MONDAY, JUNE 2, 2008 - DAY 8
I rehearsed my first scene today. I was assigned to do it
in the Screening Room Lobby, but because it was a nice day, I ended up bringing
my two actors outside to rehearse at some picnic tables. Not long into my
rehearsal session, my advisor Thomas Carter appeared and sat with us at the
picnic tables. He watched as I lead my actors through repeated readings of my
scene and offered useful suggestions on how to build performances. Before
lunch, actress-director Christine Lahti also joined us at the picnic tables and
offered some insightful comments and advice on guiding the rehearsal process
and crafting performances. You would think that it would be annoying to have
two people looking over your shoulder while you are rehearsing, but Thomas
Carter and Christine Lahti were a joy to have "hanging around." By
the time lunch was over, my crew had built my set in the Screening Room Lobby
and I was able to get my actors in there, work out my blocking, find my camera
set-ups, and create my shot list. The guidance of my advisor Thomas Carter at
this stage of the game was invaluable; he walked me through every single shot
and helped me construct and organize my list, discussing everything from the
necessity of the shots to their meaning and aesthetic composition. All I know
is: I never got this in film school.
TUESDAY, JUNE 3, 2008 - DAY 9
I shot my first scene today. It was great to get behind
the camera again. We shot from about 9AM to 5:30PM, and even though we got to a
little bit of a slow start, I pretty much got all of the shots I needed - all
except for one or two of what I call "gravy shots." The actors were
real troopers, as I expected, and the Blue Crew was incredible. My advisors
Thomas Carter and Ira Sachs visited my set throughout the day and offered invaluable
advice on everything from tweaking my shots and guiding performances, to
communicating with my crew and managing my time on set. As far as learning
experiences go, there is nothing like shooting a scene while two experienced
directors observe and help you. At 6:15PM I met my editor in our edit bay
trailer and we quickly went through our dailies until dinner at 7:00PM. At
8:30PM I went to the Wasatch Room to attended a cozy reading of John Magary's
script BLOOD ABUNDANCE: OR THE HALF-LIFE OF ANTOINETTE. The audience seemed to
really enjoy it. What I've come to realize, though, is that my mind inevitably
tends to wander during script readings and I end up not being able to follow
the story. Fillipe Barbosa suggested I read along next time like he did
tonight. I think I will follow his advice.
Jarin Blaschke (D.P.) lines up a shot.
The Blue Crew in action.
WEDNESDAY, JUNE 4, 2008 - DAY 10
Robert Redford screened his film LIONS FOR LAMBS for us
tonight. Afterwards he did a Q&A. It was actually pretty interesting seeing
Redford's film because the scene I shot yesterday is was a job interview -- two
people sitting across from each other at a desk talking. Redford's film was
constituted largely of two-person conversations in offices so it was really
instructive to see how he handled these scenes.
THURSDAY, JUNE 5, 2008 - DAY 11
I screened my first scene for the Creative Advisors
today. Afterwards there was a critique session at which the advisors gave me
notes on the scene. I came away from the crit session reminded that the
characters in a scene have to "vary there tactic" in there attempt to
get what they want (the Scene Need, as it is sometimes called) and that these
attempts - these actions - must escalate. I knew this before I arrived at the
Sundance Directors Lab, but for some reason it seems I had forgotten this when
I wrote the scene. It's funny because before the crit session, I wondered why
Michelle Satter asked me to do this, my weakest (and what I thought to be my
most boring) scene. I realized that that was exactly why she asked me to do it
-- because not only would it be challenging to make a two-person conversation
at a desk dramatic, but shooting the scene would help me see the weaknesses in
its structure.
FRIDAY, JUNE 6 - SATURDAY, JUNE 7, 2008 - DAY 12 & 13
I shot
my second scene today. By the time I screened dailies on Saturday evening, I
was pretty pissed off. Both shoot days started off really well only to fall
apart due to the actors not knowing their lines. I have to admit that they
weren't entirely at fault; I incorporated quite a bit of dialogue into the
script from the improvisations we ran with Christine Lahti on Thursday and gave
them the "new script" the morning of the shoot. But I couldn't help
but be pissed the scenes started out so great, only to devolve into mediocrity
by the afternoon. I also didn't know what to do with the anger. I tried to keep
the set light and not have my bad feelings taint the work to further bad
effect, so I ended up bottling everything up and just stewing. Since I wear my
heart on my sleeve, I ended up getting quite a few "sit downs" from
the advisors about my obviously souring attitude. I guess you can't have a bad
day at the Sundance Labs without the Dissatisfaction Red Alert Siren going off
in the Creative Advisor camp. But maybe that's a good thing...I'm not sure yet.
Lara (the one-woman gaffer-grip super-being) and Carmen (Boom Operator) set up a Christmas Light rig.
Andy (A.C.) secures the camera to the top of a ladder for a high angle wide shot as Jarin Blaschke (D.P.) and Heather Askew (Script Supervisor) watch the monitor.
Creative Advisor and D.P. extraordinaire Vilmos Zsigmond (Academy Award Winner for Cinematography for CLOSE ENCOUNTERS OF THE THIRD KIND) watches over our humble set. He was a pleasure to have around.
Actor Shawn T. Andrew prepares for the scene.
Actors E.J. Bonilla and Shawn T. Andrew prepare for the scene.
Actors Julian Joseph (left) and Anthony Gaskins (right) discuss the scene while the Blue Crew sets up lights.
Shooting the scene.
"Gumby" (Sound Mixer) helps build the set. Departmental distinctions don't stop the Blue Crew from helping each other in all aspects of production.