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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 25 (Day 55) “The L.A. Times is here today, guys. Pretend like you really like me!” Those are Jim’s welcoming remarks to freelance writer Gregg Kilday, who, to remind you, is visiting the set today to observe filming and interview several cast and crew members for a story on the making of the film in the prestigious Los Angeles Times.  Gregg arrives precisely around 9:00 a.m., about 90 minutes after crew call, and we chit-chat briefly about what he’s been doing since I last hosted him on a set back in 1995. He is one of L.A.’s journeyman entertainment writers, having begun his career at this very same newspaper maybe two decades ago. Over the years, he has written for the now defunct Los Angeles Herald-Examiner, and still freelances for such outlets as Los Angeles Magazine and Premiere. I give him a brief tour of our stage sets, and am happy he can see our title character, The Majestic (albeit in its present shabby incarnation). I point out that art director Melton has duplicated Ferndale’s Main Street here on Stage 3, and give him some anecdotes about our six-week stay up north, which might prove useful as background in preparing some questions for Melton or Frank, both of whom he is scheduled to interview for the piece (in addition to stars Carrey, Holden and Landau). Kilday is curious about one aspect he has noticed about the crew -- why is everyone wearing Hawaiian shirts today? It’s Aloha Friday, and, as previously stated, many honor this weekly ritual by donning the colorful attire as temps here are expected to climb into the high 70s, perfect for our relaxed, casual look this Friday (yes, Frank has on one of signature Tommy Bahama silks -- I’m jealous -- as does Melton, one I’ve had my eye on in stores).  When hosting press on the set, I always prepare some sort of game plan even if the day’s interview schedule does not pan out to my advantage. Filming can never be interrupted for the sake of publicity, so you watch for breaks in-between setups for opportunities to grab an actor or filmmaker. The toughest individual to corral is usually a director, who needs be present for rehearsals and the actual takes, which disallows much free time. Frank, being a wonderful interview subject, usually finds the time (regardless of how tired or busy he is) to honor such requests, and generously spends 30 minutes with Kilday in the front row of his auditorium. I know I can also walk writer Sloane away from the set for fifteen minutes at any given moment, and the same for Melton, who does, however, have an appointment at Universal Studios this morning to check in on the progress of the bridge his construction crew is building for the car crash sequence, scheduled for mid-June at this point. (That set, a joint venture between Melton’s construction crew and effects supervisor Pritchett’s team, is being built at the Falls Lake location on Universal’s backlot. I worked there just a few months ago for scenes in “Jurassic Park 3,” and Jim also filmed the storm sequence in “The Truman Show” on this 2.7 million gallon lake).  Back on our Stage 3, costumer Wagner wanders onto the set just as we arrive, and she is also important to the L.A. Times article because of her research into period clothes, her accumulation of hundreds of wardrobes from various studio costume departments in town, and her specific designs for key cast members, information which should prove colorful for Gregg’s story. Writer Sloane shows up just as Wagner concludes her interview, and he and Gregg spend at least a half-hour together chatting about the story, his development of the screenplay and Sloane’s impression of seeing his idea and vision coming to magical life. I always find it best to have the writer talk first, to provide some pertinent background to the project. Jim’s personal publicist, Marleah Leslie, is also on hand to assist with Jim’s interview. She has represented the superstar for almost a decade, so she knows her client much better than me. She also pinpoints when the appropriate time would be today to approach him to secure his interview. Jim suggests some time after we complete the first shot this morning for Sc. 73 -- Int. Majestic Office: They don’t have the money to re-open the theater. Upon meeting Kilday, we all chat about what a wondrous set Melton has designed for the film’s title character, with Kilday noting Jim’s comments on the standard reporter’s notepad. I suggest that we have enough of a break to get some time in, and Jim and Gregg retreat into the theater’s auditorium and talk for a good twenty minutes (Kilday was promised about fifteen minutes with each participant today, giving him an hour-and-a-half of quotes to supplement his text). Over the years, I have devised an unscientific equation on how long it takes to complete several interviews on a movie set, be it print (newspaper, magazine) or broadcast (television especially). I have found that you should schedule one hour of real time for each fifteen minute interview necessary. That amount of time includes the scene shoots, and the unavoidable lingering that is part-and-parcel of making movies. You may have heard of our industry catchphrase -- “hurry up and wait”. So, in my own mind, I estimate that Kilday, who seeks six interviews today (costumer Wagner turns out to be an unexpected bonus), will be here for six hours. That’s not to say that the schedule will fall in my favor (giving me the luxury of speeding my timeframe up). Or maybe Frank’s unexpected acceleration of the shoot will disallow time in between for the necessary Q&As. As it turns out, Kilday, who arrives at 9:00 a.m., drives off the lot at 2:30 p.m., completing seven chats in 5 1/2 hours. Before departing, Gregg admits that all the interviews were very good, stating “everyone seems to be in a really good mood.” Of course, the first thing Jim said to him upon their meeting this morning was “none of this is real, it’s all put on for you.” Anyway you look at it, Kilday, who represents the only major newspaper to be given access to our working set during the entire production1s shoot, has one heck of a story. He also requests a return visit, so he can see Melton’s Majestic in all its majesty after the painters and carpenters refurbish the set next week (we’ll be off the lot for other scenes involving the H.U.A.C.). Kilday’s departure allows me some down time to finish some paper work, FedEx some more photos to Ferndale editor Titus (she desperately wants those shots of Main Street as designed onstage by Melton), evaluate some 35mm slides actress Holden has reviewed, indicating which Castle Rock’s publicity executives can and can’t use for marketing, and kick back before another weekend begins. Basically, just goofing off! While I’m slacking, the company is ensconced in the lobby of The Majestic set. Stepping onto the set around 8:00 p.m., producer Behnke chats with a.d. Colwell about what we have left to film tonight before calling it a wrap. There is enough work for a few more hours, but Jim (Behnke that is) wants to avoid working past 9:30 p.m., which would constitute a 14-hour day. The pair chats about what shots remain, and Behnke, a former a.d. who knows his craft and how long it may take to complete these additional set-ups, wants Colwell to confer with Frank to insure our “martini” shot will be done by 9:30, which it is. Behnke also wants to kick-start everyone’s weekend knowing that the next five days (at L.A.’s Park Plaza Hotel) will be grueling. But, before that weekend commences, what better time for a burger off the In & Out catering truck. In & Out burger stands populate California’s landscape (from San Diego to San Jose), and they have several trucks they lease out for parties, etc. They were frequent visitors to our Friday night shoots during “The Green Mile” (courtesy of Tom Hanks) and Jim has secured the food wagon for tonight’s weekend send-off, a generous gesture on his part, and one gratefully appreciated by our ever hungry crew. By the way, Jim told me that he didn’t give Kilday a wedgy. Not even a noogie! Next week -- the Inquisition. |
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