Sunday, August 24, 2008

Last day in Denver locations 2006



Keith David flew in from Thailand for the scenes today. Shooting inside a warehouse, the openning and closing scenes that sandwich the flashback that encapulates the plot itself. It's amazing to see a man blurry-eyed and jet-lagged so on-point the minute the camera rolls. A priviledge to be on set. Ryan and Mark are skinheads. Funny to see Ryan with his mohawk. We did the short that was just screened at Tribeca and his character (and personality in general) is so opposite this thug he's playing today. I sent him an image of a frog with a mohawk after we completed that shoot, so it's funny to see him like with the do for real!! Melissa Taylor on set as Keith's sister. On my way off set I give Ryan a friendly kiss goodbye and Keith asks if he can have one! HAVE mercy!





Tim and Sab




lovely James aka "Batman"

Wednesday, August 20, 2008

AIDs Day Scene



CRAP!! as the original schedule was condensed – no wonder, I feel it flying by. Saw some guys last night in Denver – Cesar, Tim, Mark, Jason. Nice mojitos. Back in Sterling for AIDS DAY. The the AIDS DAY EVENTS, family shots, and exhibitions. The exhibitions are pretty amazing – Joey and Chad a highlight and James a surprise in his lovely sarong. Personal note – tease him mercilessly for the rest of his life… Madeline’s kids are running around, cherub-faced, Zack is here as Brenda and Gary’s son – perfectly cast with his surprising blond hair. Jon has scenes later so he’s here early to show off his shiner, from a little mishap during the cafeteria scene. He seems a bit proud of it really.





Spice and Ace here. Spice has returned from testing in martial arts and is black and blue all over… I’d hate to see the other guy though. She and Ace do some sparing. Kids from the local school exhibit some stuff. Don’t have as many extras as hoped. (Part of that shortage has an insteresting story attached, about residual prejudice and fear). Some dialogue is included to justify it. Sterling is pretty remote.

I put the gray in my hair. Joey’s hair is pulled off his face and Jeff is here as Matthew – he tells me Matthew is in non-profit – very sweet guy. Arlene wears a bob-cut wig. Heather Soon plays the adult Amy.



We are told about the reschedule for the black belt scene in LA….
I shoot three other films this summer but all are smaller roles. Call Kent about keeping the auburn until our pick-ups are over. He makes the calls and gives me the thumbs up. I commit. These people have been so great. Scene of Nora and Peter flirting on the street next. Keri and Mike dance in the rain.

Then pick-ups on the scene Joey hates, back to the trailer. The light is not a beautiful sunset, but at least no one decides to beat their wife this time. I mourn the loss of the amber glow but find it interesting replaying it now. Apparently there were sound concerns with the earlier footage. Screaming police sirens and domestic abuse perhaps? Vanessa puts socks on my cheap boots that are clinking along the street – Ironic -- I have no socks on inside of the boots, as usual.



Dinner, and watched Joey being chased down every street in Sterling while Jon and Cesar did their scene in the jail. Vanessa telling me about how she clearly heard her name uttered by what must have been a ghost at the reputably haunted South Denver High School – with verification by Tarik. Then, after we dodged rain, sitting in my filthy, I've been living out of this piece of crap, stuffed to the brim now beaten with hail, car listening to AC/DC, got to hear how some local kid killed a bunch of people and had to live in this tiny cell in solitary confinement for a year, from Jon. It’s like we’re telling ghost stories at camp. Got a chance to talk to Jefferson and Jason. Weather looming – lots of brilliant lightening.


The Surf for the rest of the night – until 3am – the three nasty boys making fun McClain, getting geared up to kick his ass. There is snoring during one take. Ace denies it’s her. Walking dead. Said goodbye until LA. Back to the hotel – meet up in Denver for a movie at Red Rocks before Tim and Brian leave (I use the word “obtuse” incorrectly in the car and he emails me from home with the correct definition – I accuse him of being derisive, this is not a game I can win)-- The exodus back has begun. Parting is such sweet sorrow.


