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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 8 May 2 (Day 39) Video technician Crabbe can print 4X4 Polaroid pictures from his bank of recording equipment which is wired into the motion picture camera (this system allows the director to watch a take as it unfolds for the movie cameras). On any given day, Crabbe gets requests for immediate prints from various crew personnel, particularly the hair/makeup and wardrobe departments and the script supervisor. Although many craftspeople from these departments shoot their own Polaroids for continuity (or matching) purposes in case a scene gets reshot later on, they can count on Crabbe if they need anything to supplement their own coverage. Later on, Crabbe added a funny moment -- Carrey faking a kiss with co-star David Ogden Stiers! I cannot go into the details but suffice it to say, Carrey missed his target in the scene where he winds his way through the depot crowd, and finds actress Holden standing behind Stiers. Ever the class clown, with an audience numbering exactly 355 (the extras), Carrey went to work, once again providing some impromptu merriment for the atmospheric players who responded with hearty laughter. Back at the video monitors, video documentarian Nasr has finished his “director’s cut” on the special taped salutation Frank wishes to send back to Steven Spielberg on the set of his new project, “Minority Report” in response to that tape sent to us last week in Ferndale. Nasr, at Frank’s request, loads the tape into Frank’s monitor and unspools the gag reel, sort of a travelogue (hosted by Frank) of Ferndale and the various sets and locations we used during our six weeks there. The opus concludes with that special 35mm shot Frank completed during our final night shot in Ferndale in front of The Majestic, with the marquee lettering paying homage to Spielberg's current production. Back on the set... You’ve heard the phrase “nice work if you can get it.” That motto could aptly describe actor Carrey’s (and Holden’s, depending on your perspective) day on the set. The sequence on the depot platform calls for the two stars to lock lips -- all day long! Nice work... And, the sequence dictates coverage from several different angles, the first being with cameraman Emmerichs at the controls of his Steadicam rig, a shot which follows Carrey’s character winding through the crowd and ending up in Holden’s arms. Nice work... After several takes captured on Emmerichs’ unique camera, the grips lay down some dolly track for a camera push into the embrace shared by both performers. These early angles, which take up most of the first half of our work day, focus on Holden’s character. After lunch, this punishing (yeah, right) assignment calls for the camera “turnaround” for actor Carrey’s close-ups. When you see Holden’s strikingly gorgeous face and sparkling crystal green eyes onscreen when the film opens this December, you’ll surely agree (and maybe even envy) that Jim had a nice day on the set. Of course, not to avoid the feminine perspective, you could also say that Laurie had an equally enjoyable day at work.  The last shot before our late lunch break was a sweeping crane shot over the crowd as they cheer the embrace between these two handsome performers. That dependable Lenny Arm III crane was recruited back into action by d.p. Tattersall (and “key grip” Richard Mall). Also sitting on a lengthy stretch of dolly track (estimated at some sixty feet), the crane shot was maneuvered (as back in Ferndale) by dolly grips Pearlberg and Young. Following our return from lunch, Tattersall turned his camera around for Carrey’s close-ups as he once again gets to kiss the ravishing Holden. Carrey and Frank confer briefly before the actors replay every take at Frank’s monitors. Carrey and Holden watch attentively, with Jim smiling at some nice moments he notices about their performances. When all is said-and-done, he puts his arm around Laurie’s shoulders and gives her a reassuring hug, signifying that they both captured this romantic moment perfectly. Frank also seemingly had a good day at the office, with smile after smile adorning his face as he watched another tender moment unfold for his cameras. Nice work... |
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