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Geoffrey Gould
Reports from the set/s...
Jerry White Jr.'s USC student film
(and Lukas Lachenmeier's spin-off film therefrom)

Sunday February 28, 2010
A week or three earlier, I'd received word from Jerry White Jr. regarding his USC student film; he wanted to check out my interest and availability. With both my availability and interest in hand, Jerry began to write his short comedy, for-me written a main supporting role with me specifically in mind.
Initially I thought Jerry had worked on another USC student film, many of which I'd worked, but I could not recall which one. At the first read-through he reminded me we'd met at a couple of industry networking events that used to be held.
The ambitious script was mostly completed and lead Garrett Nichols and I met and read through the scenes a few times. Tuesday evening we would meet and go through the scene/s in class at which the instructor Jeremy Kagan (previously for whom I'd performed in the same sort of directing workshop class, somewhat doubling as pre-production and/or rehearsal for Routine), would give notes and suggestions and such. The filming itself would be sometime in March.
Considering the lateness of the hour, Jerry graciously drove me home. During our talk, Jerry and I found numerous personality aspect similarities, considering his being a Scorpio and my being a Taurus: flips sides of the same coin. We discussed the film's story, as well as the possibility and viability of the concept being a pitch-pilot for a television series...

Tuesday March 02, 2010
In class rehearsal
Jerry emailed us that we'd be meeting at Zemeckis at 6pm, which gave me just enough time to get back to my rental box, then continue on to Encino from which to catch a commuter bus back to USC (arriving with just enough time to eat at the Wendys there). On the bus I spent the time studying my lines; once at the Zemeckis building Garrett and I found each other, and Jerry quickly arrived. We also met Tracy who will be the short's line producer.
We went over a few times the scene we were to do (the break-room lunch scene), and we were introduced to our co-star Ann Hu played Janet. The three of us ran lines and Jerry provided adjustments and a few explanations.
Four small video cameras were set up, and Jeremy Kagan arrived along with the other students for the class. We ran the scene, and it got laughs in the proper spots. As we ran it several more times, Jeremy made quite spot-on observations and helpful suggestions, never once even approximating overstepping Jerry's vision. He did strongly suggest that as while we were mostly off book, we weren't off book "enough" not to rely on them. Working at remembering the lines was getting in the way of the performances, so we hand-held them to make sure of the lines so we could focus on the delivery.
The other students each manned one of the cameras, and Jeremy assisted by demonstrating various optional angels to convey the different relationships between the characters.
Our part of the class ended at 9pm. Jerry walked us out, and the four of us briefly spoke about the script, story, et al. Ann had quite a different take on things than I... While it turned out Ann also lives in Sherman Oaks, she had plans and as I previously expected I'd have to do anyway, bused home, arriving there just after 11pm.
In the wee hours of the following morning I received from Jerry an email:

From: Jerry White Jr.
Subject: The Rock and the Roll
Date: March 03, 2010 4:50am
Geoffrey, fantastic work tonight. The last 30 minutes Jeremy and I and the rest of the class talked over how things went. Universally agreed upon was your excellent performance. Jeremy commended me on casting you and felt you were just nailing it, and said it would get even better once we're all off book.
They also loved the idea of this as a series and Jeremy thought it was very viable. That was awesome to hear.
Talk to you soon,
USC School of Cinematic Arts
M.F.A. Candidate

Apart from congratulatory and appreciative in my reply, I mentioned my surprise how Ann and I have such different takes on Janet and Murray's relationship; her thinking they really dislike each other (she even suspected Murray "constantly" hits on her, which would be risky as Janet is Murray and Bill's work superior). I pointed out that I was looking at it from a long-term perspective (e.g., ongoing TV series), in which Bill, Murray and Janet (and/or maybe additional characters), would all but "have to" hang out beyond the All-Mart on a social level. The script already implies Bill and Murray are really good friends that most likely do hang out outside the All-Mart. As for Janet and Murray, I'd figured that they do like and (maybe begrudgingly) respect each other, and that they act more like brother and sister than "friends" in sort of a "no one messes with my [sibling] but me" concept. The two might grumble and grouse, but either would still help the other one say, if Murray had to move or if Janet had a paint-apartment "party:" they would always be there for the other in a pinch, even if accompanied with verbal sparring...
As it was, later Jerry replied that my take on Murray and Janet's relationship was pretty much spot on; Jerry had brought in Ann on the project late Sunday night (his having worked with the talented actress before), and he had not had the chance to sit down with her and really talk about character dynamics, so her take on things had not yet had a chance to develop. Jerry concurred that Murray and Janet certainly disagree about a lot of things, but it's a mutually playful teasing and a begrudging respect as I'd posited.

