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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 19 (Day 31) Thankfully, I witnessed Greg Melton’s marvelous neon marquee come alive when lighting tests were run last week involving cinematographer Tattersall and his camera crew, the electricians (supervised by gaffer Vuille) and a representative from the neon design firm of “Heaven or Las Vegas”, whom Melton secured to create the colorful neon tubes for the film’s title character. And, finally, tonight, for Frank’s cameras (and those Ferndalians on hand to catch a first-hand glimpse), The Majestic comes alive!  The day starts off with an 11:30 a.m. calltime for the crew, knowing they need darkness for Sc. 92 -- Ext. The Majestic: They turn the lights on. One of our production’s many street fans reported the following on the film-friendly website www.jimcarreyonline.com: “They were filming the lighting of the Majestic! Very few lines, but great expressions and emotions from the actors. The light switch was pulled, the actors raised their hands and howled with excitement as to the beautiful sight of lights that brought the theater back to life! They did the scene over and over, shooting from every angle, and the ending shot was a kiss between Jim and Laurie.” In Sloane's script, Sc. 92 contains no dialogue, and runs the equivalent of 3/8 pages in length. Sloane’s exposition of the scene follows: EXT. MAJESTIC -- DUSK It's just gotten dark. Luke and the others are out front, gazing up at Avery and Carl atop the marquee. Everybody's holding their breath. Carl signals for power. The switch is thrown... ...and the neon kicks in, climbing the tower and spreading to the surrounding array like a giant, gaudy, tearful tiara. The Majestic comes to life before our eyes, lighting up the entire street...  No where in Sloane’s description does it say that “Pete and Adele kiss.” That’s where a director’s touch comes into play. In staging the scene, Frank decided that the moment’s magic would be enhanced even more by having his two leading characters embrace and kiss to signify not only a re-birth for the town, but also a rekindling of the romance between these former lovers. A nice touch indeed! And, in reviewing still photographer Nelson’s photographic coverage of this wonderfully romantic scene, he captures magic in that still photo of the film’s two main stars, Jim Carrey and Laurie Holden, embracing directly in front of the glowing movie marquee. Shooting several roles of film (with horizontal and vertical coverage of the scene), we already choose one image that most likely will be used by Castle Rock for magazine placement in their publicity campaign. While a picture says a thousand words, this one shot needs only three to depict its look and feel -- magic and romance! While Nelson was recording magic and romance with his cameras, local artist Jack Mays (you’ve read about him in earlier reports) has captured something similar in one of his special pen-and-ink drawings -- a beautiful rendition of Melton’s The Majestic theater measuring 20X30 inches. With his sketch in hand, Mays canvases our entire cast and several of the crew to add their autographs to his unique artwork. He has no plans to frame and hang it in his home, but to donate the drawing to Ferndale’s local Harts Theater for this weekend’s annual auction benefitting the town’s local theatre troupe. We’ll let you know next week how much the special painting sold for. |
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