We just wrapped on the set of Amor Sangre Sunday afternoon! Here, the crew and some cast members of the film 'Amor Sangre' posing for the camera. This production team really felt like a family. Thank you guys for all of your hard work, and for making this production come together - in just 4 days (and a few months of pre-production) we did it!
The shoot ran smoothly in comparison to other sets I've been part, and considering we did this film in 4 days - one night, two 16-hour days, and another morning - I'd say we really had our ducks in a row.
Of course, there were bumps in the road; the location we had secured two months prior was no longer available to us, suddenly - five days before filming. We immediately had to look for other locations, and all of the blocking, set design, shots - out the window. However, it was really a blessing in disguise; our new set was larger, closer to other shooting locations, and we weren't inhaling dust the whole time.
Each day we began two hours later than listed on the call sheet due to our sudden location change - but we ended exactly on time that last day! I'm tooting my own horn here, but my time estimations, in-depth work with the shot list and call sheet, definitely kept the production in-check, and is what allowed us to stick to a schedule and end at 1:30pm on Sunday.
We really were an incredible team - the atmosphere was just as Joe Cooke had described it, 'professional yet informal' - we moved along swiftly, we got all of our coverage, and it was a relaxed atmosphere. I remember Saturday night it suddenly became midnight - and everyone said, "Whoa it's midnight already?" - time flies when you are doing what you love, and doing it with a great team in a relaxed environment. I was told multiple times that I ran the set with a firm hand yet was personable - professional yet informal.
Finally, now that I'm out of film school and away from those 'filmmakers' with whom I went to class - I'm finally getting respect and appreciation from my work; I'm working with people who work on Hollywood sets, get consistent work, have been doing this for years - professionals - who understand how a set runs. It was so flattering that D.P. Katherine Castro and A.C. Talia Krohmal both said I could work on big sets, and any time I wanted a P.A. job on a big set, I could reach out.
Talia had even said, "Well I can tell you've been doing this for a while," (or perhaps it was 'this isn't your first time doing this') to which I responded, "You'd think so, wouldn't ya?" Sure, I've had four years of film school, been in festivals and shows, made my own work - but to hear this from someone who works with, well, professionals - it was such a lovely compliment.
Working with D.P. Katherine Castro was great - she brought an artistic vision along with her skill set, and I can say with certainty that, though I created a schedule and made sure we all stuck to it - Katherine's eye and understanding of how a film set runs is truly why we ended with all of our coverage, amazing shots, and with a project we can be proud of.
There were many lessons learned, and everyone really came together, and we made a film.