Wednesday March 17, 2010
Rescheduled rehearsal
Jerry emailed Garrett and me, indicating having a location for the first scene, which used to be an RV, and now is a houseboat; for an available Sunday, March 28th shoot date. He also put forth Saturday March 27th, and Sat/Sun April 3rd/4th as the other primary shooting days, with some additional pick up shots with Garrett.
A rehearsal was set up for Sunday the 14th, but circumstances conspired against us; my local best friend's grandmother passed away and errands needed to be done before she left, Garrett's car broke down on the way and he was waiting for AAA, so Jerry called me and we rescheduled it for Wednesday the 17th, from 7pm "for a few hours." He confirmed that Ann Hu had been replaced, as she could not get on the same page with character's actual backstory. Noting two new (and extremely similar) names in the email CC (Christine and Christina), I asked, "Which Chris is which?" Jerry informed me Christina Costigan is now Janet, and Christine Kellogg-Darrin is playing Bill's ex-wife, jokingly adding, "I'll see if I can add some more Chris'es to the rest of the cast..."
I got to Jerry's place about ten minutes early, meeting Christine who'd arrived even earlier. When Garrett arrived Jerry showed us the short film he made with Christine and Christina, The Lost Girls (based on a scene from the erotic graphic novel), which was stunningly impressive for a student film; very high-end in production value and performance. Christina, a talented Aussie actress who can do a flawless American accent, arrived a bit later, along with Jenna Brighton. As did I (in my case, back east), Christina comes from much theatre background.
Jerry brought up to speed everyone as to Christina having been his initial choice as Janet, having worked with her, and how Ann Hu accepted the his last-minute workshop request, etc.
We ran through the scene with Christine as the ex a few times, after which with Christina as Janet we ran the break-room scene a few times. As it turned out, Christina lives remarkably close to me, so she graciously drove me home, relieving Jerry of having do so (as he comically double-punched the air in the knowledge he didn't have to drive to and from Sherman Oaks that night).
We set and firmed up our dates: one more rehearsal Sunday March 21, Sunday the 28th out in Ventura for the houseboat scene, Tuesday evening March 30th (for the break room) at USC, April 1st will involve some green screen work for the dream sequence (in which I'm not involved), then Friday evening April 2nd (into Saturday the 3rd): a full night shoot for the store scene/s (at the grocery store near the USC campus), which should will wrap the major principal photography (Garrett may need to do a few more pick-up shots).

Saturday March 20, 2010
Full script
Jerry emailed us the finalized script, amusingly in which certainly lines have been tweaked, including a few of our in-rehearsal "ad libs" (which works for us, as some flush out our respective characters). I've been doing my best to get the lines down, which works best when playing off someone and I've no one about with which to run lines. I actually video recorded myself doing the lines (with my webcam), but it was'nt quite the same.
Jerry also notified us the rehearsal would be at his place and not at the Zemeckis Building... which was fine by me as I'd thought it was to be at Jerry's place...

Sunday March 21, 2010
Final rehearsal
I arrived at Jerry's place about fifteen minutes early, Garrett arrives a few minutes later, and Christina at her calltime, after Garrett and I went over our duo scene/s a few times.
Interestingly enough, currently the fully-written script pretty much is regulation length for a TV episode sans commercials.
Jerry also showed us how to "get around" the ladies queue sequence: instead of the line of ladies, and having to light them all (and have a dolly shot, etc.), each lady will be recorded on the green screen, so their lighting will be uniform, and perfect. A friend of Jerry's, familiar with the software After Effects (generally famous with which to make lightsaber effects), can compile each lady's shot into a long queue. Jerry showed us a sample in which the friend took a single still-photo and created a long line of cloned ladies from it, and even as the "camera" seems to pass down the computer generated queue, each image shifted as though it was a three dimensional line of the same woman.
We clarified Jerry would retrieve each of us the following Sunday for the first scene being shot.
With the three of us, we ran the break room scene several times, tweaking and adjusting here and there, and learning each other so we are comfortable. Fortunately the lot of us all have similar odd senses of humour, which helps considerably.
We figured it's unlikely we'll have another chance at a rehearsal, certainly not this week, so from here we go to the shoot itself.

