KILLER RACK Day Four
Call time: 10:00 am. First shot: 1:15...
On paper, today turned out to be a killer. I'd scheduled 5 pages - a comparatively light day - and we only shot 1 1/8 pages. We did not make our day by a long shot, but what we got was golden.
This was our first day shooting in my house. Although I'd been painting all week, there was still a lot of cleaning (hiding) to be done, furniture needed to be rearranged, set dressing set, etc. On top of that, we had a major effect to shoot: the full revelation of Betty's boobs. Originally, we weren't going to show them on star Jessica Zwolak at all, just some cutaways to the monster versions. But when Jessica said she had no objection to going "topless" with a prosthetic, and I wasn't satisfied with any of the silicone breasts we purchased online, I tasked Arick Szymecki and Stacey Book with creating custom breasts from scratch - a week before Debbie Rochon's scenes last weekend. It was a tall order, and since Arick was finishing post on GAVE UP THE GHOST, there wasn't quite enough time to pull off the challenge (although the breasts they made - while not finessed enough to be shot when I wanted them - were superior clothed to what we would have had otherwise, so their work was not in vain). In terms of scenes where the "revelation" would have had impact, it had to be today's scene between Jessica and Drew Bialy... and Arick and Stacey had to do a big effect yesterday.
Jessica reported to Arick's house for SFX make-up at 7:00 am, and Rod Durick and Paul McGinnis arrived at my house at 9:00 am and started work on the furniture, and Rod did some "light" construction while Tamar continued cleaning. So much had to be done - items removed from entertainment unit towers so they could be moved, then replaced wen the towers were repositioned, turning our dining room into a bedroom, hanging beaded curtains, etc. Crew arrived at 10:00 am and joined the fray. I hoped to have Jessica on set by 10:30, but that was being optimistic. Fortunately, there was plenty to do until around noon. When we still didn't have our leading lady, we grabbed what pickup shots we could. Down time can be frustrating, but for a major effect that will be key to the film's success, the waiting was necessary, Our effects crew and actress arrived shortly before our 1:00 pm lunch call. I understood the big breasts would still require some digital fixes, and what we had looked pretty damned good, so kudos to Arick and Stacey.
We shot the first half of the scene, got everything we needed with the breasts, then broke for lunch another fabulous creation from our caterer, Kelly Wahl. After lunch, we shot the second half of our crazy scene. The rest of the day involved various scenes of Jessica as Betty in her bedroom. Every scene was short with simple coverage, but entailed special effects. So we never made it into my bathroom, the hall outside the bathroom, or my living room, and we have non-effects stuff still to shoot in he bedroom. The crew could have gone until 10 pm because we aim for twelve hour days (plus an hour to wrap), but Jessica went into makeup at 7:00 am and I wanted to finish with her by 7:00 pm. By 6:00 pm I was figuring out what we'd have to reschedule, and by 6:30 we wrapped. We shot some hilarious gags and got some beautiful shots, so it was definitely a day of quality over quantity - no complaints for me.
After shooting in cramped quarters yesterday, it was a relief to have some space to move around.
it's time to dole out some recognition. Screenwriter Paul McGinnis and set constructor Rod Durick are my co-producers on this film, and both are taking their duties seriously and are busting their butts while working full time jobs. Paul is taking on the chores of wardrobe supervisor, and Rod is all around problem solver. Had Rod shot the film as we'd once discussed, I shudder to think about how so many problems would have been solved - either they wouldn't have, or we'd have fallen way behind schedule before today.
Chris Rados is doing a fantastic job as DP. The upside to concentrating on the effects gags today was that he and I actually got to enjoy shooting some nice shots without the clock bearing down on us. Sam Qualiana is my AD, but he's also helping Chris, and acting. We're all multi-hyphenates on this film. Chris Cosgrave is another problem solver, and a set photographer, and a sound mixer, and an assistant editor. We found out about him just in time! My wife Tamar is our production coordinator, which means she's our bookkeeper and handles any office related work we need done. During pre-production she was my right hand.
There are others - production designer Joel Resnikoff, costume designer Sunny Walker, our PA Dave Carpatyen - and next week I'll write extensively about Armand Petri, our music director, and Kim Piazza, our choreographer. It takes a village.
I saved Jessica Zwolak for last. Before we started shooting, I wrote this film will make her a cult star, but the truth is she will also make this film a success. A single omther with a full time job who does volunteer work, she's busting her butt, she's delivering a first rate, consistent performance, and she's fearless in her approach to the material. She's got a _lot_ on her shoulders, and she's carrying it well.
