CAST & CREW
Joseph Payne- Nate
Kevin Johnson- Mick
Eric T. Jones- Alec
Nikolay Shurygin- Yuri

Director of Photography- Eric T. Jones
Camera- Eric T. Jones
Camera- Richard Davis
Camera- Nikolay Shurygin
Camera- Joseph Payne
Camera- Kevin Johnson
Editor- Rachelle Wright
Writer- Eric T. Jones
Director- Eric T. Jones

PRODUCTION NOTES
For my directing class at De Anza College, we had assigned a chase scene, and I knew right off the bat that I didn't want to spend the entire movie showing nothing but people running, or the corny "man stealing something" setup that my Intro to Film group had long put behind us. It wasn't until a week before the assignment was due that I woke up with the setup in mind. In fact, just about every plot detail was there waiting for me to write it down. The only significant rewrite was the night before the shoot, when I opted to remove the prevalent strong language (all from Nate), which I only really intended to illustrate the character on paper but not a necessity on-screen. Given my release troubles due to the content of "a first date", I didn't want to take any chances on the R-rated version.
My "crew member", Rachelle, approved the script as did the instructor. Having a rough weekend ahead of me, I knew I didn't even have casting ready.
In fact, Yuri quickly switched actors before the meeting up time, and after I had re-written the role for Nate as a female character (Sapphire [1/2-Stop Pull] was initially available), I found out my actress was unavailable. Kevin, Nikolay, Richard and I deliberated at 11AM to make some very 11th-hour phone calls to potential cast members. We almost didn't have one until Joseph from JP Films responded to his voicemail. Deciding that Richie wasn't fit for any of the roles (I was open to it, but everybody said "no"), he instead operated the camera for most of the shots. Since I was the only one with a driver's license, I effectively became Alec.
I was in no mood to let this filming session drown into a talkfest, so I was quick to silence any off-topic conversation occurring if something else could be done. The 3-and-a-half hour film shoot turned up 19 minutes of raw footage (normally we get 10 in that amount of time). The next day, however, would prove to be even more grueling. An after-school filming session for my cast members, everybody got to operate the camera due to the prevalence of the car in many scenes, resulting in cramped quarters and tedious actor-auto synchronization. Afterwards, we went through a rather easy dialogue scene, and finally, a return back to an old location. In 10 minutes, we swiftly grabbed the last shots before it was called a wrap.
For the purposes of the class, every "crew member" was required to be a Director, Camera Operator, and Editor. Since Rachelle lived 30 miles up north in Fremont, naturally she was the editor. Unlike most of my films, I didn't "edit in camera" for most of the scenes, shooting three angles' worth of coverage due to time constraints... and for editing purposes since, based on previous in-class experiences, Rachelle is a much more creative editor than I am.
When I got the timecoded footage returned, I was notified that no suitable music could be found. Kevin had previously advised me to use music from the new, experimental Nine Inch Nails "Ghosts" album, which had a "film festival" on YouTube that I could submit the film to. The initial offer was refused, but I knew I couldn't turn this one in raw. Between using unlicensed music (something I have bitterly refused to do and have had a rough time trying to persuade others not to do) and something that would earn some form of approval, I took the free download of "Ghosts I", listened to the whole album, and picked the bits I liked.
In the months that passed, I have been working on my feature screenplay (unrelated), and have since bought the entire "Ghosts" tetralogy on CD, so I could re-edit the music in uncompressed format.

Like "N", "Nathan." was shot in anamorphic, which I also plan to shoot my feature in. In short, it's a lens that makes the image wider, in-camera. The letterboxed video and screen captures below contain the full, originally-filmed image, with no vertical cropping or trickery whatsoever.