Sunday March 28, 2010
Shoot: Day One of Three
The script itself has about seven distinct sequences, within which are three to four locations. Day one would be the houseboat, day two the core scene in the breakroom, day three a dream sequence, and day four the interior store scene/s. (the following week would have a day or two of pick-up shots; I would not be required for the dream sequence or the subsequent days, only the boat, breakroom and interior store scenes).
Jerry arrived a few minutes early: I was walking Dumbledore at the far end of the street when Jerry called to announced he'd arrived. Considering most people who drop me off or pick me up rarely ever meet Dumble, the timing wasn't so bad. I then brought out some shirt wardrobe choices; Jerry had me bring three different shirts, my blue Hawaiian shirt I'd re-found since working on Barry Munday, my green polo shirt I wore for Solo, and a grey polo shirt.
Along with Lukas Lachenmeier, Jerry's DP (Director of Photography), we headed out to Malibu and retrieved out Bill, Garrett, and the four of us headed out to Ventura. In a park with a beautiful view of the ocean as well as overlooking some rolling hills, Jerry and Lukas filmed the prologue of Bill's dream.
From there we stopped at a Carl's Jr. for lunch. Despite my saying "plain/meat-cheese-bun" about eleven times as Jerry later confirmed, when we arrived at our destination, it turned out all they'd done with "mine" was not include onions. I was able to eat the unpleasant though just-tolerable Carl's Jr. "fries" at least.
And people wonder why I avoid Carl's Jr. whenever possible.
We met and spent the day with houseboat owners Sheryl and her husband Rick aboard their boat The "C" Dragon.
All for what I was needed was the phone call between my character Murray and Garrett's character Bill. Creating a virtual split screen, I sat in the living room while Garrett was in the sunken kitchen area. Amusingly, the ship's cat and second mate Mia spends the majority of her existance on one spot of the couch, the arm on which I would sit for my phone conversation. I wore the blue Hawaiian shirt under my burgundy, flair-adorned All-Mart apron, and (notwithstandingour being in two separate locations/realities [and essentially our being in a quantum nexus]...), occasionally in one or four takes, Mia interacted with the apron ties, and even the apron itself once I tucked in the ties.
Considering the friendly Mia, Jerry wrote her into the script as Bill's cat ("Bella Mia"); they managed to acquire a good shot of her being provided dinner, and Bill saying goodnight to her as he'd head to bed for his dream (after one take of which, Mia seemed to be surprised to be left alone, and hopped down from the sofa).
Amusingly, while Jerry had worked with Sheryl before, a few times during the day she mistakenly goofed a take, either speaking or being too close to the frame. This became a running joke during the day for Jerry. Rick even got into the act, as towards the end of the day trying to get "room tone" of the marina, Rick at one point blurted out he has a CD of marina sounds. At first Jerry was flabbergasted Rick would just interupt the otherwise absolutely needed silence, but considering the strong winds, Jerry instantly realized the CD would be the most efficient course.
Jerry has a brilliant caustic sense of humour, relating that his father would have done the same thing; imitating his father interupting getting room tone due to impatience and/or not understanding its need. Considering the majority of the day's shoot didn't "need" me (in the park I even carried equipment cases so as to be useful), as the day progressed on the boat, I sat back on the couch next to Mia, I began to drowse and drift off to sleep into multiple naps, politely being jostled awake each time my slumber elicited any snores. Jerry took a photo of me with Mia who Jerry claimed also was sleeping, so after a fashion he effectively took a photo of me "sleeping with" a female co-star... which he posted on Facebook... (along with posting a photo of my having climbed a tree earlier in the day in the park).
The target wrap time was 8pm, which we hit. The only thing that delayed was making back-ups of the footage to make sure what was recorded made it back to Jerry's: if it didn't, Sheryl had a copy on her external hard drive she's retain until he called to confirm she could delete it.
Garrett directed Jerry a shorter route back to his place, from which Jerry drove me back to my place. From there he'd bring home Lukas and only get home himself after dropping off the camera to from whom he'd borrowed it.

Jerry and Lukas figuring out shots for ''Greeters''
Jerry and Lukas figuring out shots
Jerry White prepares to shoot for ''Greeters''
Jerry prepares to shoot
Garrett gets directed by Jerry for ''Greeters''
Garrett gets directed by Jerry
Lukas and Jerry film Garrett walking up the trail in ''Greeters''
Lukas and Jerry film Garrett walking up the trail
The ''C'' Dragon houseboat in ''Greeters''
The "C" Dragon
Jerry White stands in for Mia in ''Greeters''
Jerry White stands in for Mia
Jerry White stands in for Mia in ''Greeters''
Jerry White stands in for Mia
Geoffrey Gould with Mia in ''Greeters''
With Mia aboard The "C" Dragon
Geoffrey with Garrett at The ''C'' Dragon for ''Greeters''
With Garreet at The "C" Dragon

