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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 4 March 29 (Day 16) Thursday is our first split shift day in Ferndale. The crew reports for work at 9:00 a.m., and will wrap well into the night. “Splits” are those days where the scheduled work includes both day and night exteriors. Frank begins our day with Sc. 38 -- Ext. Majestic Ticket Booth: Harry takes the star off Luke’s Army photo. Actor Landau works alone in this poignant bit, and its the first sequence we shoot that features a part of the Majestic Theater (only the exterior set designed by Melton on Ferndale's Main Street).  I chat with Landau’s “stand-in,” a gentleman named Robin Von Sharmer, who has worked with the award-winning performer since 1994’s “Ed Wood.” Landau has a clause in his contract (as does star Carrey and many other performers) that he can choose a personal stand-in to accompany him on his projects. Robin’s job as a stand-in (or lighting double, another description) is literally that -- standing in for the actor while the crew lights and rigs the set (interior or exterior) for the next shot (with the actor off getting makeup touch-ups, etc.). Robin remembers getting a call from Landau about his availability to work on “The Majestic.” “Martin told me he really wanted this role,” Landau’s double (a good physical resemblance to the star) says. After lunch, it’s back to Mabel’s for Sc. 91 -- Int. Diner: Carl says Bob should come to the re-opening. Much of the film’s main cast appears in this short (4/8 pages) scene, and the scene’s principals have paint splattered all over their clothes and faces. Outside the diner, Frank rushes his makeup, hair and wardrobe experts to get the actors ready, as sundown rapidly approaches, and he needs to get the shot before dark. So, the crew, with paint brushes in hand, begin splashing Carrey, Holden, Landau, actors Gerry Black and Brian Howe with “reel” paint to simulate that they have just come from refurbishing the Majestic Theater. They complete the day's work at twilight time just as darkness beckons. The grips lay down dolly track on Main Street adjacent to The Majestic set for Sc. 66 -- Ext. The Majestic: Bob wants to know who Luke really is and hits him. The company has at least an hour to set up for the night shot, with condors (light cranes simulating moonlight) in place to illuminate Main Street for this dramatic encounter between Luke (returning home from the town’s huge “welcome home” celebration) and the handicapped WWII vet Bob Leffert (played by film newcomer Karl Bury). Carrey and Bury square off, walking through several rehearsals for Frank before actually filming some takes. Carrey’s longtime “stunt double,” Pat Banta, stands off-camera watching their fight choreography in case he has to double Carrey in the fall to the ground. Frank begins shooting the scene around 8:00 p.m., with two dozen Ferndale residents watching from about 150 feet away, hoping to catch a glimpse of the star in action. Frank completes his master shot before changing camera positions for coverage on Carrey. As filming continues, noise from a bar, the Hotel Ivanhoe, echoes out onto the street, proving a disturbance to Carrey. Locations scout Marks fans out, hoping to quell the interruption so filming can continue without incident. This is yet another challenge to location filming -- keeping the noise (traffic, local chatter, ambient sound) to an absolute whisper to allow the actors to concentrate on their scenes. A clean soundtrack (as recorded by mixer Ulano) decreases production costs by eliminating the need to “ADR” (dubbing) dialogue in a studio during post-production. Tomorrow will be just another day in Ferndale. |
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