What's most interesting about Credo isn't the message, but how that message is delivered. None of Picard's singing was done in post-production, but instead was performed entirely a cappella on set, with nothing but a small keyboard as assistance. The rest of the score was then recorded later to match Picard's vocals. This is not nearly as easy as it sounds. Snyder himself gives an in-depth description of the process in the two articles he wrote for Recording Magazine.
The end result is a compelling little musical, some editing problems aside. Andamion Murataj's cinematography does a nice job of using the church's natural lighting is his design, and gives the film an effectively solemn look, which is a nice thing to have, especially when your main character is a deity.
I Love You, I'm Sorry, and I'll Never Do It Again
Starring: Peter Linari, Larry Picard, Paul Romanello, Frances Toliver, and Kathleen Haaversen
Cinematography by: David Berliner
Written and directed by: Keith Snyder
14 min/New York, NY
A shlub of a man, in hot water with the mob, discovers the payment he hid in a toolbox is missing. He calls his wife, only to realize he's in even more trouble at home. The mobsters, sympathetic to his plight (as all men are), teach him the three steps to placating an angry wife: say simply, "I love you, I'm sorry, and I'll never do it again"[1]. While some might call it an over-simplification, others would call Keith Snyder's I Love You, I'm Sorry, and I'll Never Do It Again a key step in the daily crusade against sleeping on the couch. Personally, I like to think of it as an entertaining little film that works more often than it doesn't. And in the uber-indie world, that's a rarity.
The film is primarily structured around a series of fantasy musical numbers where the two mobsters detail the Biblical applications of their theory. That is, we see where Sampson, Adam, and others apologized right off the bat, rather than risk a fight. Neither of the mobsters seem to have spent much time counting calories, so the sight of them dressed up as Adam and Eve and, later, Sampson and Delilah (complete with a costume to rival a belly dancer), finds that sweet spot of being so over-the-top that it becomes sublime.
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