Tuesday March 31, 2010
Shoot date a bust
As I left right from work (even taking my time), I got down to Zemeckis from downtown at 3:15pm for my 4pm calltime. Jerry and Lukas were discussing camera angles; Jerry conveyed to me that Garrett had been given a last-minute rush-call booking of a commercial as Hugh Hefner's stand-in/photo double. Apparently the gig was booked but the actor cancelled: the callsheet still retained the former actor's name. However, this seriously threatened oru having to cancel the scene shoot for that evening.
While we waited for an update, the project's super-pleasant producer CJ arrived. As we waited and they all prepared, Jerry and I sat at the table so Lukas could get a bead on focus, frame composition, as well as the two of them mapping out the camera placements throughout the scene.
Slightly early for her 5pm calltime, Christina arrived almost hurriedly, learning the growing probability that the scene might have to be moved to the following week. We clarified our respective schedules as being clear and at 6pm we set that date for the scene. Christina wa set to drive me home when I pointed out that as of the night before I had an 8:30pm audition there in the same building; Jerry offered to take me home afterward. Christina scooted out, having become available and able to attend the acting workshop she was skipping, so with the new scene shoot date she wouldn't have to miss it two weeks in a row, albeit not officially having anything prepared for that night.
After Jerry took me to Wendys to make up for the Carl's Jr. fiasco, he, CJ and Lukas cleared the room of equipment and departed whilst I awaited for my audition time down the hall, after which Jerry would return to take me back to the valley.
Outside just past 9pm, I called Jerry to report the audition was done. He was already on his way back so he arrived literally moments later. From what I could relate, he wasn't sure what class, or what sort of class, it was. He had just heard from Garrett that he had just been wrapped, so rescheduling the scene shoot had been a good call.
We discussed the Greeters project, and my sending out an email blast, as well as MySpace blogging and Facebook note requests for as many background people as possible for Friday night (once home, I did that, even sending out a specific email to an actor friend I felt could play Lucille's current husband, also still-needed for Friday night).
Jerry sent out an email clarifying that the rescheduled breakroom scene would be the following Wednesday, not Tuesday. He separately thanked me for my email blast and notice/s about Friday night, though I did provide the sad caveat that based on results, previous such blasts (merely notifying friends and family of on-air appearance) have gone on unnoticed.

Friday/Saturday April 02/03, 2010
Shoot: Day Three of Four
I had emailed my friend Paul Brown as a possibility to play Lucille's current husband. CC'ing me, Paul sent a very well written email to Jerry inquiring after the role, but I later learned Jerry had managed to acquire someone for the role (and that he was going to notify Paul thereof). In my reply I urged Jerry to retain the contact information for Paul for future projects.
Jerry also sent along the callsheet for the Friday night night-shoot; the principals' calltime being 7:30pm.
Checking the bus schedules (having just enough time to go home from work, shower, shave, walk the dog, et al), The Rapid Bus decided to blow past the Woodman stop, so I figured I'd get out of the way emptying the rental box. As I walked up Van Nuys Boulevard, I stumbled on an uneven slab of pavement and went down. Many people fight trying to fall; I know that that can be more injurous, so I go with it. In this case I was going forward enough to scrape my right arm at the elbow. Thankfully I was wearing a long-sleeve t-shirt beneath a hoodie, so the scrape was less substantial than had I been wearing a bare-armed short-sleeve t-shirt. Later, at the shoot, I noticed that the area about the scrap was massively goose-egg'ed. It was far enough up on my arm that the blue Hawaiian shirt blocked it so on film it wasn't obvious.
During the day Friday Jerry sent the updated pages on the Mrs. Golatch bit. I printed this out at home before heading out.
I decided on the double bus, my EZ pass eliminating the need for transfers, et al. I arrived at Jefferson at Hoover at 6:50pm, enough time to get a "snack" at Wendys, once finished coming across Jerry and Lukas doing the same thing. We headed over to the store next door, and while they set up Garrett and I relaxed and chatted in his car, mostly talking about his working on the Playboy shoot the other day.
Around 7:30 we were brought over, met a few of our background actors, and soon Christina arrived. We also met our Mrs. Golatch, played by the enthusiastic (and perfectly cast) Deanne Mencher. The three of us ran the updated dialogue as the camera was set up just inside the store's door.
Around 8pm Garrett and I were set for our montage-of-sorts shot, which filmed to be super sped up, a la the Vinnie Jones subway platform sequence for Midnight Meat Train.
Maybe 40% of the real customers entering or leaving the store at that entrance went into insti-Oh No I'm Ruining A Film's Shot, while others just ignored it. A few real customers asked us actual questions; thankfully I knew where was the bathroom so could direct people to there, and for specific products, I jokingly gestured to the store and indicated it's Probably In There Somewhere... Occasionally Jerry was able to wrangle an actual customer to greet us as though they were regulars. One customer, a very pretty girl, inquired of me the bathroom, and as she thanked me, added, "Superior is a great store." Sure enough, she wasn't even aware we were filming. A large group of students were gathering to be charter-bused to Someplace, and several came to shop, so they were enrolled to greet us happily.
At one point one of the store's workers came up to tell us [Garrett and I], that we "had to stop" filming, as one of the customers "complained." Without breaking stride, I simply told her pleasantly that the director was just outside the door, so she went out where she learned while she had the capacity to request that we stop, considering the provided permissions Jerry had acquired, the worker lacked the authority to stop us. As it was, she was also informed that as the film speed was such as to barely recognize anyone coming and/or going, that the "complainer" would not be recognized.
Eventually the shot was done, and we moved on. Several of Jerry's friends were background for when we had the store to ourselves from 10pm onwards. We had to wait for the mega-TV screens cut out as they blared music rendering filming scenes with dialogue impossible. They finally cut out around 11:30 or so, and we filmed the Golatch scene.
For Garrett's Bill's entrance, video editor, film maker and music video maker Jesus Rivera played cashier Mike, whose colourful wardrobe was awesomely hilarious. We discovered we were both into metaphysics and the paranormal, including but not limited to his having visited to Waverly Hills, the Mecca of paranormal investigating...!
Jesus also provided the "flair" buttons for the All-Mart aprons, one of which I noticed was of Danny and the Dinosaur, of which he knew as a button but not as its book. He looked at its back and noted the title thereon, as I told him that I had the original hardback book as a child.
Christina's scenes were completed, and she was wrapped for the night. Soon Christine arrived, as well as Joe Montgomery, the latter of whom would be playing the oft-name changing character of Lucille's current husband: apparently now it's locked down as Frank. Their scene was finished when we stopped for lunch at 3:30am. As Joe had to go all the way to Palmdale t'get home, he simply retreived his Subway sandwich and departed. Christine departed as well, and as we went to film the final sequence, to our horror, some of the lights at the door on which we'd been relying had turned off, apparently automatically. We probably would have been done far earlier had the store workers (e.g., cleaners and stockers), had been quiet, or at least more quiet than they were. This delayed us here and there, just enough that now lights were off, time-wise. As it was intimated the lights would auto-turn back on at 6am, we worked at cheating the shot to be under good lighting, when suddenly the lights we wanted came back on. Before they changed their mind, we quickly went back and did two versions of the ending, as a new set of lines were added for the new lighting. We did both versions with the better-lit spot, with which to give Jerry the choice. I joked the Alternate Ending could be on th'DVD...
The 5am target wrap time would have been hit had it not been the environment was only about 90% actually controllable. We wrapped at 5:30am, which was still pretty good. Jerry had had Christine autograph the script, and Garrett and I added ours as well. We went our separate ways; Jerry driving me back to the Valley. We discussed the night's shoot, work, et al, as well as future concepts with this and other projects.
Ironically we arrived at my street at 6am, about thirty minutes later than my regular weekday Dumble walk-time, so as I entered the place Dumble was all set for his morning walk, my being all set for bed notwithstanding. After our walk, I conked for several hours, waking and learning online already posted were some of the behind the scenes photos one can see below already.
Later in the day, Jerry emailed us:

