38 scenes with 50+ actors totaling 59 7/8 pages, including three complete episodes, in only 6 shooting days. That's our progress so far on "this is whY". The best part? We've shot the most complicated scenes with the most difficult content. The second half is a lot more performance-based and less action-based with the majority of the remaining scenes only containing two to four characters, three of which are the producers. Logistically, I might actually be able to take a deep breath.
Not to mention, barring reshoots, we're done with the pool. No more worrying about wet equipment, or drying off actors, or anyone slipping on deck. No need to have a lifeguard on set at all times.
The other locations are each for a single day, and we've already nailed down most of them because they're more common places like an apartment, house, park, street, classroom.
Casting is done, provided no one has a conflict, leaving only contracts and scripts to be distributed to the remaining cast members. Then some scheduling magic to coordinate the remaining shoot dates.
Luckily, we're going on a three week hiatus from shooting. We'll resume at the end of August. So we have all sorts of time to get things done!
Time is a funny thing. It feels like yesterday that Kate came to me with the idea of producing our own work but it was 10 months ago. On the other hand, our first day of shooting at the beginning of July feels like light years ago. Also, when you're waiting for someone to fly something in on set it can feel like a lifetime, but when you're under the gun, because you're quickly approaching your six-hour break, time flies by. I'd love to have more time. More pool time, more time to shoot, more time to get people to trains. However, if I had more time, I'm not sure I would use it properly because there's something about the pressure of a deadline that causes productivity to sky rocket. Then again, a little more time would mean a little less stress so I might take that chance.
Before I know it, production will be over and we'll move into post-production and distribution. Yes, that's the first time I've mentioned distribution because honestly, I hadn't thought much about it, outside of posting to YouTube, until people started asking about it. I was given some good advice this weekend, "Aim high." If you don't reach for the highest goal, you'll never achieve it. Most people talk themselves out of extravagant goals, thinking there's no way to reach the pinnacle. Well, the other side of that coin is that you'll never reach the peak if your goal is only halfway. So I'm going to slowly start researching what to do when post is complete. Better to start early since time keeps ticking by.
I would love to say everything will be complete and released by X-date and that cast/crew will be receiving footage on Y-date, but that just isn't realistic. I hope those who have been a part of this project thus far have seen our commitment to the success of the production and trust that we are doing what's best for it's lifespan. Be sure to keep reading to stay up to date with our milestones.
Friday, July 31, 2015
Thursday, July 23, 2015
Money Doesn't Grow on Trees
I've said it before and I'll say it again. Making movies is not the glamorous Hollywood lifestyle that People Magazine makes it out to be. Also, not everyone who is a filmmaker or actress is making good money. Or any money. Yes, there are the Jolie-Pitts of the world who make one film a year and can support their brood of children and give into whatever materialistic whims they may desire. For the rest of us mere mortals, we don't do this for the money. I've worked countless jobs for no pay. It's not a great way to live your life and it isn't sustainable. However, when the right project comes along, you do what you can to get it done, especially if a friend or connection is involved and has asked for your help.
I'd like to take this opportunity to thank the countless people who have thus far donated their time and talents to this project. Let's hope that "deferred pay" is, in fact, just deferred.
Any and all expenses that have been incurred, including equipment, wardrobe, props, food, transportation, have come directly out of the pockets of the production team. One day of work at my day job may cover the minor incidental expenses of a weekend of shooting. Actually it's probably closer to two days, but it's worth it. And luckily, I don't have to support a brood of children. Thank goodness for good choices.
Sometimes large, unexpected expenses come up, but for the most part we're banking a lot on good fortune and favors. When such situations arise sometimes the only solution, because of time constraints, is to throw money at it. But I'm not a sucker. I may be desperate but I'm not stupid. I've had a top of the line sound guy donating his time and the use of his gear for the last two weeks and even though I'm cold-calling you from a network of film professionals that does not mean I'm going to give into your absolutely ridiculous requirement of a $900/day rate. Forget you dude. You better be able to magically erase the inevitable buzz of the fluorescent lights on the pool deck before I even consider paying you half of that. You're out of your ever-loving mind.
