Keith Harris is Making Waves with Harvest

Keith Harris: I was working with a group at my church in California, and we decided we wanted to make a movie. Several people wrote scripts. That exercise ended up falling through, but I had the inspiration for the Harvest script at that time. The script went through several rewrites to get to the final version. But, I liked the concept, so I kept it and put it on the back burner until the appropriate time.

"Yes – the film is dark. I did that on purpose."

CM: Unlike many movies created by Christians, Harvest is a dark film that lacks an uplifting and emotionally satisfying ending. What is the message behind this film, and why do you believe that message is important to communicate to others?

KH: Whoa! You’re going to make me work here! This is a multi-faceted question, so I’m going to have to tackle it pieces. Yes – the film is dark. I did that on purpose. Now, I guess I might view "emotionally satisfying" a bit differently than others. Typically, when someone thinks of "emotionally satisfying," they think "happy ending." Films that tie everything up in pretty bows - particularly those in the Drama genre - can tend to candy-coat the emotion, so it’s more palatable. And I think "Christian" films, in particular, tend to fall into this trap more than others. They play down the "darkness" so much that the "bad guy" is only a shell and a caricature.

I think we all give a golf clap and an "ataboy" to those attempts, but we don’t really go along for the ride because we don’t believe the characters. No disrespect to anyone, but I want to be entertained and engaged. I don’t want to be told what to think. I don’t want to have to suffer through a bad, preachy movie, just because it’s "Christian." I may be naïve or idealistic, but I think Christendom, as a whole, doesn’t want to do that anymore either.

I don’t want to have to suffer through a bad, preachy movie, just because it’s 'Christian.'"

"Christian" movies, although well intentioned, tend to set up adversaries made of straw – so we can knock them down with our favorite scriptures. But, I just don’t see it playing out like that in the real World...the fallen World. There is pain and darkness in the world – at least in my world. And, I mean, the Bible itself has some of the darkest stories in all of literary history. But I digress...

My favorite Dramas are the kinds that make you drive home in silence, thinking about what you just saw. Then, a few days later, you’re working out and you find yourself still thinking about it. "The Eye is the lamp of the body..." If we can intersect the masses with stories that break out of the Christian sub-culture, but still carry with them a message of the redemption that we have received, then an impact can be made.

Now, I wanted to do two things with Harvest. The first was to make a film that not only Christians would want to watch. The second was to broach the subject of Adultery. I think that the audience has to appreciate where the protagonist comes from – with all the grit and dirt – to appreciate where the characters end up. If the audience gets on board with the character in the beginning and goes on the ride, you can tell them just about any message and they’ll receive it with open arms.

"If the audience gets on board with the character in the beginning and goes on the ride, you can tell them just about any message and they’ll receive it with open arms."

On many levels, I think there is an uplifting message in this film, although it comes in a smash-you-in-the-face-with-a-2x4 kind of way. I had to walk a thin line. Some Christian films seem to say, "If you receive Christ, all your problems go away." But just because someone receives Christ, doesn’t mean he/she doesn’t have to deal with the consequences of previous choices. I wanted to rebel against that message. In Harvest, Tony has to pay the price for his bad decisions.

On the other hand, in Hollywood films, "He said/She said" tactics explain adultery away and we are lead to cheer for the person starting an affair, be it physical or emotional. What I wanted to do was externalize what happens to people in extra-marital relationships on an emotional and spiritual level – and to show the consequences. Harvest aims to be a visual manifestation of what the soul looks like after the smoke clears. Relationships die, and our emotions and spirit get a huge shock to the system.

If, as Christians, we could tell stories that impact individual actions after the fact – even on a small scale – then we’d be way ahead of the curve. My hope is that Harvest's message hits people before the affair has a chance to present itself – and it eventually will present itself. If even one person can avoid taking that path, then THAT is an uplifting and emotionally satisfying ending – one that I may never hear about.

CM: How has Harvest been received at Christian film festivals by judges and attendees, especially given its unique tone in relation to its peers? In comparison and/or contrast, how has the film been received at secular festivals?

"It's been interesting with the Christian crowd."

KH: It’s been interesting with the Christian crowd. At the Damah Film Festival in Culver City, CA, I was told by one of the festival organizers that they "weren’t sure if I was a Christian or not" – that maybe I’d just found a scripture and made a movie around it. And, at the Gideon Conference this year, I had an audience member leave during Harvest's screening – that was a first.

