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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 9 May 15 (Day 47) Today is picture day. Although we traditionally do shoot a “crew photo” at some point during the production, these photos are 8X10 handouts to the crew showing them working on the set. Picture day for me has been a regular ritual, a practice I’ve employed going back over a decade to my days on “Home Alone” in 1990. In combing through all the images shot by still photographer Nelson, he takes galleries of shots showing the crew at work on the set, both b/w and color. Such photos do get used sparingly in publications that illustrate the craft of motion pictures (like American Cinematographer, for instance). Mostly, these photos get filed away after the film is released in theaters, rarely used again. I’ve always felt that a print showing a grip pulling cable next to a star, or the hair and makeup folks touching up an actress before a scene, or the cinematographer and his crew filming the actors at work, are cherished moments for those crew featured or captured by the still photographer as he/she documents the daily routines on the set.  So, over the years, I’ve suggested (even insisted) to my studio bosses that it is well worth the company’s money (be it the studio or the production) to distribute such photos on a regular basis. It serves as a terrific morale booster to those who receive the photos. I always attempt to supply a shot to every crew member when looking through the thousands of images shot by Nelson or any still photographer with whom I’ve worked. Today, I have about 100 photos (mostly 8X10's which I order directly from the lab, but some 5X7s provided by Castle Rock) to hand out to crew and cast. Actor Martin Landau, when given a striking shot of his character, Harry, in the dilapidated ticket booth of the aging Majestic, tells someone within earshot that Nelson is the best in the business, and recalls getting similar shots when they worked together in 1988 on Francis Coppola’s “Tucker.” And, for you Ferndale folks who watched and welcomed us for those six weeks, check out the autographed photo from actor Landau to restauranteur Curley Tait in his eatery at Ocean & Main! Some of these shots also include actor Carrey. Before handing these out as souvenirs to the crew, I pass them by the actor to insure that he is comfortable with his images in the photos. He approves the dozen or so shots that highlight acting coach Moss chatting on the set, makeup artist Corso and hairstylist Morgan readying the star for the cameras (always a welcome and cherished image) and some shots of the actor working before the cameras for operator Emmerichs, focus puller Page and dolly grip Pearlberg. Those getting photos today immediately thank Nelson for his consideration in taking the shot, something I stress. In addition to some nice photos of actress Holden with director Frank on the set, I also hand her a bundle of 35mm color slides to peruse. As one of the film’s stars, her contract stipulates that she has approval over the use of certain photo images in Castle Rock’s publicity campaign. Her chore here is to look through each frame in which she appears, and “X” out those she wishes not be used by the studio to market the film. Most of the principal cast have such a clause in their contracts, and some like Laurie exercise that right (Jim does as well after his personal publicist takes an initial pass at Nelson’s photos). Some, like actor Whitmore, prefer not to review the material. “Been there, done that” sort of philosophy. In taking the batch of slides from me, Laurie also compliments Nelson’s work, and tells those of us gathered that she is having the time of her life on the project. Although somewhat unknown in film circles, Holden has worked steadily for the last decade, mostly in television (you can click onto www.laurieholden.com, a fansite, to find out more about this personable woman). She has a huge following among “X-Files” fans, having played the key recurring role of Marita Covarrubias on the show since 1996. What’s happening on this set you ask? Well, more coverage of actors Landau and Stiers discussing Luke’s amnesia. More swinging and swaying to those marvelous melodies of yesteryear. Another 282 extras adorned in the era’s vintage threads. But, we have yet to see the centerpiece of these party sequences, which is now scheduled for tomorrow. So, come back tomorrow to see -- the Piano Man! |
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