From: Jerry White Jr.
Subject: A Superior Shoot
Date: Apr 3, 2010 4:07pm
Hallo all! Thanks for a wonderful night! Performances were fantastic throughout -- despite the late hours and lunch after 3am. I really like the process of writing characters for specific actors as I did for most of the roles in this film. And it's been great to get recommendations from fellow filmmakers on who should play a role (Deanne and Joe, I'm looking at you).
I hope you all got plenty of sleep today.
Thanks again,

With Garrett and Christina, Geoffrey behind the scenes in ''Greeters''
Garrett and Christina and myself at the store
Garrett and Christina with writer/director Jerry White Jr. behind the scenes in ''Greeters''
Garrett and Christina with writer/director
Jerry White Jr. behind the scenes
Geoffrey, Garrett and Christina behind the scenes in ''Greeters''
Geoffrey, Christina and Garrett
Geoffrey, Jerry, Garrett and Christina behind the scenes in ''Greeters''
Geoffrey, Jerry, Christina and Garrett

Wednesday April 08, 2010
Shoot: Day Four of Four
I got down to the Zemeckis Building break room for my 4pm call at 3:40pm; Garrett was already there. Apart from a couple of pick-up shots with Garrett, this was the last for principal photography. Jerry and Lukas finished setting up as Garrett and I ran lines (CJ showed up later when her class let out).
Jerry showed Garrett and me a satire music video parody by Second City starring Jenna Brighton who for Greeters was playing Bill's granddaughter Suzy, as well as showing us the Second City video Algebra: A Love Story in which she also starred (later at home I checked for other comedy videos in which she's starred, including but not limited to The Vice Principal).
There were some technical issues with the audio, to the point Jerry went back to his place and retreived one of his own microphones, using his and the USC mic together, one close to us just outside camera frame mounted on a C-stand, and the other as the oom mic. However, this problem ended up taking a bit of shooting time.
Christina arrived and shooting began in earnest, though with sorting out the audio issues, we ended up with a "hard out." We were hoping to be done by 11:30pm, but nearly hit midnight, and even that was a bit of a scrape. I suspect we actually "only" got about 99% of the shots Jerry really needed, and even Jerry suspects some lines may have to be ADR'd.
Jerry did report he'd edited about up through Mrs. Golatch's sequence, and we all concurred how funny was Deanne Mencher as Golatch, mostly as she seemed to be a character from/of an early John Waters film. Jerry also told us how Mia's dinner shot always gets positive amused reaction/s from those who see it.
As Christina and I live so close to each other, she drove me home; the three of us helping Jerry, Lukas and CJ carry out the packed up equipment at least. Christina had brought in for us all promo post cards for her then-upcoming theatre stage show Beaten Hearts (which Christina co-wrote with Bridgette Burton), scheduled to open on my traditional birthday April 29th at the Burbank Sidewalk Theatre.
Jerry conveyed that he will endevour to get finished Greeters by May, preferably before he lives for Michigan for the latter half of that month. A private screening and "wrap party" of sorts will be held as soon as it's feasibly able.

