Jay Trautman

Jay Trautman has been one of my strongest mentors throughout The Last Hurrah.  Ostensibly, Jay is our editor.  But he's also attended every single production meeting, and is responsible for hiring our excellent sound department on set.  On top of that, he brought on Jeff Byron for post production.

Jay doesn't treat The Last Hurrah like a job.  He treats it like a creative project - like being in a band.  I find myself seeking his feedback on everything from story notes to budget questions.  When I couldn't figure out a two-shot with Steve and Will on set, it was Jay who pulled out Masculin-Feminin to convey how two shots are sometimes superfluous.

To convey the scope of Jay's creative influence on the movie, Jay is largely responsible for turning me on to the local Silverlake punk bands who will be populating our soundtrack.

(Adam Harr, Jay Trautman, and Yours Truly)

You might wonder, how much work does an editor do on a one-take movie?  A tremendous amount.  We have some extremely tricky special effects sequences that are taking months to design.  We also have so many people to coordinate with for color, picture, and sound editing.  And we have not yet worked on cutting a trailer and making of.  It's a decent amount of work.

Music

Set at a house party, The Last Hurrah has wall-to-wall music. Forty-one separate music cues! The Mae Shi

My friend and editor, Jay Trautman, has turned me onto a lot of local Silver Lake and Los Feliz punk bands. Underground groups that play The Smell or Spaceland. There are some real gems.

Jay - our one-take editor - also "edited" this one-take music video for The Mae Shi. They are a local pop-punk band.  It sounds like we may get to use their music in our movie!

[youtube:http://www.youtube.com/watch?v=PUKAcKKQns4&rel=1]

Getting Great Musicians

I am so thrilled to be working with musicians I have admired for years. You spend years playing their CDs in your car on the way to work, and never dream you'll one day be calling them on the phone telling them about your movie. I am completely stoked to be including music from amazing musicians like Adam Daniel, Sugarman 3, and Typical Cats.

Working with Friends

It's also a great feeling to be using music from my buddies. Libbie Schrader is a really talented singer songwriter who was in my college a cappella group. Kelly Perine, of Birthday Suit, was in my college improv group. And rapper "DW" is none other than David Wachs - one of the stars of The Last Hurrah.

Music We Can't Use

There are musicians I love who I have not been able to get permission from. Earlimart, M83, The Airborne Toxic Event, Tandemoro, and Spoon. Well, I didn't expect everyone to say yes. No matter how "indy" a band is - their labels are in the business of making money.

What surprises me is when the unsigned bands don't return my calls. That's not good business sense, in my opinion. But it's fine - we want our musicians to be as enthusiastic about us as we are about them.

Finding the Right Fit

It is amazing how hard it is to fit a song to a scene. I estimate I listen to twenty songs for every one song that makes it into a temp session. The process is fun, but unbelievably time consuming. I don't know what music supervisors did before MySpace.

Bands under my magnifying glass include:

Geggy Tah, Division Day, Meiko, Nasoj Thing, The Kax, Alison Block, Nous Non Plus, Tigers Can Bite You, The Deadly Syndrome, The Transmissions, Thinking Aloud, The Shark That Ate My Friend, The Henry Clay People, Gabe Mann, The Airborne Toxic Event, The Monolators, Castle Door, The Happy Hollows, Eagle and Talon, The Primos, Thailand, The Eulogies, Andy Frasco, Blood Arm, Die Rockers Die, Totally Radd, Bang Sugar Bang, Spindrift, Kind Hearts and Coronets, Health, Prefuse 73, Bizart, Radars to the Sky, Eskimo Hunter, Ferraby Lionheart, One Trick Pony, Matt Nathanson, Porterville, You Me and Iowa, Kissing Tigers, 8bit, Mezklah, I Make This Sound, and Lo-Fi Sugar...

Raising Money

Raising money is proving to be the most challenging part of this process. We just end up paying for everything out of our own pockets. Peter and Anthony signed off on the project July 23. So Richie is my only remaining producer. We can't move forward without money. And there is too much work and not enough team members.

I'm promoting Chuck to the role of Producer. And I'm bringing on my friend Adam as assistant Producer. Post production is not as glamorous, but it's where most of the work gets done.  I need a strong team.

