The Life Cycle of an Indie Film Part II: Production
by
David Gallic
In my last interview with Jennifer Clary, we talked about some of the different aspects of pre-production on her film The Silent Thief. This time around, she tells me some of the highs and lows of the production phase.
I manage to get a hold of Jennifer during some of her rare downtime in between shooting a family scene and prepping for the next day’s shots.
I know you are using a different camera than the one you mentioned in our previous interview. Can you tell me a little bit about the new camera and how it came to be?
Definitely! About four weeks before production began, we had the great fortune of being awarded a Panavision grant. The grant has enabled us to shoot on the Genesis with an exceptional lens package. Panavision has been so amazingly supportive of this project, I will be forever grateful. In fact, in addition to providing our camera gear, Panavision is loaning us a Techno Crane this coming week for our stunt work at the Venice Pier. We should be able to get some really beautiful shots!
Are you allowing the actors to have some leeway with the dialogue or do you keep them on script?
My actors are my collaborators in every regard. If a line isn’t working or a moment doesn’t feel real, then my actors absolutely work with me to solve the issue. It would be nonsensical for me to ignore their input. I mean, Toby Hemingway has been with the film since February so we’ve worked together for months and his input has definitely changed some of his character’s lines and moments. And Frances Fisher comes to set every single day with new ideas about her scenes, which I love!
Video Village with Actors.
Any last minute major re-writes due to collaboration with actors?
I actually ended up re-writing two scenes within a week of Frances joining the cast because she challenged me to view certain beats in new ways.
Does being a co-writer change how you deal with this?
I don’t think that being a writer as well as the director changes the way I approach scenes on set. Even if I was working from someone else’s screenplay, I can’t imagine not listening to my actors. No one wants to shoot a scene—let alone watch a scene--that feels fake or out of sync. Sometimes the words sound right in your head when you are reading them alone in your room from a piece of paper, but when you put the scene on its feet you realize that something is broken in the moment. You have to fix things when they break down, and who better to turn to for ideas and solutions than the people who are inhabiting the characters and uttering the words?
Checking Wardrobe.
Have there been any obstacles avoided or easily worked through by having anticipated them?
Overall, I feel like we planned well for the production process. We are more than halfway through shooting and we are on budget and on schedule. We will see if this trend continues as we move to a more challenging public location—Venice Pier--this coming week. Fingers and toes crossed!
What have been some of the most difficult unforeseen challenges of the shoot so far?
Well, we’ve had some consistent issues with our honey wagons (lights not working on overnight shoots, the AC breaking down when it’s a million degrees outside, etc…) which tend to cause shooting delays. We also have some difficult neighbors (we have been shooting in a private residence for the past week and a half) who refuse to respect our shooting permit and repeatedly trespass onto our property, oftentimes screaming loudly and botching takes from an audio perspective. It is very challenging when you try to be respectful as a production (clearing your shoot dates with the neighborhood well in advance of production, spending extra money from the budget to obtain the quietest generator possible, etc…) and are still met with such strong resistance. Film LA has been mediating the situation for us at that particular location, but we can’t quite seem to make a couple of the neighbors happy despite our best efforts.
Contemplating Set Decisions.
Seems like you would have more important things to deal with than pushy neighbors.
Yes! The energy and resources which have gone towards trying to remedy this situation would have been much better placed elsewhere on our low budget, so it is certainly frustrating!
Talk me about some of the most rewarding moments up to this point.
I really love filmmaking. Every single day that I get to go to set and work is amazing. I just feel so incredibly lucky. (Spoiler Warning!) The other night we shot this really dark scene in which Toby’s character, Brennan, forces Cody Longo’s character, Mike, to reveal his homosexuality to his parents (played by Frances Fisher and Kurt Fuller). It turned out so beautifully, with just the right combination of vulnerability and violence. I was so proud of the performances and it was such a joy for me to be able to facilitate such exceptional work by cast and crew alike.
Prepping Makeup.
As our conversation comes to an end, I hear a multitude of voices on her end of the line. It seems like her downtime is quickly coming to an end. I thank her for her time and before she gets a chance to hang up I already hear her next conversation starting – a snippet of dialogue between her and her producer/husband over an upcoming night shoot involving stunts. Busy!
David Gallic is the resident playwright of Twilight Repertory Theatre in Portland, OR where a number of his plays have been produced, including Off Book and The Meat Shall Inherit. He is currently in pre-production on his first screenplay, Meatloaf in the Moonlight, based on his play of the same name. He resides in Los Angeles, CA.
