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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 4 (Day 41) There was a bright moon shining on the Point Cabrillo lighthouse this fine evening. To start, we picked up filming of Sc. 50 from Thursday’s dusk shots. Emmerichs, getting a steady workout with his heavy Steadicam rig, once again dons this special camera for the same coverage we shot on Thursday, but from the opposite angle (called a “turnaround”). While Emmerichs shot actors Carrey and Holden straight on last night, he has now focused on the pair, reciting the dialogue which refers to the classic 1936 Paul Muni movie, “The Life of Emile Zola,” from behind so Frank has a cutaway for the scene. We continue until almost sunset while atop the hill about a half-mile away, 150 extras, in full party garb, sit inside a tent awaiting their call to the set. While getting their routine instructions from assistant director Skid, they also listen attentively to our location manager, Rory Enke, who enlightens the group about the sensitive location we have secured for the night. The huge crowd represents (once again) Lawson’s townsfolk. Tonight, Frank will kick off a week-long series of scenes portraying a huge party, thrown by Lawson’s citizens, welcoming Luke Trimble home after missing all these years. Three separate sites will be employed to stage these scenes -- the lighthouse here in Ft. Bragg, the Disney ranch, located about 30 miles northwest of Los Angeles, and one of the sound stages at The Lot. Enke recites that this location contains several species of endangered animal and plant life, so this large group must tread lightly on the grounds. He explains that in order to secure the location for filming, the production company signed an eleven-page document guaranteeing that no damage would be done to this state preserve. The extras, a spirited bunch, would all have to pitch in to insure the company’s promise.  He filmed one more scene, of the couple now firmly falling back in love, outside of the white picket fence adorning her lawn up the street from the lighthouse. While work continued into the night, news about the Writers Guild strike, which we find out has been averted, hits the set. The original deadline (two days ago) had been extended based on progress made in talks between the writers’ union and studio and production executives. The other union whose contract also expires this year, the Screen Actors Guild, will begin their talks with producers in about two weeks. Many of us on the crew, whose lives certainly would have suffered based on a lengthy industry-wide strike, breathe a sigh of relief at today’s announcement. |
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