On paper, today turned out to be a killer. I'd scheduled 5 pages - a comparatively light day - and we only shot 1 1/8 pages. We did not make our day by a long shot, but what we got was golden.
This was our first day shooting in my house. Although I'd been painting all week, there was still a lot of cleaning (hiding) to be done, furniture needed to be rearranged, set dressing set, etc. On top of that, we had a major effect to shoot: the full revelation of Betty's boobs. Originally, we weren't going to show them on star Jessica Zwolak at all, just some cutaways to the monster versions. But when Jessica said she had no objection to going "topless" with a prosthetic, and I wasn't satisfied with any of the silicone breasts we purchased online, I tasked Arick Szymecki and Stacey Book with creating custom breasts from scratch - a week before Debbie Rochon's scenes last weekend. It was a tall order, and since Arick was finishing post on GAVE UP THE GHOST, there wasn't quite enough time to pull off the challenge (although the breasts they made - while not finessed enough to be shot when I wanted them - were superior clothed to what we would have had otherwise, so their work was not in vain). In terms of scenes where the "revelation" would have had impact, it had to be today's scene between Jessica and Drew Bialy... and Arick and Stacey had to do a big effect yesterday.
Jessica reported to Arick's house for SFX make-up at 7:00 am, and Rod Durick and Paul McGinnis arrived at my house at 9:00 am and started work on the furniture, and Rod did some "light" construction while Tamar continued cleaning. So much had to be done - items removed from entertainment unit towers so they could be moved, then replaced wen the towers were repositioned, turning our dining room into a bedroom, hanging beaded curtains, etc. Crew arrived at 10:00 am and joined the fray. I hoped to have Jessica on set by 10:30, but that was being optimistic. Fortunately, there was plenty to do until around noon. When we still didn't have our leading lady, we grabbed what pickup shots we could. Down time can be frustrating, but for a major effect that will be key to the film's success, the waiting was necessary, Our effects crew and actress arrived shortly before our 1:00 pm lunch call. I understood the big breasts would still require some digital fixes, and what we had looked pretty damned good, so kudos to Arick and Stacey.
We shot the first half of the scene, got everything we needed with the breasts, then broke for lunch another fabulous creation from our caterer, Kelly Wahl. After lunch, we shot the second half of our crazy scene. The rest of the day involved various scenes of Jessica as Betty in her bedroom. Every scene was short with simple coverage, but entailed special effects. So we never made it into my bathroom, the hall outside the bathroom, or my living room, and we have non-effects stuff still to shoot in he bedroom. The crew could have gone until 10 pm because we aim for twelve hour days (plus an hour to wrap), but Jessica went into makeup at 7:00 am and I wanted to finish with her by 7:00 pm. By 6:00 pm I was figuring out what we'd have to reschedule, and by 6:30 we wrapped. We shot some hilarious gags and got some beautiful shots, so it was definitely a day of quality over quantity - no complaints for me.
After shooting in cramped quarters yesterday, it was a relief to have some space to move around.
it's time to dole out some recognition. Screenwriter Paul McGinnis and set constructor Rod Durick are my co-producers on this film, and both are taking their duties seriously and are busting their butts while working full time jobs. Paul is taking on the chores of wardrobe supervisor, and Rod is all around problem solver. Had Rod shot the film as we'd once discussed, I shudder to think about how so many problems would have been solved - either they wouldn't have, or we'd have fallen way behind schedule before today.
Chris Rados is doing a fantastic job as DP. The upside to concentrating on the effects gags today was that he and I actually got to enjoy shooting some nice shots without the clock bearing down on us. Sam Qualiana is my AD, but he's also helping Chris, and acting. We're all multi-hyphenates on this film. Chris Cosgrave is another problem solver, and a set photographer, and a sound mixer, and an assistant editor. We found out about him just in time! My wife Tamar is our production coordinator, which means she's our bookkeeper and handles any office related work we need done. During pre-production she was my right hand.
There are others - production designer Joel Resnikoff, costume designer Sunny Walker, our PA Dave Carpatyen - and next week I'll write extensively about Armand Petri, our music director, and Kim Piazza, our choreographer. It takes a village.
I saved Jessica Zwolak for last. Before we started shooting, I wrote this film will make her a cult star, but the truth is she will also make this film a success. A single omther with a full time job who does volunteer work, she's busting her butt, she's delivering a first rate, consistent performance, and she's fearless in her approach to the material. She's got a _lot_ on her shoulders, and she's carrying it well.
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