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Geoffrey Gould
Reports from the set/s...
Barry Munday
Chris D'Arienzo's feature comedy

Monday and Tuesday, May 12 and 13, 2008
Visibly Featured
In the late afternoon Friday the 9th I received a call that I was booked for Monday, with a possible Tuesday recall, on the independent feature film Barry Munday .
I had looked up the film's IMDB entry, so I knew in advance it starred the very funny Judy Greer of Miss Guided, Patrick Wilson of Little Children and Hard Candy, and veteran actor Billy Dee Williams; at the helm would be the film's writer and first time director Chris D'Arienzo.
(Remember that I do not believe in providing storyline spoilers myself [such generally being readily available Elsewhere notwithstanding], only indications of where I can be seen.)
The location was up on Sherman Way, right by Van Nuys Airport (and a couple of blocks shy of where I once did a temp assignment for a few weeks), I arrived around 7:15 for my 8am calltime. [Slightly resembling Marsha Thomason from White Collar and Lost], Felicia was the set PA who signed in the background and handed out the vouchers.
2nd AD Tessa Stephenson came to holding and explained the scenes involved would be a series of nine different days within the film, as well as the fact that we were all Definitely Recalled for Tuesday. We also learned the feature comedy as yet did not have actual distribution, but the plan was to have it submitted for 2009's Sundance Film Festival.
Via the hotline recording with calltimes, I had been made aware to have some wardrobe changes, plus a Hawaiian shirt. To my annoyance, I could not locate my "subdued" Hawaiian shirt, an unobtrusive blue with white. My super-bright orange shirt, with neon green and yellow highlights: no problem finding that... Stuck with the one shirt, I brought it along and thankfully wardrobe had no problem with the brightly coloured one.
Tessa returned and claimed (along with two other ladies, the quiet Jennifer, and the affable Youlanda Davis), my having been chosen to be, as Tessa said, "super featured" in the office scenes.
Soon we were brought in to the offices. I was given a desk across from Patrick Wilson, so his desk and mine both faced the office interior, our chair-backs along the same wall, each desk having a single cubicle-like wall in front dividing from the opposing desk each facing each of our desks.
For the first bit, as I sit at my desk, the office boss Lonnie (Billy Dee Williams), brings to me a file folder; he points at a page inside, and stage-whispers to me to "call this guy." As he goes to leave, he notices Barry Munday (Patrick Wilson), doing a good job on the phone.
With Billy Dee Williams as the office boss, in my head I wondered if that classified him as "the administrator of this facility"...?
Initially Billy Dee Williams politely shook my hand in greetings (though not officially by-name "introducting himself," as it were), while Patrick Wilson made a point to shake my hand and introduce himself and ask my name. I indicated he and I had "met," albeit momentarily, after a Q&A following a screening of his awesome film Little Children. I didn't expect Patrick would remember me specifically, but he recalled the screening and concurred he'd met numerous people from the audience that night; impressively, he made it a point to get (and remember) my name.
Writer/director (and extremely friendly) Chris D'Arienzo ran a fun while effective set. Reminding me of the Clint Eastwood school of directing, Chris pretty much efficiently stuck to about five or less takes.
We also did the Hawaiian shirt scene in which the office had a slight Hawaiian theme. I was given a comical Gilligan's Island'esque cocoanut-shell bra of sorts, that went right over my shirt. Chris even veto'd wardrobe's inquiry/suggestion if anyone else in the office should wear one as well, as the visual joke would have been watered down; it would have taken focus off of my wearing it.
Chris had begun "cutting out the middle man" and directed a few of us directly. I had no issue with this as Chris's enthusiasm and passion for his project was contagious; I knew that a less honourable SAG backgrounder could argue for and insist on an upgrade to Day Player, not only being directed by the [main] director but also interacting with the principal actors. I felt more loyalty to this project and to Chris than for me to be some petty jerk over such. Now had Chris considered or treated me as though I were a Prop That Eats, I might have considered "suggesting" an upgrade or filing a claim with SAG, but Chris was super friendly and learned my name really quick, so I felt an upgrade should be offered from the production, not demanded from me.
There were other scenes and coverage that didn't need everyone in the office, so we hung out in holding.
We were brought back in for a more choreographed scene, with various people doing crosses while Patrick goes to his desk. As he gets level to the front of his desk, an angle at which he's headed, I step up, hand him a folder, pat him on the back as I casually pass behind him to get to my own desk. As we would reset for another take, Patrick would return to me the file; one time he didn't, but then immediately remembered, and spinning about in mid apology, he saw that I was already retrieving it from his desk. "Ah, you're on it," he said pleasantly.
As at the time I was house and dog-sitting for my producer friend who was off in France for the Cannes Film Festival, I had no access to my computer, so the scenes we shot Monday and Tuesday, being at the same location, I've just melded into this two-day entry. Monday was cool but a bitingly bitter wind throughout the day made it far more unpleasant in the outdoor holding, while Tuesday the temperature was far more toasty.
Almost first thing Tuesday morning Jennifer, Youlanda and I were asked our availability for the next day, Wednesday. As we were both available, we were booked/recalled on the spot; I called and notified my calling service.
Towards the end of Tuesday, the caterers were packing up the chairs and tables to bring "to the new location." Deducing we would be going elsewhere the next day, I asked Felicia if she knew where. She showed me, then gave me, a copy of the following day's callsheet. To my astonishment, the new location was in El Monte. At that time, I wasn't even sure where El Monte was located. Thankfully the callsheet already listed we three "Barry's co-workers" as having a 4:30pm call. I knew this would give me time to go home in the morning to Mapquest and it.

