Friday, May 27, 2010
Reunion film
I submitted for the student film The Films of Avi Krum the previous week. Normally I do not submit for student film background work unless I find the project compelling. Here the scene/s would involve attending the Cannes Film Festival, so the irony wasn't lost on me, as my former BFF used to attend Cannes. Also this short was starring actor Adam Herschman, a main principal in the comedy feature Accepted (on which I worked).
Director Nick Musurca had been the cinematographer on the impressive The Maiden and the Princess project in which I was a supporting role. The night before I'd gone over the emailed callsheet also to spot Jerry White running sound again, as he'd done for Dog Eared ("though" my tall friend had directed me in his funny short Greeters, and he was still polishing up a science fiction webisode series in which he wanted me to star). As the Cannes scene had about twenty plus background artists listed as participants, I noticed Rhoda Pell who I first met working on Santa Croce (we'd done another project or three together, but as I compose this report I cannot recall exactly which), and my good friend Norma Jean Riddick who I've known since meeting her working on Glee. She'd spotted me on the callsheet as well, jokingly referencing it on Facebook. At the time, I wasn't sure if I had "all" of my tuxedo, but thankfully I had, plus recently I'd gotten a proper, "bow-ties are cool" bow tie I knew would work perfectly with my tux.
Thankfully my legs were not hurting me as much (considering they'd been substantially sun burnt the day before, working on the NY Film Academy short Drowned). I arrived at the southern end of the USC campus and made my way to the location at the Town and Gown building, before to which I'd been, working on the bizarre USC short Murmur. I was surprised that there were only about eight or nine backgrounders there; apparently a lot had unprofessionally bailed at the last minute and/or were flaking on the project.
Once changed from our civies into our formal wear, we all looked rather dashing. We got our paperwork which we handled early, and about which we wouldn't have to worry when we'd be wrapped.
(I had no idea when I submitted to this as to how many project linkage and cross-overs there'd be...) Shortly after my arrival Jerry and I were chatting; I asked him about the progress on Dog Eared, pretty much about the time Jerry was about to ask me... why I had not attended its premier screening. It turned out the project's producers completely failed to notify me that it was done, and about to be screened. At the screening Jerry had been surprised that I was not in attendance. I told him I'd heard not a peep about it; considering some projects take months to complete I'd just figured it was still in post production or such. Jerry was understandably displeased with this, not merely their dropping the ball on it, but its seeming disrespect of my work, and he clarified my bit comes across as really funny. He reassured me not only would he talk with those who should have handled this properly, he'd make sure I received my DVD copy. Ironically, I had forgotten that one of the producers for Dog Eared was Oliver Riley-Smith, who had not only directed me in his All You Need is Plove project, but had literally just directed me again in his project Inspiration four days earlier, Monday the 23rd...! Boop!
Meanwhile, this day was set to shoot three scenes, but it was clear not all of us might be able to stay for all of them. Norma had a closing night performance of Oliver for which she had to go, and a few others also had evening commitments. My main issue was transport, particularly with my pained legs; I prefered to catch at least the last bus a block from where I've been staying than the later bus line that stops a mile therefrom.
Adam Herschman was hilarious; the first two scenes were shot before lunch, the first having a bit of a tustle during a formal dinner, so some major slapstick'y pratfall stuff, followed by his having been sedated and hoping for rescue whilst we (Canne attendee passers-by) not only walk by but regard him with derision.
Considering the disappointly low number of (clearly amatuer) background "actors" who failed to show, during the first show a few crew members were conscripted to be placed in the scene, such as assistant producer Anissa Douglass (who was paired with me), and the production's still-photographer Jeanne Jo. Along with Rhoda, Anissa and I were placed at the doorway beyond the tables; not overly far away or "buried." She wore a black outfit which she cleverly "formalized" by pulling the shoulder straps below her shoulders; her non-dress leg-tight pants wouldn't read on camera as there was a table between the camera and us.
The second shot was focused on Adam as Avi Krum, unable to rise from a sofa, and being guarded by two young lady Korean security guards, done up so as not to be recognized as such. We walk by the three, ignoring his silent pleas for help, using sedated, slow moving gestures.
Lunch was called at 3pm. As mostly pizza was provided, I hastily went and retrieved some Wendys so I could eat as well. On my return Adam and I chatted for a bit, that I'd worked on Accepted as well, the current pretty much No Work To Be Had aspect of the industry, and Adam and I agreed that before the day ended we'd get a photo together. Before lunch ended, Norma and I did get done some behind-the-scenes photos done, mostly to show off our formal wear.
Curiously enough, while the ballroom tables had been immaculately set, and Adam was rehearsed on his blocking for a few minutes, other aspects of the room had not been tackled. One of the ADs suggested that if we could only stay until around six, that it might be likely they would not be ready by then, and sticking around another two hours or so not to be used and still have to leave would be counter-productive for our own schedules. Along with the others I had to concur. I went over to Adam so we got our photo together, and I signed out with those who also had to head out. While I didn't need to, I couldn't resist showing my lobster legs to Jim Mahoney who signed me/us out, and he certainly understood my painful predicament.
I felt bad that otherwise I couldn't stay to the end of the day, but the pain was slowly starting to return. I quickly changed back into my civies and made it home without much trouble.
Being a mega-Thesis Film, a la The Maiden and the Princess, I wasn't so sure how many weeks or months I might have to wait to see its finished product, but I certainly looked forward to it.