Prepare Yourself

Making a film look easy, doesn't it? Effortless, even?  You think to yourself, "Oh, I have a story. I just need a camera and some actors."

And then you try to make it.

Your actors aren't real actors, probably your friends, right? And they flake out on your and don't make it on days your shooting... suddenly you realize you have to get the same scene from different angles... how will you ever actually show an explosion? When you finally get to look at your scenes, holy crud monkeys. The sound sucks.

And so it goes.

Am I saying NOT to try? Absolutely not! I think if you have a story inside you, you need to set it free.

If you want to make a film that will really capture attention, mark my words: surround yourself with people smarter than yourself.

You're only as good as your team. And if your team consists of a best friend who runs down the batteries videoing girls on the beach instead of your intense monologue in the Sahara, well, he shouldn't be part of the team.

Start small.

By small, I mean a short film. It's a lot easier to navigate, fail, rebuild and refilm a short film than it is a feature.

Learn to write a script. My GOD PLEASE LEARN HOW TO WRITE A SCRIPT. I can't tell you how many times I've had people give me their works of art and it's not formatted correctly, or slug lines are naked, or it's in the wrong font.  Read Blake Snyder's book SAVE THE CAT and William Akers book: YOU'RE SCREENPLAY SUCKS! for help.  Both of them are gold. Oh if people would read them more.

Find a local film group in your area. Today, the internet makes everything so much easier.  You can find Meetups or local colleges with film schools.

Listen.

LISTEN to your team. I've worked with outstanding people with a wealth of knowledge, but the director wouldn't listen to them. So, what could have been a kick ass movie became a ho hum sleeper.

Movie making is a tedious task. It takes a lot of preparation. And by a lot, I mean months of planning before you even have your first shots. But it's in these months where you iron out all the bumps.  It's in the prep that you get to know your team, too, and how they flow.  Who's the weakest link.  Who is the worker bee.  Who's the one with the connections.  Where the problems are.

If you can troubleshoot BEFORE you shoot, it makes all the difference in the world. Your shoot goes a lot smoother, and before long, you look like you know what you're doing. :)

So please. For your sake, and the sake of your crew and actors: prepare.

Everyone will thank you. And pretty soon, you'll be making the walk down that red carpet.

From Writing To Directing To Producing

It's been over a year since my last post.  Shame on me. I've been literally swamped.

Without going into every project I've worked on, let me just say tomorrow, a children's television show that has been the desire of my heart to create is FINALLY being filmed!  I am executive producing and head writer of the show. I'm so excited. Tala Hobballah, Michael Haney, co-producers.

On top of that, I have cast some of the best kids in the region to be hosts. One of them, is sweet Noelia, a little one with Down's Syndrome.  I love being able to use the show as proof that kids with special needs can be viable to a production.  She is so excited and we are too!  What a cutie pie. I mean, look at her!

Isn't she precious???

I'll share more about the show once we have it filmed. :)  Let's just say it's pretty awesome!!!! 

I've also written another short film called The Alabaster Phoenix and stars my BFF and biz partner, Buffi Holland has the lead.  So very excited about that too!!!  Logline: A fragile widowed woman grapples with despair and loneliness by discovering her purpose in life.  Lots of locations, and I'm thrilled to possibly be using one of my favorite composers in the universe on this film. Films May 2014. Michael Haney, Dudley Jacobs, producing. 

I'm also producing a short film called PHASE 6. Phase 6 is about governmental population control via the use of flu shots.  It's a sci-fi thriller complete with CGI special effects, so I'm eager to see how this turns out and to work with Jeff Dolan, the director. :)  Starring Keagan Haney, Caleb Shore, Kim Kinsley, and Richard Chilton.  Films June 2014. 

Recently I completed filming a television pilot with the amazing Joe Carroll, writer and director. I earned a producer credit on this one. Can't share the name of the project... YET.  It's a superb concept and I hear it is gaining interest by various sources. As well it should. It's impeccably made and Joe has a keen eye for detail. Shot on the RED camera, the images are crisp, concise, and stunning to watch. 

