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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 26 (Day 36) After lunch, a dolly shot has been positioned outside of the faux theater. Underneath the marquee, videoman Scott Crabbe has placed one of his replay monitors. It appears that Frank himself will appear on camera. But for what? More footage for the promotional trailer that will plays in movie theaters this summer? As it turns out, Frank and colleague Steven Spielberg (fast friends since Frank did an uncredited rewrite of the script for “Saving Private Ryan” a few years back) have been trading video salutations from their respective movie sets. While we labor up in Ferndale, Spielberg has just started directing his latest opus in L.A., a sci-fi thriller called “Minority Report” starring Tom Cruise (check any movie website such as www.countingdown.com for info on this title). It appears that Mr. Spielberg started this exchange by sending a three-minute video he had his documentary crew shoot with him on his set in L.A. Upon receipt, Frank began cooking up his response by sharing the footage with his cast, including Jim, who graciously taped his own “hello” for documentarian Nasr. Now, regarding that unusual title appearing on the marquee of The Majestic, Frank requested we dress the set for his own personal greeting back to Spielberg. With d.p. Tattersall providing the exquisite lighting, and Tattersall’s crew at the helm of the 35mm camera, Frank starts his reply by looking a the video monitor placed strategically under The Majestic marquee. He walks toward the movie camera, acknowledging Spielberg’s salutation, hits his mark, then pulls out a clapper board with the Majestic title logo and a written greeting to Spielberg. He yells, “Cut and Print!” and concludes the take. As Frank completes his little 35mm shot for Spielberg, we begin prepping for our final night in Ferndale, one in which Mabel’s Diner is aglow with its neon signs sparkling against the night sky. Sc. 52 -- Ext. Diner: Luke walks home with a spring in his step, is a one-shot dolly camera move which Frank and Jim shoot ten times before moving a half-block down the street to The Majestic, with its flashing neon sign now carrying the title “Sand Pirates of the Sahara.” After a series of takes, Carrey immediately repairs to the video village tent to review his efforts, which contain no dialogue but only facial reactions. He chats with Frank about whether to continue and finish one more sequence tonight, Sc. 161, the final image in the movie (sorry folks, no “spoiler” details here). Instead, because of the late hour, we conclude filming except for a shot on the Majestic marquee (Sc. 161 can be completed on the stage back in Los Angeles). As we linger in the glow of the marquee, the normal midnight mist creeps into the air. There also seems to be some mist moistening some folks' eyes, dampening their mood as they mill about, recognizing that once we complete this last shot, we will have seen the last of The Majestic set, except for what Frank has indelibly captured forever on celluloid. When the movie camera finishes rolling, there is one more shot that stillman Nelson needs, if not for publicity, then for posterity -- Frank, production designer Melton and writer Sloane, the inseparable trio of high school buddies, posed in front of their memorable, unforgettable creation. We would not be on this project, be it Ferndale or Hollywood, without each of their contributions. How appropriate, even poetic, to watch Nelson snap this Tinseltown trinity as they beam proudly under the lights of The Majestic. And, as those lights dim and finally fade to black, Sloane stands alone, emotional in the thought that this could be the very last time he sees the fruits of his labor, his baby, come to life before his glistening, teary eyes. But, come December 21 of this year, when the film hits screens nationwide, Sloane, Melton and Frank (in addition to the rest of us) will see their efforts up on that big screen, their names in lights above the title on some grand movie palace somewhere in this great land. Tomorrow marks our last day in Ferndale, with filming scheduled back at the fairgrounds for portions of three sequences not completed last week, all inside the town hall basement set constructed underneath the fairgrounds bleachers. On Friday, it’s off to Ft. Bragg and Mendocino for one more week of location filming, which, when done, concludes the production’s second act.  The following letter (composed by Frank), reprinted with the permission of the Ferndale Enterprise, appeared in yesterday’s edition: “Dear Ferndale, Now that our time here grows short, we wish to take the opportunity to express our deepest thanks to all of you for your endless supply of generosity, patience and good will. The hospitality and kindness extended us by the people of this community has been remarkable, heartfelt and very deeply appreciated. Filming in your town and getting to know you has been a gift we will cherish forever. We extend a special thanks to all the merchants along Main Street and the people in the surrounding neighborhoods for putting up with our crazy activities with such grace. To anybody who ever had to duck out of a shot, wait in their car to get across an intersection, got trapped in a store, or otherwise rearranged their day to accommodate us...well, all we can say is, bless each and every one of you for your kind forbearance. Our biggest thanks goes to those of you who joined our production as background extras! What an amazing group (and may we say you all look darn spiffy in period clothes and haircuts)! Thank you for your enthusiasm, your enormous reservoir of patience, and, most of all, for braving the cold day in and day out. The value of your contribution to our film cannot be overstated, because it's you folks who will make our fictional town of Lawson live and breathe on the big screen. Great job, each and every one of you! When it’s all over and the last truck has headed back to Hollywood, we hope you’ll all look back on having us here with some fondness. We hope you’ll feel the good parts outweighed the not-so-good, and that the experience was worth the inconvenience. We hope you’ll enjoy the movie we made, and that you’ll feel proud of the way your beautiful town is depicted on screen. Thank you, finally, for having us as guests in your home.” The Cast and Crew of “The Majestic” See you in the movies, Ferndale. |
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