Indie Film Blog

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Sweltering and sweating on the mountain ...

Wow, Brion and I spent the whole day on Mt. Shasta trying to find four more locations we still needed.  We have been sweating that out, both figuratively and actually, what with the crazy heat wave that's swept the whole west.  But that didn't deter us, even if everyone else was taking the day off and enjoying the holiday.  But no, not us, the film-driven minions.  And guess what, it paid off.  Not only did we find the three main locations in places we didn't even suspect to look, but we figured out how to make a simple script change to accommodate a final location we already had.  So, it was our independence day, because finding all the mountain locations has been the most difficult part of our locations search.  We had our own  little take on the holiday and made the exact progress we needed to, because tomorrow I'm flying to L.A. to do a table read with the seven principal actors on July 7 and then a day of rehearsals on July 9, and then I'm heading back up the Shasta on the 10th to begin prep on the 12th.  Whew! ...

Jerry

Comments -- Blog comment offering and a spiritual hug -- 7/12

Hi Jerry,
I totally like the premise of this feature AND I am excited that one of my favorite regions is hosting such an endeavor. With all the spiritual energy that envelops the north state and is embodied in many of its inhabitants (read: humans - we know that animals are far more spiritual than we these days and need no mention - at least, to those of us who are/ aware/) it is refreshing to find a storyteller who appreciates the universal appeal of our beloved earth. Blessings and peace to you and your crew as you tarry here in our backyard. And, please, make yourselves at home. We are, after all, brothers and sisters sharing this host planet.

Peace,
Eric G. Hoff

Comments -- Dreams Awake -- 7/16

Hello!
I have just been hired as an intern on Dreams Awake and have been reading through your blog, although I haven't gotten past '05 yet! It's been entertaining to watch the narrative of the film's creation unfold. What a treat to be able to read and share your vision! I've been enjoying it thus far and am looking forward to working on this project which seems to weave many resonating themes in my life. I've noticed there seems to be a strong Native American influence to the film, and I am thrilled about this. Susan has talked to me about casting a bit and I just thought I'd make myself available to you as well in this regard. I have pretty close ties with the Klamath/ Modoc tribes a bit North of here and if you need any questions answered consider me a cultural resource. I also have a sweat lodge available to me for ceremonial purposes if you're interested in cast or crew  engaging in a spiritual cleansing ceremony. If you'd like to get a hold of me, ask Mark, Brion, Susan, or Rene. Thanks for making this movie!

Chelsea Clarke

Pulling resources, people and time all into one moment of filmic history ...

Lots of stuff to do in just a couple short weeks; setting up the production office, getting the rest of the crew, finalizing locations, travel plans, logistical movement all over the place, oh my, the process and details, detail, details seem endless.  Never enough time.  Never enough sleep.  Ha, wait until production ...

Had a hard time finding an available Production Coordinator and 1st Assistant Director.  Did get our PC, but didn't get our 1st AD until just a few days before production.  And he's a good one, from the east coast, and had our schedule honed out in a couple days.  Said we should have had him sooner.  Duh, we were looking, where you been? ...

Locations seem to be a problem.  Of course, we have the main one, our house, but the others, we're still looking.  The mountain ones, we know about, but the ones in town aren't gelling as well as I thought they would.  I took Vernon (1st AD) up on the mountain ones for him to check out first hand, and he says he have some logistical challenges there.  But none we can't rise up to, as long as we plan right.  Right ...

Even though we already had permits to film on the mountain, the forest service informed us just before we were ready to go into production that we couldn't be on the mountain certain days because of some Native American ceremonies.  Oh wow, that totally threw our schedule into disarray and we had to redo it just before we were ready to start ...

Most things were coming together, but others we'll probably be chasing through production.  I've always preached plan, plan, plan, but it seems we don't really have enough days to plan for everything.  D-Day is approaching and we don't have all our assets ready to storm the beaches, so we'll have to go with what we got and hope the rest catches up to us when we need it.  Yeah, flying by the seats of our pants.  Hopefully our britches can take the beating, 'cause I don't want to get caught hanging out, all exposed and such.  But then again, isn't that what real filmmaking is all about?  Talk to ya' on the other side of this adventure ...