AMAZING cast.  Photo by Michael Walters

I'm also producing a television show for The Children's Kindness Network called Moozie The Cow.   We have got a great music director, Sara Beck, and Executive Producer, Elandriel Lewis totally has a heart for kiddos.  Research consultants and casting the kiddos  are Colleen Russo, Emily Drossner and Christina Longo. I call them The Vandy Posse since they are all Vanderbilt minds. Ryan Rehnborg is animator. Starring Nina Borum and Caleb Shore.  Moozie the Cow is currently in production. 

So that's my irons in the fire at the moment. I have a few productions lined up to produce... Christopher Siaens "RAIN" is one of those projects. Tala Hobballah has a series she wants me to help her with, and of COURSE I will. Tala is amazing and I cannot say enough things about her and her awesomeness! 

Hopefully I will have a chance to be on here more! I hate such gaps in my entries. I will attempt to do better for you, my ever faithful fans!

Don't Call The Shots... Seriously.

Hello all!

Happy 2013!  Wow have I been busy! Whew!

First of all, let me give you an update. MADAME KOROVA was sucessfully filmed and is in the post production phase.  We all cannot WAIT to see this hit the festival circuit. It turned out to be so much fun to direct.

The talent agency that I own with my completely best friend in the whole wild world, Buffi Holland, has taken off at lightning speed and is flourishing.  You can check out S.T.A.R.S. Talent at HERE if you would like more information. Recently we have booked talent on CATCHING FIRE of yes, THE HUNGER GAMES fame and LAST VEGAS starring Robert Deniro, Kevin Kline, Michael Douglas, and Morgan Freeman.  I'm a proud mama, too... my daughter just got cast in a feature film herself! She starts filming in the fall in Indiana.

Because I've been so busy, I haven't had much chance to write (as you can see from the state of this humble blog!) HOWEVER, I thought I would swing by and offer you a useful screenwriting tip.

When you are writing a screenplay, never, NEVER, NEVER EVER EVER EVER write in or call the shots. I don't mean calling the shots as in deciding what's going on with your character, I mean, writing:

INT. MEDIUM SHOT - VICKI POURS FOOD INTO DOG BOWL

Don't do that.

"Why, ScreenwriterChic? Why should I not do that? How else are folks going to know what I want in this scene?"

Well, to put it bluntly, it ain't your baby anymore. And it's not your job to tell the director what to do.

Once your script has been handed over to a director, it's the director who adds vision to the story and makes it complete.  You have given the framework.  Don't be sad! Your idea may be cool and all, but it's really awesome to see a director come on board with a fresh set of eyes and incorporate their vision with yours. And think about this too... if you put in camera angles and look like a complete noob and an inexperienced dreamer, you will annoy your reader, which is the person you want on your side, believe me! The reader passes on your work of art to the studios.

Now, if you absolutely HAVE to get a certain shot across, there is a way to do it and look professional and NOT step all over the director's toesies.  OR annoy your power wielding reader.

That is in scene description.


EXT. MT. FUJI - DAY

A small speck in the snow, Jessica rummages through her pack.

No food. Disgusted, she throws the pack and SCREAMS.


Okay, did you see what happened here?  A small speck in the snow?  Did you see an aerial shot with that?  And when Jessica couldn't find any food and tosses the bag, you were closer up in your mind's eye, weren't you?

Your scene description frames the picture in the mind of your reader. It's the same as calling your camera angles, but it's a much more appropriate way to do it so you don't have an offended director. Or reader.

And that's what you want, isn't it?

Back in Business!

Hello Faithful Fans!

I have gotten back from Los Angeles and had a wonderful time.  For those of you who are facebook friends, you have the skinny on the trip.  For the rest of you, feel free to look me up!

On another note, I am officially the producer of WELCOME TO WAFFLE HOUSE, the next summer blockbuster.  I'm really excited to venture off into producing now... such an unknown world to me.  However, I have great contacts in "the biz" and they are hooking me up with outstanding mentors... one of whom I hope to add as an associate producer on the movie.

I'm truly excited about this new chapter and the writers are great guys.