But at the secular festivals – the Charlotte Film Festival in particular – I won audience choice award for Best Short. I was nominated for Best of Fest at Damah, too – but they are aiming at a mixed/secular crowd. I would say it skews slightly in favor of the secular crowd – but Harvest has been well received by both Christian and secular audiences.

CM: What is the most meaningful comment anyone has made to you about Harvest?

KH: "I was disturbed by this film – but disturbed in a way that I should be as a Christian," from Eric Wilson, NY Times best-selling author of Fireproof: The Novel.

CM: Which camera did Director of Photography (DP) German Valle use for the movie?

KH: We used the Cannon XL-2. It is the first edition that has 24p capability.

CM: What was the dynamic like between you as director and German as DP? Specifically, how did your levels of creative input vary? What advice would you give to first-time directors who want to work constructively with their DP?

KH: My advice to first time directors is KNOW WHAT YOU WANT! A good production comes down to GREAT PRE-production. Visualize your shots – then collaborate.

German was great. He would suggest things that I hadn’t thought of, and I would adjust, but at the end of the day the director has to maintain his vision. DP’s love to take pictures – that’s why they do what they do – and sometimes they adjust shots without asking.

"My advice to first time directors is KNOW WHAT YOU WANT!"

In one case we were tight on time, so I got a shot that I liked and dismissed the actor. I put on my producer hat because we had a company move to a new location. About fifteen minutes later, I see the actor walking away from set for a second time, taking off his costume. Come to find out that German had called him back to set and done another shot without my permission or me even BEING THERE! We had to have a little meeting after that episode.

BUT German has a great eye and knows his job! He was a cinematography major at the School of the Arts in NC, and was going to assist the original DP. But when that DP ditched, German was up. We were too close to production to do a long search for another DP. German and I ended up collaborating great together, and I’ve used him on several subsequent projects.

CM: How did you find actress Maria Couce and what is her background in acting?

KH: I met Maria through the group I was working with in CA. She went to my church and we were working towards making the film. When I decided to move forward with Harvest, I called her. I was on the East Coast by that time, but I thought that since we had started together in CA, I should honor the agreement if she was still interested. She was interested, and she even put some money into the budget of the film and paid for her airfare to get to NC for the week of the shoot. She’s a great gal and has great raw instincts as an actress. She trained in LA with various teachers and is a SAG cardholder.

CM: Did you watch and/or study real electrocutions to carry out your role?

KH: I studied electrocutions on film and in movies. Green Mile has one of the best on film, but time restrictions and budget confinements sometimes dictate what you can get done. There was some artistic license taken in the Harvest scene. Usually, the prisoners’ head and/or eyes are covered because there is the potential that the eyes will bleed and/or pop out. The possibility of bleeding inspired the final teardrop of blood that rolls down Tony’s cheek. To get the full effect of that moment, I couldn’t cover Tony’s eyes or face. I also had to take liberties with the length of time the "power" was on, to show what Bridgette was seeing and how it affected her. My favorite shot in that scene is of the guard watching as he stands by the switch.

CM: How did your wife feel about you shaving your head for the closing sequence? What are some other notable physical changes you’ve made in preparation for various acting roles?

KH: FOOLED YA! That was a bald cap. A $200 Bald Cap! The "death march and execution" sequence was actually the very first thing we shot in the production, so I obviously needed to keep my hair. We used a special F/X makeup artist to make me bald. He did an amazing job. People standing 5 feet away thought I’d shaved my head.

Now I DID shave my head for another film called Wesley, about John and Charles Wesley, who founded the Methodist church. Wesley should be out this year. It’s set in the 1700’s, and I had to wear a white powdered wig as Charles Wesley. In the 1700’s, men who wore wigs would shave their heads down to long beard stubble – the stubble would help secure the wig on the head. My wife wasn’t too happy about it – she likes me with longer hair – but she was very supportive. Wesley turned out great and we’re just waiting on a release date.

CM: What is your background in acting?

KH: I acted through High School and went on to get my Bachelors of Science in Radio & Television Production, with a concentration in Theater, and a Master of Fine Arts in Acting, with a concentration in Film. I knew when I was eight years old that I wanted to do this for a living. It’s not always easy, but it’s always satisfying working in line with my passion.