Jerry

Comments -- On Being -- 7/24

Jerry,
Sounds like you're knee deep. I'll be putting energy your way. Old soul traveler.

Bill W.

The machinery cranks up and moves forward, moment by moment, setup by setup, take by take, scene by scene, day by day, week by week, until ...

July 26 - Day 1 -- And we're off!  We shot stuff around the house today, all exteriors, only a couple pages scheduled to help get the crew used to working together.  Had to deal with the noise of the development going in next to us.  Peter, our sound guy, certainly doesn't like that.  Had an interesting deck shot on a high ladder, and mountain shot near sunset, plus a minor scheduling snafu and didn't make our day ...

July 27 - Day 2 -- Stayed at the house in the morning and shot some interiors, and then planned to move to the opposite part of our property where we had built a primitive domicile that was supposed to be on the mountain.  But of course we couldn't actually build it there.  Anyway, best paid plans.  A major snafu hit us.  We had ordered a 5-ton grip & electric truck, but the rental place had given us a 10-ton, which we hardly needed.  It was supposed to pull a 750-watt generator, but came with a 1200-watt generator.  Problem is, the hitch was unique and we had a hard time finding a vehicle that could pull the gennie around.  But now we needed to pull it to the other side of the property, if we wanted any serious power.  However, we did find a rental place that had a dump truck with the right hitch and the plan was to deliver it that day on top of a large trailer.  This trailer was supposed to stay on the pavement a mile down our dirt road.  But they had the wise idea to drive up our dirt road, with no way to turn around.  Needless to say, it got stuck at a Y-intersection between our long driveway and the rest of the road.  By noon, when we were fixing to make our company move, we had a blocked road with no way to move our camera truck or anything else to the location.  It took hours to get a tow truck to move the trailer and get us back on track.  But by then we'd lost hours of work, and never came close to making our day ...

July 28 - Day 3 -- A massively crazy day.  If we thought the previous day was bad, we didn't know the half of it.  We were back shooting the primitive domicile, and early on I got word that we had a major cast problem.  I humped it back to the house, and was informed that Steve (playing Ambrose, our wise sage) who had just flown in, and had been in the hospital because of an accident.  After conversations with him and others, and lamenting about it, it became apparent he wasn't up to taking on the role, even as much as we wanted him.  Now what?  Most of our scenes for the day involved him and Erin (playing Hope, the female lead).  We shot what we could that day, shooting some of the Ambrose/Hope scenes with only the Hope side of the scene.  We hoped when we shot the other with a new actor that we could get it to match.  But other things happened.  It was notoriously hot and we lost three to heat stroke, two to bee stings and another due to an accident.  Some were treated at the hospital, some went home.  We did not make our day, and were seriously behind after only three days into production.  Dark visions were dancing in my head, but I vowed to fight on another day.  Erin came to me with an idea for the Ambrose replacement.  I told her to go for it and let me know.  Jees, and yes the 10-ton grip & electric truck also got stuck in the soft soil at the domicile location ...

July 29 - Day 4 -- We had a company move, and I hoped that would be a good thing.  We had to burn the morning scenes as they involved the Ambrose character.  Instead, that morning, Michael (the DP) and I took a camera crew and did some B-roll footage of the mountain from different vantages.  Then that afternoon we shot some clinic scenes with the Hope character and a number of extras.  That went fairly well, but four days into the production we were almost two days behind.  Erin got a hold of Tim O'Connor for the Ambrose role and we emailed him a script.  He was retired and lived north of Sacramento, a mere three hours away by car.  He had worked with her on the Buck Rogers series, and she had run into him just a couple weeks before, and she said he was in great shape.  Well, we certainly needed someone soon, but then it hit me.  Steve London was 6'3" tall, but Tim was only 5'9".  Why was that a problem?  Because we had cast an actor out of Sacramento who was a young version of Steve and he was tall, and we had shot those flashback scenes already that weekend.  Granted, we needed someone quick, but it had to be the right person ...