On top of that, I have also been tapped to produce some short films for a local filmmaker in Nashville, Robby Coles.  His newest project, THE GREY AREA, is a short film regarding bullying and he is working on getting it submitted to every school in America.   You can go to my facebook page and see where Robby has a kickstart page for funding.

If you would like to help me raise funds for WELCOME TO WAFFLE HOUSE,  please feel free to donate at:

WELCOME TO WAFFLE HOUSE

Please know that I appreciate any and all donations to help get this movie into theaters.  If you donate, I promise you will have a special thanks noted in the credits.

Make Some Short Films!!!

If you are a screenwriter, then you should be filming some short films.

Will Akers told me to start filming short films after I had completed his exciting and always entertaining screenwriting class. He told me it would make me a better writer to understand what a camera can or can't do, and what a director will have to put up with some of the crazy shots I saw in my head.

I heeded his magnificent wisdom and here I sit. A blogger, screenwriter and director of another short film that we will be filming in one week. I have a full crew, a full cast, and a full plate.  I'm learning more in one semester than I have in my life. Besides writing, of course. :)

Something that will help as well... HELPING out a crew member on someone else's film. That will teach you a lot too.

A while back I blogged on MUSICA CAMPESINA, a movie I worked on with Chilean director Alberto Fuguet. I started off as a P.A. and then got promoted to Line Producer. How?  I just did what everyone else didn't. I got noticed and have gotten street credit that I'm a hard worker.  Not to mention that the film has been submitted to Sundance and should it get in will be AWESOME to have producer credit on my resume!

See the trailer here:
MUSICA CAMPESINA TRAILER

You don't have to stay in one arena if you're a writer. Get out there! Meet folks! Just in my short time on campus, I've met and worked with people who are now in LA.  So, they are CONTACTS that I have now. Contacts that I can send a script to. Contacts that, should I ever move to the coast, could help me get jobs. Contacts who can help me make independent films of scripts that I wrote.

How could I have met them if I stayed inside writing ALL the time and never made a movie?

Are you afraid of what people will think? Don't be. YOU are the artist. The writer. The director.  It's YOUR dream.

Are you going to let someone else determine if you reach it or not???

Not me.

ALIENS! UFO'S! OH MY!

I'm not sure if anyone has been following this on the news about the recent documented sightings of the UFO's that have been seen in the U.S., China, etc. All of the sightings are similar.

News report on recent sighting in El Paso, TX

Now, when it comes to this, I'm such a skeptic. I held out for YEARS about crop circles and wouldn't you know it, someone came forward and admitted they did it. And they showed how. I don't know if they were telling the truth. I'm just saying I'm a skeptic.

But with this, I'm a little enamoured. Not because of the possibility of life outside of Earth, or the possible answer to a Bible prophecy. And then there's that part of me, deep down that secretly hopes if they ARE aliens, they don't REALLY do anal probes.

I'm interested to see what movies come out of this.

You know it'll happen. Writers everywhere are watching these stories, talking with people in the area of the sightings, and making notes.  And it'll hit theaters before 2012 to ensure we have mass panic and cult suicides.

So, while part of me is thinking this is an Orsen Welles' thing (it's rather profound to have it all over the world), part of me is thinking, "Man, who's gonna write the story first?"

Will it be you?

Honing Your Craft... and a little Matt Damon

Hello my wonderful fans and readers!

My tribe of munchkins are now in school, so my life MAY become a bit quieter now… (insert insane laughter here).

Anyhoo… since I’m a writer, I figured I would share with you another way to become awesome.  Or at least prove to yourself that you need to take classes OR find another route of prospective employment. (I’m not trying to be harsh, believe me).

Go online to Drew’s Scriptorama. You can google it. From there, download a script. Not a script that says First Draft, because I can assure you it is almost NOTHING like the movie.

Print it out, but don’t read it. Seriously. Don’t.

Then, rent the movie.

As the movie plays, have your laptop or whatever with you.  Pause the movie.

Here’s the fun part:

Write a script for what you saw.

For instance, if you are watching the movie, THE BOURNE ULTIMATUM, you would possibly watch the first two minutes and write what you saw. (I’d watch the whole movie first though, because it is an amazingly fun ride).