I would also like to express some frustration when it comes to insurance and locations. I get it. You have to cover your... assets. You don't know me or my crew and you can't take a risk. But I gotta tell you, we don't have the equipment to cause any sort of damage. You're asking me to pay $500 for $300k worth of insurance when we can't possibly cause that level of damage. Unless my hair straightener can some how burn down the whole building, I think we're in the clear. We have no lights, cords, c-stands, sand bags, dollies or dolly tracks. We have a guy with a camera, a sound guy with his own gear, one hair dryer, one hair straightener, one computer that doesn't even have wifi and a bunch of props and wardrobe. What could possibly happen? I spill coffee on the floor, someone slips, accidentally knocks into a desk which goes flying through the window? That can't possibly even cost $1,000. And if it does, I'll pay it. If that strange and completely random series of event occurs, I will gladly pay reparations. Bottom line: not gonna happen.
Excuse me while I go knock on every piece of wood in the building, throw salt over my left shoulder, then search for a rabbit's foot and a penny on the ground.
Locations are notoriously expensive because chances are you have to shut down the regular business in order to use the space. We're looking for a bar in order to shoot some scenes. We need the McClaren's to our HIMYM, the Central Perk to our Friends. I had a great idea that we use the a local catering hall that has a bar in it and make it into a pub-looking venue with some set deck and lighting. Bonus: it's in my home town and my dad is friends with a bunch of the guys who are part of the group who uses it. Thank you for good fortune, ingenuity and connections. So I called the guy in charge of reserving the hall. Talk about a cold shoulder. I get that you don't know about film-making but I'm not trying to screw you and your club house. I'm merely asking questions to see if you might be open for negotiations. I guess it doesn't help that I sound like a kid on the phone because this guy was treating me like some high school girl who had no idea what she was doing. I'm a professional dude. Ask questions, don't make assumptions. And even though I had character references, he would not budge on the rental cost. Fair enough, but did you really have to add that you "don't want to bring this kind of request to the board of trustees"? Now you're being a jerk. *end rant*
Tuesday, July 21, 2015
Highs and Lows
When I worked in the film industry the first time, people always criticized that I lived in extremes. I vacillated between very high highs and very low lows. I was either working on no sleep or would sleep for three days straight. I was happy or I was miserable. It was either 108*F at the World Trade Center or -12*F in an abandoned brownstone in North Philly. I would be completely unreachable via cell, text, phone, telegraph or I'd constantly be posting on Facebook, twitter, calling everyone... There was set life: wake up, drive to set, eat set food, work, drive home, sleep. And there was real life: job searching, sleeping, pay bills, grocery shopping, running errands. And they rarely crossed over. Things always happened in the extremes and I was completely out of balance.
I'd like to think I've matured a little bit in the last few years and can handle these high and lows with a little more stability but things that happen on set can still throw you for a loop. So far I've managed not to loose my cool (mostly), all my bills are being paid on time, I've made it to all my jobs and met all my deadlines, and I haven't completely fallen off of my mostly-healthy lifestyle. I'd say this is pretty miraculous because on a daily basis things can get completely out of control. On shoot days you are either inundated with background actors and people on set, or there's no one. There's either way too much food (like 4 pizzas too many) or we've run out of an entire case of water bottles in a second flat. And there's literally nothing you can do to foresee or prevent it. It takes a special kind of person. I still don't know if I'm that kind of person.
I can't begin to impress upon you the amount of effort and patience it takes to deal with all the crazy that comes at you and maintain a calm, collected (at least outward) appearance. You can never prepare yourself for what can and will happen.
The craziest part of this whole thing? I love it. I thrive on this. It's like an addiction to a high. When you wrap a day of shooting and everyone is headed home and no longer your problem, there is literally no better feeling. Of course it only lasts until you have to prep the next shoot day. It's short-lived and you're always searching for the next high. I would also equate it to what I know of child birth. (Note: I have no kids but this is how I imagine it would be). The labor is so difficult and painful but the payoff is so gratifying you completely black out all of the struggles and end up doing it again a year or two later. At least, we've managed to get through 2 weekends, 4 shoot days, 25 scenes, and 26 5/8 pages without major incident. *knocks on wood*
Only three more prep days before we shoot another 23 3/8ths pages equaling 13 scenes with 35 actors, including 11 kids over the course of the weekend. Wish us luck.
I'd like to think I've matured a little bit in the last few years and can handle these high and lows with a little more stability but things that happen on set can still throw you for a loop. So far I've managed not to loose my cool (mostly), all my bills are being paid on time, I've made it to all my jobs and met all my deadlines, and I haven't completely fallen off of my mostly-healthy lifestyle. I'd say this is pretty miraculous because on a daily basis things can get completely out of control. On shoot days you are either inundated with background actors and people on set, or there's no one. There's either way too much food (like 4 pizzas too many) or we've run out of an entire case of water bottles in a second flat. And there's literally nothing you can do to foresee or prevent it. It takes a special kind of person. I still don't know if I'm that kind of person.