The Strike

It's official. The studios aren't reading any new material now. They're in strike mode. My reps never went out with The Straight Man. Everyone agreed it was a good script. My reps had the script for two months and just never did anything with it.

The Waiting Game

My agents still haven't gone out with The Straight Man. It takes me four days to write a script, it takes them four weeks to read it. The writer's strike is approaching.  Tick-tock, guys!

The Straight Man

I wrote "The Straight Man." A tough Italian mobster gets placed in witness protection on Fire Island. He's forced to maintain his gay persona or risk getting iced by the mob. Now I just have to polish it up. I'd love to go out with it after Labor Day. We have to move fast with the rumors of the writer's strike. Everybody says there will be a buying frenzy in September.

Road Trip

Richie (Producer) and I cut out of town and drove north. Nothing restores my energy like getting out and seeing America.

We headed up to a friend's house on a winery in Sonoma. It was fantastic. We also spent a few days in San Francisco, which is a great city.

These pictures are all from an afternoon in Big Sur.

I got a lot of writing done, and outlined The Last Hurrah's trailer and making of. I also thought of a comedy called "The Straight Man." I plan on writing it once I get settled back in Los Angeles.

I love Italian Cypress trees. So ancient and expressive.

The Morning After

Katy and Carolyn came over and surprised me by cooking me breakfast.  This was incredibly nice.  Nevertheless, I did have some trouble getting out of bed.

Off to set for a day of cleanup.  Our location contract ends today.  So we need to strike everything from the set.  Still, it will feel good to work hard in the sun, and not have to think about anything.

It's a Wrap

After we wrapped the shoot, Anthony popped a bottle of Champagne and gave a really wonderful speech. My attention diverted, I have to admit I did not see this coming...

Ravi Patel and Randy Wayne. Other directors, be warned about these guys.

You can see Anthony got hit in the crossfire.

The art department got me a '40 as a gift, and I made my closing speech to cast and crew. All I feel is gratitude. To everyone who contributed their time and hard work, their talents, and their heart. Much love to all of you.

Setting up the Shot

While the movie is in one take, we're also shooting a teaser to play over the final credits. This is the last thing we're shooting. And because of all the water pumps, we only have one chance to get it right.

I love directing on the fly. I know what I want in my head, but try to express it in such a way that actors and crew members can add their own spin to it. Chuck and the actors always contribute great ideas, so we talk it through a few times until we're all on the same page. It's fun and it's how I like to work. The whole is greater than the sum of its parts.

I'm not going to explain what this shot is, because it's a surprise. But suffice it to say, it was pretty complex, and required a lot of ingenuity from our producer and resident mad scientist, Peter Marr (the guy in the black wife-beater on the roof).

Success!  Randy Wayne is soaked from head to toe.  He is a trooper.

We had one chance and it worked. I am absolutely thrilled. There are so many millions of miracles that happened to make this shoot work against all odds. I am thankful for all of them.

We Did It!

This is the last shot of the movie. .

I feel great.

Shooting Day 5

There was a ton of energy on set today. Everyone has performed the movie so many times now, it's feeling like a real party. During the day time scenes, another party of girls down the street started screaming incessantly. I had to send producers over to ask them to quiet down. So if there's screaming in act one of the movie, you'll know it was the neighbors down the street.

During the time lapse, it started raining. In the middle of July in Los Angeles. The sound and camera teams had to cover their equipment in plastic. And the usual suspects started telling me to cancel the shoot.

Things get worse

Our set parakeet, James Jamison, died during the time lapse. Just keeled over and died. Richie and I got rid of the body without the cast noticing. The dead bird and the rain clouds seemed like a pretty ominous sign.

So I asked God, a character in the movie, for a miracle. God (Martin Kelly) put on his sunglasses and pointed at the sky. Then we waited another ten minutes.

And I kid you not, this really happened.

If you watch this movie, look for the strange purple lighting during the time lapse from daytime to nighttime. Who knows, maybe we'll just color correct it.

But possibly, at one point in the time lapse, you will see the whole cast and crew pose for a photo and point at the sky. We're pointing at the double rainbow off screen (that's the camera filming in the middle of the group).