So, you would something like write:

EXT. MOSCOW STREET – NIGHT

JASON BOURNE runs to a pharmacy.

And then pick up from there. After you have about a page or two done, pull out the script that you printed. Compare. You will be flabbergasted at how different they are.

EXT. NIGHT – HOUSING PROJECTS – MOSCOW

We are JASON BOURNE and we’re running down an alley.

SUPER: MOSCOW

BLUE LIGHTS -- from the distance -- strobing through the night -- rushing toward us -- POLICE CARS -- three of them - - SIRENS HOWLING as they bear down -- closer -- faster -- until they whip past the alley...

That’s a little big more descriptive than Jason Bourne runs to a pharmacy, isn’t it?

Try it! I started with more laid back films, but as I progressed in my writing and writing hardcore action flicks, this has really come in handy.

You may find that you are missing information that your script NEEDS. You may find that you are giving too much boring information:

SUSIE (blonde, scantily clad, 23) sets down her coffee before dialing her cell phone.

Becomes:

SUSIE (blonde, scantily clad, 23) dials her cell.

It’s amazing what you can learn about the craft and yourself. Plus, you get to see a movie!

Reversal Rollercoaster Ride!

Ever seen a movie and thought: This is SOOOOOOOOOOO mundane? You can tell where every scene heads and you can predict the outcome? Can we say BORING?!?!? I hate movies like that! UGH!


The screenwriter probably is very good at what he does. The problem is REVERSAL.

A reversal is that part of the scene where you go, “Oh my GOD! I never saw that coming!”

A great reversal is in THE DEPARTED. Leonardo Di Caprio’s character has worked and worked on nailing the bad guy, Matt Damon. He finally has him in his control and they’re on an elevator. When the elevator door opens, BAM! Leo’s shot in the head! I don’t know about you, but I NEVER could have predicted that! And I love the movie for that. It completely changed the tone of the movie! And, if that wasn’t enough…here comes another reversal…Matt Damon’s friend is the one that saved him. Matt thanks him and BAM! He shoots his friend! If you haven’t seen the movie, it’s highly recommended. By little ol’ me.

Reversals add a depth to your script. It shows you aren’t contained in a pretty little box and you actually think outside it. You have innovative, new, and unique ideas.

Have you ever seen Shutter Island? Another FANTASTIC example of reversal…all the way to the very last scene. Amazing! And one of my favorite movies of all time, now.

Look at it this way: the more twists on a rollercoaster, the better the ride, right? Same thing here. Your audience, your reader, has committed to spend time on your “ride”. Give them the twists, turns, and drops that make a ride so great! Make it worth their while! Because…

…if the reader loves the ride, your chances are much better for your script to find its way into the hands who can hook up with your vision, see the movie posters, the taglines, the merchandise, and hot dog! You’re off and running!

Reversals. Your script needs them. It’s what separates a good script from a great one.

Memorable Characters Take Memorable Writing

To create memorable characters, I’d like to make a suggestion.

Keep a journal of overheard dialogue. Gasp! ScreenwriterChic, are you telling me to eavesdrop? Yep! I’m not saying stalk anyone, but you can grasp different rhythms, different accents when you eavesdrop. No one wants to hear characters that all sound like you. Each character must have a distinct voice. Each character must be different.

One of my favorite lines from a movie is, “Yeah. You blend.” It’s from MY COUSIN VINNY, written by Dale Launer (whom I have had the privilege of speaking with… but about RUTHLESS PEOPLE). I love this line so much that I posted it as a status on Facebook the other day.

You’d be surprised the reception it had! For three pages, people posted their favorite lines from the movie. Which tells me it was great writing.

When you make your character, each one MUST have their own voice. Lisa didn’t sound a THING like Vinny (of course she was female!) They both had thick New York accents, but her rhythm, her speech pattern was different. Her ideas were different. Her focus was different, which crafted her character. By the time Marisa Tomei got a hold of the part, it was just finishing touches that were needed.

Each character had a distinct voice. You could tell each character was DRAMATICALLY different.

“Are you mockin’ me in that outfit?”

“Mrs. Reilly. And only Mrs. Reilly!”

“A doe eyed little de-uh!”

