Totally Unauthorized

A side of the film industry most people never see.

Ready, Aim, Wait.

I’ve never had a producer tell me to stop working.

Today, he called a meeting and told us they may decide to shoot more in the main house. He delivered this news with the air of a man who has struggled a long time, but has finally come to terms with nothing ever making any sense ever again.

Sadly, we didn’t get that note until after we’d ripped out all the cable. Not the stuff in the flowerbeds that’s easy to reach – the cable that was run through the walls and in the crawl spaces of the house so the DP could have everything on a dimmer.

I’m noticing a trend with younger DPs – they want everything on a dimmer, all the time, even when they could use scrims. I guess that’s what they’re teaching them now in DP school, and that’s fine, but if you’re not shooting on a stage we have to put the entire location on our power – which, since houses are not built the same way sets are, means going through the very few areas of the house that aren’t visible.

In LA, that means the three-foot tall area between the rafters and the ceiling which is loosely termed an attic, or the 14 inches of crawl space under the floorboards, since the only houses here that have basements were built before the Wright Brothers took their first flight.

Since the ‘attic’ of this house is above the insulation, it gets really warm up there, and since we’re currently having unseasonable heat, it made sense to wrap that area first thing in the morning, before the space became a sauna and we made our medic do some work*.

So we’re now waiting to see if we have to re-do everything we undid.

No word on if they have to re-shoot the black glop.

*Whenever we’re on location must have a medic present. The medic is the one person on the crew that the producer doesn’t want to see doing any work – if the medic is watching Netflix or trying to stay awake, no one on the crew has been injured.

Filed under: crack of dawn, locations, long long drives, Los Angeles, mishaps, Work, , , , , , , ,

One Response

  1. It’s one thing to re-rig and re-light a stage set when somebody high up the food chain changes his/her mind. That’s a pain in the ass, for sure — but it’s something else to be on the shit-end of that stick on location thanks to an indecisive producer/director/whatever.

    That is hateful.

    And you’re right — dimmers are the new digital hula-hoops every DP just HAS to have these days. I thank Dog every day that I don’t have to work locations anymore…

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