The Roar of the Engines

Our interpid editor Ben Meader has put together a slick behind-the-scenes clip on the dyno recording session for our hero cars.

Check it out:

Day Four of Production

We're now on Day Four of principal photography and starting to settle into a comfortable groove. We've made our days without too much difficulty due to the diligent efforts of our cast and crew. I know it's cliche', but that doesn't make it any less true: we have a wonderful group of people in front of and behind the camera. Even when our mechanical FX supe lost a week's worth of polyurethane tentacles overnight, she not only managed to put together replacements in less than 24 hours so we could make our shots, but brought along props for an additional practical effect that turned out to be one of the highlights of the day. That's dedication!

I don't want to say too much this early in the shoot for fear of jinxing it. Suffice it to say I've been profoundly happy with the images and performances we've managed to capture so far. Yesterday, we shot my favorite scene in the film--an emotional exchange in a rundown motel room. Our leads in this case--Joshua St. James and Emily Galash--really delivered the goods! It was a stirring moment to see  them bring my words to life. I can't wait to see the dailies. It's not the flashiest scene in the film. But to my mind, it encapsulates what the film is all about--everyday people trying to find their way in a world that persistently mystifies them.

The End that Marks the Beginning

Frame grab from RED One camera test

Today is the final day of preproduction. We’ve done our level best to be prepared for all the niggling eventualities of principal photography. In recent days we’ve reviewed schedules, conducted tech scouts, revised shot lists, finalized grip and lighting packages, filled remaining crew positions, tested makeup, wardrobe and cameras, rehearsed scenes with special attention to fight choreography—settled a hundred little details. No matter how much planning goes into a feature film, however, you can never feel prepared enough. You have to contend with a host of haunting unknowns: What if we can’t get permission to clear the street and have to shoot with the flow of traffic? What if this makeup effect takes twice as long as anticipated? How will we make our day?

At some point, you have to adopt a Zen-like attitude of acceptance. You have to reconcile yourself to the fact that you can only bend reality so far. You have to make do with what’s possible in the moment and not worry overmuch about how you pictured the film in your head. Thankfully, I have an amazing cast and crew to help me realize my vision. Each of them is an artist in his/her own right. And I’m humbled by the sheer talent assembled for this project. Our gaffer, for instance, is a 30-year industry veteran of such films as Michael Winterbottom’s The Killer Inside Me, James Mangold’s 3:10 to Yuma, and John Carpenter’s Vampires. His expertise and experience constitutes a great safety net for the production. The same can be said of all of your principal crew.

Since I first saw Star Wars at age 11, I've dreamed of writing and directing a film with the power to enthrall an audience. In those days, without the Internet, the only way to find out about new films was to read about them in industry magazines like Starlog and Fangoria. I used to slip my mom notes on their release dates in hopes she'd pick them up on her way home from the Forest Grove Aquatic Center where she worked as a receptionist. I checked out every book on filmmaking in the local library. And of course, I made my share of (notably bad) Super-8 and later, 1/4 inch videotape productions. But even after I started the screenwriting program at the University of Southern California, the day of actually shooting a feature seemed impossibly distant.

Now that the day is upon me, I’m both nervous and excited. But more than anything else, I feel blessed by the opportunity. My family, especially my wife of 21 years, has been unbelievably supportive. I know that feeling will fade as I’m immersed in the day-to-day concerns of shooting, but I’m glad to feel it now and will try to hold it in memory for as long as possible for the sake of that 11-year-old inside me.