“I don’t know! I’m a fast cook, I guess!”

“Same make and model tire!”

“Aidin’ and abettin’!”

“Maybe the laws of physics cease to exist on your stove! Were these magic grits?”

“Ladies and gentlemen of the j-j-j-j-j-j-j-j-j-j-j-jury.”

“Seb’n bushes!”

“The two what?”
“What?”
“Did you say, Utes?”

Oh, excuse me, Your Honor. The two youths.”

Can you see these characters? The diversity adds so much depth to the story, a reality to it, if you will, and every scene becomes memorable. So much so that Marisa Tomei walked away with an Oscar for Best Supporting Actress.

Make your characters memorable. They will make or break your script, and ultimately, your movie.

Don't Cheat The Audience!

When it came to theaters, I was like, “Oooooh…interesting!”


But then I heard reviews. And I decided to save my money and wait until THE LOVELY BONES came out on Netflix. Which I did. I saw it last night.

Now, I want to offer a disclaimer here. I have not read the book. So, I have nothing to compare with the movie. And this is not a movie review. When I see something in a movie that is the writer’s fault, I simply WANT to point it out to HELP all of you future Oscar winners out there.

I agree with critics and I’ll tell you why.

While I cannot say enough about Saoirse Ronan’s spectacular performance as Susie Salmon (like the fish), I can see why people turned up their noses at what could have been a great movie. And let it be known, I did like the movie. I didn’t like the ending.

I’ll tell you why.

For the entire movie, we see Susie’s killer plodding along. For the entire movie we see Susie’s family in shambles. Susie’s caught in the “in-between”. She watches her family. She’s close with her father. Her mother can’t stand the fact that her daughter was murdered and leaves for a bit. Their grandmother comes to help out. Susie’s murder was a horrific event that toppled this poor family. To make matters worse, no one ever found the body. Just a hat and a large amount of blood. I could think of nothing worse to happen.

There was an enormous set up throughout the movie.

Act 1 established Susie as a bright, sweet girl who had dreams and crushes like the rest of us. She was at odds with her mom about wearing knitted gifts and close with her father as was shown in the model boat scene. She’s a very trusting little girl and is lured into a bad situation.

Act 2. Enter Susie’s new world of the in between. Sometimes she’s happy, sometimes she’s sad, or angry. Meanwhile, the killer rolls a charm of a dollhouse in his hand. He took it from Susie’s bracelet. We see him fidget with it throughout the movie. He’s interested in Susie’s younger sister, Lindsey, now. While he is plotting her demise, Susie’s father, wracked with grief, attempts to find who murdered his daughter. It drives the mother to the breaking point, and she leaves. The grandmother comes to help with the family. Susie watches from the in between as Lindsey gets her first kiss. We see the heartbreak of all that has been lost. We really want this killer to suffer. What a bad man!

            

After awhile, Lindsey gets a feeling of who the killer is. The father develops a roll of Susie’s film and he remembers the strange neighbor who, ironically, paints his flowers red. The dad has a conversation with the killer. Susie watches and gives Dad a sign. Dad chases the killer into the killer’s home. The police speak to Dad and explain that no charges will be pressed. Guess what the killer has rolling around in his hand? Susie’s charm! We hate the killer even more. He’s mocking this poor father. He said that he was sorry for his loss! The nerve of that guy!

Let’s go to Act 3. Lindsey has had enough of this. She sneaks into the killer’s house, finds damning evidence, and barely escapes. HA! Take THAT Killer! Now he’s on the run! Or is he?

Susie watches him load up her body (which is stuffed into a safe) and heads to a sinkhole.

And here is when the movie loses EVERYONE.

The killer rolls the safe end on end. Susie possesses a girl who took her boyfriend after the murder. Instead of screaming, “HEY! There’s a body in that safe!!!!” What does she do? She gets her first kiss from the boyfriend. Granted, that was sweet. But Susie seems to be the type that hates to watch her family suffer. It seems that it would be out of character for her. Meanwhile, the killer rolls her body into the sinkhole and it’s consumed by water. No one will ever find her! So, we feel like that was stupid. Maybe we could have gotten over that every little girl wants a magical first kiss. Maybe. There’s room to wiggle. A LITTLE. VERY little.

