Last week my friend Joe Cooke of Angler Audio gave me a call about a film he's working on. He said a few set P.A.s were probably getting the boot, and he'd highly recommend me for the job.
It was definitely a high compliment; he said that working with me previously on the set of Amor Sangre was great; he loved how I handled things and propelled production with my attitude, adding that he'd love to work with me professionally for years to come! It was a high compliment that he would even think of me and recommend me for the job, but to get involved in this opportunity was all the more amazing. He said he'd let me know about the P.A. position as quickly as he could - and, last Friday, he called me up and said 'head down to Rhode Island and help on the set of Black Beauty!'
I met with the producers Jude Walko and Dan Campbell of Blue Falcon Productions when I was brought to the set, and instantly everyone was welcoming. Within 20 minutes I was assigned 'craft services' and to assist our caterer, actor Pat O'Hara!
Here you can see the guys I worked with - but wait, who are those famous faces? Why, it's none other than Bruce Davison and Luke Perry! I walked on-set and, instantly, Bruce shook my hand and held it as he complimented my 'I Love Lucy' shirt. He said he could tell me stories about Lucille from years ago when he worked on Mame (1974). He had some great stories!
I enjoyed the work, and being a P.A. on a set of this caliber was nothing like the last time I was a P.A. - back in school. It made me realize that, when I direct my own productions, I'm also doing the work of an A.D. and a P.A. - and that's a lot of work. Apparently it's hard to find a decent P.A. - I hope I was one of the good ones!
Well, I hope I made a good impression. I would love to work with this production crew again in the future!
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.