Shooting Continues -- Day Four

1/9/11:  Wanda the Wonderful Dallas Shoot, Day Four 

I’m typing this as quietly as possible.  We’re shooting upstairs in another historic house at the Village.  The cast, crew, and lots of lights are all stuffed inside a tiny upstairs bedroom in an old Victorian house.  It’s cold and snowing outside – the weather system that’s been much discussed the past few days has finally arrived.  Thankfully, this old Victorian house is heated.  The upstairs bedroom is in fact over- heated with all the lights and bodies occupying the small space.  The upstairs long Victorian hall is crowded with equipment.  We’re essentially operating inside a museum so we have to take care not to damage all the historic items – including the house.  The hallways are lined with drop cloths, and various items are wrapped in mover’s blankets.  We are all dressed for the miserable weather outside – so the hallways and banisters are draped with various stripped-off outer layers.

This set is on the opposite side of the Village from Wardrobe.  I drove my rent-a-car here today because I was running a bit behind – what with rearranging my travel back to Denver.  It’s snowing a lot in Denver and because of the travel alert Southwest Airlines encouraged preemptive rescheduling – without any fees.  So, I’m flying out tomorrow instead of today.  Thank you to my wonderful and understanding husband for covering for me for yet another day – I greatly appreciate it. 

Anyway, my rent-a-car is clutter-free and therefore I’m “talent transport” today.  I drive to and from the makeup/wardrobe house picking up and dropping off the talent – and other essential crew that need to move fast and keep dry.  I’m also now doing the video for “the making of” special feature.  The guy who was doing this had a family medical emergency and had to drop out of the project.  One of the extras from yesterday (and the days before) has volunteered and has been promoted to a production assistant.  She’s now wearing a radio headset and standing outside shivering keeping people from making noise while the cameras are rolling.

The lighting truck’s engine balked at starting in the cold weather.  The truck has to be moved as close as possible to each set location because of the huge amount of lighting gear necessary for each shot – but not today.  Today the gaffers had to transport equipment on dollies across the village.  After they’d finished getting most of the gear here by foot – the truck’s engine started.  It’s now parked out front.  At least breaking down and will be a bit easier.  All of the equipment has to be taken down and securely stored every night.  Last night Carolyn and I left around 1:15 am.  When we left Arianne Martin (playing Wanda), was still in Hannah’s makeup chair getting her hair prepared for tomorrow – and old school finger curl.  The assistant director didn’t leave until 3:00 am.

Ben, the Gaffer, doing the lighting has a general idea of what he’ll need for each shot – but the needs change and they must have all manner of scrims, screens, panels, filters, stands, and different kinds of lights available.  Those aren’t the correct technical terms – but he’s been too busy to ask.  They speak a language I don’t understand.  Power supply was a problem at first – but now many yards of heavy-duty electrical cords snake inside and outside the set.  Some even snake to distant buildings in the Village that have power.  There aren’t any women on the gaffer crew – so one cord wends its way to the distant men’s room.

It’s now about 8:00 pm.  Today’s call time was a merciful 12:30 pm.  All of today’s scenes will be shot in the tiny bedroom.  Two exterior shots were planned – but have been scratched because of the weather. 

There are three actors in today’s scenes.  The scenes take place in a vaudeville theater dressing room.  The tiny Victorian bedroom has been transformed into the dressing room.  There are between eight to 13 people in the tiny bedroom:  the talent (Wanda, Howard, and a Doctor); director (Carolyn), camera (Kimby), Camera’s assistant (Anthony), the Assistant Director (Barker), Karlo (boom operator for sound) the gaffer (Ben), script supervisor (Jordan – the still photographer is filling in for that position today – the script supervisor isn’t on set today, I’m not sure why).  Stationed in the long narrow hall right outside the door are Hannah (makeup artist), Colin (wardrobe), Nancy (art department), Max (grip) and me.  I’m sitting on a mover’s blanket with the laptop on a camera case.  In the downstairs hall are Chris (art director) and one or two additional grips running back and forth to the light truck, and Jenna the production assistant.  The ex-extra turned production assistant Monica, is stationed outside on the porch.  Those of us in the hall are on call to provide whatever is necessary for the shot:  a makeup touchup, a prop, costume fix, battery change, light filter, water bottle, a ride to wardrobe, or a blog entry.   We come and go as necessary but freeze movement and conversation when the camera is rolling.  The old Victorian house is very creaky, so no one moves an inch when the camera rolls.  Conversation and movement resumes what “cut” is hollered out. 

While driving the talent around I spoke with Mr. Earl Goodrick II.  He’s playing a doctor who looks at Howard’s de-fingered hand.  At dinner we sat together and chatted.  I commented on the long hours.  He said this was nothing.  He was in “On Any Given Sunday” shot at the Texas Stadium.  They worked for 24 hours one day.  They only stopped because the sunrise ruined the light.  That’s a long day.  Mr. Goodrick also commented that this is the only job he’s done for free, because he liked the story so much.  Thank you Mr. Goodrick!

   

It’s about 11:45 pm.  A bit ago we just got word that Sam Funk’s flight was cancelled.  He’s flying in from Wyoming for the final two days of the shoot, the brothel bar room scene.  He was supposed to be here late tonight.  The same weather that’s keeping me here for an extra day, is keeping him from getting here for the final shooting sequences.  He plays a cowboy (he is a cowboy), my grand-uncle Kemper.  He will try to get a flight first thing tomorrow morning.  Tomorrow’s call is at 12:00 so – he has some time to get here.        

The tiny room is now set up for the final shots of the evening.  This scene has a dancing girl, Wanda, and Howard.  The lighting crew is breaking down all the gear that won’t be used – getting a start of the lengthy loading process.  They just turned off the light in the hall because it was getting in the shot.  Now the only light is from my laptop.  The grips have headlamps.  I don’t, nor does Nancy who now has to refill the prop Whiskey bottle in the dark.  Earlier she fashioned a funnel from gaffer’s tape (like painter’s tape) so I’m sure she can manage in the dark. 

It’s now very late and we’re back at Carolyn’s house.  When I came in, Carolyn was listening to the music James McMurtry composed for the film.  He e-mailed her the tunes he’ll be strumming during the brothel bar room scene.  It sounds great.  Kimby and Carolyn are now planning tomorrow’s action.  Kimby gets to sleep on the cot tonight, and I'm on the couch.  

Here are some more of Jordan’s wonderful pictures: