Warning: by the end of this blog, Tony Wright will be wrapped from "The Joneses" production. Please prepare yourself emotionally, as we did.
So this was the conclusion of the shoot we started Sunday, and I have to give big thanks to Mark, Maura, Jim, Tony, Stacey, Rajah & me for sticking with it and driving to Georgetown on a Wednesday night to finish up. We did a phenomenal job, I think, and that's not just my dinner of watermelon and Jim's famous Long Island Iced Tea talking (although that certainly helped). Also, thanks to OurFilmSpace we found the perfect cupid in Scott England, who was really game for the ridiculousness we put him through for the night.
When we arrived, Stacey & I couldn't help but see that the renovations to the Shalkoski front lawn/driveway area had dramatically accelerated since Sunday, which changed around the way we'd be shooting. Jim made a buddha watching TV out of sand in his front lawn to welcome us. The three of us immediately decided that the huge pile of gravel in between the two houses would be in the way, unless we used it to our advantage. We're so smart. So we covered the pile in red blankets, set up our Valentine's light stands on a table behind it, plugged in the strobe light and added some spare lattice pieces, and PRESTO! we had the perfect Valentine's display on which Cupid could lunge. And by "PRESTO!" I mean two hours later. I wasn't stressed about time, though, because we had to wait until it was dark anyway, everyone was working hard to make it look great, and I was kinda drunk.
Rajah was a total perfectionist about lighting the shot, and God bless him for it, because it came out looking so good that we were able to scrap the more complicated moving shots for a very simple but hilariously effective one of Cupid, Paul, Suzanne, and Mitch driving out of his driveway and into frame. It established everything I wanted, just watching it on the monitor made me laugh at how absurd it all was, and though they had no lines, the performances of Jim, Stacey, Tony & Scott were all spot on! People are REALLY going to enjoy this sequence. Big props to Dan for coming up with the live cupid display long ago--we always thought it was a good idea, and we totally (and finally!) pulled it off. And, as always, big props on the props to my wife who created the perfect Cupid wings out of a boa, some coathangers and a wreath. Jim helped too, I guess.
Then we all gathered around Tony and said our goodbyes. It was very sad to know he was wrapped, even though we all are eventually (literally and philosophically), and I'm glad we'll still get to spend the next six months or so seeing Paul on our computer screen. I'm pretty sure Rajah was the most broken up, because that guy just gets so attached to actors it's embarrassing. Tony did not bring beer for his final night, if you can believe that!
Not much to say about the rest of the shoot, really. We shot the two other scenes in the neighbor's driveway (one of which will feature a HILARIOUS digital effect suggested by Mr. Lou Bert long ago). We had lights, red gels, the DiSanzomobile, Jim pushing fake buttons on an electric meter, and good Mitch-y expressions overall. This entire sequence, while only about 30 seconds, is going to be a great one...trust me.
So that's it. Our penultimate big shoot. One more to go, next Tuesday and then (aside from three very short scenes that we'll be shooting in the future) we are officially wrapped. Goodbye, Georgetown: we loved being there--and again we appreciated the generosity of the Shalkoskis and their neighbors immensely.
Tony: thank you for tonight. And thank you for the shoot. It has been our pleasure.
Day 43 began with us knowing that it was the day to wrap Tony. But the fates would not allow it.
Rajah Jones (archaeologist/cinematographist) brought his street surf board, which we all enjoyed. Stacey & I did an enormous amount of prep the night before with our hooker-y Valentine's Day backdrops which were created by stringing Christmas lights around Target garment racks and then wrapped around those were about 100 strings of dirt cheap foil heart thingies we bought with Maura back on Feb. 15th. They took forever to make! Also we got the awesome donation of 2 Open House signs and 2 enormous For Sale signs from our realtor, Steve Amaral. And we were excited to have our extra special players--Heejean, Brendon, Rob, Diana, Owen, and Irene to play some important roles for the day.
We started quickly. It was me, Mark, Stacey, Maura, Jim, Max, Lou and Rajah there at noon. We started setting up the darkroom (I thought the bathroom would be a good place for it, but I was dead wrong--the basement turned out perfect for it). Meanwhile, Maura & I shot a pick-up shot of Stacey in the yard for the yard sale scene that I had neglected to get a few months ago. Rajah refused to have anything to do with it because he said the lighting wouldn't match. The man is insane and I totally disagreed. We got it. It's great.
Tony arrived and we drove off immediately to the Byfield post office to shoot the scene with Paul filling out change-of-address forms for his neighbors. We shot it two different ways--one as one long take from inside the car (Stacey's idea), and one with a series of shots that Mark & Rajah came up with. We did not however do Jim's plan of doing a series of 18 simple shots, but his plan made me laugh a lot.
We got back to the house and shot the darkroom scene. Man, did that ever look ridiculously good! It's amazing what you can do with two kitty litter trays, some clothespins, some kitchen tongs, a regular flood light, a black sheet, and a red gel. Instant movie magic. It just looked outstanding! Big props to the whole team for making that come together so smoothly and awesomely.
Then we were joined by the other gang, so we set up over at the neighbor's house. We started in immediately with a great shot of Heejean & Brendon reading (they're very slow readers) the open house sign, and with Rob, Diana & Owen by the front door, much to Mitch's dismay. We did a few different shots for coverage of the montage scene, and it looks really great. I'm especially glad we panned with Mitch as he dumped the signs in one take--I really like the way that plays. Everyone did a very good job in the scene, except Owen because he just kept blowing every line. I don't care that he's an infant: he needs to be a professional if he's going to make it in the biz.
After that we were ready for our scene with Irene, Brendon & Heejean which I can't say much about, plot-wise, except that it's either an important scene or will be only on the DVD. I hope that makes them feel special and not, you know, completely unnecessary. :) They did a great job too, and I am very thankful that they were all able to pick up the lines and fall right into the scene with very little practice. Indeed the funniest thing that happened was that the neighbors (who know we're going to be using their house, in a general way, but didn't know we'd be there at that time) arrived home to see two cars parked in their driveway, a smattering of people by their garage, and For Sale signs planted in the ground. Just as every homeowner wants to see. They thought it was hilarious, so that was great.
Also, Stacey played with a baby frog.
Then Maura & I donned the Space Invaders outfits and we took all of about four minutes to shoot some B roll in the Shalkoski attic, which is being renovated, and was our location for a second Space Invaders episode. Our backs were awesome actors.
Finally, as we waited for Tony to return and darkness to set in some more, we all had some pizzas and beers on the front lawn. Then--and you're never gonna believe the nerve of him--Tony arrived and BROUGHT MORE BEERS. Can you believe that?! What is wrong with that guy. Of course we all yelled at him.
The darkness began overwhelming the sky much more than it usually does at 6:00 in the summer, largely because supposedly we were going to get huge rainstorms. I refused to believe it and tried to will it away. I decided blind optimism and a complete dissociation from reality would be the best way to combat the guaranteed twister that was inches from us. And then it was obvious. Seconds before the downpour we each grabbed a piece of equipment and ran inside.
Once inside, Stacey got a call from her family that her grandmother (who is fine now) was in the hospital, and so we wanted to be there. It seemed everything was pointing to delaying our final scene for the day, so we all made a hasty getaway, knowing we had gotten 6 out of 7 scenes done, all shot and performed very well, and it was a very good day overall. Except now that rat fink Tony has to see us one more day.
Day 42 was another plagued day, I'll admit it, way before it even started. The shoot was originally supposed to happen in January, but our location wasn't ready so we moved on to other shoots. By the time it was going to be OK to shoot it in February, the location fell through entirely, and we spent months trying to see if we'd be able to get back in to shoot it, to no avail.
Finally about a month ago we settled on a new location that would work. We would just have to rewrite and tweak some things in the script. We also had to find a time that would work best for our actors, D.P. and crew, and settled on a Thursday afternoon in late June. But as the weekend before the shoot approached, that location fell through too. Stacey & I went into emergency mode and asked her Dad & Cheryl if we could use one of their rooms, and they very generously accepted. We went right to work redesigning and stripping the room of all non-essentials, rewrote the script to fit it, and Stacey created tons of tiny details to fit into what had gone from a kitchen, to a guest room, to a contemporary beach-themed guest room. We were good to go!
I was very nervous about the day, not just because so many things had gone wrong leading up to it, but also we had a crazy, crazy schedule to accommodate everyone's needs for the day which meant several actors would be performing with empty chairs, and then we'd cut it all together later. We had a (too small for my liking) window of time between about 4 and 5 where we had to shoot all four of the main actors and Susan Wornick reprising her role as the host Maxine. On the drive over to the location to shoot, however, Susan let us know that a big story broke and she wasn't going to be able to make it. Because there was a big tire recall, and because she's been covering the story for a long time, she wasn't going to be able to come, and of course we understood. But now we were stuck. This was Amy's last day before leaving for California for good--and we had to shoot.
I suggested to Stacey that we could shoot Susan's stuff separately, but we both knew that would look terrible since the whole point is seeing the host sign-off with the two couples (as well as standing there with them as they "swap keys"). Stacey said let's have co-hosts! So Plan B was in full effect. We called Cindy Houle, a neighbor of Cheryl's who had graciously agreed to play a dialogue-less soundperson for 10 seconds and asked if she minded being upgraded to a full speaking part and co-host of the show-within-the-movie "Space Invaders." She was up for it--and we were back in business!
It would seem like everything was all set, but we did battle a lot of other elements throughout the day. Rain that kept threatening to burst. Miscommunications about start times for actors. Traffic. Dried-out markers. Poor Stan had to stop mowing every five minutes because we kept rushing into shooting. It was a tragedy of errors, but in the end we got everything we needed. I have to give huge thanks to Stacey for organizing the whole shoot (and chunk board) well in advance, and the ideas that helped us keep going. And to Stan & Cheryl for not only feeding us a wonderful smorgasbord of nachos (to which I hear Jim may be addicted) and sausages, peppers & onions, corn-on-the-cob, and ice cream treats, but also to opening their doors for us and letting us completely use their house and interrupt their lives for the day. We are extremely thankful!