July 30 - Day 5 -- Another company move and now we had our first day on the mountain (below tree line).  I was a bit concerned knowing how this could be the most logistically challenging day so far.  Anyway, I put my most positive face on and decided to plunge forward with all the force we had.  I think it paid off, because we came the closest to making our day and we had some very cinematic beautiful scenes.  It felt good being on the mountain, and she did well by us.  I talked to Tim O'Connor that night, as he did have some reservations about a couple long dialogue sequences.  I mulled that over in my mind and assured him I'd be with him every step of the way.  He finally said he was ready to come aboard, and after a more involved conversation I was ready to bring him into the family.  I could tell he was a gentleman from another era and a very nice person, and felt it was just what we needed.  As for the height situation, we'd have to come up with a creative solution.  It is what we do, right? ...

July 31 - Day 6 -- Our second day on the mountain (still below tree line).  Some new challenges.  We have to shoot two day for night scenes.  What, in midday in the woods on the mountain?  Right.  Also, we had to shoot a special effects scene with a blue screen stretched between two towering trees, what was supposed to be a portal into another dimension.  And we had to do it at midday when the sun is right, or we wouldn't be able to make it work in post.  We wrestled with that for the longest time and got that last take just as the sun was about to do us in.  Whew!  Then we had to shoot Hope conversing with talking trees.  All in a days work.  But we weren't done yet.  We had to race to a mountain overlook for one last scene, before we exceeded our 12-hour day and the right light. And in that scene, Tim showed up for his first scene, and we almost made our day.  But he certainly made ours.  End of first week, and we were having trouble getting dailies, not happy about that ...

August 2 - Day 7 -- Back after a day off.  Not really, at least yours truly.  Yesterday we had Gary Graham (Marcus character) and Tim practice their big sword fight scene with the fight choreographer.  It seemed to come together well, and today we shot it on the deck at the house.  Oddly, Tim had seemed much less worried about this scene than the heavy dialogue ones.  Gary was the same way.  Me, I was concerned for their safety.  I wanted this scene, but it had to work, look real and still not put them in jeopardy.  Jamison, the choreographer from Ashland, was great and it turned into something special.  Also, earlier in the day we had to steal a field location quietly, but it turned out well.  This was also Mitchell's (Troy character) first day of filming.  We also got a steadicam operator (Erwin) the next couple weeks.  And, while filming our last scene, we went into overtime.  Just as we were about to film the last take, the lights went out.  The gaffer pulled the plug on us and said overtime hadn't been approved, so they were done.  I was fuming, but I kept my head.  We made some adjustments and shot that last take anyway, without the lights, and it was fine.  Very uncool on his part.  If there was a problem, there was certainly a better way to go about it ...

August 3 - Day 8 -- Another company move to the house that doubles as the family house in L.A.  We were there all day, and a local reporter came by, took pictures and interviewed me.  We ended up with a complicated steadicam kitchen scene with all four of the family members.  It was Najarra's (Sofie character) first day of filming.  We came up short one scene of making our day, but we got some great looking shots ...

August 4 - Day 9 -- Back to the mountain, but now we were above tree line and into some serious altitude, over 8,000' up.  I was curious how the smokers would do, and anyone out of shape.  This wouldn't be a hard hike, but for sea levelers it would be a challenge.  Not only that, we had 11 actors scheduled that day, for different parts of the day.  A very logistically challenging day for sure.  Which it proved to be.  We had hired porters to help with packing equipment, gear, food and water in.  There were certainly some snafus, and some didn't stay hydrated, but all in all it wasn't bad for a first try this high up.  But we needed to do better as we had two more behind this day, each a progressively higher hike ...

August 5- Day 10 -- The second day on mountain high.  We made our way to a ridge where most of our scenes will be shot.  Seems to be lots of pressure today, as everyone is aware we're not quite making our days.  However, as hard as it was to get up there, most seem in good spirits and enjoy being on the mountain.  We'll just work hard and worry about tomorrow when it comes.  The reporter comes up to get more material for his story that comes out in a couple days.  All in all, a good day, and the overall logistics gets better, although we did have a minor accident with a crew member.  She went to the hospital, but it turned out okay.  We did have a med-tech on all our mountain days, which helped a lot.  Erin has an intensely emotional scene and is totally amazing ...