I can't begin to impress upon you the amount of effort and patience it takes to deal with all the crazy that comes at you and maintain a calm, collected (at least outward) appearance. You can never prepare yourself for what can and will happen.
The craziest part of this whole thing? I love it. I thrive on this. It's like an addiction to a high. When you wrap a day of shooting and everyone is headed home and no longer your problem, there is literally no better feeling. Of course it only lasts until you have to prep the next shoot day. It's short-lived and you're always searching for the next high. I would also equate it to what I know of child birth. (Note: I have no kids but this is how I imagine it would be). The labor is so difficult and painful but the payoff is so gratifying you completely black out all of the struggles and end up doing it again a year or two later. At least, we've managed to get through 2 weekends, 4 shoot days, 25 scenes, and 26 5/8 pages without major incident. *knocks on wood*
Only three more prep days before we shoot another 23 3/8ths pages equaling 13 scenes with 35 actors, including 11 kids over the course of the weekend. Wish us luck.
Monday, July 13, 2015
Good Exhaustion
There's a huge difference between types of exhaustion. There's the run down, burnt out, zombie-like exhaustion and then there's the feeling I have right now. The 'I accomplished something awesome and poured every ounce of energy I had left in me' exhaustion.
This time last week my mind was littered with doubts, worries, complications, and to-do lists. Today, my mind is blissfully silent. Sure there's two more shooting days this weekend and two the following weekend, but that can wait until tomorrow. I'm too busy basking in the glories of what we accomplished. Not that the weekend didn't have it's ups and downs. In this business you just have to take the small minefields you encounter in stride and keep moving on.
For example, Friday night was our last production meeting before we started shooting. We had the 3 producers, the production manager, one of our PAs and our DP all together for a meet and greet, camera test and to iron out last minute details. And it's a darn good thing we did. When you purchase a great deal of equipment from different vendors over the internet things are bound to either be late, be damaged, be incorrect or some combination thereof. It's a crap shoot, but in ultra low budget film-making you do what has to be done and sometimes that means buying a used shoulder mount from India.
Luckily, our only problem turned out to be a pretty simple, yet heart attack inducing mix up. We had our beautiful Canon 7D DSLR camera and all the accessories and we were about to film something to test it all out, when low-and-behold, we had the wrong cards. For those of you who don't know, numerous consumer-grade camera use the simple, small SD cards. Well, this camera, does not. We needed CF cards. Big ones, like 32gbs. It was 8:15pm on a Friday night when most stores close at 9pm and we were scheduled to be on set at 8am the next day, before stores opened again. So off I went to Staples where I encountered a very un-knowledgeable sales associate, who kept trying to sell me SD cards and couldn't understand my frustration at them only have a single 8gb CF card and his insistence that I allow him to call their store nearby to find out if they had more.
Thanks but no thanks, I now only have 33 mins before BestBuy closes and a 14 minute drive to get there. In the end, I managed to get the cards and a card-reader to boot, but I may have lost a bout a year off my life in the interim. Curse you film ninjas.
I deliberately scheduled the first day of shooting to be light on pages and on persons. I'm all for jumping into the deep end (Sorry, pool humor. Can't help it), but when you're working with a brand new cast and crew you need time to find a rhythm and feel out where your strengths and weaknesses are. It always takes longer than you expect even with the best planning.
So there were only 8 of us. 4 cast and 4 crew. And we only had 4 scenes, totaling 7 2/8 pages and none of them actually required us getting into the pool. Based on the fact that there's no G&E (grip and electric for those of you non-film folk. These are the guys that do all the lighting and rigging. But since we're periodically soaking wet, we decided against lights), I figured it was doable. Turns out it was more than doable. We took our time, had an extra half hour break in the middle of the day and wrapped 45 minutes early. It was fantastic and I slept like a rock.
Yesterday, was a whole other animal. 20 cast members, including children and background. Some union, some not, which complicates matters. Most of which needed to be shuttled to and from the train station to location at various hours. 12 1/8 pages, including the entire pilot episode. And 2 stunts which required people in and out of the water. And we only added a single crew member in order to deal with the mayhem. I say mayhem because at one point I had to crawl under a table to chase after a child and negotiated with another child, promising to let them push me in the pool, clothes and all, if they were quiet and patient. Yup, just a day in the life.