Garret, Christina and Geoffrey behind the scenes for ''Greeters''
Garret, Christina and myself
behind the scenes for Greeters
Garret, Christina and Geoffrey behind the scenes for ''Greeters''
Garret, Christina and myself
Geoffrey, Christine and Garret behind the scenes for ''Greeters''
Myself, Christine and Garret
behind the scenes for Greeters
Geoffrey, Jerry, Christine and Garret behind the scenes for ''Greeters''
Myself, director Jerry, Christine and Garret
behind the scenes for Greeters
Geoffrey Gould and Mia waiting for their scenes in ''Greeters''
Aboard the houseboat,
between my being needed:
sleeping "with" female co-star Mia...
Geoffrey Gould between scenes in ''Greeters''
In Ventura county,
waiting for my sequence
being filmed later that day.

Sunday April 10, 2010
Greeters 1.5...
Jerry called: with Greeters not even done being fully edited (and/or fully wrapped; possibly the Bill pick-up shots are still needed), Lukas pitched to Jerry an idea for another Greeters-based short, starring Murray (and Suzy); even as Jerry pitched it to me I got that it was a comical dream, and that it would at one point entailing my being thwacked on the head (by Bill).
It would involved another evening shoot, but certainly nothing like the previous one, mostly as this will be done without dialogue, so being filmed MOS. We'd film in the Zemeckis break-room for the conclusion, and back at Superior for the sequence/s with Murray and Suzy (or Lucille, if Jenna should not be available, or interested).
At this entry, we're endevouring for Monday or Wednesday...

Monday/Tuesday April 12/13, 2010
Shoot: Day One of One
Having not heard any confirmation, Sunday night I emailed Jerry that while I figured based on results the shoot was Wednesday, I'd bring to work Monday my blue bag with my Murray clothes, just in case it was Monday, and they called me to come down. I received a reply later that in fact the shoot would be Monday night. As the storyline included the breakroom, I left a comment on Jerry's Facebook profile about seeing him at Zemeckis. He quickly replied that it was shooting at the store again.
I noted I'd not yet been given a calltime, so I emailed them inquiring after that. Lukas texted me that my calltime was 10:30pm; but I was still given no word as to fitting in the breakroom scene, which based on results is rather important to the storyline's resolution. I figured I'd find out one way or another.
With the time before being needed, I was able to walk Dumble an'all, and learn via email Jenna also had the same communication issue. Thankfully she'd CC'd everybody, and noting she too did not know whether we were filming tonight, where or when, I relayed the calltime and location address.
I arrived at Wendys at 9:20pm and has my usual: I figured it was going to be a bit of a long night. Found Lukas and Dave (who, apart from his resemblence to Seth Rogen, worked on Jerry's Greeters short), and I was introduced to Tom the DP for Lukas's spin-off short. Lukas's crew were very good, albeit a bit hazy on the concept this was set in the universe Jerry's short created, and that this Murray is the same Murray from that short. Towards the tail end of the night, Dave and Tom kept trying to insist on a shot of Murray stacking items, as though a store greeter would do such a thing. Murray is not a stock boy. Even a cashier doesn't stack items on shelves; they do cashiering, greeters do the greetings.
Jerry arrived and I met the lovely and talented Jenna Brighton. We discussed the TV series aspect, and Jerry's wanting to see how Someone Else handled a spin-off of his short and its concept. She and I learned that Jerry would not be remaining for the shoot. One of the aspects of this experiment was his not participating; he wanted to see the result of someone else running with his concept.
"'Based on characters and situations created by Jerry White Jr...'," I jokingly intoned, which Jerry realized was correct, and he politely reminded Lukas that that would need to be in the credits. Jerry did trust that as Lukas and I got the concept, it would be fine (considering some of the stuff we filmed, I rather expect when Jerry first see this his doing spit-takes and/or rolling on the floor laughing).
We got some photos taken, a few of which Jerry immediately uploaded to Facebook, tagged to our respective profiles.
I also learned that it would not simply end the way it was initially described... and that Deanne Mencher was on her way to be in the short as well. There's really no way to do justice in describing Deanne, apart maybe from her being quite a character, as Jenna quickly learned (we also were notified that at midnight, it was Deanne's birthday).
The plan was to be done by 1:30am, as Jenna had a [paying] webseries in which she's working, and she knew she would need rest. We ended up wrapping her at 2:30am, but she'd gotten her second wind, and enjoying herself in the comedy, didn't mind sticking around until she was wrapped. Deanne was wrapped shortly after midnight, as there was really only one or two major shots of her for this short. Once the ladies were wrapped, we focused on my single-shots until we were finally done by 3:40am.
While throughout the night there was no official Shot List, Lukas knew what he wanted to get, and his DP Tom was pretty much on it. At one point (when it just my single shots), the two were struggling with how to reconcile my coming out from a specific aisle to reach a certain point. I brought Lukas over and suggested a certain angle and how I'd come out, and just as I finished, Tom came over and made the exact same suggestion, literally verbatim what I'd just said.
"GENIUS..!" I exclaimed with great amusement. Lukas was amused as well, pointing out I'd made the exact same suggestion instants earlier, which confirmed it was the way to go.
We used the store's breakroom for the epilogue/reveal, and did another insert shot of the Suzy Fallopia magazine in a magazine stand as I walk by, and we were done. Lukas drove me back home, arriving there at 4:15am, about 60 minutes prior to my normal wake-up time. Thankfully during the shoot while shooting Jenna's Suzy's single-shots, I was able to relax in the breakroom for a quick snooze for a bit.
Lukas indicated the short "has to be completed" by Saturday, so I would guess he has his work cut out for him. As Lukas had indicated not officially having a title for the short, in my thanks-email, I half-jokingly suggested some possible titles: If You Knew Suzie, Following Fallopia, and Siren Suzy.
As Lukas wasn't born here, I wasn't sure if he'd get the quasi-joke reference to the song If You Knew Susie, so I included a link to a video of the 1925 song and its lyrics.
Lukas's reply also conveyed liking that title a lot (and being a 1925 song with a homonym name, and the short having nothing to do with the song, there shouldn't be any copyright issues)...