Germaine, Victor, Liz, Bryan between set-ups



Joey and Jonathon Camp (BFFs)



Emily Kuroda, Michael Hake, between takes



Ugly explaining the dangers of dog-fighting to Sab



Jimmy and Sean

A day at church

Have had an eventful time off for the 4th – brother has been attacked not once but twice by different dogs, both who bite him pretty severely. One of the bites has become infected and it’s moving up his arm. Church is just around the corner from his place, so after a night of playing nurse, walk on over to the day’s shoot. Long day in the church, no dialogue, but some great actors there. Hanna is jumping around, I meet Germaine, who lives up to his name somehow and is reading Freud between takes. The sermon is said over and over, and even after I am off camera and my close-ups are done I get a tongue stuck out at me from “George” (Michael Auteri) who is quickly reciprocated. Joey and I walk down the isle, me dragging him by the hand, a half dozen times. What WAS this poor woman thinking bringing this kid to church?! Pollyanna denial, I suppose. My thoughts are that she’s thinking maybe if they just show up there as if it’s fine, it will be… but he places them, with a deceptively benevolent smile, in the front pew. Brutal.



One of the extras says he’s seen me on tv. It’s the hot tub commercial I think to myself… everyone seems to remember the hot tub commercial. The guaranteed 100 extras promised are less than hopes for. Tarik and Ron scrabble and make it work.

Get to see Arlene, who shares my agent. Her brother pops up and then mine follows suit, after passing out while having his dressing changed by the hand specialist. He walks confidently, if a bit wobbily, right through the scene. Sab comes to ask him what’s happened, Jimmy and Sean say hello, voice their concern and sympathy as musicians. Gian can’t get over Emily singing “Amazing Grace” – keeps looking at me during her coverage like “WHAT is she doing”. She’s absolutely hilarious! Jon is here and is his usual remarkably silly self. The boys feed on each other. Tim and I converse in whispered hushes between takes. Invite some people to the Snug after they wrap, but I’m not there long when news comes that, since I'm off tomorrow, I'll leaving town to take my grandmother in for a bib-bopsy (hey – you do a film with Louis Mandylor, it’s your duty to quote “My Big Fat Greek Wedding” in your production journal)… no rest for the weary.

Important to mention that wonderful Tim calls to make sure I’m okay everything going well with the grandmother thing on my day off.

OH I’M SAD,… this is flying by. Nice thing with theater is it seems to last forever – you don’t feel quite so much like you’re falling over a cliff.

Tuesday, August 19, 2008

Under the Overpass



Mark Rutledge on "track". Joey O'Laskey and Mark McGraw waiting to roll










Diana looks on, Jimmy getting high










Ron Balicki with Mark










Diana and Tim Loundibos











Tim, Bryan Frank, and Cesar Lomeli

back from Tribeca















All the hospital scenes rescheduled into one day (for me). Brought back a squeaky toy “Buddhist monk with espresso and cell phone” for Diana in thanks for letting me go to NY with her blessing. Behind the scenes interview with Madeline while in makeup which I think of now and cringe. I see the whole world rolling it’s eyes at every word I have to say. Nicer clothes for the first scene where they are in for the second time (well third, with suicide), it’s the recognition scene with Taki, but wish in retrospect I had touched Joey more, created greater sense of acceptance, her willingness to touch him – as a contrast to the seeming AIDS scare of the scene before. Mark catches me changing and begs me to pull the curtain next time – he hasn’t seen his wife in weeks, he jokes.

Then it’s the scene running into the ER with Judith and Brenda. I’m in a panic and it’s hardly acting – GOD I hate that I know what that feels like – the "affective memory" too easily tapped. Then the questioning scene with Cesar and I can barely look at him. Want desperately for contrast – show the numbing shock, the realization, the impulse to self-blame. His is such a warm benevolent face, I have to avoid feeling too safe looking at him. Utter quietly “oh my god it’s my fault” and find myself getting closer to sick than sad. Don’t know if Keri gets tears but she’s heart-breaking to watch. Spice is strong and fun throughout and Victor poses us as Charlie’s Angels.

