DO NOT WAIT!
Nevada City Film Festival
c/o The Magic Theatre
107 Argall Way
Nevada City CA 95959
U S A
MARK ALL MATERIALS WITH: Tracking Number 11-192

Congratulations Gerald,
Your submission for THE GOLdEN TREE has been received by Nevada City Film Festival and is now in consideration. This entitles you to a Title Page on IMDb, the most trafficked movie site in the world - with 57 million film fans visiting each month. IMDb is eager to help you publicize and promote your movie right now, as soon as it's ready for the world, not just after you've won recognition for it. Your Title Page on IMDb is free, and the setup is automatic, since you have already linked your IMDb and Withoutabox accounts.
We will notify you once "THE GOLdEN TREE" has been validated by IMDb's data editors, which can take up to two weeks. You'll then be able to upload video to your Title Page, such as trailers and clips. (Video has quickly become an essential part of any IMDb Title Page, so prepare for that.) Got questions? Contact support at:
Enjoy your new Title Page, and make good use of it!
Sincerely,
Team, Withoutabox
A Division of IMDb

Gerald never received anything else from the Nevada City Film Festival as whether it was accepted or rejected. He often wonders why they chose not to accept a film about the Gold Rush, about Nevada County, lensed in Nevada County including Nevada City using local crew and actors. He was not going to make money on it, and there might have been allot more people going to their little Film Festival.

6.3.1 Gold in the veins

11:17:58 AM: There was this article i was trying to read without my glasses last night or when the young's were over. I did not read it, but something told me to read it. I set it down and got interrupted or something.

11:18:42 AM: Tamara's dad brings me the article and says this lady is connected to the Wimmer's

11:20:57 AM Gerald: Meet your merchant: Gold in the veins | TheUnion.com

Meet your merchant: Gold in the veins

December 19, 2010
Athena owner's roots dig back to Coloma camp
By Kyle Magin - Staff Writer

ATHENA ART GALLERY
Lori Somers, owner
10 a.m. to 5 p.m. Wednesday through Saturday
201 W. Main St., at the corner of Mill Street in downtown Grass Valley
(530) 273-3722

Lori Somers, owner of Athena at 201 West Main Street in Grass Valley, specializes in award winning designer jewelry and art glass. Gold necklaces, rings and artwork gleam in Grass Valley's Athena gallery as morning sunlight streams in on a recent morning.

Gold, which built much of this foothill town, flows through the veins of the store's owner, Lori Somers. Her family traces its roots back to maternal ancestors Jennie and Peter Wimmer, who were present at the camp in Coloma, Calif., where Jim Marshall discovered gold in the sediment of the American River in 1848. The find precipitated the state's Gold Rush the next year and is immortalized in art and literature.

One of Somers' first jobs was working in her father's Marysville jewelry store, repairing and altering jewelry. It was there she developed her taste for working with the metal and its uniqueness. “I love finding unique pieces. I don't carry anything that's manufactured,” Somers said. “If you get something from here, you won't see anyone on the street walking around with it.”

The creativity involved with designing jewelry appealed to Somers, an artistic San Rafael, Calif., native who danced in the Marin Civic Ballet as a child. She attended the College of Marin before studying jewelry making at the Geological Institute of America in Santa Monica, Calif. In 1990, she opened Athena on Mill Street, selling jewelry. Opening in Grass Valley only made sense, Somers said. “This is the heart of the gold country,” Somers said. “I have family history here, and California's history is here.”

Somers designed her display cases with friend and renowned jeweler Pascale Lacroix, who's pieces she showed in her gallery. She frequented shows to recruit more jewelers to show in the shop, before something unexpected began to happen. “They started coming to me,” Somers said. “These creative people were seeing something positive going on here.”

In 2000, she moved to her location to Main Street on the corner of Mill — at a prime intersection across from the downtown clock — and recrafted the gallery. “I wanted to get my hands on something positive,” she said. Somers began adding intricate blown glass to her display cases, pieces with glass spires, glass basins and glass tentacles in the vein of Tacoma, Wash. — based artist Dale Chihuly. She is a great fan of his work, and displays a book of it in the gallery. “I'm very picky in what I show,” she said.

To contact Staff Writer Kyle Magin, e-mail kmagin@theunion.com or call (530) 477-4239.

6.3.2 Related

Hello,
Will you be selling copies of your movie? Do you have access to a journal for William Riley Wimmer? I would love to have a copy of both the movie and the journal. I am a 1st cousin 3 times removed of William Riley Wimmer, and have done years of research on the Wimmer family.
Thank you,
Arlene (Wimmer) Hill
Boulder, CO

Greetings, ARLENE!
It's a pleasure to email you, thanks for the inquiry.

I do not have access to any journals. The story is based on factual people, events, and locations. I have taken some creative liberties in making the Wimmer's be bigger than life, and they may well have been, but the history books I have read, ten mind you, plus researching the internet, which you cannot believe everything you read, PLUS, going to COLOMA, and talking with their experts and getting books about them, not much mind you, but some, I have come up with an entertaining, somewhat accurate historic story. There was not much about the wimmer's before or after, and during, for that matter.

big time on the somewhat and I know I am incorrect on a few things, but not having much luck finding out about them before and after the gold rush was what I did the creative parts on.

I would love to spend more time on accuracy and actual events before and after because the family is quite interesting, large, and an unsung hero in the discovery of gold and implementation of Sutter's Mill in this area, as I am sure of what ever else they did in life.

In doing this project, I truly made an effort to create a positive look into their lives. I did not want to offend anyone in the family, discredit any historic facts, or embarrass the descendants. And the main story revolves around William Riley Wimmer. You can see more info on the facebook page, you do not need to have a facebook account to view any of the info. - gerald

The 10 movie will premiere at the Crest Theater in Sacramento on October 3rd. I am making a longer version that will also be on the dvd. plus a slide show of behind the scene pictures and video.