It was controlled chaos. And I LOVED IT! Everyone was doing a multitude of different things. We even had a background actor offer to work as a PA. At any given moment I was 1st AD, production coordinator, actress, child catcher, poop wrangler, continuity, set dec, producer, driver... I have never felt so thoroughly and completely exhausted in the best kind of way. Not gonna lie, waking up for my day job at 5:45am and knowing I had to work two jobs and wouldn't be home again until 9pm tonight was one of the hardest things I have ever done, but it was worth it. I've got to bank roll my dreams, even if it means my entire pay check for today is going directly toward parking and transportation from the past weekend.
This time last week my mind was littered with doubts, worries, complications, and to-do lists. Today, my mind is blissfully silent. Sure there's two more shooting days this weekend and two the following weekend, but that can wait until tomorrow. I'm too busy basking in the glories of what we accomplished. Not that the weekend didn't have it's ups and downs. In this business you just have to take the small minefields you encounter in stride and keep moving on.
For example, Friday night was our last production meeting before we started shooting. We had the 3 producers, the production manager, one of our PAs and our DP all together for a meet and greet, camera test and to iron out last minute details. And it's a darn good thing we did. When you purchase a great deal of equipment from different vendors over the internet things are bound to either be late, be damaged, be incorrect or some combination thereof. It's a crap shoot, but in ultra low budget film-making you do what has to be done and sometimes that means buying a used shoulder mount from India.
Luckily, our only problem turned out to be a pretty simple, yet heart attack inducing mix up. We had our beautiful Canon 7D DSLR camera and all the accessories and we were about to film something to test it all out, when low-and-behold, we had the wrong cards. For those of you who don't know, numerous consumer-grade camera use the simple, small SD cards. Well, this camera, does not. We needed CF cards. Big ones, like 32gbs. It was 8:15pm on a Friday night when most stores close at 9pm and we were scheduled to be on set at 8am the next day, before stores opened again. So off I went to Staples where I encountered a very un-knowledgeable sales associate, who kept trying to sell me SD cards and couldn't understand my frustration at them only have a single 8gb CF card and his insistence that I allow him to call their store nearby to find out if they had more.
Thanks but no thanks, I now only have 33 mins before BestBuy closes and a 14 minute drive to get there. In the end, I managed to get the cards and a card-reader to boot, but I may have lost a bout a year off my life in the interim. Curse you film ninjas.
I deliberately scheduled the first day of shooting to be light on pages and on persons. I'm all for jumping into the deep end (Sorry, pool humor. Can't help it), but when you're working with a brand new cast and crew you need time to find a rhythm and feel out where your strengths and weaknesses are. It always takes longer than you expect even with the best planning.
So there were only 8 of us. 4 cast and 4 crew. And we only had 4 scenes, totaling 7 2/8 pages and none of them actually required us getting into the pool. Based on the fact that there's no G&E (grip and electric for those of you non-film folk. These are the guys that do all the lighting and rigging. But since we're periodically soaking wet, we decided against lights), I figured it was doable. Turns out it was more than doable. We took our time, had an extra half hour break in the middle of the day and wrapped 45 minutes early. It was fantastic and I slept like a rock.
Yesterday, was a whole other animal. 20 cast members, including children and background. Some union, some not, which complicates matters. Most of which needed to be shuttled to and from the train station to location at various hours. 12 1/8 pages, including the entire pilot episode. And 2 stunts which required people in and out of the water. And we only added a single crew member in order to deal with the mayhem. I say mayhem because at one point I had to crawl under a table to chase after a child and negotiated with another child, promising to let them push me in the pool, clothes and all, if they were quiet and patient. Yup, just a day in the life.
It was controlled chaos. And I LOVED IT! Everyone was doing a multitude of different things. We even had a background actor offer to work as a PA. At any given moment I was 1st AD, production coordinator, actress, child catcher, poop wrangler, continuity, set dec, producer, driver... I have never felt so thoroughly and completely exhausted in the best kind of way. Not gonna lie, waking up for my day job at 5:45am and knowing I had to work two jobs and wouldn't be home again until 9pm tonight was one of the hardest things I have ever done, but it was worth it. I've got to bank roll my dreams, even if it means my entire pay check for today is going directly toward parking and transportation from the past weekend.
Monday, July 6, 2015
T-minus 5 days...
We're into single digits in the countdown to our first shooting day. WHAT?!
