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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 6 (Day 22) The radio blares out Gene Kelly’s “Singin’ in the Rain” on the drive down to Ferndale this morning. It couldn’t be a more apropos way to begin this Friday, as the weather is miserable. Rainy and foggy and cold (not that it bothers this hearty soul from the Windy City). Rain today takes the company back to the county fairgrounds for interiors, as it would be impossible and costly to shoot in between the intermittent showers dousing the Eel River Valley. Assistant director Colwell called it correctly when preparing the call-sheet on Thursday, as forecasters predicted “clouds, periods of rain, low 50s temperatures”. So, he has scheduled four scenes on our cover sets as follows: Sc. 39 -- Int. Majestic Apt.: Luke meets Irene and Emmett Sc. 71 -- Int. Harry’s Bedroom: Luke wakes up Harry Sc. 130 -- Int. Luke’s Bedroom: Pete pockets Luke’s Medal of Honor Sc. 36 -- Int. Majestic Apt.: Inserts of Pictures Upon my arrival at the set, I pass out copies of today’s USA Today (www.usatoday.com), which contains an article about the film, written by Susan Wloszczyna, entitled “Hollywood High alums hold ‘Majestic’ reunion.” Susan interviewed Frank by phone last Sunday since we are here in northern California and she is based outside of Washington, D.C., where the paper's editorial offices are located. Castle Rock supplied an approved photo (seen by both Frank and Jim) showing the pair working on the backlot at Warner Bros. Her piece, highly complimentary, gives a peek at the storyline, mentions that writer Sloane and Frank (plus 15 other crew members) are high school classmates. All-in-all, a favorable early plant that will be seen by millions of readers (of whom many are hopefully fans of both our star and director). Calls come in from various news outlets today regarding set access and interviews (requests for the caterer by the North Coast Journal; developments regarding our upcoming shoot in Ft. Bragg from the Ft. Bragg Advocate; a possible visit to the set this weekend from the Eureka Times-Standard). A strange request from the wardrobe department hits my desk -- there are two guys from the Montgomery something-or-other at the church (where the costume department resides here on location) wanting to do a newspaper story. I drive over to find that two 18-year-old high school students, Alex Eckhart and Joel Nassan, have driven 4 1/2 hours from Santa Rosa, California, to get their story. I greet them and explain that we unfortunately cannot accommodate their request today. While understanding and appreciating their diligent efforts (both admit their desire to attend USC Film School after they graduate high school), I suggest they send in a photo to our extras casting folks when they return home with the hopes of landing a background role when we get to Ft. Bragg, which is a mere two hour drive from their homes. They’re kids and I applaud their tenacity, so when they show up at the gates of the fairgrounds, I beg our “extras coordinator,” Sargon Bacchus, to take a Polaroid of each and have them complete the requisite application. I greet the boys at the gate, and remind them that there are no guarantees of getting their shot in the film (the experience of which will drive their school paper's story). I also suggest to them that they already have a story, the adventure of their day trip (nine hour drive round-trip), which resulted in our accepting their applications for possible future employment. Today’s scenes are very quiet, especially Sc. 39, which takes actor Carrey back to his early arrival in Lawson. He shares the camera today with Landau, Susan Willis as Candy Lady Irene and Gerry Black as usher Emmett. I put on the remote headphones supplied to key crew by sound mixer Ulano (he keeps several sets to distribute daily to Frank, script supervisor Newfield, riter Sloane, and others who gather around the video replay monitors). I borrow headphones to listen in on the dialogue, especially those lines from Willis and Black, whom I have not yet seen perform for the cameras. Frank has cast these two roles very well. I particularly find stage diva Willis (a veteran of 50 years in showbiz) a delight to watch. I eavesdrop on a rehearsal, then hear assistant director Colwell call for “final touches” (when hair, makeup and wardrobe take a last look at each actor to insure they look right for the scene, or adjust something to match continuity from the last take). Since we have four actors on the set, a bevy of craftspeople walk in to comb, brush, tweak the stars to ready them for their close-ups. Once they walk out, Colwell calls out “rolling,” boomman Tom Hartig confirms the microphones are on with “speed” and Frank calmly calls for “action.” Carrey is again very focused today, emulating the mood of his character, a guy with amnesia who has no idea of his identity or whereabouts. But, in between camera set-ups, he riffs a bit on a piano decorating Harry’s apartment set. Videographer Nasr gets the shot, which Carrey may allow him to include in that new video he must dub. Carrey’s cordial offering this week (every Friday he pays for a special snack for the crew) -- Karma Kappucino, sort of a Starbucks on wheels. I’m sure you’re wondering where did he find such an operation here on the Lost Coast. He didn’t. He called them up in Los Angeles and asked them to drive the 660 miles (11 1/2 hours) to Ferndale to keep the complimentary cappuccinos, lattes and frappies coming all day. Cheers! Not to be outdone by our generous star, a local Native American tribe, the Cher-Ae Heights Indian Community in Trinidad, CA., got special permission from producer Behnke to prepare a traditional native feast for the crew late this afternoon. A dozen or so natives arrived at about 4 p.m., dug a pit and barbecued a whole Pacific Salmon. They explain that the Yurok salmon BBQ has been an ongoing ritual among local Indians. The fish is roasted over a hot pit of coals made from a hard wood, usually oak or madrone. The salmon is skewered onto Redwood stakes, which are then placed in the ground until ready to be eaten. After the lavish, unique feast, Behnke secured writer Sloane, production designer Melton and a couple of other key crew members to chat with the children who accompanied their parents about filmmaking, captured on video by our set documentarian Nasr. Next week -- Yuck! We have to work on Sunday! |
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