We have emerged on the other side. Closure is in the can (or on the drive to be more 21st Century) and editing has begun. It was a wonderful, exciting, stressful, exhausting and at times terrifying whirlwind and I would do it all over again (well, maybe wait a few months). Before memories fade, I will devote the next blog posts to daily recaps: the highs, the lows, and the long long days. First up, the last days of pre-production which was a drama unto itself:
The last week of pre-production. So much work to do, and not enough time or resources to do it. But we were making it happen. I was rehearsing with actors at night and on the weekends. I finished my shot list with our D.P. Senda Bonnet early in the week, and in hindsight was glad I didn’t have the foresight to know that due to a variety of circumstances, most normal, we would throw out roughly 1/3 of our shots and create scenes on the fly. Stuff was coming together on the director side.
However, in the office is where we were all underwater. For years it had been just me and Beau. Then, in early March, we brought Steve Rousseau on board as Line Producer, who handles keeping everything on budget including staffing and allocating funds. For most of the month we were all doing many jobs outside of our titles, including location scouting, production coordinating, hiring designers and crew, applying for permits, for insurance, reviewing documents for investors, social media and crowd funding posting (although our other producer Katie Rosin took some of that off our plates).
To complicate things, we were waiting to officially announce our start date. We were aiming for April 10th, less than a week away. It all hinged on the availability of Cynthia Addai-Robinson, who we wanted to play Yasmina. She wanted the role, she had been involved for years, but she was also about to begin shooting season two of her show Shooter on USA Network. That show was scheduled to start shooting April 17th, which would give us enough time to shoot her scenes (we packed her schedule into three days). However, we wouldn’t know if she would be booked up the week prior to her official start. And wouldn’t know until April 4th. Which meant we couldn’t officially make the call until we heard. Once we got the go ahead, we made it final: shooting begins April 10th. And then it got crazy. It was too much. What we desperately needed was to bring in someone new to the office. And we didn’t have time to hire anyone outside of the mountain of work we were already doing. It felt like drowning. I was losing sleep, or more accurately falling asleep easily but waking up between 2am and 3am, mind racing, and staying awake for two hours. Not the way to be.
Then we finally brought in someone new. Justin Kelley became our Unit Production Manager. And with him in the room, we were suddenly able to breathe a bit. He brought us about 1/4 of our crew, ALL of the sex cult extras (more on THAT later) and found and booked us locations. Things were starting to come together.
Then four days before the shoot our first big snag. After not responding to our emails for nearly 48 hours, our Production Designer wrote a long email saying she was overextended with other jobs, could only give us 48 hours to get everything set up for day one, and recommending that we push our start date a week.
What was that? Now you tell us you can’t do your job in time and you want us to push? My instinct: fire her.
But it’s not up to me to fire a designer less than 100 hours from our first shot. Fortunately, Beau agreed with my instinct. Even more fortunate, within minutes Justin had three other designers reading the script and later that day, I interviewed two of them and made a decision. Chantal Massuh-Fox had great ideas, liked the script, knew how to work with our budget, and what may be best for the short notice, sounded like she was pepped up on lots of caffeine or speed. We hired her and her Art Director as well, and they got started right away. Steve called our (now former) designer and gave her the news. She told us there is no way we will find a replacement on such short notice. Which is why you don’t fire someone until you have a replacement on board.
Smooth sailing, right? On Saturday morning, I woke up to learn that one of our cast members had to drop out due to a sudden family illness. Totally understand; family comes first, and I have already had anxiety thoughts about someone in my family getting sick during production. Also, it wasn’t a big role which eased the sting. We had calls out to a replacement, Joe Coots, within an hour and by the end of the day Joe was on board, ready to shoot on Tuesday.
But that Saturday brought us three more personnel issues. Our caterer dropped out; turns out he had a day job as a private chef and while he thought he was in the clear for a month, his boss chose to come back to L.A. early. Sucks for us. Also, our props person had a family emergency and we had no idea if she would be able to stick with us. And our First A.D. was behind on paperwork and not returning calls. All bad signs for the final 48 hours.
By the afternoon the caterer issue was resolved. We had a replacement who could start Tuesday, and we’d buy lunch for our crew and do our own craft service on Monday. And our props person did have a family emergency but things looked like they were going to be okay, so no need to replace that person. But our first A.D. was a problem. After seeing a sloppy report she sent out, we realized that she was spreading herself thin and working another job until 11pm, and doing our job after then. Not the way to be. I learned right then and there that Beau is a loyal guy, but if anything gets in the way of our production he is not afraid to make an immediate change. He negotiated with a first A.D. he knew, Paul Holman, who came on board that afternoon. Beau fired our initial First A.D. and he said her immediate reaction was relief, a big sign that this woman had bitten off much more than she could chew.
The next day, we all sat in the production office, wondering if it would all come together. I feared our crew would revolt or worse, see through me and think I was a sham of a director. That they would look at me and Catia as amateur hacks who are married and making a movie just for fun. But I looked around and there was Beau, Steve, Justin and Paul working aggressively, all while Angela the P.A. came in and out running errands. They were proceeding as if everything was normal. So should I.
Around 6pm Paul, now on the job for about 24 hours, said he was heading home so he could do laundry before the shoot. I asked Paul if he thought we were ready. In the doorway, Paul turned around, smiled and said “we’re either ready or we’re not. Either way, we’re starting tomorrow.” Then he stepped out. I got home around an hour later, tried to go to bed at 9:30pm (to wake up at 5:30am) and wondered if we would be ready. And if I knew anything about filmmaking outside of writing.
We’d all find out, very soon.
Coming up next: first day of the rest of my life