Geoffrey Gould and Jenna Brighton meet for ''Greeters 1.5''
With Jenna Brighton
Preparing for the first shot for ''Greeters 1.5''
The crew readies for a shot;
Jerry looks on before departing.
Filming Jenna for ''Greeters 1.5''
The crew work with Jenna
DP Tom and Jenna for ''Greeters 1.5''
DP Tom is surprised
as Jenna is amused
Deanne with Lukas for ''Greeters 1.5''
Deanne with Lukas
Deanne being directed by Lukas for ''Greeters 1.5''
Deanne being directed by Lukas
The lovely and talented Jenna Brighton for ''Greeters 1.5''
The lovely and talented
Jenna Brighton
Geoffrey Gould with the Suzy Fallopia fan magazine for ''Greeters 1.5''
Next to the Suzy Fallopia magazine
Geoffrey with Deanne Mencher for ''Greeters 1.5''
With Deanne Mencher
behind the scenes
for the Greeters "spin-off"
Geoffrey Gould returns as Murray, with Deanne Mencher again as Mrs. Golatch for ''Greeters 1.5''
More in character with "Mrs. Golatch" Deanne Mencher
behind the scenes for "Greeters 1.5"...

Friday May 07, 2010
Here it comes...
(Apparently sent from the MGM in Vegas), the emailed screen invitation was received:

From: Jerry White Jr.
Subject: Greeters Rough/Fine Cut Screening | May 13th, 7PM
Date: May 7, 2010 6:00pm
Hey gang, I'm leaving town for the summer on May 14th so I'd like to get together for a screening of GREETERS on Thursday, May 13th at 7PM.
This will be an informal affair, most likely in my living room, though I'm still investigating a larger-screen venue elsewhere.
The cut will be somewhere between rough and fine, so feedback will be welcome. I'll be providing DVDs of this version as well as the final version later this summer.
Thursday, May 13th 7PM
I hope you all can make it!!

Characteristically, I responded in the affirmative, notifying my calling service that that date I would be UnAvailable.

Saturday May 08, 2010
Beaten Hearts
I attended Christina's impressive stage production Beaten Hearts in Burbank, before which we had a chance to speak, and we each clarified we'd both/each be there at the screening on Thursday.