August 6- Day 11 -- Third mountain high day, went even higher.  As hard as the hike was, it seemed the cast and crew was getting into it more.  In fact, logistically we finally got it figured out on our last day.  We ended up at a high lush meadow with green grass, amazing flowers and a mountain stream.  Also, we had to rush at the end as we starting losing light (which also happened the day before) and there was one scene we didn't shoot.  But we came up with a creative decision in post to make it work.  A very tough day, and the cast and crew handled it very well indeed ...

August 7- Day 12 -- Back to the house, and everyone is relieved.  We originally had Grey Butte scheduled, another mountain day, but we hadn't worked out the logistics of getting up there yet.  The plan was to drive 4-wheelers up a back forest service road, but a private timber company was logging the area, tearing up the road and blocking it.  So, we'll try another day.  We had to do a last minute schedule change and wound up doing interiors at the house all day, which worked out well.  End of second week ...

August 9- Day 13 -- Beginning of third week, and time for splits.  Meaning we start our night shooting.  Mostly campsite and campfire scenes with Ambrose and the two kids, Sofie and Troy.  Some challenging lighting scenarios to make these scenes work, seemed like a long night, but we got some business done.  Also, an intriguingly charged day scene with Christian (Ryan character) and Sofie ...

August 10- Day 14 -- Oh boy, back to that primitive domicile.  And Erin had just come back from a Sci-fi convention in Vegas.  Her and Tim have some very dialogue heavy scenes, which they masterfully handle.  What dedicated pros, even if it seemed to take forever ...

August 11- Day 15 -- Still at the same location, finishing up those dialogue scenes.  Gary comes back from the same Sci-fi convention in Vegas.  They're both big draws in the sci-fi world and need to have their fun with it.  I have to say right here, Gary is a real riot on set.  Brings a real levity to the seriousness of the moment.  You're not always sure he's paying attention, because he's cracking jokes right up to action, but then gets focused and is ready to go in that split moment.  We finish up night scenes with Ambrose and the kids ...

August 12- Day 16 -- We start at the auto repair shop, where the family breaks down and end there at night, and get to see the classic car for the first time.  In the script it was a 1940 Packard Darrin convertible.  But good luck trying to find that.  We wound up getting a 1965 maroon Chevy SS Impala convertible.  It worked fine.  And yours truly makes his debut as a mechanic in a bit part.  Don't worry, I don't plan to quit my day job and be an actor.  I'll stick to writing and directing, like that's more stable.  We then move on the night motel scenes, probably waking everyone in the motel.  Tim does the last scene, standing at the corner watching the stranded family enter, and winks up at the mountain in the night sky.  Beautiful ...

August 13- Day 17 -- Back to the house and we have lots of driveway scenes, which seem to take quite a while to get under our belt.  Then we go into night and have a heavy garage scene with Robert (Shaemus character) and Christian, then off to romantic dinner and hot tub lovemaking scene between Erin and Gary.  We order a closed set, even though they are not actually nude scenes (but simulated to appear so), they are intimate and not usually easy to shoot.  Although both Erin and Gary seem to handle the situation like real pros.  We finish the night on a high note ...

August 14- Day 18 -- Still at the house with mostly interiors, but we seem to have some lighting challenges.  Erin has another intensely emotional scene, and watching her work amazes me.  But at the same time, I feel bad putting her through it, and asking for more takes.  But she's a pro and delivers like one.  God, how do they do that?  End of third week, and we're finally building up momentum.  About time ...

August 16- Day 19 -- Beginning of fourth week, and signs of serious sluggishness have set in.  Out of the 110 page script, we've only shot 70 pages.  Which means, we have to shoot 40 pages this last week.  Yikes!  Originally we only had three days left, but we had to extend another three days.  But I'm wondering if that's enough.  We have to do it, because I doubt most of the crew will stay any longer.  We already will be losing some of them before the end, so we have to do it one way or another.  To help this out, we get a second camera and keep Erwin, our steadicam operator, for the final week.  We're back up on the mountain, but lower than we've ever been and only in a parking lot.  In fact, it's a lookout point called the John Everitt Vista Point, so we don't have to worry about hiking or kicking up dirt.  However, we quickly find out we'll be chasing light all day, as large firs and pines surround us.  We fight this all day, until we lose the light on one last scene we need.  We put that in our pocket for another day, but we can't keep doing this as days are running out on us ..