Wednesday, May 14, 2008
Where everybody knows [my] name
I got the bus information to get to El Monte, which I learned pretty much is dead south of Pasadena. I returned to the Valley to feed early Champ and Dumbledore (my friend's awesome dogs), and walk them, hoping they could Hold It until I got back that evening (thankfully, they did hold on until I got back). Having never been to El Monte and unaware if there'd be any traffic, I ended up timing it on the safe side, and arrived about quarter past 3pm for my 4:30pm calltime.
There was a lot of new background people throughout the day, their having had a mid-morning calltime. While my voucher had me in from 4:30pm to 9:18pm, lunch was actually called from 4:30-5pm. Jennifer stayed by herself again, while Youlanda and I sat with a pretty and friendly woman named Marissa. As it was the final day of the main principal photograhy (a "splinter unit" the next day would be shooting some footage that would be used for an opening credits sequence), director Chris was given a director's gift from the crew, a montage of set and behind-the-scenes photos or such, compiled by the prop department.
Sporting a blue t-shirt comically proclaiming "Bowling sucks," Chris came over to Youlanda and me, shook our hands and thanked us profusely for coming back for another day. As we chatted, Chris clarified the Sundance game-plan for the film, and he also stressed having gone over the dailies and that my outfit with the cocoanut bra looks great; really funny. He was so open and friendly I risked asking him for a photo with him to which he graciously accepted; Youlanda took the photo.
Chris also accepted my contact card, declaring he would indeed check out my site and my demo reel, our indicating mutual hopes of working together on future project/s of his (in my case, hoping more than "just" background...).
Eventually the catering company declared they were taking not only all the tables, but also all the chairs. As such would violate SAG contract/s (e.g., background is to be provided at least chairs), we were brought inside the restaurant (called Edwards, on Flair), where in the back we all sat at the booths, et al.
At one point as I headed out to get something from craft services, I came upon Patrick Wilson who gregariously said, "Geoff! How are y'...?" and he swung his arm around for a warm and sincerely friendly handshake. Eventually Youlanda and Jennifer and I were set at the bar with Patrick and Barret Swatek of the webisode series Quarterlife. At first I was given a glass of apple juice, which was replaced by a glass of non-alcoholic beer.
I suspected this bit could be part of a montage; based on results it could also have been MOS (no actual recorded line dialogue). At the call of "Action!", at the top of the first take or last camera rehearsal, Patrick suddenly piped up, "So Geoff, what're you drinkin' there?"
I didn't expect this, and quickly just responded it was "just regular beer," after which I remembered the term should be "on tap" (this is what happens with my not being an alcohol drinker as such). As it was, from then on Patrick's references to me (by name) were about my hitting it back. Billy Dee Williams comes over and joins us, all but leaning up against Youlanda and me. Jennifer was at my right, in the film would be far screen left. During one take after our toast, Billy Dee (whose character at that point is a bit tipsy), suddenly started to seem to be about to "hit on" Youlanda.
It was announced Billy Dee Williams was officially picture wrapped, to which there was much applause. He thanked everybody for their wonderful work and what a great film on which it was to work.
Then it was announced that Barret Swatek was also wrapped, after the applause to which she comically added, "And my boobs!"
As they were checking the gate, I risked asking Patrick (that if it wasn't too out of line), if he was open to a posed photo with me. He heartily agreed, and Chris suddenly walked by, thanking me. Chris even accepted taking the photo of Patrick and me, right after another bit of production business.
It's a shame I didn't have any photos taken while working as the principal lead on the McDonalds commercial, else the roll of this one-time-use camera would have been closer to finish off and get developed earlier and faster. Thankfully the shots came out well and I added them here, as well as to my photo gallery at my MySpace profile.
I look forward to seeing Barry Munday when it's released; I'm certain it will get distribution. Chris and Patrick were so friendly and pleasant to me, I'm certain that Badger Luck will have this movie kick-ass.