Then the follow-up scene with Diana where Karen follows Annie into the ER to see McClain and Joey with his bruises on is itself motivating. He had been sitting in the lobby in makeup and I can’t imagine what an outsider would think seeing him sitting there casually. Looking like hammered shit. I’m closer to him in this scene, standing next to him on an apple box, instead of sitting next to his elevated hospital bed as with the Taki scene, and I hear myself altering the dialogue spontaneously without thought. Not hard to physicalize the mothering instinct – he’s looking pretty pathetic lying there. He’s so tired from the night before (until 6am – Mark Grove had his stunt last night doing McClain being dragged by the rope from the truck, Joey did a lot of fighting, some footage Ron showed us in the lobby – looked amazing, and painful – he’s being thrown and rolling out) he asks me to nudge him if he starts snoring. Keep having to pull the sheet down to cover his feet. Diana, who must be exhausted beyond fumes, is right there, full focus, I’m not searching for Karen – she’s accessible to me – I’m talking right to her. Dora’s is a warm smiling face, behind her continuity log.





Late night again for my wrap, so as I’m staying anyway, watch some of the set-ups under the overpass. Gives me a chance to take too many pictures and talk to Ace, Tim, nearly decapitate Mitch with a flying lasagna. Cover myself with salad remnants – very glamorous. His wife is doing Shakespeare this Summer, “Othello”. Got to give Tarik a report on Tribeca – and the press I was able to give “Sensei” info to. He sends me over Diana, who was happy. Glad they let me go, hope they feel I did my part. Being in the lobby of Tribeca Cinemas, having just been on the screen in different hair color (and as tradition would have it, my underwear) set me up perfectly to explain the change, to whoever asked.

Watching the scenes is really great, but unrivaled by the choreography of Mark’s ride along the 360 circle track around Joey and Mark when McClain chokes out Rick. Diana screams “DON’T TOUCH ME” and Ron comes out after the cut and says “it sounds just like you at home” to which all the women burst out in laughter and the men are profoundly quiet. Victor and I discuss photography.

Jason and Jefferson Arca, are on set tonight. They chase Joey across the overpass a couple thousand times. Mike and Keri engage in some rapport building activity – listening to one I-pod. Joey likes the cinnamon taste of the blood makeup. Vanessa and I are falling asleep in our chairs and I finally make my way back to the hotel. As I’m walking to my car, Tim is leading some locals onto the set, describing to them what is happening. He could be a tour guide at Universal.

Trailer life

DAY 3- Back at the trailer all day and some intense scenes. Joey’s on the other side of the door first and I’m giving him my side of it for timing. On the second take he’s slamming on the door. Really want to see that from the other side. Two takes. I can hear and feel that he’s being amazing in there. Then Annie watching McClain studying happily from the doorway. Set-ups blur for me on this day. We do the scene where he throws away his application in frustration. Joey’s convinced Annie is a terrible mother. I try to convince him that she’s just human, but he’s having none of it. Feeling comfortable at the level of this scene – they could all be Annie being frustrated and worried, but they’ve got to vary to show any growth or range. So I’m liking playing the exhausted, quietly tired working mother about to give up, knowing she can’t. She smokes continually – because, I realize, when her husband dies, now five years ago, she’s just self-destructive enough to want to die, but loves her son too much to do it quickly. And she really likes to smoke. Can barely keep the grocery bags on the table, I like that. Bag working with me – helping to make their situation look unstable. Justin places a half eaten “kids cuisine” frozen dinner on the table – which cracks Joey and I up. Not only is she absentee, she leaves him with only little kid food to feed himself. The “kids cuisine” box is even in the grocery bag I bring in. I forget to close the door, or manage leave it open. Mark is sweet about it.

