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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 5 April 5 (Day 21) Contrary to yesterday’s information, Frank wants to wait until clouds cloak Ferndale before moving to the cemetery for two more scenes, which isn’t today, because we have sunshine once again. Per today’s call sheet, the cemetery is not even on the advance schedule that always appears at the bottom of our daily work sheet. Rain has been forecast for tomorrow, Friday, so assistant director Colwell has earmarked a return to the county fairgrounds for more scenes on our cover sets. Today, however, we are filming Sc. 74 -- Int. Town Hall: Luke asks for help from the town council. The 2 5/8 page sequence features several key cast members, including Carrey (now as Luke), Landau as Harry, DeMunn as Mayor Cole (chairing the town’s weekly meeting), Whitmore as Stan and Chelcie Ross (“Hoosiers,” “A Simple Plan,” “Basic Instinct”) as Avery, the owner of the local hardware store. Ferndale’s Mayor Farley and wife JoAnne appear as extras (maybe he will throw in some advice to our film Mayor). And, another Hollywood High alumnus, actress April Ortiz (“Father of the Bride”) works today as Vera, the council’s secretary. The company has rented Ferndale’s Masonic Lodge hall for the sequence. As newspaper editor Titus notes in this week’s issue, our signage outside the building is erroneous, as she writes “Hope the sign above the Masonic Lodge isn’t in the shot. It reads “the 125th anniversary of the Lawson Masonic Lodge.” (We did the math and that means the lodge was around way before California became a state (remember that “The Majestic” is set in 1951). After reading this anecdote, I suggest to her that she apply for the position of our technical advisor and resident historian. She smiles.  Inside the hall, art directors Melton and Walsh have redesigned the interior with an artificial wall behind the council’s seats, thus allowing a back room where Frank and video assist Crabbe can set up their video village to watch the playbacks of the scene. Because of the scene’s length and the amount of characters delivering dialogue, Frank employs two cameras today (one operated by Emmerichs, the second or “B” camera manned by cinematographer Tattersall). The choice of multiple cameras will hasten the coverage, insuring they complete the entire sequence by day’s end. The first rehearsal for the lengthy scene begins at 9:00 a.m., and Frank has his first take in the can about 30 minutes later. He checks with script supervisor MaryAnn Newfield (temporarily filling in for the absent Susan Malerstein-Watkins, called away for a family medical emergency) about the timing of the scene. The script supervisor holds a stopwatch around his/her neck, and every take is timed to allow the director some semblance of how long the scene takes when filming. He then can determine, in post-production and editing, how long the scene should be (cutting it together from the various camera angles) to maximize its effect in the story. Sc. 74 runs about 2:26, and Frank leans over to chat with writer Sloane, a daily and welcome presence on the set (he wouldn't want to be anywhere else, I guarantee you). They confer about that length of time, and whether it should be drawn out or speeded up. Things, however, slowed down a bit when Carrey missed a line. The sequence calls for Luke to approach the town council requesting funds or donations to restore The Majestic. The line reads as follows: LUKE Thank you. I’ll make this short. The Majestic needs a lot of repairs, and the truth is we can’t possibly afford them all. So I’d like to ask your permission to scrounge around for any surplus materials you might have lying around. ERNIE What sort of materials? LUKE Oh, paint, brushes, plaster, light bulbs, that sort of thing. Carrey trips over the last lines, and what came spilling out of this lightning-quick comic’s mouth by mistake? Sorry, we save these cherished moments for what we call a “gag reel,” those “outtakes” shown at the company wrap party when filming is complete. And, whenever something humorous occurs during a take, Frank usually prints it, so he has it for such a reel. Suffice it to say, Carrey’s mistake is infectious, and brings chuckles from the crew, not just once, but again and again, causing the actor to break into laughter while trying to deliver these straightforward lines, take after take after take. They ultimately get his coverage. While Frank and crew toiled in the Masonic Hall, production designer Melton’s paint crew began the transformation of The Majestic a block away. Once Frank finished Sc. 80-81 (and viewed the dailies to insure his footage was OK), Melton got the go-ahead to begin the actual refurbishing that Luke, Harry, Emmett, Carl, Avery and Irene complete in the story. Melton sat in wonder across the street as his artists brought out the vibrant colors of his make-believe movie marquee. While watching the magic come alive, Melton and I reminisce about our days as teenage ushers, he in Hollywood, me in New Jersey. Melton enlightens me that both Frank and writer Sloane were also ushers at some of the majestic movie palaces on Hollywood Boulevard. Next week, when our movie palace is restored to its former glory, we will shoot a number of night exterior sequences with The Majestic gloriously glowing with its vibrant neon colors. The script calls for a “montage” (a succession of quick cuts that portrays an extended period of elapsed time) where The Majestic boasts some of the famous 1951 movies that it plays -- “An American in Paris,”” “The Day the Earth Stood Still,” “A Streetcar Named Desire” and Peter Appleton’s fictional “Sand Pirates of the Sahara.” Both Melton and I will volunteer to change the lettering on the marquee, since we both have the necessary experience. Frank takes the company over to the pawnshop set for two quick shots for Sc. 84 -- Int. Pawnshop: Luke trades Majestic admissions for pocketwatch. This scene will set up one of the many heartrending moments later in the film, one of which features The Majestic’s aging usher, Emmett (played by Gerry Black). Before the mini-move down Main Street, Frank and several Hollywood High grads pose for a quick snap with actress Ortiz. She is what is referred to as an SWF -- translating not as a “single white female,” but a “Start Work Finish.” She is also known as a “dayplayer,” a performer who works only one or two days, but with dialogue (differing from an extra, who has no lines). I end the day with a call to a local grade school teacher, Mary Peterson, of Eureka. She has sent a letter asking about the possibility of having Jim Carrey visit her third grade class to help with the design of some paper mache puppets they are making for a school play. Her pitch, I mean request -- “who better to teach facial expressions than Jim Carrey.” Film companies (especially those with recognizable, popular actors) get dozens of such requests during production. It seems that the smaller the market in which you film, the more requests filter in. While I represent and speak for the “production,” I do not necessarily speak for Mr. Carrey personally. He has his assistant, Linda Fields-Hill, handle these requests (you can imagine how many come her way on a daily basis that I never even see). After conferring with Linda, I call Ms. Peterson, who happens to be sick with the flu. I beg her son to let me respond in a few days, but he mentions my connection with the movie to her, and she insists on taking the call. I respectfully and politely decline her request while thanking her for taking the time to write. She understands our position and busy shooting schedule, and I wish her a speedy recovery. She kindly wishes us a good shoot in her community, for which I am grateful. And, halfway through our Ferndale schedule, things have proceeded smoothly. Tomorrow -- We make national news! |
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