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I'm walking around the stage area where Mark's been kind of standing there looking at me. I'm used to him just standing around looking like he thinks he should be doing something, so I don't think anything of it and I walk on and he calls me to him in a nervous sing-song voice. "We have a continuity problem," he says really concerned. I ask, "We have an ensuing one, or I made one?" "We made one," he answers, and I don't get it, because I just don't see what could have been missed. (And I don't want to talk about that stupid purse!) "We filmed her at the mailbox with her purse, and she left it at the [CENSORED]. We're planning some re-shoots anyway, so..." I tell him Whoa, we see her with it when she and Christina are [CENSORED]. He agrees, we see it a lot after that. I say I figured she went back for it. He agrees, but thinks it would be too big a jolt for the audience to see it appear the next day scene after we saw her leave it. I say it would look more like a mistake if we purposely have her without it the next day and have it suddenly appear later in the movie. Debate, debate. I tell him I had a problem with her leaving it, but I figured, okay, she left scared, but she got it later, the next morning. He's trying to write a scene in his head on the spot where we could see her walking back... I'm like, no, the story at this point is about her [CENSORED], you don't want to take away from that with this purse. But, yes, I can see his concern. Maybe after, he says... I say it wouldn't be there that long, she'd have to get it first thing before somebody else took it. He agrees. He's upset with himself for missing the whole thing. I tell him it's not that huge, we assume she got it back, which we would assume anyway. It had her stuff in it. I ask if the whole [CENSORED] sequence can't go into morning and we purposely show the audience that the purse is back on her desk, she had gotten it. She would spend the entire night [CENSORED], I think she would easily go into day [CENSORED]. He starts to like that idea. I say the purse can be on her desk, with a few broken make-up things next to it that she'll have to replace. So he asks D.P. Scott about it, maybe starting on the purse and panning to her [CENSORED] - Scott says he knows our concern, but don't make a big deal of it. Have it on the desk where we can see it, but don't draw attention to it. Cool. And Mark looks at the storyboards and likes the added shot of her [CENSORED]. He's relieved and pleased with the creative solution. I, on the other hand, am mind-blown for hours.
Completely vindicated, my head cleared right away (helped by a tasty lunch of cheese enchiladas). I try to get some fun pictures with the crew outside during lunch (my film prefers sunlight), but lunch is dragged into the stage area, so that's nixed. I do manage to snap a cute shot of hair & make-up Emjay taking a drag off boom Greg's cigarette which he holds for her for some kootie-prevention reason. We shoot more. The robe-clad Melody walking to her window and closing it (three dolly shots!). The bathtub scene where Mel wears a body suit which we keep having to rework in the angle to prevent it from showing. And production designer Hunter is called back to check the tub and make sure it's not going to flood our electric-covered set and kill us all. Return to the craft service table, which features ding-dongs, a hit among the guys, and stale cheese doodles. Julia stops by for her pb&j hit, while Mark and Hunter pick at the cheese doodles with me. We discuss Halloween, the perfect party and whatnot. Hunter said when he was in high school, he and his friends put on a haunted house and were told it was too scary. Pretty impressive. Our day is winding down and I ask about a reverse shot on the door. Scott tells me he and Mark will grab that along with some other insert shots after the crew leaves tonight. After a Taco Bell 2nd meal and final crew shot of the evening, most of the crew leaves. Scott, Mark, Julia, 1st A.C. Paul, 2nd A.C. James and I stay to do the inserts because, as it was declared, we have no lives. Scott and Paul move into the bathroom for the doorknob shot, with assistance from Mark. Then they move the camera back into Melody's apartment and Mark, Julia, James, Bill and I are sitting outside the set. After some fun discussion regarding the grip department, I voice my concern about that constant camera beeping from inside the set, why is the camera on so much? Julia says the paranoid script supervisor is wondering why the camera is on without her. We go in, where Scott and Paul are trying to film the computer screen without that nasty screen rolling lines problem you get when filming another screen image. Julia starts playing with the product placement Apple PowerBook, she and Jack getting really involved in some form of solitaire where they're not exactly sure of the rules. That's it, Scott says, bag it, we're done. Tomorrow our first day off. Finally. Zzzzzzzz... |
So we shoot a series of set-ups, then move on to another set-up. I go hang out in the wardrobe trailer (they won't shoot without notifying wardrobe, so it's one of the safer places for scripty to wait without missing a shot) with Azita and Dana, and we talk boys. Producer Julia stops by, we chat, she leaves us to go into set, we talk more boys and stuff. After a while, Courtney knocks on our door in a panic wanting to know where I am. I say I'm with Wardrobe, everyone's seen me here, you won't shoot without us, etc. Then I walk into Mark, who's spilling out of the stage door with other crew looking for us and he smiles sheepishly and says he didn't even notice I wasn't there until after the first take. I said, "You rolled without me? How could you roll without me? Or wardrobe? I hope you called it the right slate!" |