Shooting Day 4

Everyone was relaxed today.  Cast and crew have settled into the rhythm of the shoot.  I think we got some of our best performances. Everyone is going to different parties tonight.  I hope the actors still have their voices tomorrow.  Shooting this movie is fun like summer camp.  I feel like I could do this for years.

Teamwork

A film crew is a group of teams working together. Some of the department heads report directly to me (Art, Makeup, Wardrobe, Sound) and some report directly to Chuck, the director of photography (Camera, Grip, and Electric). If the director is the commander in chief, then Chuck is a four star general, and all the department heads are major generals commanding their own divisions. Chuck's Team

Typically, the director of photography has a gaffer to implement the lighting design, and a key grip to help put everything together. The gaffer's assistant is called a best boy electric, and the key grip's assistant is called a best boy grip.

The camera team consists of a camera operator, a first assistant camera (focus puller), and a second assistant camera (clapper loader). Unofficially, when the DP is also the camera operator, the DP takes the title of Cinematographer.

Shannon Mita (2nd Assistant Camera), Me, Joe Segura (1st Assistant Camera)

Shooting requires the teamwork of all departments. As Chuck's camera navigates through the crowd of extras, he is trailed by the boom operator, the first AC, the second AC, the first AD, the second AD, and sometimes the script supervisor and me. As soon as the camera shifts away from an actor, makeup and wardrobe swoop in to keep everyone looking pretty.

As the party grows throughout the night, Shane Richard's production design team sets props, moves scenery, and makes sure continuity keeps everything in its proper place. Tiptoeing just behind the camera is a well choreographed ballet.

My Team

During the shoot, I am supported by Amy Arter, the script supervisor, who watches for missed lines and continuity errors. Each day I come on set with over 100 actor notes from the previous day's shooting. A lot of these come from Amy - spotting where actors are deviating from the script!

The producers and PA's support me in myriad ways. For The Last Hurrah, all of the producers are on set as extras for the entire movie. Richie Molyneux has the responsibility of corralling the background extras to fill each shot. In costume, he is able to amble through a scene, quietly whispering directions to the extras to position them where we need them.

Jason Kennedy (1st AD), Chuck DeRosa (Cinematographer), Me

The first assistant director, Jason Kennedy (pictured above), is my rock of Gibraltar. Someone has to be the barking dog to get everyone into position, and if the director does it himself he looks like a ninny. Jason sets call times, pushes the actors through wardrobe, makeup, and micing, and then polices the entire shoot.

Each day before shooting, Jason, Shane (Production Designer), and I walk through the entire set inspecting every inch. We are generals surveying the battlefield. Once we start shooting - that's it for the night. So we must examine every scene set up to make sure everything is perfect. For some reason, it's one of my favorite parts of the day.

Shooting Day 3

Today we got a good take. I ran across the lawn and hugged all the actors. We did it.

Shooting Day 2

Today we shot through to the end of the movie. I think the actors feel a sense of accomplishment. That we can do this. I told the actors that we now have a good movie in the can. So we can relax tomorrow and just aim higher. This is a good feeling.

The truth is, I don't think we've shot anything close to our best yet.

Watching the shoot from video village

I need a little bit of rest and a little perspective. I feel like I martyred myself for this movie today. That I fell on my sword. My producers have still not raised any money. I quit my job to direct this movie. I have given every penny in my bank account, and now gone $42,000 into credit card debt. I have given everything now.

All I Need

I can't tell the actors I've just sold everything I own to keep them on set. The director must project confidence. I put on a relaxed face, and smile and joke with everyone. Today actress Heidi Johanningmeier caught me off guard. She walked into one of the bedrooms and found me catnapping on the floor, worn thin. Spent. She knelt down and gave me a hug. She never spoke a word. Silently, she understands.

An actor like that. I will walk through fire for an actor like that.

$28,712.28

My producing team has negotiated all fifteen of our actor contracts as "most favored nations." This means that our smallest actor gets exactly the same deal as our biggest actor. I can't imagine how this works in our favor, but it seems the producers were just muscled into it. Our actors have signed four contracts now and two of the managers have rejected every one of them. Now we're already into filming and still no signed contracts, so the managers just have us over the barrel.

And there's not a ton I can do to help the producers negotiate because I'm sort of busy directing a movie.

