Ruth recently finished the first rough cut on A House for Marge. She and I had a look at it yesterday evening, and now it’s off to the races with fine-tuning and problem-solving.
It’s like putting a puzzle together. A puzzle that we created without entirely knowing what the picture would look like. Fun, in a mind-bending sort of way.
Continuity rocks.
I’d like to do a post about something I learned while shooting A House for Marge.
The final film is planned to be about ten minutes long or less. The scenes are pretty tight. We worked hard with Aubrey Hansen to make sure we followed the screenwriting principle of getting in late and leaving early. Because of that, most of the scenes are very short. Read More
This was the big shooting day. Probably if you count it all up, we shot half of the movie on day five. The location was the house of A House for Marge.
It started with a cat. He wasn’t in the script or the schedule or the crew or anything. But he was the first thing to greet us when we got to the location. He was a stray who didn’t live there when we started, but by the end of the shoot, he had been adopted.
(My turn to write a blog post!)
Our Tuesday-afternoon shoot was complicated by the fact that Rebekah, our AD, was absent. But we still managed to get through everything in time, despite late actors, changes in lighting, and one-too-many “if it works…” type of shot.
Most of our filming was outside this time.
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Today we loaded up the car with equipment and props (in the process discovering that it has a suitably deep trunk) and drove off to location. Once there, we set up and shot a scene.
Rebekah arranged the props.
