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 five. Next up, another company move.
Last night may have ended roughly, but fortunately there is no time to overthink things. There is barely enough time to think about anything else. Every night this week we’ve come home, had a lovely dinner prepared by my mother-in-law (sadly, without wine, which I am forgoing the entire shoot), a half dose of a sleeping pill, and then hope for six to seven hours of solid shut eye. My system has been working so far, and even after last night I got some sleep.
Today’s first location is a parking lot. A scene between Nina and DJ Space Coyote (played by Demegio Kimbrough) whom she met in Club. This is a typical information dump scene. You see these all the time on Law & Order as the cops follow a construction worker around as he does his job while he answers their questions – doesn’t anyone actually stop to talk to the police? The trick to these type of scenes is to have something interesting happen visually while your brain uploads the important information. When I first wrote the scene I set it in a mattress store, as Nina accompanies the DJ as he buys a new bed. Throw in an offbeat Indian Mattress Store Clerk and you have an entertaining scene where maybe you learn something important at the same time.
But we can’t afford to rent a mattress store.
Throughout pre-production I kept having to rewrite locations to accommodate our budget. Now we have lots of conversations inside and out front of the apartment, and inside cars. My fear is that it’s too much apartment and cars, and will come off as boring. Catia reminded me many great films have worked with less. And I hope she’s right.
So instead of the mattress store we are in a church parking lot, secured with a donation to the church. All things considered, the scene still has its moments. And to make it entertaining, we reveal a little more about the DJ’s career.
The energy at the lot was pretty chill. It was the last day of the week, we had all survived so far, and no one (other than the production team) had to work insane hours. Katie, one of our producers who joined us from New York two days earlier, was pleased to discover that everyone was relatively happy and the energy was positive. And I couldn’t agree more. People were working hard, all thinking about how to make the movie better.
For the last shot of the scene, Nina pulls her Prius out of the spot next to DJ’s Prius (in Closure California, everyone drives a Prius). The rest of the parking lot is empty. To get this shot we needed to be up high. And how do we do that without a crane? Senda wanted to climb to the top of the grip van. The view would be good, but could the roof support her and the camera? Adam, the key grip, looked at me with skepticism. And I agreed. I told Senda “if this was day 12 I’d say go for it, but we need you for another week.”
So we reached a compromise:
Shot achieved! After 3 4/8 pages of shooting, we head back to Denny Ave home base. Three scenes left on our week, two daylight and one evening. All three scenes featured only two actors, Catia and John Sloan. I’ve known them both for years. They work well together. It’s almost so easy that I forget we are attempting eight pages today!
We move relatively quickly, as people are keen to get out and enjoy their one day off. We were worried before production that shooting in this busy neighborhood on a weekend night could be a disaster. We heard horror stories from other shoots of irate neighbors who throw loud parties, looky-loos who hang out off set and heckle, or drunken arguments. The absolute worst: neighbors who hold the movie ransom. They do that by blasting music until a ransom is paid, which can cost hundreds of dollars.
Fortunately, this neighborhood was pretty relaxed. Sure, there were more cars going up and down Denny Avenue, but as we worked into the evening we had very few interruptions.
We actually got through our eight pages slightly ahead of schedule. Our workday started at noon and we wrapped just after 10pm… over eight pages in ten hours!
But does quantity translate to quality? What I’ve seen on the monitor looks good, but that’s not a complete assessment. We haven’t watched any dailies yet, although Beau promises we’ll have some by the end of the weekend.
As people quickly packed up gear and headed home, I thought back on what we have accomplished. We weathered a rough final days of prep when we had to replace a cast member, multiple people on the crew including a designer and first assistant director, not to mention a caterer. We cut shots, but we didn’t cut any scenes. The actors were doing a great job. We shot 45 pages in six days. And had some fun. Week two was going to be ambitious, but slightly fewer pages and not as many difficult scenes. Well, we had one big day we were already calling “hell day,” but otherwise we can do this.
On my way out (one of the privileges being director, less for me to wrap up so I can get out earlier) I walked around and thanked the team. My last stop was the grip truck, and I said thanks to Aaron, one of our grips. He just stared at me and didn’t answer back. I didn’t give it a second thought…
… but I found out on Monday that two minutes before I had my brief encounter with Aaron, he had just quit. Why? And I would soon learn that there were others who weren’t happy on our production. And would make that known to us very clearly in the coming days.
But I get ahead of myself. Week one is done. Our 33 hour weekend begins. Next week’s problems can wait for next week.
Coming up: next week is now this week.