Ten Minutes With Minott or, How to Make a Manhattan
If it can be consumed in liquid form, I think Minott Kerr has tried it. He has an insatiable appetite for both tasting and for learning––a great combination for sure, and also a great subject for a short film.
For this piece, I was lucky enough to spend a lovely fall afternoon with Minott in his apartment in Northwest Portland. We talked about coffee and spirits mostly, and a little bit about his life. We ended up talking for about an hour and half. Minott is a wealth of information, and it was hard to decide what to cut out and how best to approach the short film. In the end, I opted to do a piece that is equal parts drinks, coffee, apartment, and personality. My hope is that you'll learn a little something and also get a taste of Minott's unique charm.
The late afternoon fall light in his apartment was just wonderful, and I spent some time just filming the rooms to get a sense of the space. There was so much to look at––and I didn't even get close to covering all the drink related implements, and all the bottles Minott has collected.
The interview was shot in front of a large picture window, so no additional light was needed. The kitchen was more challenging; a bit crammed, and hard to move the camera around, so I opted for a 14mm wide shot for the main speaking part, and closeups.
The irony of the whole project is that I quit drinking years ago! But Minott was well prepared, and kept me well sated with a fizzy water, simple syrup, and bitters concoction that he came up with.
Thanks to Serling Coffee, in Northwest Portland, featured at the end, and the home of my favorite cappuccino in town.
Camera: Sony FS100, Recorded in camera to SD card AVCHD, 24p and some 60p slow mo.
Lenses: Nikon 45mm PC-E, Nikon 14-24, Nikon 85mm 1.8, Nikon 50mm 1.4 AI, Tokina 100mm 2.8 macro
All shot on my old Manfrotto aluminum tripod with a Manfrotto 501HDV head.
I used two F&V R300 Ring Lights for the pouring of the drinks (sounds very ritualistic, no?) and for some kitchen stuff, and a bit of extra light when needed
Sound was a Rode NTG-2 for interview and for on camera when moving, and a Sennheiser G3 Lav.
Edited in Premiere CC and graded with Filmconvert 2.