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30 March 2009 @ 01:55 am
SEQUENCES Day 8 Production  
THE UNTOLD STORY OF FRANK EDGE JR (Day 8 Production)

DAY 8



The first of our "on-location" exterior materal. 5 scenes. 2 at the playground. 2 at the bus-stop and one interior car/roadside. Started at 1:15pm and wrapped at 5:45pm. 5 hours that went very fast. Extremely wild weather today. I was told by numerous sources that today was suppose to be the "Rainy as all fuck" day. Never happened. Today was Allie Peden, Keith, Shan and myself with some crazy kids that popped up, some horses, a lost pug, Joe Spinell, some planes, some wind BUT no rain.

Got down to the playground and the weather was a misty sorta overcast which was good but once we started shooting. the sun began to make brief appearances before disappearing again so that played like hell on the lighting continuity. With that going on I had to keep changing the light settings on the camera. During some sequences we took notice of these two little kids just sorta roaming around the playground. They knew what we were doing and became friends fast with the girls and didn't leave in the entire time we spent shooting at the playground. They made it a point to TRY and get into every scene or the back of every scene, KIDS! the splendor! "Film me hanging upside down!" Where are you parents?

SCENE 19: Frank Observing In Playground.
After Frank has been fired from his job, he kills time by sitting alone in a playground. Watching people.


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NOTE: So about our 3rd or fourth setup in, the light changes to a more extreme level. When we got there, the playground was empty and we liked this because it was most ideal for the shoot itself, then we notice two kids. A 12 year old and his younger brother. Alone at a playground at 1 in the afternoon, just scary. Made the mistake of talking to one of them and from there on out, they were so very interested in EVERYTHING we were doing. Some other problems include the lack of a water fountain that I thought was still in place but had now been removed but written into the script as plot device to have Frank stare down a would-be victim. So had to rewrite on the spot and deal with matching previous shots since the sun went super nova bright in the sky. Shot Keith in the shade and grabbed other shots while we could and this was done.

SCENE 49: Meeting A Kill.
Frank is sleeping on a bench in the playground when he wakes up to a junkie mistaking him for a dealer which he then later brings back to his house to kill.


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NOTE: By this point, the sun wasn't going anywhere and since it's a new scene, it was okay that it was now ultra sunny but it's not the kind of look i was looking for so i put a light filter on the camera for a blue-ish effect which worked well against the super-nova in the sky which even then went in and out of clouds between takes and during takes thus massively offsetting the scene from very bright to very dark. Aggravating.

Now people are coming out of the trees and descending onto this place like flies to a dead cheese-head. Road activity is picking up. Getting noisy! And it was a dialog scene. Dealing with kids talking, drunken fathers yelling, lost dogs roaming around us, people walking in the background staring. The place just got way too active but we got what was needed. That pretty much wrapped Allie's part in the film.

It's interesting seeing people do lines of dialog, no take is ever the same and there's generally an idea of how I want it to sound vs. they way the actors THINK they are sounding. (For example: Keith talks really low and that's great for his character but if I can't hear him, the camera can't hear him.) I shoot lines with repeated takes to get the sweet spot or "right feel" because dialog has a way of coming off very stiff which sounds like people reading cue-cards or they come off at a tone to which they're scene partner isn't at. Things need to balance out and eventually become natural sounding. AND it's for that reason I really dislike shooting dialog. While I'm waiting for something to hit me, the actors think im doing multiple takes because they suck or they think they are doing something wrong when all it is is me trying to fish for the perfect take. I also like to find out ways to try lines differently. "Now say is with texan accent." With dialog I tend to shoot a lot more. Milk the scene and you will have much more to work with in editing. Allie and Keith did a great job together.

As a side note. One of the lines was "Are you selling?" which had to be repeated quite a few times and with our little kid pals hanging around they kept asking shannon. "What IS he selling?" to her reply. "Candy." What kind of candy? So Shannon and this 12 year old went back and fourth talking about the vast varieties of candy Keith was selling to Allie. No Brandon, he's selling crack. Shannon was great with crowd control. many kudos for shutting these kids up and taking them AWAY from us. Should have been out of the playground in one hour but we ended up sticking around for 2 and half. Just gotta roll with it.

SCENE 12: Waiting at the bus Stop.
Although Frank has been fired he feels it necessary to keep in routine with making it look like he's going to work. He remains motionless in an empty bus stop thinking about what to do..


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NOTE: The sun! I know it's silly to bitch about the sun but TODAY was uncanny, eveb for me. Now at it's peak or maybe not, the sun was still playing "catch me if you can" with my camera. Easiest stuff to shoot and not that bad of hang out spot either, not that hanging out at bus-stops is cool but the hub was cool. and there was breeze blowing. so it was all so very ahhhhh all is well with the world.

SCENE 18: Keeping a daily routine.
Frank is now surrounded by people waiting to board and bus and he is forced to listen to their cell phone conversations. He decides not to board the bus.

NOTE: We all stood in around Keith because he was sitting and all you really needed to see was our lower haves. Most of the sound to this scene is gonna have to be dubbed only because I kinda had to direct movements while in the scene and we had to pretend a bus was coming from off camera and we were getting on it. fast.

SCENE 4: Whose Liz? Don't come to my house.
Frank is driving to work when he gets a call from his ex-girlfriend Liz who announces she is pregnant with his kid and will be staying with him. Frank is confused by this sudden bombshell of info and continues about his day after smashing his cell phone and discovering his jeep is a piece of shit.


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NOTE: Wanted to have the camera inside the car, have Keith drive and do his lines but the speaker system in his car is raped and fucked up and now whenever the car is on, the speakers make a constant cd skipping thudding sound. so that killed our chances for some decent audio in a moving car, Quick rewrite. Have keith just getting into his car and getting a phone call. This took forever since the lighting had to be right with the sun and we were on an open road where there was no hiding from the sun, PLUS the wind was picking up and with filming outside the jeep looking in, I was a bit weary of the wind directly hitting the mic, so i did some blocking when it wasn't blowing as hard.

Shot the dialog which Keith did an excellent job with and moved onto to smashing my very first cell phone to pieces which in itself was a nice series of shots and angles. I also put the blue filter on because omega sunny happy day was not in the script. Ended the shoot with these shots of Frank leaving his jeep behind and walking to the bus-stop. simple but neat shots. OH! And horses of all fucking things! We actually had to pause filming because a small team of people riding on fucking horses decided to pop seriously out of NOWHERE. such a weird weird day on location. anything can happen.

We even saw a plane that appeared to be crashing but it was simply keith seeing a toy plane doing loops in the distance. oh that keith! har har! "Oh shit dude!" It's a toy plane man, do your lines or I'll sick the fucking leeches on you, understand??!!"

That concludes dis shit. Thanks for all those involved.