Then I get my turn to loose it in my scene with Judith. Have to pace myself to keep the curve of anger to desperate sadness, but Spice’s play is really forceful and plays so much differently than I had expected with Liz (my original Judith, ending up unavailable with a play in Europe), that it keeps me very organic. I had not expected to sob quite so physically by the end, but there’s nothing to be done and Diana tears up in the rehearsal, (my neurotic side wonders if she is moved or frustrated)...she seems moved and is really affirming. GOD PLEASE. We rehearse first, set up, break for dinner (which dear lord I cannot eat or I’ll be puking by the second take) and then an hour and a half later play it out. Two takes per angle and we have close ups standing and sitting. I know I’ll be horse in the morning. And my stomach with be tight until later tonight. BUT I’m there. Over and over again, and Mitch is checking on me after each take, Diana, keeping tabs. Feeling profound gratitude, and remembering each word that [one of the moms] said to me – and thinking really they were all so stoic, [another mom] talking about Buddy without describing him just as one of the first in the wave of AIDS victims, [a third mom] talking about the mothers who flooded her answering machine with hysteria after Matthew Shepard was murdered -- Annie here is really a picture of the what they hid – the angst and desperation, ruthless protectiveness, and I keep thinking of them, and praying my intentions are accessible and true – this is the moment of realizing all that research – all those conversations I embarked on nervously and left feeling so completely privileged to have had. This is where I pay that back. And this is my reward.

Deep breath and my favorite scene—Flora asks for the pot and I’m so happy I get to take part in some levity – particularly today. Emily is AMAZING funny and it plays out too quickly – could do that scene all day, laugh every time. And then we do the backyard scene. First my set up and then we get to watch Joey move. Ron rehearses him through it and then he does a rough improv, after the fence is fixed, and he’s just beautiful. Ron is at once profoundly paternal and a focused stunt coordinator. Two takes, gorgeous. We’re done. UGH. That’s over… too fast.

Coffee with Tim and Vanessa and Mike and Cesar, after meeting up with crew, Mark McGraw, Mark Rutledge, listening to music by Sean and Jimmy, talking Joseph Campbell and Jeff Buckley.

Up early the next day – have to get together press materials with Tarik to take to NY for Tribeca screening. A few days off in NY and I’ll be back.




Monday, August 18, 2008

Day 2

DAY 2 – kill time as I get there early and they’re a little behind. Shooting at “Annie’s” house – which is a trailer. Somehow I knew that. Using a back bedroom for makeup and I know two of cheerleaders on the Broncos poster hanging on the wall. First driving a mammoth car as Annie and McClain come home from church. White shirt and, wait for it, tie-dyed skirt Meera brought back from Cashmere, India. I cannot line the damn boat up for the first two takes. Stunt driving NOT on my resume damn it.
Hearing Liz’s history in between set-ups. HOT as hell. Next we’re in our bathrobes getting ready for church. Then close up on me pleading with Mic to let me in his room. Don’t realize that he’s going to slam the hell out of it from his side when we pick it up inside the room a day or two later, but wouldn’t matter. The door is paper and I have to hold it shut while I’m knocking on it, pleading him to let me in. The trailer is beginning to feel like a cave. Liz shows me pictures on her cell phone. Vanessa is hot. Joey and Liz are joking. Alan is melting. Mark Rutledge, DP, may be the sweetest man alive.
Next doing Joey’s least favorite scene – the “Ah revenge” scene outside at sunset. Says it gives him a toothache. Sunset is spotty with rain clouds but amber. Keep getting traffic. Mitch calling to interns – “it’s killing us”. Then suddenly four cops come screaming in. “just give them the paper” I’m saying aside to Joey, thinking they’ve sent their entire inventory of squad cars to check on the permit. Come to find that there’s a domestic disturbance in the house right up the street – amazing! Bizarre – beating your wife with a film crew out your window and half the neighborhood watching off camera. Then it rains… just before we can get Joey’s close-ups.