So, the writer has lost some of the folks. Let’s move on and see why people were so upset with this movie, why they felt so cheated.

Police swarm the killer’s house. He’s obviously gone. The only closure the parents have is that the killer was a neighbor. No body to bury. No face to face with the killer. No mom screaming, “How could you?!?!” No justice.

Outside a diner, the killer, still fiddling with Susie’s charm, attempts offer a girl a ride home. An icicle falls, and he topples over a ledge.

WHAT?!?!?!?!?!

The audience was completely cheated!!!

The set up was so great throughout the movie. We WANTED the killer to get caught; we WANTED to see the parents and family have closure. We WANTED to see Susie’s body returned to her parents. For Susie to have HER closure with her parents. And it’s not so much what we WANTED to see, it’s what we, the audience NEEDED to see. While there was a little voice over tying everything in together, it was a horrible ending to a beautiful film.

Why tease with a charm that won’t be used later in the film? If you, as a writer, do that, there has to be some sort of closure for that as well.

Now granted, this was based on a book. Perhaps the resolution in the book was better. They have more time to get things across in novels. This movie was apparently difficult to write for, since it had three, count ‘em THREE, screenwriters. You would think of the three, someone would understand what the audience wants to see. I know the book may have ended one way and the book is probably better, but it’s the screenwriter’s job to ADAPT the book.

So, if you have learned nothing from this rant, learn this: DO NOT EVER EVER EVER CHEAT THE AUDIENCE.

If they’ve put in the time to follow characters on a journey, don’t let them down.

And Saoirse Ronan: Should you ever read this. I became your fan watching this movie.

The Girl With The Dragon Tattoo

Saw The Girl with the Dragon Tattoo in the theater yesterday.
WOW.

What an amazing storyline and plot! Extremely complex, and dazzling to comprehend. Sure they left out a character from the book (and not I’m not telling you which one) but that’s par for the course.

What I really wanted to draw your attention to is the character of Lisbeth Salandar, played masterfully by Nooma Rapace.

You’re shocked when you first see her, but over a series of extremely harsh events, understand why she is the way she is. She’s an incredible character. She’s tough, she doesn’t take crap from anyone, but she’s also extremely intelligent… and extremely likable. Kudos to the screenwriter for capturing that from the book!

Currently the movie is being rewritten for Hollywood, and there are rumors swarming that Brad Pitt will play one of the main characters, if not the lead. I’m interested to see who they will bring in for Lisbeth. I don’t think Angelina could pull this one off as well as Nooma did. Maybe they can just keep her in the role and she can speak English…? Who knows. By the time it actually makes it to production it will have circled Hollywood a few thousand times.

UDATE: CAREY MULLIGAN SET TO PLAY ROLE OF LISABETH SALANDAR

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article7107260.ece

I can’t see how Hollywood could make this movie any better.

So, if you get the chance to see this movie, go see it. Be warned: This movie is NOT one for the kids.

Tell me what you think about it.

Musica Campesina!

Musica Campesina!

Pablo Cerda, Marti King Young, Alberto Fuguet

Last night we wrapped on a five day shoot. It started as a short, it really did. However, director Alberto Fuguet stated, “I have well enough for a feature. I’ll do it and release it in Buenos Aires first.”

One week of non-stop shooting, sometimes 19-20 hours a day. Rough. Grueling. And SOOOOOOOOO much fun!

Yours truly started off as the production assistant on the movie, Musica Campesina. I got promoted to Line Producer!  (The movie’s about a Chilean man with a recently broken heart who throws himself into the Nashville scene. The script is quite poignant and moving.)

(My car is in the movie, so all of you MUST see it at some point! When you see the obnoxious yellow car, you can say to yourself, “I know that car! It’s Screenwriter Chic’s!!!!”)

