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Monday December 15, 2008
Shoot
(Remember that I do not believe in providing storyline spoilers myself [such generally currently and/or eventually being
readily available Elsewhere
notwithstanding], I only convey indications of where I can be seen.)
It did not rain last week, but there was talk of it, so our shoot was moved to the 15th.
So obviously, all night it poured.
I left to start catching buses just before 4am and all but soaked to the skin, arrived at Culver Studios at 5:30am.
So of course they didn't get to us until around 11:45am or so.
I went through hair and make-up, and was given a large moustache, not quite as substantially huge as the one they had considered for me at the fitting.
To my delight, one of my better friends
Paul Brown
was part of the group.
His partner
Terry
was one of those doing hair.
Paul had a wig that fits him perfectly which helped get him the gig.
With the wig and his facial hair, I pointed out his resemblence to actor
Joshua Gomez
of the series
Chuck.
With the light coloured suits, the rain was now a nightmarish nemesis.
One drop of water would show up as easily as would a blotched stain of ink.
Armed with umbrellas, P.A.s
(Production Assistants)
and wardrobe people escorted people one by one to the changing rooms.
As a thank you for all her help throughout the production, one of the
(main?)
P.A.s was part of our costumed group, a lovely young woman nicknamed Mouse.
When finally needed, we were shuttled to the sound stage
(to which were it not raining we easily could have walked).
In a Green Screen studio
(the exterior scene now an interior scene),
our group was arranged and re-arranged, and we were all told to be sure we could see the lens.
"If you can see the lens, then we can see you," we were instructed.
The crew apologized with our being moved about like chess pieces; they had to be exact to match our group with earlier Plate Shots done: in post production, behind us will be added a large number of people as well.
It became unclear as to whether this is the prologue as it seemed implied this was after her return.
We got to see Tim Burton momentarily, as he demonstrated how Alice will approach the group.
While awaiting being brought to set, a P.A. told there was "one shot," which we figured meant one scene with a few set-ups/angles of same.
Apparently, not so much.
When everything was set up, we had a few minutes to relax at craft services, before we went back in and after six or so takes... they checked the gate and we were done.
No other angle/s for the bit.
Facing the screen, Paul is at the far left, I am a person or two to the right of Alice
(to Alice's left when she turns and faces the camera).
We changed into our regular clothes, socks and shoes
(most of which still moist to outright wet, and freezing cold),
and had lunch.
I obtained from craft services two sodas for myself and for Paul to have during lunch, and he and I sat with Terry and others from the hair department.
After lunch
(as we were already wrapped),
we were signed out.
Paul had offered to drive me home, and as earlier while waiting to get to set a producer friend of mine had called praying I could Emergency Dog Sit as there was an important meeting out of town to which she had to go until Wednesday afternoon, Paul dropped me off at her place in the Valley
(thanks to an unexpected snowfall, my friend ended up being stranded and I cared for the Boys until Friday).
At least the rain had broken... for a while; it returned later that evening, going on and off as though it couldn't make up its mind.
Paul had a gig or three lined up; we realize at least it being the end of the year, the wait to the
Alice in Wonderland
release would "only" be about eighteen months or so away.
With Terry, Paul attended the film's wrap party a few days later, during which a slide show presentation was provided, one shot of which Paul reported was of our group on the green screen set.
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