I’ve been a professional actor for 15+ years and have been very fortunate in the roles I’ve played. I was in the critically acclaimed film Junebug with Amy Adams, and I was on Dawson’s Creek, Army Wives, and One Tree Hill. I’ve been able to touch some silver screen history, working with film legends like Mickey Rooney, David Carradine, Pat Hingle, and Malcolm McDowell, all in supporting or leading roles in films like Lost Stallions, Fall Down Dead, and The List. Lord willing, I’ll keep on keeping on.

CM: Among your many creative projects, which are you most proud of? Why?

KH: I have to say I am pretty pleased with the reception Harvest has received. It’s done way more than I expected it might. It’s been very well received at 4 festivals, had a run on TimeWarner Cable OnDemand, and was one of only 23 films to be selected for the PBS show NC Visions.

The other project I have high hopes for is a script I wrote called "Damascus Road." It’s a modern day story of the Apostle Paul, set in the south during 1954, right after Brown vs. Board of Education was decided by the Supreme Court. It’s won some awards at screenwriting festivals and I’m currently trying to fund the film. It has a similar tone to Harvest, but has more of an "emotionally satisfying ending." – LOL. I’ve put together the LLC’s and the investment package, so if anyone’s interested...

CM: In your opinion, what elements are necessary to create a captivating story?

KH: Conflict. To have good drama, you have to have good conflict. As I said earlier, an audience needs to appreciate where the protagonist comes from, to appreciate where he/she gets to. I think films that have great conflict – bigger than the protagonist can handle – and films that show the process of overcoming that obstacle is what captivates audiences.

CM: What are the top three things you wish you had known before you started?

KH: How to produce, how to produce and how to produce – Oh yeah! And I wish I’d known someone with more money! I vowed after this production that if I ever act and direct at the same time again, I’ve got to have a producer who is going to take the project and produce the crap out of it.

I found myself spending so much time getting all the particular elements for any given day in the same place at the same time that, when I watch the film, I see things I would have done differently as an actor or director that I just didn’t have time to think about at the time because of the pressure of producing the film. And the person with more money would have allowed me a day or two extra to shoot the film. I shot this film – which was 16 pages – in 4 days...very tight, strenuous days.

"Films that have great conflict – bigger than the protagonist can handle – and films that show the process of overcoming that obstacle is what captivates audiences."

CM: What was the biggest hurdle that you faced during the filmmaking process, and how did you overcome it?

KH: On the third day of shooting, we shot all the stuff on the road in the corn where the incident goes down with Tony, Bridgette, and Potter. The day revolved around three 1954 vintage vehicles. I woke up to a phone call that morning at 5:30 a.m. telling me we were two vehicles down. One car owner that we had lined up just decided to stop answering our calls and didn’t show the previous day of shooting, then one of our trucks broke down on the way to set.

We solved the problem with manpower and God’s serendipity. We had the one truck towed to set and put in place. I arrived to find a huge tow wench on the front bumper and a hood ornament of a donkey sitting down on its haunches, with red eyes that would light up when you flipped a switch in the cab. Well, we had to pull all that stuff off the truck. We solved that with manpower.

In the movie, the truck just had to pull out of a side road and stop. So we had five guys on the bumper, pushing the truck in and out between shots, and we added all the sound F/X in post. We solved the missing vehicle with God’s serendipity. The farm that we were shooting at just happened to have a 1954 dump truck still being used as farm equipment. Mr. Beeson, the farm owner, let us use it free of charge. We got every shot we needed to get that day too. That was a tough day.

CM: What was the most significant lesson that God taught you, from a personal standpoint, during the making of Harvest?

KH: He taught me a lot about leadership. About trusting my passion and stepping out in faith to capture all the swirling images in my head. He taught me so many things; I think it can be summed up as "Trust in Him, and work your butt off."

"Trust in Him, and work your butt off."

CM: What is your vision for the future?

KH: To follow up the "cross-over" success of Harvest with my feature film Damascus Road. To continue to write more compelling scripts that break out of the Christian sub-culture and still deliver a redemptive message. To grow my production company, SunRidge Motion Pictures. And to enjoy my time with my wife, Emily, and my child, Ehver.

CM: How may Harvest be purchased?

KH: Currently, the film is available at IndieFlix.com. The price is $7.95. I’m currently working on a distribution deal with ChristianCinema.com, but as of this writing that deal is not in place yet.

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