Wednesday May 20, 2008
The Behind the Scenes photos
By the previous day I had managed to finish off the roll of film and dropped it off for next-day development...

Geoffrey Gould with ''Barry Munday'' writer / director Chris D'Arienzo
Behind the scenes with Barry Munday
writer and director Chris D'Arienzo
[photographed by Youlanda Davis].
Geoffrey Gould with Patrick Wilson, title role of ''Barry Munday''
Behind the scenes with Patrick Wilson,
title role of Barry Munday
[photographed by Chris D'Arienzo].

Monday June 08, 2009
Bad timing, a year later...
Just over a year after working on Barry Munday, I received a notice of a preview screening for it, unfortunately for the following evening, Tuesday June 9th at 7:30pm, not far from where I live. The unfortunate aspect was that the previous six days I'd been house and dog-sitting and Tuesday June 9th at 9:20pm, I'd be at LAX picking up my friend for her return. D'oh!
Despite suspecting no one I notified would be available to attend (and/or make the effort), I send out the screening notice to as many of my local Los Angeles friends of whom I could think.
I MySpace-messaged Chris D'Arienzo about the screening, but I cannot be certain if he [even] checks his MySpace profile anymore... (Shortly after the shoot we'd added each other's profiles, and in one message of thanks for my work on Barry Munday Chris added: "Next movie: lines...!")

Wednesday March 03, 2010
Barry Munday trailer and "premiere"
I came across an online article not only with a Barry Munday trailer, but that the film is set to premiere March 13th at the (apparently pricey) SXSW (South-by-Southwest) Film Festival; currently it is hoped the feature may be acquired by a studio for theatrical distribution.
One page's poll asks (and I request you, the reader here. to respond): Will you see [Barry Munday] if it's released to theatres?

Barry Munday trailer

Saturday March 13, 2010
Premier at South By Southwest Film Festival; reviews
I'd been keeping an eye on Chris D'Arienzo's status updates; so far at the festival Barry Munday has been well received...

