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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 7 April 16 (Day 28) As it turns out, guess I won't see you this week, as a personal matter has called me away from the production. Please allow me to elaborate. For many of us in this business, our chosen fields frequently take us away from our homes and families for days, weeks, even months on end. Because I am based in Chicago (where I’ve worked intermittently on projects over the years), I find myself away from home and family (a wife and two children) quite often. When filming slows down in Illinois, I seek work elsewhere around the country (even around the globe). However, life goes on and personal matters can interrupt a stay on a location shoot (as it did for script supervisor Susan Malerstein-Watkins earlier in the shoot, for which she has still not returned). For the first time in my thirteen years as a freelance movie publicist, I had to take a leave of absence from “The Majestic” when my wife, Jane, sadly advised of a death in her family. I jumped on a “red eye” flight back to Chicago, and helped her prep for this unwelcome trip back east (Hoboken, New Jersey, birthplace of Frank Sinatra, and the locale where Elia Kazan shot his film classic, “On the Waterfront”). I had e-mailed producer Behnke and colleague Nelson about my sudden departure from the show, and explained that I would not be able to return to the film for a week. While dealing with my personal situation, I could not ignore work some 3,000 miles away. So, during this upcoming week, my journal entries will continue, albeit long distance. I shall stay in contact with the production, via phone and e-mail. Still photographer Nelson, a true friend who has guaranteed to assist my effort during my absence, will provide insight as to the daily happenings on the set. I’ll also have available to me our daily call-sheets and “production reports” (the latter provides mandated information on scenes shot, film footage processed and other sundry details reported daily to Castle Rock). I may also surf the net and note how the fans at www.jimcarreyonline.com portray the events unfolding on the set this week. In our industry parlance, “the show must go on.” Hopefully, these next five missives will be somewhat comprehensive in reporting what I’m missing, first-hand, during my absence this week. Now, according to today's call-sheet, a.d. Colwell notes two scenarios -- sun brings the company back to the cemetery for Sc. 132, the exact same scene Frank had rehearsed and began prepping last Thursday before clouds overshadowed his plans. We have three scenes scheduled: Sc. 123pt -- Ext. War Memorial: Pete is subpeoned Sc. 125 -- Ext. Sheriff’s Office: The townspeople drift away Sc. 92 -- Ext. The Majestic: They turn the lights on With the unpredictable weather on California’s Lost Coast, Colwell has not listed today's forecast, nor included a “cover set” backup plan if the rain soaks the area, which happens later in the day, forcing another company move back to the fairgrounds for Sc. 49 -- Int. Town Hall Basement: Adele shows Luke the war memorial. With the exception of actor Landau (who is listed on today’s work sheet as a “W/N” or “will notify”), all major cast members have early morning calls (actress Susan Willis, playing Irene, must be ready at her hotel in Eureka at the ungodly hour of 5:00 a.m., meaning her personal hair/makeup folks, Rita Troy and Kristine Chadwick, report 18 minutes earlier at 4:42 a.m.!). Background players today number 83 (playing different roles, including FBI agents, state troopers and general atmosphere). The Lenny Arm III crane will play in today's work as listed on the call-sheet under “special instructions.” This area denotes specific needs for any-and-all departments on the production. The crane falls under the responsibility of the Grip Dept. Other special needs today include props (Bob Leffert’s prosthetic arm) and transportation (ten vintage cars and a pair of old motorcycles). Picture car coordinator Mike Price tells me he has uncovered through his local network of contacts a 1941 Indian motorcycle, a very unusual vehicle, but one used by police and sheriff’s departments back in this era. The motorcycle escort accompanies five black FBI cars, as these federal suits close in on their search for missing screenwriter Peter Appleton. As dusk closed in on the filmmakers, and rain curtailed any additional exterior filming, The Majestic’s marquee remained dark for another day. Nelson reports by phone that I didn’t miss much today. I still wish I was there. |
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