Closure is in the can (or on the drive to be more 21st Century) and editing has begun. I have recapped each day of shooting, most recently day 7: Uber, a restaurant and Dee Wallace. Next up, day 8 of 12.
Each department serves an important purpose. They all work independently at their respective jobs, then at the last minute come together, like a moviemaking Voltron. Each department has impressed me with what they can do with limited time and budget. The Art Department in particular had a more difficult time than the others.
Why? Because of the budget? Not necessarily; every department made sacrifices because of the money. It’s because they hit the ground, already behind and sprinting to catch up. If you remember, we had to replace the entire art department less than 100 hours before we started shooting. And the team we fired had done absolutely nothing towards making our movie. I mean, empty rooms:
So out of the gate they were behind. Chantal Massuh-Fox, the Production Designer, assured me that they have created movies with less time, but I wasn’t sure it could be done. She started immediately with Art Director Cameron Barrett, Prop Master Ashley Cradeur, and Art PA Paul Martin to transform the space.
But they did an amazing job to get us going on time. Here we are, less than 100 hours later:
A great start, but there wasn’t time for a full meeting to go over what I wanted. The previous designer and I had the luxury of a long meeting, plus weeks where I thought she was procuring set and prop items. She wasn’t. Now all we could do is try to stay one day ahead of the shoot itself, which meant conversations between takes, late night photo approvals, and frantic moments when we realized we forgot to cover something. It was terrifying.
Which brings us to today, day 8. Our second location is a police station office or conference room. I wrote it in an office or room instead of an open bullpen a la Law & Order because, well, I know we are not getting to shoot in an actual police station. All we need is some conference room anywhere, and the art department can dress it up, right?
But what if we can’t secure an office space on our budget? Spoiler: we can’t.
Ultra low budget filmmaking is all about using the resources you have. What do we have? Apartments in a building. And in one of those apartments is a bedroom we aren’t using. Hmmm…
That’s right, the design team turned a bedroom into an office. Not a strange concept when you realize that sound stages are empty rooms that are turned into any location, but for someone who has spent his entire filmmaking career shooting on location, it’s impressive. And extra impressive that they did it all without going too far over budget.
The day of shooting itself was mostly uneventful. Mostly. We were at the Denny Avenue location so we enjoyed that stability. Our big wrinkle came around lunch time. Lunch is always six hours after crew call time. We generally work right up until the six hour mark. Today, for the first time, we were cutting it close. We wanted to wrap a scene before lunch so when we came back, we could start the next scene. However, things were taking longer that expected, but it was still possible to get our last shot before lunch, if we ran over a few minutes.
The protocol on a union job is to ask for grace. This means that the first Assistant Director goes around to all the department heads (art, camera, sound, makeup, wardrobe, grip & electric) and asks permission to work an additional ten minutes before lunch. Generally, if it isn’t abused, grace is granted and we continue. We are not a union shoot (other than our actors) but Beau and the production team did their best to keep us on a union schedule regarding hours, safety, etc. We didn’t have to ask for grace, but we did. And every department granted it to us.
Except the sound department. They said no. And we can’t question it. And it’s bad business to single out the department that denied it to us. So we broke for lunch without getting the shot, which frustrated and confused most people on set. After lunch we returned to the scene and got our shot, but damage was done. The next scene involved a shot when Nina enters from outside, and the light outside was too dark. If we got our other shot before lunch, we would have had plenty of time for this one.
I didn’t think too much about the politics behind this because I was preparing for our next day of shooting, which we had been calling “hell day” since we first created our schedule. “Hell Day” involves shooting in a bar, The Good Nite. We are shooting a lot of material there: two bar scenes with extensive set ups, and then turning everything around and shooting another bar scene in what will look like a different bar altogether. So three different scenes spanning 11 pages of the script. That’s over 10% of our movie in one day. And here’s the tricky part: we only have 11 hours in the space. We get in at 7am, and we have a hard out at 6pm so the bar can prep to open. So I have spent the previous week carving away at the script, reducing dialogue to what is most essential. I managed to get the script down to 8 1/2 pages. Hopefully it will go as planned.
As our day came to a close we had put the grace moment behind us. I gave a pep talk about the next day, reminding people that it’s going to be difficult. We have limited room, and everyone has to be aware of everyone else. Adam, our gaffer, wisely suggested that everyone “paint the corners,” meaning that if we have to be in the room and we are not doing anything essential, we stick to the walls and stay out of everyone’s way. Great advice.
We broke for the evening and Catia and I went home, early enough to see our son and have dinner. As I went to bed I wondered if we could pull off this big day. We made it through eight. Can our hell day be really that hellish?
Coming up next. Day 9: Hell Day. Spoiler: not everyone survives.