Day 1 on the set: Because of working another job, I come on two days into filming. Not too much has been done. Sarah Childress, the producer (whom I just meet) introduces me to Alberto Fuguet. She tells him I have “great street credit.” I learn there has not been another to assist Alberto and many locations have not been secure. Alberto is overjoyed at my arrival and gives me a list of things to do. Thankfully, I have a notepad and two pens with me and appear prepared and that I know what I’m doing. Alberto calls me his “glue” for the production. He declares that all of his emails should go though me and I will keep everyone in the loop. (I about pee myself…how did I get to wield such power?)

We film Pablo at dusk looking at the Nashville skyline. Very nice take.

Alberto tells me that he wants to film at a certain diner the next day, but the manager yelled at a student and refused. He begs me to try again. I’m told filming begins the next day at noon.

Day 2 on the set: Before the daily production meeting, I drive myself to the diner Alberto wants. I personally speak to the manager. He was quite nice, but worried that we would invade his customer’s privacy. I explained there were no lighting crews or huge cameras, and that we would come at his least busy time. I listened to his concerns and addressed them and secured permission to film in the diner. I call Alberto and he hails me as a miracle worker. In fact, the entire crew does. I do a happy dance (but on the inside).

We film Pablo doing research in the Vanderbilt library. I never knew the library was that big OR that creepy. If you ever go there, bring a friend.

2:30pm Producer Sarah Childress and I leave the crew. I leave for my class with Will Akers on screenwriting. Sarah leaves to teach her class at Vanderbilt. It was so hot out, I was thankful to spend a couple of hours in air conditioning, actually. Will was good enough to let me take a break during class and purchase two liters of bottled water, both of which I downed before I returned to class.

Sarah Childress, Producer and Sound Back Up

5:40pm Sarah and I go shopping for food and then rejoin the crew on location at a house. Sarah works sound, I work the slate and continuity. Ten people on set. Alberto gets antsy. Too many people on set for him. Pablo is happy he has food.

We move to a bar called Fiddle & Steel in Printer’s Alley. It’s amateur night. The bar graciously gives us permission to film. The patrons have no clue Pablo is an actor. He sings one song. The crowd cheers him on, “Uno mas! Uno mas!” Reluctantly, Pablo sings another song. The crowd cheers and congratulates him. It was perfect for the film and it was extremely fun to shoot. I get home around 1:30am.

Day 3 of shoot: Before heading to the production meeting, I swing by Jason’s Deli for menus for the cast and crew. Somehow this gives me more kudos since I thought to ASK what they wanted instead of choosing for them. I also bring my sixteen year old son, Michael, to the set with me. He’s the official runner of Musica Campesina. He’s a hard worker and almost gets adopted by Pablo and the director. Michael’s first time to help with a “real” movie. His life is changed forever. I could see it in his eyes.

Michael sits in for lighting as Alberto preps Pablo

At the production meeting the schedule changes, the script changes. No problem. Alberto is great at rolling with the punches and is ready to get filming done today. We are slated to work on production until Monday, but he’s adamant we will finish today. Pablo wants to sight see on Saturday and Alberto wants to make sure he gets to do that. The crew is on board. As we head up to a room in the Embassy Suites for a scene I call the three actors and give them times and locations to meet us. Pablo does a great job in his scene.

12:00pm We change locations for a scene involving day laborers. Pablo gets filmed walking down the street and then waiting for work. I almost was the one that would be in the movie “hiring him”, but a drug dealer came out with his posse and started asking questions, and in a not so pleasant manner. Pablo declares the set is unsafe and wants to leave. It was and we did.

We change locations and move to a rooftop pool, film a scene there. There is a bathing beauty who’s fallen asleep beside the pool and has no clue that she played an intricate part in the background.

Michael drives me to pick up the lunches and we return to the crew at their next location, which was the house from the day before. Everyone is thrilled to have real food in a sitting and not have to munch on granola bars and fruit in between takes.

We film at the house, and James and Jeffrey create an impromptu song from three words that Pablo gives them. It’s in the film. Great stuff.

We change locations to get a scene outside a pawn shop. This was an interesting shoot. As Pablo walks down the street, the owner runs out screaming at us. Something about privacy laws. Michael is inside the pawn shop and reports that she went back inside afterwards and was swearing about “Latinos in this country.” As we’re packing up, she returns outside and screams more not nice things. I personally was embarrassed. Not that we were filming there, but because of her attitude toward Alberto and Pablo, visitors in our country. It was shameful. She said that it was illegal to use the name of their business in the movie. Well, she didn't say anything about my blog.