August 17- Day 20 -- Now to the fun highway scenes, when the family goes on vacation and breaks down outside Mt. Shasta.  Locally that's a cliche' as quite a few of the locals wound up here just like that, and then stayed.  We had to go north a bit, where the terrain isn't so foresty, but we got some good driving shots and then a breakdown with the smoke machine.  Ha, does a car ever look that way when it breaks down, only in the movies.  Then we move to the greasy spoon scene, where they stop for chow and get into a family fight.  Haven't we all been there?  But we have to fight the light again, as it starts to get dark.  We're supposed to shoot a cemetery scene with Gary, but realize we can't beat the night.  So we make a company move to a studio to shoot a night Kendo match between Gary and his teacher.  We start with a cool dolly shot that is staged in the rafters above the actors, then finish with a two camera setup, steadicam and handheld.  Should be something ...

August 18- Day 21 -- Now to a three-day stretch to finish all the family scenes at the house.  Some involved dinner scenes, a couple scenes to reshoot, and Tim's last scene.  He's wrapped!  Tim turned out to be perfect for Ambrose, the wise sagely old wizard.  What a stately gentleman.  We were so lucky to get him, and happy to get him out of retirement.  He's still got the chops.  We also did some second unit work to try and get caught up ...

August 19- Day 22 -- Yeah, I know we only had 21 scheduled, but we're not done yet.  So, go figure, we had to add some more days to shoot this baby out.  (Inducing labor is not an option at this point)  We had more family night interior scenes, as well as a couple with Christian and the family.  It went late but we got what we needed and we're cranking out those pages as well as getting some great looking shots ...

August 20- Day 23 -- The last house scenes, involving long dialogue scenes between Erin and Gary.  Everyone's getting tired, but we're breaking for the home stretch.  Today we shoot an intense family argument scene, and Gary and Erin bring it to another level.  The hair on the back of my neck stands up.  People are glancing at me, wow.  We got it! ...

August 21- Day 24 -- What normally would have been our last mountain day, up to Grey Butte, one of the most scenic hikes on the mountain.  This is Sofie and Ryan's scene.  We pack light, and spend most of the day up there.  We work the scene, and Najarra and Christian become the characters, touching.  Meanwhile, our second unit shoots the cemetery scene with Gary and a number of extras.  But not without shooting beauty shots of Panther Meadows first.  And let me tell you why this is so important.  Panther Meadows is considered one of the most sacred places on the mountain to several Native American tribes.  The forest service told us not even to ask about shooting it, because it would never be approved.  But Susan, a co-producer, spent lots of time working with the tribes to allow us to shoot that area.  Everyone told us it couldn't be done, but we got it done.  Wow ...

August 22 - Day 25 -- An extra day.  Yes, we needed one more.  The money shot, the helicopter ride, what a trip.  One final ending scene of the whole family coming together at the end on Grey Butte, which we shot from a helicopter.  Just Michael, I and the pilot.  We took a number of passes at it, and then worked it another way.  Brion, our line producer, worked hard to make this happen, as many of the heli's were off fighting forest fires.  Whew! We did it!  We had a wrap party that night, but I barely remember it, as I was as beat as I've ever been.  I crashed the next few days, and ...

Final Words -- Yup, we went over our schedule and over our budget.  Big surprise, huh?  We had to fight light and time, day by day.  Some days we won, others we didn't.  We fought each day like it was a pitched battle, hoping the war could be won.  And in the end, it was.  No matter how exhausted and spent we were, we had won and had something to show for our intense labors.  My hat off to all the cast and crew.  They were simply marvelous!  And now, it's time for a few days off and then back to take on post, and see what we really have, and where we can go from here ...

Jerry
More comments to follow, as I know I've forgotten some of the events and the hard-working people who made all this possible ...

