On the Set: Day 12

Last year: while editing the scene that takes place at Union Square bar, I saw that I desperately needed some pick-up shots to fix it. So I decided I'd plan for yet another day of shooting. Then I decided that while I had the crew out, I'd shoot another scene that got cut long ago. See originally, there was a comedic scene in the script that had to get axed due to time and budget. Then, while editing the movie in post-production, I decided the scene needed to go back in. Without this mysterious scene, the pacing was off, and the comedy/drama ratio was off.

The scene involves a sexy girl character, so the casting call began. Then, through a series of networking, I got in touch with the manager of adult film star Bree Olson. We reached a great deal, and Bree was cast. Once I realized how popular Bree is, and how she's having pretty much the best year of her career right now, I decided to re-write the scene completely to give her more screentime and add some new gags in. And that's how we got "Untitled Ralph Project Scene 24A."

Bree flew in to JFK on April 26th and was escorted to her hotel by Darren of Five Star Elite car service. Darren's a great guy, he was very helpful, and they have awesome rates and services. Just saying, for future reference. I met Bree at the hotel and checked her in, and then we spent some time chatting, going over the film, and just goofing around. She is just an awesome person with a great head on her shoulders, she's very approachable, and she's got a personality that's very easy to fall in love with. She signed a few things, we rehearsed some, and then she snapped her hair extensions on me and took some pics with her iPhone. Loads of fun.

The next morning, we had Mike LaVoie back as director of photography, which is good because he almost couldn't make it. However, the rest of the crew was a new second unit: Clayton Combe as 1st AC, Tom Cryan as grip, and Frank Intorcia on sound. All three of these guys took the same train on the morning of April 27th 2008. Then I started getting the calls...the train was held up at a station nowhere near my area, and they had no idea when they'd be in. So with 3/4 of my crew missing indefinitely, I went to pick up Bree from her hotel and bring her to the set. So I pulled up, exited the Elantra, shut the door, and realized I locked my keys in there. And that, folks, registers somewhere in the top five embarrassing moments of my life.

At this point, I feared the day would be a disaster. But while Bree and I waited for the spare key to be dropped off, we got a little rehearsing in. The way I see it, we would've been doing the exact same thing at the house anyway since the crew was late. Soon after, we got to the house and it was time to start the shooting day. Tim Kelly returned for his new scene, and Angela Benedict returned to help on make-up. I also had a production assistant on hand and he was a tremendous help the entire day. We shot the scene, which was a lot of fun, and then we filmed a mini-interview with Bree for the DVD (although some of it will appear on this blog in the next mini-doc).

Everything went pretty smoothly. It was a lot to coordinate, but I had two months to pull it together, and I had a better idea of how to do things from my experiences last Fall. Even Angela called me later on and told me I did a much better job directing and keeping cool and the day was so smooth. Last Fall when we shot the bulk of the film, it was the most hectic time of my life, but half the reason was because I barely knew what I was doing. I'm glad it was such a learning experience, and it actually is a lot more fun for me to film now when I have a better idea of how to run the show and what to expect. And it's easier for me to not have panic attacks.

After dropping off Bree at the airport, the crew and I traveled to the Union Square bar to get some pickup shots. Our audio guy Frank got to go home early since we didn't need audio for these quick shots. At the bar, I met up with friends Alex, Keri, Kristina, and Jay. We filmed some much needed footage that will really help out with the scene, and then we wrapped production on the whole feature. For the third time.

Something crossed my mind at the end of the day. I remember when we first shot at the bar, it was just a bad experience for many reasons; our biggest being the rush factor. I wanted to get at least some pickup shots back then but we didn't have any time. Now months later, the idea to get those pickups turned into the idea to also shoot a scene with Bree. So I guess it's okay that things didn't work out the first time we were at the bar. I think what I'm saying, and I think the biggest thing I'm really taking away from this whole project, is that - for anything, not just the movie - every problem you come across is also an opportunity to make things better than they would've been.

I'll have a Side Panels mini-doc sometime soon. In the meantime, here's Bree Olson on the reality show Keeping Up With the Kardashians:

Bree Olson to Appear in Film!!!

So here is some news that I've been sitting on for over two months and tonight I finally get to announce it. Adult film star Bree Olson is appearing in the movie! I'll go into how this all came to be in a later blog, but I wanted to simply announce Bree right now.

Bree Olson is a popular name and fast-raising star in adult film: she recently won the prestigious best new starlet award at the 2007 AVN ceremony. She was on the cover of the February 2008 Penthouse, and the Pet of the Month the following month. She's been on Howard Stern recently and last year she signed a contract with Adam and Eve (the largest distributor of adult novelties and movies). This is just the recent stuff...she's done much much more that would make this a really long blog. Best of all, Bree is sweet, funny, and professional, and she helped to make a hilarious new scene for the film.

Coming over the next few days: a recap of today's shoot with Bree and the new crew, a new "Side Panels" featuring some footage of Bree's DVD interview with us, and more goodies. Stay tuned!

The Best Advice I Could Give

If you're serious about taking a swing at making a movie or a short film, and actually spending a hefty sum on it (especially from your own pocket), incorporate yourself as production business. This way, everything you buy for the production is a tax write-off, and you can claim your business as a loss (assuming you make no revenue because you're not really selling anything yet). I've said this all before in this blog, but I'm saying it again now because I finally know what my tax return will be and it is friggin' sah-weet. Without giving away the number, let me just say that it will take a hefty bite out of that debt I was bitching about a few entries back (although it won't obliterate it, but still).

