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| Introduction: Opening the Doors Cast and Crew Prelude Journal 2: ACT 1: Blacklisted! March 6 (Day 2) March 9 (Day 3) March 10-11 (Days 4-5) March 12-13 (Days 6-7) Journal 3: ACT 2: Welcome to Ferndale! March 20 (Day 9) March 21 (Day 10) March 22 (Day 11) March 23 (Day 12) Journal 4: March 26 (Day 13) March 27 (Day 14) March 28 (Day 15) March 29 (Day 16) March 30 (Day 17) Journal 5: April 2 (Day 18) April 3 (Day 19) April 4 (Day 20) April 5 (Day 21) April 6 (Day 22) Journal 6: April 8 (Day 23) April 9 (Day 24) April 10 (Day 25) April 11 (Day 26) April 12 (Day 27) Journal 7: April 16 (Day 28) April 17 (Day 29) April 18 (Day 30) April 19 (Day 31) April 20 (Day 32) April 23 (Day 33) April 24 (Day 34) April 25 (Day 35) April 26 (Day 36) Journal 8: April 30 (Day 37) May 1 (Day 38) May 2 (Day 39) May 3 (Day 40) May 4 (Day 41) May 7 (Day 42) May 8 (Day 43) Journal 9: May 10-11 (Days 44-45) May 14 (Day 46) May 15 (Day 47) May 16 (Day 48) May17 (Day 49) May 18 (Day 50) Journal 10: May 21 (Day 51) May 22 (Day 52) May 23 (Day 53) May 24 (Day 54) May 25 (Day 55) Journal 11: May 29 (Day 56) May 30 (Day 57) May 31 (Day 58) June 1 (Day 59) |
Journal 10 May 21 (Day 51) I remember Frank noting back during our “Green Mile” days about the repetitious nature of that project. For over three months (maybe more like four when I think back), we reported to work every day at these very same studios (then called Warner-Hollywood), even to the very same sound stage, Stage 3, where production designer Terence Marsh had built his Death Row sets (the cell block and the death chamber housing “Old Sparky”). Because of the nature of the story material, it truly seemed like we were incarcerated in prison. Returning to the same set day-in and day-out felt like we were trapped in our own novel version of “Groundhog Day.” So, coming back to Stage 3 this morning (and every day this coming week) echoes the time we did here three years ago (“The Green Mile” filmed from July 20 through December 1, 1998). Frank also notes the irony, and the eerie sense of deja vu evident in Greg Melton’s Ferndale street set sitting beyond the Majestic’s doors. Fortunately for Frank, he is not back behind bars, but inside the bowels of a fading icon -- an old-world movie palace, which, in today’s marketplace, has been replaced (sadly) by the generic multiplexes that litter virtually every shopping mall in America. If you are interested in the vintage movie theaters of yesteryear, take a look at www.cinematreasures.com for some of the antiquated palaces that still exist around the country.  Screenwriter Sloane (who grew up in Hollywood) calls his film “an affectionate nod, a valentine to the movies, being such a huge movie fan.” We are scheduled to begin a key scene in the film today that expresses and illustrates what Sloane tries to depict in his original story -- Sc. 41 -- Int. Majestic Auditorium: Harry tells Luke they can make the Majestic like it was. The richly drawn dialogue in this scene gives actor Landau one of those memorable movie moments that audiences always remember. When Landau makes the television talk show circuit at release, this is the clip that will be shown highlighting his wonderful performance in the film. It is also a moment cherished by those of us fortunate enough to be part of such a fabulous project. But, I’m getting ahead of myself, as we are not scheduled to get to Sc. 41 until very late in the day (if at all, based on the several shots planned for the preceding sequence in the story). While Frank begins his day in the theater lobby (Sc. 40 -- Int. Majestic Lobby: Harry tells Luke how the Majestic used to be), working with actors Carrey, Landau, Black and Willis, I’m absorbed in tons of paperwork, which takes me away from the set for several hours today. Working at the studio allows me the opportunity to catch up on various administrative tasks that dominate my schedule. Photo reviews are one primary responsibility as I break down a selection of material for actor Landau to review during breaks in the filming this week. I also choose a dozen or so 35mm slides from which to make prints to hand out to the crew sometime this week. I also order a special print for “Curley” Tait, the owner of Curley’s Grill in Ferndale. Curley approached me about a week before we departed Ferndale to ask about obtaining some photos for his eatery. Seems he wants to build a shrine honoring our shoot in his adopted hometown (he originally hails from Evanston, Illinois, a soulmate of mine from the Midwest). He asks for autographed photos (particularly of those stars who frequented his restaurant, which would be Jim, Laurie and James Whitmore). He wants my autographed photo also for his wall of fame (not kidding folks), which means having still photographer Nelson shoot one of me. Nelson reminds me that he already has a shot -- I’m standing in front of a field of cows across the street from the Humboldt County Fairgrounds, which is appropriate, since Ferndale dubs itself a “cow town”. Too bad I didn’t have on my “Cowlvin Klein” wardrobe for the photo! Since I’m bald, there isn’t a cowlick in my hair, either. Coincidentally, Curley calls me this afternoon, thanking me for one particular photo he just received -- that of himself (as an extra eating alone in Mabel’s Diner) with actors Landau, Carrey and Whitmore prominently placed in the shot. When I received this from the photo lab last week, I showed it to Martin (who never ate at Curley’s since he stayed in Eureka, not Ferndale). He immediately wanted to autograph it. So, when you’re up Ferndale way, check out Curley’s restaurant (a very fine place to dine) and his homage to those who contributed to the filming there. I also get word today from both my boss, Paulette Osorio at Castle Rock, and Jim’s personal publicist, Marleah Leslie, that our request to have a writer from the Los Angeles Times visit the set has been approved by Jim. This is the first time in six years (since “Ace Ventura: When Nature Calls”) that the actor has permitted press to visit the set to observe the star at work and chat with him about this new role. This is quite a coupe for the production. A veteran Hollywood writer named Gregg Kilday (with whom I worked on a Bruce Willis film about six years ago) has been assigned the story by film editor Kinsey Lowe. Kilday will be supplied a script to review so he can formulate appropriate questions for the half-dozen cast/crew I suggest he interview on the set. Those key voices include stars Carrey, Holden and Landau and filmmakers Darabont, Sloane and Melton. The “set visit” will most likely happen late this week on Stage 3 inside The Majestic’s interiors, which I strongly suggested. This allows Kilday the opportunity to see the film’s title character, which may help him devise a particular angle for his story. Kilday will then compose a feature article about how the project unfolded (from Sloane’s spec script all the way through post-production) that hopefully will appear in the paper’s Sunday “Calendar” section sometime in December, when Castle Rock ushers the movie into theaters around the country. And, from what I’m told by a prominent industry insider, a colleague at a rival company, competition at the boxoffice this Christmas will be fierce, so such an article will be advantageous in gaining the film some significant exposure during this competitive period. By the way, Frank and his crew never got to Sc. 41 by day’s end other than to run a blocking rehearsal (to establish camera placement) with actors Jim and Martin. Once the actors were wrapped for the day, d.p. Tattersall and his team set the camera and lights in preparation for the first shot up tomorrow. Tomorrow -- beginning the day (instead of ending it) with a “martini”! |
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