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Tuesday November 13, 2012
Shoot, Day 1; a Very Special David Lynch Christmas Episode....
The location near USC campus was easy enough to which to get.
In case the meal was pizza or Subway, I knew within easy reach I had a Wendys, Fatburger and McDonalds.
I arrived at 9:45 for my 10am calltime.
The interior of the house was remarkably similar to the house used to the
Tell-Tale Heart
project just a month over five years earlier, but it was definitely a different house.
I must admit, due to Kerry initially contacting me, and at the audition, I was under the impression she was the director, with Sean being the script writer, a la the
Dr. Life
project where the writer was not to be the director.
However as the day progressed I began to suspect Sean was the director as well, and that Kerry was the producer.
While the callsheet listed their full names, their specific crew positions were not.
At first as Sean gave "more direction" than Kerry, I went with it thinking at first it might be co-directing.
I met cinematographer
Stephanie Valentin
and
(who I guessed was grip),
Wentao Wang.
The set PA was
Steve Emmons,
whose name was not on the callsheet.
Facebook has demonstrated how many thin-skinned, easily offended numbskulls exist.
That plus my not giving away storyline spoilers slightly prevents giving away too many details.
I play a sad, lonely man at Christmas, preparing a turkey "for his lonesome," as my late father would say.
Kerry had requested I bring any younger photos of me; as such were in storage, I provided her with the link to my Youth and Family photo gallery on Facebook.
They selected my high school senior yearbook photo, my family at my brother's wedding, a shot of my mother with my brother and me, and a shot of me with my very first girlfriend, which later I realized was due to it being a Christmas photo
(as the same lovely girl has barely any Internet footprint whatsoever
[I've only found a single reference that reflects she's is
(or was),
married],
my slight concern of that was my/our not having her permission to use her image
(from 1978 or so notwithstanding);
I have other other late-1970s family Christmas photos, though it was probable I'd not yet uploaded any of those).
We filmed in the living room first, then to the kitchen where we filmed the rest of the day after lunch
(Steve retrieved and brought from Fatburger our ordered lunches).
With my sun and moon both in Taurus, I'm far more of a sensualist than a sexualist
(though I do not shy from sexuality, just as the sign's flipside, Scorpio, doesn't shy from sensuality).
But
(with some amusement I point out),
the preparation of this particular Christmas turkey, and subsequent action could fit as a bonus scene for
Eraserhead,
and
(for the thin-skinned, easily offended folk)
could put people off from their holiday dinner/s
(fortunately, as with willful fools, I don't gladly suffer thin-skinned, easily offended folk, and their moronic "opinions" are none of my business...).
Not realizing right away my shots for the day were done just before 5pm, I was there for an insert shot that seemed to imply my
(character)
having porcine capabilities and capacities.
Realizing I was not needed for shots they could continue to do, I was wrapped for the day by 5:40pm, a hiccough later than originally planned, but thankfully the nearby 603 bus I thought had already passed was in fact a few minutes late, getting me up to Sunset/Alvarado a bit longer than I'd anticipated.
This taught me should I catch it Friday night
(if it runs that late),
just to hop out at Hoover and wait a few minutes to catch the next 200 bus north.
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