At Film School Rejects site:
SXSW Review: Barry Munday
Posted by Neil Miller on March 13, 2010
'Barry Munday' With an energetic opening that signals an upbeat and well-soundtracked tone, Barry Munday introduces us to its title character, played by Patrick Wilson. He's a guy you've met before, around the office (if you've ever worked in one). The guy who hits on every woman in site, spends most of his lunchtimes alone and is constantly making imbecilic, inappropriate remarks. You may know him as a tool.
In that opening sequence, as we get to know this man with whom we'll spend the next hour and a half, Patrick Wilson establishes himself in the role, disappearing perfectly into this "tool" persona. Barry is not a parody, he is not a character — he's a real person that many of us have met. And the success of this movie — of which there is a lot — is based on his natural, honest performance. Several moments in, an unfortunate incident with a teenage girl in a movie theater and an angry father wielding a trumpet leave Barry sans-testicle. And so begins the change.
As if losing one's ability to procreate wasn't change enough, Barry finds out that he has inadvertently fathered a child with one of his one night stands, a homely, socially awkward girl named Ginger (Judy Greer). Finding purpose in his journey to becoming a father, Barry makes changes in his life and pursues Ginger, leading to some rather interesting (and hilarious) consequences.
The story behind Barry Munday calls back (not so far) to films like Knocked Up, Meet the Parents and even at times, the tone of Mike Judge's Office Space. But there's also something here that calls back to relationship comedies of the late-70s. Something that may have caught the filmmaking eye of Hal Ashby, had it been scripted a few decades earlier. Perhaps it is the unique set decorations, many of which have a retro feel to them. And perhaps it's just the way the comedy flows and unveils its many quirks. From Billy Dee Williams as a Delorean driving insurance company president to a track-suit wearing Malcolm McDowell, the film has a lot of quirks. Luckily, it trades schmaltz for honest and receives heaps of laughs as its reward.
The anchor of it all is Patrick Wilson, whose performance is a high mark in an already impressive career. Wilson presents Munday as the office schmuck, then slowly bends him and molds him into a new man over the movie's runtime. He's careful though, to ensure that we always see glimpses of the man Barry started out as, so as to keep it all honest. Judy Greer is his comedic equal in this movie, with a teased-hair bout of craziness that only she can do. Her Ginger is neurotic, socially guarded and ultimately very sweet. Even through their warts, we can see characters we know and like, making it easy to root for them down the line.
The film's only burden is [its] pacing. Just as it begins to slow down though, it is saved by a scene involving Christopher McDonald and Tenacious D collaborator Kyle Gass. An impromptu meeting of men who have experienced the loss or mutilation of their genitalia adds a touch of randomness to an already uniquely offbeat comedy. It works perfectly, serving as just the pick-me-up the film needs before it heads toward its mostly predictable, but satisfying end.
If there's one thing to be gleaned from the effort of director Chris D'Arienzo, it's that he has a genuinely deep love of classic comedy — and an eye for telling us a usual story in an unusual way. He's also got an eye for assembling a cast that works well together. If he continues to make honest comedies and picking good source material, he's got it made. For now, let's all just sit back and have a hearty laugh with this one.

At the Los Angeles Examiner site:
SXSW Film Review: Barry Munday grabs life by the balls
March 13, 4:47pm - SXSW Examiner Whitney Francis
On Saturday, March 13th, Barry Munday a new film featuring Chloe Sevigny, Patrick Wilson, and Judy Greer, made its world premiere at the South By Southwest Film Festival at the Paramount Theater in Austin, Texas.
The film follows the trials and tribulations of the title star, played by Wilson, who tragically loses his testicles at the hands of a paramour's father, only to learn that he may have accidentally fathered a child with his former equipment before the accident. What follows is a hilarious and often heartwarming portrait of two families coming together despite their shortcomings.
The film has several guffaw-worthy moments, not the least of which is the fact that Munday loses his goods via a blow from a trumpet. When asked why a trumpet was chosen, Wilson simply responded, "Well, a tuba would have been over the top."
Throughout the Q&A that followed the screening you felt the pride and camaraderie of the cast and crew, a strength that comes shining through in the film. At the end of the day, it's evident that while Barry Munday may have lost his balls, he makes up for it with more than enough heart.

'Barry Munday'

At Brand X site:
SXSW Paramount Theater - Barry Munday
Posted by G_A_N on March 13, 2010 at 1:59pm
Two Words: Barry Munday
This could very well be this year's The Hangover!!
The wonderful trailer that I've seen one too many times watching late night TV only skims the surface of the laughs that writer-director (directorial debut), Chris D'Arienzo, piles on in this "gut-busting" comedy.
There's enough of them (laughs) to go around, and the comedic timing that Patrick Wilson (Hard Candy, Running With Scissors) and Judy Greer (Love Happens, 27 Dresses) have is equal to that of the Three Stooges.... minus one!
I already want the DVD!!!

I concur with G_A_N: apart from hoping to see it on the big screen, I look forward to the DVD as well...!

Sunday March 14, 2010
Video interview
Chris and Patrick were video interviewed for an IFC site page regarding Barry Munday...