Did we actually do all that? ...

A few shots from that last day with the chopper

Wow, more than a week after we wrap and I'm still beat, but yes, finally starting to come around.  I have to say I don't think I've ever been both that tired and exhilarated at the same time.  What a ride, what an adventure, what an experience.  And to think, there's so much left to do.  I can hardly wait ...

One thing I've really noticed in coming back down from this director gig, hey nobody in the real world listens to me any more.  Boy, that loss of power.  One day, it's like you're God, and the next, hey, who do ya' think ya' are, telling me what to do.  No wonder so many directors I've met seem so bent out of shape, especially if they work regularly.  Back and forth, God and minion, back and forth.  Ah, don't pay too much attention to me, still decompressing ...

Well, we do have a couple pickup scenes we still need to shoot in L.A., so I've got to get that going, as well as start lining up all my post ducks.  Anybody know a good, no great, editor out there? ...

Jerry

Comments -- DREAMS AWAKE BLOG -- 9/15

I have found your various reports on the filming of Dreams Awake absolutely fascinating. I must confess my interest in that I am a great fan of Erin Gray, your lead, so I am very interested in following her various projects.  I was particularly interested in learning about Erin's role and the filming of her scenes.
 
From reading your reports I was particularly intrigued with the spiritual themes of the film. I was also most taken with scenes of the location - the pictures of Mount Shasta and the surrounding countryside look absolutely stupendous. I live in the United Kingdom and we don't have views quite like that!
 
May I wish you and all of those in involved in the film my very best wishes and hope that everything goes well with the final stages of production. I look forward to following the course of the film and hope it will be a critical success when completed. I know this is a very long way down the road but perhaps one day we on this side of the Atlantic might have a chance to see it.

All the very best to you all.
David Bradley
Essex, England

A step here, a step there, moving on, moving up ...

Well, now I'm trying to figure out our post situation.  Lots of options out there.  Been thinking about this for awhile, but now that I'm actually here it seems a bit daunting.  More techno-babble to keep up and make sense of.  After crunching the numbers it seems quite obvious that putting together a customized turnkey editing system for myself is the way to go.  Probably Apple Pro Mac with Final Cut Studio with uncompressed HD capabilities, and all the bells and whistles that go with that ...

On another more immediate front, we have a couple pickup scenes we need to shoot before the end of the month, before our major cast members all head to other projects.  Looks like we may be shooting them here in Ventura with minimal crew.  And the few us involved I'm sure will be multi-tasking in true indie fashion.  Will be nice to finish up and move to post, as I'm really chomping at that bit ...

And finally, yours truly will be doing a Filmmaking Seminar on October 14 at the Mt. Shasta International Film Festival.  Should be fun, even though I've never done anything quite like that ...

Jerry

Moving from production to post ...

We finally shot those few scenes the other day, and are really wrapped.  It feels great, and now I get to completely see what we actually did.  They say that when you make a film you actually have three different ones.  The one you write, the one you shoot and the one you edit.  And usually they're three different beasts.  Not too different, I hope.  Looking at some of the footage I can say that some of it is different than what I envisioned when I wrote the script.  No really big surprise there.  The real trick will be finding that final film somewhere in all that footage we shot.  A welcome and exciting challenge for sure ...

I learned quite a number of things from this production, but right now two things stick out.  First, I will never direct a film again in which I am also a producer.  Writer/director works just fine, and probably writer/producer, but never director/producer.  Just doesn't work for me.  Directing is way too encompassing to have to be concerned with all the producer issues.  For the most part the other producers dealt with all that, but periodically I did get pulled into that realm.  Sometimes that was my own fault, but I've learned my lesson.  Second, it was amazing to me how natural I felt in the director role.  I've been a writer most of my life, and while I have directed a few shorts, I've always felt that I was a writer first and foremost.  But moving into the director's chair full time and completely, it felt as natural and normal as putting on an old glove that fit just right.  Almost like coming home, as if I'd done it forever.  And to tell you the truth, it was a bit eerie at times.  But I took it in stride and just went with it.  I'll always be a writer, but now I've discovered that I truly am a director ...

Jerry

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