No worries there's only about 80 billion things left to do between now and then. Including but not limited to:
- contracts and deal memos
- equipment acquisition (beg, borrow, rent)
- shot lists
- procuring the remaining props/costumes
- acquiring enough people to accomplish everything on shooting day (anyone want to help? turns out I only have two hands)
- call sheets
The list goes on and on.....
I'm incredibly lucky to have a remarkably talented, efficient and dedicated production team surrounding me. Bonus: we all have complementary talents and trust each other to get sh!t done in our own departments but allow and even welcome contributions and suggestions. Amazing, right? How often does that happen?
I just wish we had the time to sit in a room together as a group to coordinate and communicate because we're all multi-tasking 100% of the time and I'm never sure I have all the information I need to proceed. I think between the four of us we have twelve paying jobs and a multitude of other commitments.
I also have to learn my lines. Yikes! Luckily, I'm essentially myself and I wrote most of the lines so that should help but that is also going to make it more embarrassing if I mess up. Seriously, can't you picture it. Trish, the Head Writer, playing Tess, her alter-ego, can't remember and spit out her own thoughts. Can't wait... No pressure.
Did I mention I'm excited? Like can't sleep, it feels like Christmas Eve, excited? I've been dreaming about filming. Some dreams better than others, I'll admit. But I seriously can't wait to be back on set. We're a small crew and normally a pretty small cast, minus one day of shooting with 27 people, so it should move swiftly and efficiently. I just have to realize that things will go awry. I can't control everything and all I can do is hope I prepared enough and can make the right adjustments.
Can't. Freaking. Wait.
**Keep an eye out for our facebook page, Twitter feed, website and YouTube channel. this is whY is about to blow up your social media pages.**
No worries there's only about 80 billion things left to do between now and then. Including but not limited to:
- contracts and deal memos
- equipment acquisition (beg, borrow, rent)
- shot lists
- procuring the remaining props/costumes
- acquiring enough people to accomplish everything on shooting day (anyone want to help? turns out I only have two hands)
- call sheets
The list goes on and on.....
I'm incredibly lucky to have a remarkably talented, efficient and dedicated production team surrounding me. Bonus: we all have complementary talents and trust each other to get sh!t done in our own departments but allow and even welcome contributions and suggestions. Amazing, right? How often does that happen?
I just wish we had the time to sit in a room together as a group to coordinate and communicate because we're all multi-tasking 100% of the time and I'm never sure I have all the information I need to proceed. I think between the four of us we have twelve paying jobs and a multitude of other commitments.
I also have to learn my lines. Yikes! Luckily, I'm essentially myself and I wrote most of the lines so that should help but that is also going to make it more embarrassing if I mess up. Seriously, can't you picture it. Trish, the Head Writer, playing Tess, her alter-ego, can't remember and spit out her own thoughts. Can't wait... No pressure.
Did I mention I'm excited? Like can't sleep, it feels like Christmas Eve, excited? I've been dreaming about filming. Some dreams better than others, I'll admit. But I seriously can't wait to be back on set. We're a small crew and normally a pretty small cast, minus one day of shooting with 27 people, so it should move swiftly and efficiently. I just have to realize that things will go awry. I can't control everything and all I can do is hope I prepared enough and can make the right adjustments.
Can't. Freaking. Wait.
**Keep an eye out for our facebook page, Twitter feed, website and YouTube channel. this is whY is about to blow up your social media pages.**
Wednesday, July 1, 2015
Scheduling...
Breakdowns complete. I emphasize breakdowns (plural) because I have a character breakdown, assigning a number to each of our 67 named characters in the scripts; a location breakdown, which enumerates the number of locations we need and how many scenes occur in each space; the full script breakdown, in order, designating the characters, locations, page lengths, wardrobe and props for each scene; and the tentative shooting schedule, which takes all of those breakdowns and tries to synthesize the information so that shooting days can be assigned to shooting dates. And they're color coordinated.
This is where the scheduling process gets complicated. Like really complicated. Imagine trying to sync up 67 different schedules, not to mention crew, weather, day/night requirements. Then ensuring you have the locations for the right amount of time, uninterrupted, on the same days that your actors are available. Then you have to ensure you have equipment, wardrobe, and props for all the scenes you plan to tackle on a particular day, while trying to minimize all the stuff you have to haul around with you.
The hardest part is trying to minimize the number of times you have to call in a particular actor. We all have lives and I would hate to ruin your day by having you show up for a shooting day when it turns out you only have one line for the entire 7 pages we're trying to shoot. Big scheduling No-No.
