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Tuesday April 11, 2012
Shoot
I arrived at the crew parking at 10:45am for my uncharacterstically precise 11:12am calltime.
Base camp was only a few blocks from the
actual location,
a closed go-go dance club now only used primarily for filming, apparently.
In holding, I was recognized from
Strictly Background
by
Whylip Lee,
who was pleasant with whom to chat during the day and into the evening.
Indicating having also met and worked with
Louis,
Whylip and I discussed some of the "finer points" of the heart-felt documentary.
Also on set were several older actors, who clearly enjoyed spending their day commiserating and darkly harping vicously and bemoaning gloom and doom about what they perceived as the horrors of the recent SAG-AFTRA merge.
(Remember that I do
not
believe in providing storyline spoilers myself
[such generally currently and/or eventually being
readily available Elsewhere
notwithstanding],
in my report/s I only convey indications of where I can be seen.)
The scene was that of
Cameron Knight
giving some rather simple career advice to
one of the main young men.
I'm not exactly sure to which one, though earlier it had been pointed out one of them was
Nicholas Braun
who had starred in the feature
Red State
(on which I worked
a day, though I didn't made it into its final cut),
so it is possible it was he with whom she converses.
Wearing my glasses, my striped blue shirt, sans tie, I was placed on set at the doorway within a small alcove-booth at the far wall of the main room
(it would be to the left on screen),
my character enjoying a private dancer, although with the angle of the camera, if I'm in focus at all, it is
(understandably)
not shown I am actually staring at a blank, black wall.
Based on results I could make it on screen
(even if I'm out of focus),
as at one point I was advised for my movements to be more animated.
Whylip reported that we were signed out at 10:30pm, as our PA signed out me and another on-foot background artist at the location, as opposed to our being shuttled all the way back to base camp and to the two of us, as we had the
Blue Line Washington station
only one street away, less of a walk than from crew parking.
Our PA was not certain as to the sign-out time, so she refused to add it to our voucher but would back at base camp; so Whylip was good enough to notify me.
As of this entry, the film has no release date or website
(though I did learn that there are five other films with the same Get a Job title);
its script supervisor
Scott
who pleasantly chatted with me a few times during the evening, indicated they had about five or so more days of principal photography to do.
At one point, with the room getting a wider shot, my booth became a mini-video village, with several crew members right next to me, though in the shot one would still only be able to see me if the doorway gets any coverage.
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