And special thanks to both Winnie and Bonnie who advised that it's what I should've done. It is the best advice, and it's not in any of those "make your own movie" books. To you fellow fledging filmmakers...incorporate yourself!

Alex Sovronsky to Appear in Film (whatever it's called)!

This has me excited. An old college friend of mine, Alex Sovronsky, will be appearing briefly in the film when we shoot some pickup shots toward the end of the month. Here's why it's cool: Like Chris Wyant, Alex represents a bridge between two distinct eras of my life. Alex was in my experimental, ultra low-budget 2004 short film "Fly on the Wall," and he's done some voice-work for my old web series "Disorderly Conduct." But also, Alex is a friggin' great actor who's been on Broadway! Alex was in Cyrano with Kevin Kline recently. In fact, it was because of this play that Alex couldn't audition for my film last year, which I guess is a fair excuse. Anyway, glad to have your name in the credits, Alex. You're definitely one of those people I always hope to work with again one day.

In Search of a New Title

So here's my bombshell..."Bagged and Boarded" is in search of a new title. Here's the wrap-up...a few weeks back I got a call from a guy who told me he owned a trademark on the term "bagged and boarded." And he named his store after the trademark. The call came at midnight, so I was a little too distracted by my amazement that a stranger would call at that hour to really get into a conversation over legalities. The call dropped, and of course his number was private so I couldn't call back.

It's true though...a man does own a trademark on that term, even though it's a very common term that's been used for decades in the comic community. I got some advice from a trademark attorney on the subject (for FREE, 'cause I got mad connections). He said the case was up in the air...if I stayed with the title and he took me to court, it could really go either way. He also said that the term is in fact vague enough where a trademark like that might not hold, and he could risk losing it if I felt like challenging it.

Do I feel like challenging it? Not really. I don't want to hold up this project anymore than it already is, and it's not worth the cost. I was never too attached to the title, truth be told, and I'm getting a lot of feedback that other people were never crazy about it either. In fact almost everyone I'd told this to has been kinda relieved! It's easy to change it at this stage...I'd just change the logo and web site. I haven't made any publicity material or anything yet, so this news came at a good time and might even be a blessing in disguise.

I need a new title, and I'd like it to maybe be something that everyone understands...not just comic geeks. If you have any ideas, send them to me only if you have the understanding that the only reward you'll get is a screen credit. No one is getting paid for a title. Period. I've got nothing more to give. I really like quirky titles like "It's Always Sunny in Philadelphia." Something like that would be awesome. "Bagged and boarded" trademark owner: if you're reading this, feel free to call back and preferably not at midnight this time.

Here's a fun video I found on youtube:

Over $20,000

Hope you enjoyed the April Fool's joke from the last entry!

So I got an extension on my business taxes and I handled them a little late this year. When I started adding up all of the receipts I've been collecting, the cost of this whole thing became real. Back tracking a bit, I've always been telling people "the movie cost about $16-grand" or maybe I'd up it to $17-grand, but inside I've always known it was much more. Maybe I was afraid to tell people just really how much I've been sinking into this thing, but I think I was more afraid to admit it to myself in all honesty. But now that I've got some numbers here in print, it's something I can't hide from anymore: this freakin' thing has cost me over $20,000.

Wow.

If you're wondering why I've been in post-production for so long, there's a big chunk of your reason. This came entirely out of my pocket...I didn't get any investors, I didn't win any law suits, and I certainly didn't win a lottery. I just gambled my banking accounts and I'm scared as hell that it won't pay off. How'd this thing get to be over twice as much as my original goal? Without itemizing, I'll give a very rough and general overview of major expenses in 2007:

Crew - $11,520.45
Catering - $483.06
Insurance - $1,236.10
Equipment - $3,535.45
Props/Costumes - $593.11
Misc (travel, legal, web, etc) - $1,654.73

And this doesn't include anything from 2008, which includes our upcoming shoot in late April (not with Abe Vigoda). The good news is that some of these costs are tangible items that I'll always be able to use...editing software, film equipment, etc. And, I still think it's pretty cool that I actually own a business right now. But still...the figures are way higher than I've led anyone to believe. So I'm in a nice debt (hence, I still drive a Ford Tempo...but that changes this year!) and I hope this justifies a little bit why I've been so obsessed with this project; it can literally make or break me.

Anyways, there are my current feelings. Thanks to everyone that's stood by this entire time. I'm more determined than over to give you a good end product. In the meantime, I haven't thrown this link up in awhile...so if you wanna help a little...

Abe Vigoda to Appear in Film!

I've been hinting for awhile now that I'm adding a new scene to the film, and now I can finally give some details about it. I've been hush-hush because I couldn't announce anything until the contract was signed. But here is the big news! Abe Vigoda will be doing a scene in my movie! That's right, Fish himself will be appearing in one scene, playing Cola's grandfather Bill "Snappy" McGillycuddy. Although this scene is a late addition, it might be the funniest thing I've ever written. It also adds to the quotability of the movie with Snappy's catchphrase "I'm eatin' baby tonight!" Guess you'll have to see the scene to understand the joke. Welcome to the cast, Abe! We're scheduled to shoot in late April so hopefully he makes it until then.