Thursday May 13, 2010
Rough Cut screening
I arrived at Jerry's place spot-on at 7pm, Christina and Christine each having been there for a bit. Garrett arrived a little bit later, Deanne did not attend, and Lukas had a class he had to attend (also in attendance was Jesus, the majority of his sequence omitted notwithstanding).
We watched the rough cut, afterwards Jerry soliciting thoughts, notes, and suggestions. He tooks notes on our observations and comments, clarifying aspects we'd noticed, such as one shot omitted that he indicated had been included until that very afternoon. Jeremy Kagan as well some of Jerry's classmates had indicated the shot "not be required," so to speak, though from an audience standpoint, we felt it was noticeably missing (I also added that pitching this to Suits, reinstating the shot might be helpful).
All in all it looked pretty good; some of the pacing Jerry agreed could be improved. The shot of Bill (Garrett) petting Mia might be flipped (mirror-imaged), as the shot does not include the cat, and does not show we're on her reverse side. During the dream sequence, Bill seems to look the "wrong way," and while Jerry demonstrated how in three dimensional space it could be explained, he understood from our point of view it could still seem reversed.
The break-room scene was streamlined substantially, omitting the final bit of dialogue so the scene sort of peters out. Jerry clarified the Final Cut version DVD will contain deleted and alternate scene takes as well as the short. The Final Cut version would also contain end credits: this rough cut comically had an end credit crawl simply repeating the word "credits."
Lukas's spin-off short was pretty good, if a little soft-focused for much of it. Dreams generally are not soft-focused, but can be extremely vivid. Jerry confessed to altering the music for the end, as apparently Lukas's choice seemed to be incongruent.
One of Jerry's friends who attended brought along a lovely young woman who was, as I joked, our Control Group, as she knew nothing about the film and had had no connection to it. She gave her own comments and observations, many of which assisted Jerry in how someone with no prior knowledge saw it. At the end of the evening it turned out she's also very much into the paranormal, as am I, her even having been to the mecca of ghost investigating: Waverly Hills...! While extremely envious of this, I provided her with my website link to my own experiences of the paranormal, and requested she send me a Facebook Add request.
Garrett, Christina, Christina and I each got our DVD copies, and Chistinia drove me home where I did my frame-grabs for this entry.

Opening title for ''Greeters''
Opening credit title shot
Bill aboard his house-boat ''Greeters''
Bill aboard his house-boat.
Mia the cat checks out Murray's apron strings in ''Greeters''
Murray calls; Mia checks out his apron strings.
Bill arrives at All-Mart in ''Greeters''
Bill arrives at All-Mart.
Bill argues with his ex-wife in ''Greeters''
Bill argues with his ex-wife.
In the break-room scene of ''Greeters''
In the break-room.
Bill suggests he and Murray take a Vegas road trip ''Greeters''
Bill suggests he and Murray take a road trip.
The most literal end credits ever, for the rough cut of ''Greeters''
The most literal end credits ever.
Mia breaks the Fourth Wall in ''Greeters''
In the first scene, Mia wonders, "What're you lookin' at...?"

The ''Greeters'' spin-off
Murray "works" in Lukas's spin off short.
Murray realizes Suzie has just walked by in the ''Greeters'' spin-off
Murray realizes Suzie has just walked by.
 ''Greeters'' Murray follows the enigmatic girl in the ''Greeters'' spin-off
Murray follows the enigmatic girl.
Murray follows Suzie's dancing reflection in the ''Greeters'' spin-off
Murray follows Suzie's dancing reflection.
Murray confirms it's really Suzie in the ''Greeters'' spin-off
Murray confirms it's really Suzie
Jenna Brighton as Suzie in the ''Greeters'' spin-off
Jenna Brighton as Suzie.
Murray finally catches up to Suzie, who awaits his lust in the ''Greeters'' spin-off
Murray finally catches up to Suzie, who awaits his lust.
Murray reaches for Suzie in the ''Greeters'' spin-off
The Vulcan neck-pinch is not the way to win a girl's heart...
Murray's perceptions take a turn for the worse in the ''Greeters'' spin-off
Murray's perceptions take a turn for the worse.

Don't snooze on your break while reading
the Follow Suzie Fallopia fan-magazine...

Tuesday October 12, 2010
Saturday October 09, 2010 Jerry had a gallery showing of artwork in Eagle Rock, which I attended. It was scheduled from 8pm to whenever, but due to limited MTA transport, I figured I'd stay an hour or two before heading back. I arrived around 7:20pm as the subsequent bus would have gotten me there an hour later. The place was locked up; Jerry suddenly showed up around 7:50, understandably annoyed were anyone beyond me came On Time, they'd find the place locked as well.
While we waited, we went down to a nearby food store for some snacks, during which time Jerry conveyed a project or three on which he was working on which he wants me to work...
When we returned one of the (curators?) was there, opening the place. I did stay about two hours, at which time I had to head back to make sure I got all the way back to my place.

Jerry White Jr. at opening of his art gallery showing
Jerry White Jr. at opening
of his art gallery showing
With Jerry White Jr. at opening of his art gallery showing
With Jerry White Jr. at opening
of his art gallery showing

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