Patrick Wilson Talks Castration and "Barry Munday"
By Matt Singer on 03/14/2010
"Barry Munday" tells the story of a suburban wanna-be ladies man (played by Patrick Wilson) who loses his testicles, impregnates a woman he can't remember having sex with and through it all learns to be a better human being.
I sat down with Wilson (who recently also had a major role in "Watchmen") and filmmaker Chris D'Arienzo, making his directorial debut, to find out more about this bizarre love story.

Patrick Wilson Talks Castration and "Barry Munday":

full screen video | small player video

Wednesday March 31, 2010
April Barry Munday screening
I discovered that there will be a Barry Munday screening at the Newport Beach Film Festival Friday, April 23rd at 8:15pm. The film festival is at the Edwards Island 3 Theatre at 999 Newport Center Drive, Newport Beach, California 92660.
I attended the Newport Beach Film Festival for the 2006 screening of Strictly Background there. I was only able to attend as we carpooled down; according to transit sites, I probably could down there, but have no way to get back before the next morning.
I figured I'd ask about and see if anyone would be interested in attending; I'd even provide them with a ticket to drive me down and back, but it was not to be.

Tuesday September 15, 2010
Jumping around in the IMDB, I happened to check on Barry Munday and discovered it is being released (albeit limited release), October 1st at the Music Hall theatre in Beverly Hills.
I also noted the feature had its own website finally, which is where I came across its release date.
Understandably, I am looking forward to it...

''Barry Munday''
new one sheet

Monday September 20, 2010
Preview screening
Strictly Background cinematographer Bryan Storkel notified me on Facebook that there was a scheduled preview screening of Barry Munday Sunday the 26th at USC, at the same theatre at which Strictly Background screened. I immediately went to the page link Bryan sent and I made a reservation. I sent the link to Chris on his Facebook Wall, who responded that it was cool and his hope that they like it.

Sunday September 26, 2010
Why DVDs have Bonus Features
My friend and I went to the 4pm preview USC screening of Barry Munday; albeit being part of their screening program, there was no Q&A involved afterward, which suited fine my friend.
We both enjoyed the quirky film, and two of my four spots were quite visible. Early on, Chris had informed me the shots of me in the Office Hawaiian Theme Day scene were hilarious... based on results that got trimmed for time, pacing, et al (the tavern sequence was also omitted). I figured I could only hope it might be a Deleted Scene for the scheduled December 7, 2010 DVD release. But the clear shot of my handing Barry the file was still there, as was the clear shot of Billie Dee Williams moving off to reveal my sitting at my desk across from Barry.
I'd hoped the film would received wider distribution than it was to have.

Barry Munday

Barry Munday

Wednesday December 08, 2010
DVD acquired
Having pre-ordered the Barry Munday DVD the moment I could, it arrived this date. Earlier in the day I checked to learn that neither the local Target and Costco carried the DVD that'd been released the day before. The Target worker was almost beligerent about having to spend about fifteen seconds to check her little handheld device to see if they were carrying it.
Below are the frame grabs of my scenes; the Deleted Scenes on the DVD do not include the tavern scene with Patrick, Billy Dee and Barry's more friendly co-workers, nor did does it expound on the Office Hawaiian Theme Day in the amusing audio commentary of Chris, Patrick and Judy Greer.

Click on a thumbnail for Full Size view.
'Barry Munday' 'Barry Munday'
Entering to give Barry a folder.
'Barry Munday'
'Barry Munday' 'Barry Munday' 'Barry Munday'
Slapping Barry on his back.
'Barry Munday' 'Barry Munday'
Heading to my desk.
'Barry Munday'
'Barry Munday' 'Barry Munday'
The momentary scene that
indicates there was an
Office Hawaiian Theme Day.
'Barry Munday'
'Barry Munday'
My most noticed bit...
'Barry Munday'
... totally thrilled that I'm...
'Barry Munday'
... working for Lando Calrissian...
'Barry Munday' 'Barry Munday' 'Barry Munday'
'Barry Munday' 'Barry Munday' 'Barry Munday'
'Barry Munday' 'Barry Munday' 'Barry Munday'
'Barry Munday' 'Barry Munday' 'Barry Munday'
'Barry Munday' 'Barry Munday' 'Barry Munday'
Barry Mundar
Chris D'Arienzo

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