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Wednesday February 09, 2010
Shoot
The night before, I waited and waited for the information regarding the calltime.
I had arranged with a friend to stay on their couch for the night, as I knew they were relatively close to the location.
By 7pm I called to learn they were Still Waiting on the info themselves.
I notified my friend that as it was nearing 8pm, and to avoid forced turn-arounds, most likely my calltime would be past 8pm and getting there would be do'able for me.
Then I got the call with the number; learning on the recorded hotline my calltime... was 6:15am.
Oh... my... gods...
I really had no way to get to my Valley friends before 11pm or so, so I mapped out my somewhat horrific route and took a power nap.
Just before midnight I arose, showered and shaved, dressed and using my fully-charged TomTom
(which of late had actually become a tad more reliable than when I was domiciled in the Valley),
I hoofed it a mile and a half to the last bus south for the evening, leaving shortly after 1am.
This took me to wait about 45 minutes for the bus to take me to Burbank.
On my arrival there the 92 north suddenly arrived but I had not expected it, so missed it.
After an hour the next one arrived and my original directions bore out: this 92 did not shift into the 292 I needed: that one was the next one.
But the driver of that next one
(after another hour wait, in Burbank),
on hearing of my Chatsworth destination, urged me to take the 166 to[wards] the Chatsworth station instead of the 152 my researched directions laid out.
I decided to accept his advice and at the depot waited for the first 166 of the day, another hour later
(in brutally cold wind-chill filled gusts).
This got me about half a mile from the production offices, and my TomTom indicated that on foot I'd reach the destination by 6:10am for my 6:15am calltime.
I did indeed, and forgoing the tempting catering truck, and found
Greg
with whom my hotline info indicated would check me in.
He informed me my calltime had been shifted, to 6:45am.
I had no problem with that as I was already there, and it was only a thirty minute difference.
He guided me to the holding area inside where
Sally
would soon find me and check me in. which she did.
Foolishly I did not take the opportunity to return to the catering truck for a much needed hot breakfast.
I'd filled out my voucher and Sally took me right to wardrobe who had for me a Hawaiin shirt, shorts, shoe and socks
(apparently the head wardrobe person had pulled them, even though during a second wardrobe call we discussed my bringing my blue Hawaiian shirt and my sandals).
Once I'd changed and was wardrobe approved, Sally brought me to the shuttle to the Laker Court location about two miles north.
I was shown to a cabana/guest room of sorts in a for-sale house's back yard, where I was able to snooze for a bit, before a few other background ladies arrived.
Soon enough I was brought to set, another house's back yard pool area where
affable episode director
Jerry
introduced himself to me, gave me a quick rundown of the bit, and pleasantly told me I'd be "outta there by 8:20."
Garret Dillahunt
(who plays Burt)
was foreground for this flashback bit
(one aspect of the series that harkens back to
Raising Hope creator
Greg Garcia's
My Name is Earl).
They did it as a series, meaning repeating the action a few times without separate cuts and takes.
It was run through about five or six times and the familiar "Moving on...!" was called.
Jerry thanked me again, and back at the production offices as I signed out... sure enough, it was 8:20am...
Sally recommended I get some breakfast, but I discovered the catering truck had already packed it in, so literally I had had zero food on the entire shoot, as craft service was nowhere near being set up by the time I was brought to set.
I realized I had just enough time to make it to the nearby Chatsworth station where I took the last
Metrolink train of the morning to Union station, making my trip back far less time consuming.
I did stop and get some milk, so I arrived at noon, a twelve hour "day."
Ironically, getting to and from a shoot generally has been about an hour, then I get to hurry up and wait for 12+ hours or so, then brought to set for about five minutes' work.
Here I spent almost six hours to get there, was used first and wrapped so quickly.
Sally did tell me the episode's scheduled air-date as being
May 3rd...
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