And the name is SO terribly creative, too!

We move to a billiards hall and I learn that it hasn’t been secured with approval to shoot. I run inside and speak to a skittish bartender. Another miracle worked and we’re good to go. Michael is in the background of the scenes playing pool along with Will, a student in Sarah’s class. They both loved it.

I’ve become a timekeeping Nazi by this point and announce we need to get to the next location. We hurry off to the Greyhound bus station in Clarksville, TN. The crew, an actor named Ty, and Pablo will film the bus ride from there to Nashville. It’s my job to drive them there and drive the car back. Because of all the people needed, it takes two cars to get everyone there. Michael drives my car, and I drive Ashley’s. (Ashley is our camera operator. She is one of the hardest workers I have ever seen and has an upbeat and sweet disposition.) We leave before the buses to get gas for the vehicles. The arrival time back in Nashville should be 9:30pm and no one has eaten dinner. We pull in at the gas station to grab some food for everyone. A man has a seizure and our vehicles are blocked in by an ambulance for thirty minutes. We’re late and I’m freaking out. I hate being late. HATE it. I drive like a bat out of Hades and get to the bus station ten minutes after they’ve arrived. Luckily, I have food as an offering and the cast and crew are THRILLED to eat.

We head to a laundry mat for a scene with Pablo and Karin. I take Ty home and meet the crew. The doors are locked and a redneck sixteen year old girl comes to the door. She’s obviously working there. She refuses to let me in stating, “We close in ten minutes.” I have the suitcase of props with me and point to it. “It’s laundry,” I say. “We close in ten minutes.” She has an attitude and my blood immediately boils. She won’t let me in. Finally, I yell over her head to Alberto, “She won’t let me in!” He runs over and says, “She has my clothes.” The girl curses and throws open the door. May I also point out that there is a cell phone glued to her ear which she never removes? I grab some props and give them to the actors. I make sure I keep away from the Redneck Queen of Dirty Laundry for fear of having such lack of sleep that I could deck her. Ashley begins to film Pablo and Karin talking. Russell (sound guy) has his boom and records room tone. Redneck Queen starts screaming to screw up our shot. She says that we can’t film and no one told her we had permission. (Even though we did. She didn’t want to hear it. The entire deal was a control issue for her.) Russell says that he’s recording sound and there’s no law that says he can’t record sound. The trailer park in her really comes out now, and she threatens to call the police. “I find that unlikely as you never remove the phone from your ear.” She starts cussing all of us out. A sixteen year old girl. Poor thing. She’s so lost. By this time, Pablo has had enough. “Let’s go.” He leaves. The girl says, “I’m just doing my (#*%&(#&(# job you %!@&@%#@ wetbacks!” Alberto: “It’s one thing to do your job, and another thing to be rude.” She starts cussing again and he slams the door in her face. Russell peeks back in and announces that her dryers are broken and laughs. I’m glad I’ve taught my children better than her. What a horrific person. And so young. I pity her children. Again, I was ashamed by the representation of my country to visitors.

We move to another laundry mat at the Americana. The landlord stops by and she is thrilled that a movie is being filmed at her place. She gives us free parking passes so we don’t get towed. The scene is a success.

Change of locations to a motel. Awesome murals in the room. (Just don’t sit on the bed). Pablo earns his money for these shoots. The pool is closed. Ashley sets up a camera in the bushes. He jumps over the fence to the pool in his underwear. He jumps in (and it was COLD last night) and comes out, takes a drink. Looks amazing. He hops back over and we go back to the room. We all take pix together.

And it’s a wrap!!!!

Alberto & Pablo (that's my writing on the slate!)

Last  night was the wrap party. Perhaps I’ll post pix.
I had a wonderful time, met some wonderful people and hope to do more of this in the future. Just one more step for me to take over Hollywood!

How 'bout you? Got any good stories?

Wrap Party: Me, Sarah Childress (producer) and Ashley Zeiger (Director of Photography)