Stay in Sterling that night for Liz’s birthday party and to avoid the drive back and forth. Sleep on Vanessa’s floor after cake and pizza at Phil’s house. Take a picture with Slim – who’s cell phone says “smile bitch” before taking a picture. Jonathon Camp shows up. What a nut. Never really “off”

with Kerri Knuppe as "Brenda" and Spice Crosby as "Judith"

outside of TJ Bombers

Actual Day 1

Day 1 (again) – Half way there, a two hour drive, get calls from both Mitch and Colby asking where I was; we can go right from wardrobe and makeup to the set. I’m at mile marker 151 and in the middle a serious stink – literally. Beyond methane!!! Even the Van Morrison on the cd player can't distract me from it. I mean – there are no words for this smell. But the black-eyed susans are out prematurely (well for my altitude) and it gives me the sense that all is well – a good omen, right there at Bromley road.

Get into wardrobe (Vanessa—hilarious) and makeup (Liz – the first face I see on this shoot – lying on the ground with Diana’s son Zack bouncing on her belly). Onto the set – meet “Cool Breeze” grip extraordinaire – big hug. Hug Diana, see Joey, my fictional son, perched on her directors chair watching from the craft services table.

I’m in a blue and green tie dyed shirt and light jeans, jean shirt. I tell myself this to remember later for continuity. I’m supposed to be freezing – it’s already 90F. Puffing away on my cigarette. Town’s kids watching. Little do I know that this will be the first costume of a shoot where the overwhelming wardrobe choice for me is tye-dyed shirt paired with… and the first of two packs of cigarettes that day. I utter the first lines shot of the film “Hi, my name is Annie Evans”. What pride I feel. Getting to do my first scene opposite Diana.

Alan asks for my view and I’m distracted – finding Annie in the ether. I thank him for his patience at the end of the day. Slim and Breeze are telling me their life stories between takes. Breeze is identifying his jewelry, which seemingly corresponds to the many women of his life – daughters, mother, wives. Goes quickly, get to giggle a bit with Ron, who wants to get some homeless guy pushing a grocery cart into frame.

It’s over quickly enough and I’m already clicking off the scenes with regret – damn that one’s done and I won’t live that again… like watching a baby grow. Master, mid shots, two shots, close ups over each others’ shoulders. Done…

Then it’s to lunch. Meet Spice – “Judith” – Keri shows up. Food is slow, but Spice is a trip to talk to, Kerry eats Joey’s salad and then no one eats her’s. Tarik, Mitch, Dora. Sweet people at every turn. Get to talk to Tarik about Tribeca. I'm going to New York for a few days for a screening of the short if I can get a release.

Into the RV for, just guess, another tie-dye shirt and jeans. Lots of jewelry that is lost by the next day. Cowboy boots, no socks. My trademark on this film – forgetting my socks, and the damn lining keeps falling out of these boots. At least I get variety – Joey only has one pair of shoes the whole shot until the 1992 scenes.

Shooting the scene outside on the bench. HOT as hell. Local press covering the scene. Master, two shots, puffing away. Then the close-up in one take in which the cigarette burns down and I drop it. “CHECK THE GATE – that’s a wrap for Gina” and I’m thinking “NO!!! I need another take” but I’m being told it was great! Oh DEAR GOD!!! ONE TAKE! In retrospect I realize the distraction and dropping the cigarette probably played true. Dora is very reassuring.

One day down – I’m already in mourning and these were the easy scenes!!!

Production day 1 -- almost

Day 1 – well, not exactly, Mitch, AD, called last night (10:30PM – not quite the 11th hour, but only really a half an hour off) to say we were not shooting the scheduled scenes tomorrow to accommodate for – wait for it – the Father’s Day crowd at the restaurant.