You also have to try and keep your cast and crew in a single location on a shooting day and avoid company moves at all costs. Company move: in the middle of a shooting day you have to pack up all of your people and your sh!t and haul it across town to a second space. Not a good use of time, or resources. Plus it always takes longer than you expect to get shooting again. This is why films and shows are shot out of sequence.
Example: Let's say I have a script that jumps from the pool in real time to a studio in the city in flashback, then back to the pool in flashback, then returning to real time in the same location and the flashback scenes involve the main characters to be in the pool and wet, but the real time scenes they're dry. Confused yet? Other things to take into account, your pool location is only available for the first month of shooting. Solution: you film the real-time, dry pool scenes first even though chronologically it occurs after the flashback, followed by the flashback pool scene, so you don't have to wait for the actors to dry off. Then schedule a completely different shooting day in the city possibly months later and hopefully with other scenes from other episodes in the same location. This will give you the most efficient shooting schedule, but now you're shooting completely out of order. Yet another reason why a script supervisor is important. A scripty keeps track of what was worn when, who was in each scene, and which props need to be carried to the next location etc. But I digress.
You also don't want to try and tackle too much in a single day. Remember in my last post we talked about 1/8ths of a page? That's where this comes in. If there are 18 scenes happening on the pool deck, chances are you need multiple days in that location. Unless, each of those scenes are each one-line or a single action and only 1/8th of a page. You can totally knock-out 2 2/8ths of a page, provided there aren't major lighting/make-up/wardrobe changes. Hence the reason your breakdown includes a Day/Night (major lighting changes), wardrobe and props columns. Luckily, or maybe not so luckily depending on how you look at it, we aren't doing any crazy lighting. From a safety perspective you just can't have that much electricity near that much water. Pools and power don't mix. So we've deliberately chosen a more natural style, and thus can get a whole lot more pages done in a single day.
So I think I've managed it... I think. My head is throbbing and I've only gotten into the nuts and bolts for the first six shooting days but that basically includes 50 of our 67 characters, our most complicated location and about half the entire script. So provided all goes well (it probably won't so I'm prepared with multiple back-up plans) I'm pretty sure the schedule will stand without too much editing. I would just ask that anyone in any way connected to anyone involved in this project not schedule any important events like weddings, babies, birthdays, vacations, etc, that may change my actors' schedules. I just can't take any more. Seriously, though.
This is where the scheduling process gets complicated. Like really complicated. Imagine trying to sync up 67 different schedules, not to mention crew, weather, day/night requirements. Then ensuring you have the locations for the right amount of time, uninterrupted, on the same days that your actors are available. Then you have to ensure you have equipment, wardrobe, and props for all the scenes you plan to tackle on a particular day, while trying to minimize all the stuff you have to haul around with you.
You also have to try and keep your cast and crew in a single location on a shooting day and avoid company moves at all costs. Company move: in the middle of a shooting day you have to pack up all of your people and your sh!t and haul it across town to a second space. Not a good use of time, or resources. Plus it always takes longer than you expect to get shooting again. This is why films and shows are shot out of sequence.
Example: Let's say I have a script that jumps from the pool in real time to a studio in the city in flashback, then back to the pool in flashback, then returning to real time in the same location and the flashback scenes involve the main characters to be in the pool and wet, but the real time scenes they're dry. Confused yet? Other things to take into account, your pool location is only available for the first month of shooting. Solution: you film the real-time, dry pool scenes first even though chronologically it occurs after the flashback, followed by the flashback pool scene, so you don't have to wait for the actors to dry off. Then schedule a completely different shooting day in the city possibly months later and hopefully with other scenes from other episodes in the same location. This will give you the most efficient shooting schedule, but now you're shooting completely out of order. Yet another reason why a script supervisor is important. A scripty keeps track of what was worn when, who was in each scene, and which props need to be carried to the next location etc. But I digress.
So I think I've managed it... I think. My head is throbbing and I've only gotten into the nuts and bolts for the first six shooting days but that basically includes 50 of our 67 characters, our most complicated location and about half the entire script. So provided all goes well (it probably won't so I'm prepared with multiple back-up plans) I'm pretty sure the schedule will stand without too much editing. I would just ask that anyone in any way connected to anyone involved in this project not schedule any important events like weddings, babies, birthdays, vacations, etc, that may change my actors' schedules. I just can't take any more. Seriously, though.
Subscribe to:
Posts (Atom)