Finding $28,712.28 in two hours

Step 1) I sold all my stocks today. My beloved Google and Apple. I was going to hold them for a decade. The best laid plans of mice and men...

Step 2) I liquidated all my savings. $20,000 I painstakingly saved as a piano teacher. It will all go into the pockets of my actors now. At least I'm supporting the arts.

Step 3) I called my mom and dad and told them I'm making a movie. I told them I need to borrow $8,000 today or my movie gets shut down. My mom and dad agreed. They were setting money aside to buy a new car in September.  But instead they're wiring the money directly to the actor payroll company. I will pay them back by borrowing $8,000 from credit cards.

Wiring Information

I need to wire this money to the payroll company immediately and none of my producers is answering their phone this morning. What are they sleeping? It's 10am! I am all alone in this.

Sublimation

I'm trying to decide how to feel about the two actors' managers that cost me all of this money. Their actors do deserve their own trailers. I would get them if I could. They do deserve lots of money. I would pay them a king's ransom if I could. But those actors should understand that I am paying for this movie on my credit cards. That we are all here for love of the game.

It is illogical for me to be upset with these actors. My job is to work well with them and bring out their absolute best.

I am emotionally tired. But my mind is working at lightning speed. I am not thinking about myself or my producing team. I am thinking about working with my amazing actors. I am thinking about what I can emotionally give to rally them to be their best.

Shooting Day 1 (Part Two)

11:00pm. I had to tell all the actors to go home. If I kept them I'd have to pay them overtime and serve them another meal, and I don't have any more money. We didn't finish the movie. And nothing for the day is usable. I tell everyone they did a great job.

Then I sit down with the producers.

It gets worse

Me: Alright fine. So we're going to pay $11,000 to our actors for rehearsal days. How about the shooting days? We already paid them that money, right?

Producers: No.

Me: What? What happened to the $17,000 we set aside for that last week?

Producers [in various equivalents]: We don't know where it went. We spent it.

Me: When were you planning on dealing with this? We have actors on set and we haven't paid them anything?? What happened to our budget?

Producers: "..."

Me: How much money do we need to pay the actors?

Producers: We don't know.  But we were supposed to pay them by today.

At this moment, one of my team members boils over, yells at me, and runs away. I tell Chuck, "What's she so upset about? I'm the one who's going bankrupt." Chuck chuckles.

It gets even worse

3:00 am. Back and forth with Anthony on the phone. After a lot of math and detective work we figure we owe the actors $28,712.28. I need to come up with this money by tomorrow to keep my actors on set.

Shooting Day 1 (Part One)

Four minutes before I yell action to start the movie, one of the producers pulls me aside in a panic. I tell him, whatever it is, don't tell me now. I'm about to direct. Tell me in six hours. Producer: We need to shut down the movie tomorrow.

Me: What now?

Producer: We need another $11,000 to pay the actors.

Me: Why?

Producer: We have to pay the actors their rehearsal days.

Me: Why? We read the SAG handbook - there's nothing explicit on rehearsal days. Besides, in their auditions, all our actors specifically agreed to work for free.  Why are we suddenly paying them all this money?

Producer: We didn't get the actors' contracts signed in time.  Now that we're shooting, their managers have us over the barrel. Two of the managers won't back down. One of them won't have their actress come on set tomorrow if she doesn't get her own trailer and makeup room.

Me: A trailer? Are you kidding me?  That's more than our entire budget.  How did this happen?

Producer: I'm trying to work it out with her manager.

Me: You need $11,000 by tomorrow morning?

Producer: Yes.

Me: I'll get it for you.

Producer: How?

Me: Don't worry about it. I'll get. Now don't bother me with this stuff before I'm about to direct! I'll talk to you in six hours when I'm done for the night.

On our first day of shooting we still haven't signed actor contracts.

It gets worse

As the actors take their marks and I prepare to call action, the homeowner pulls me aside and starts yelling at me. It seems one of the producers lost the garage clicker. The homeowner swears he will shut down my production if we don't find his garage clicker.

I patiently listen. I nod my head. Everyone wants to shut down the production today. Even for a garage clicker.

I make sure the actors are still pumped up for a 100 minute take. I slap fives with the actors and call action. What else can I do?