As far as the footage we got, I'm very happy with it. Dan arrived and he and Stacey did a great job doing their scene with the paint, and his interview segment. They were very, very funny. Amy arrived early, thankfully, and we started right in with her close-ups reacting to the new room, and then ran back outside to shoot Cindy's (brand-new-to-her) line to be cut with Dan's. She did an excellent job. Then she left for awhile and we had a lull before our next arrival--Jim--in which we shot Stan & Maura as the cameraman & soundperson, respectively. Then Jim did his close-ups, and we woke Amy up for their two-shots, all of which worked out great. I really can't wait to edit together these opening scenes of the movie, because I think all 4 of the actors, as well as Susan & Cindy as co-hosts, did really good work.
Now it was getting close to 5 and we had a half-hour left with Cindy. We quickly went through her close-ups, which was only hard because it was a lot of lines that she was seeing for the first time, but she was a real trooper. Tony arrived and got in costume, we shot the end to that sequence, and moved outside for the key swap. We were very rushed, I'll admit, but I think we got everything we'll need. We went back upstairs and finished up some shots with the foursome, and then we all had an emotional moment when we wrapped Amy as Ally for good. Thank God we had champagne on hand (whatever Suzanne hadn't polished off in the previous takes!) Not only was it sad to say goodbye to Amy, but it's also hard to let go of these characters that Stacey & I have been living with for 4 or 5 years.
I'll continue truncating (just as we did for the shoot). We did Tony's parts of the paint scene, which were terrific, coffee break, dinner break (delicious!), and then upstairs to shoot Paul & Suzanne cheesy moments of finishing the room. Just like the Mitch & Ally ones, these are some of the MOST fun things to shoot, and they had us dying laughing--especially when Tony & Stacey stand back-to-back with super-over-the-top smiles. It's so nice to see these characters have fun, and it's going to be even more manipulative where we put them in the film! We finished up with shots of Mitch sad in the guest room with a cool mirror shot, and then an even cooler shot down in Paul's office of Mitch planting the lab results. That looked amazing.
Also...my new favorite joke is when I tell Rajah something that he isn't particularly fond of he now smiles widely and says "I totally disagree!" as he gives me a high-five. I urge you to try this in your own life. It is simply genius. And now that I've given him credit for it, I will forevermore say it was my idea.
So there you have it. A painful day with a long history, but I'm pretty sure everything we got was really very good. Huge thanks to Cheryl, Stan, Cindy, the cast, the crew, the academy, and Stacey for helping me hold it together (and occasional on-line shoe shopping).
The wonderful people at the Naked Fish again opened their cumin-flavored doors to us so that we could reshoot the scene we had shot in the first few days of production (back when we were all tweens). We had many, many reasons to reshoot: I had the camera on a bad setting the first time, some of the references in the script no longer worked, it gave us a chance to rewrite and make it stronger, we wanted to play up different angles of the characters, and maybe the most important and all-encompassing reason--we knew we could do it better.
Our day started off very well and fun with Amy, Tony, Jim, and Stacey posing for publicity/poster photos at our house in front of our bluescreen. Maura took a slew of pictures as the bluescreen continued to droop and tear like my patience. It worked out very well, and I'm glad we had a chance to do it. Then we had ample time to rehearse the newly rewritten scene, which was exponentially better than our original version. With time left to spare (a phrase I don't use very much when speaking about our film), we headed over to "The Fish" for a pre-shoot dinner. It was me, Stacey, Maura, Mark, Rajah, Frank, Amy, Tony, and Jim, later joined by his brother.
It took us forever to get started probably because we were so prepared and so ready to go, but there were patrons there for much longer than I remember the last time. I guess it must be more popular to eat delicious seafood and have some Cuban cocktails in the summer than it is in mid-November. Rajah, Mark, and I ran outside to shoot the exterior which looked so great. A mixture of the magic hour and a neon sign that is to die for. But nobody died.
So we began shooting and I gotta say it was almost a flawless shoot. The actors knew so well what they were doing--they've become so comfortable as these characters--that my directions were mere nuances or slight emphasis changes in lines. They performed great and the new version of the scene has tons more conflict and vitality than the original version: so crucial since it's the first scene the four main characters really get to have dialogue together. Plus our inclusion of hatboy/non-hatboy as a key extra was genius. P.S. hatboy is brilliant and non-hatboy is ridiculous.
Then there was the humming. We won't talk about the humming too much, because it's kind of a sore subject. Suffice to say that our one issue that night was that there was a distinct humming coming directly from above our special booth. We asked them to shut off the air conditioner, which made it hot and still humming. They discerned that it was probably the dishwasher, that there was probably nothing they could do about it, and actually nobody had ever heard it much before because it usually wasn't that quiet in the restaurant. There were also a lot of dish rattling sounds, so we overshot footage to make sure we're gonna be OK on sound. I'm pretty confident we'll be able to fix it in post and, as Stacey has pointed out, with some music and restaurant background noise, it won't be bad at all.
We finished in good time, thanks to some excellent shots, some excellent acting, and Frank making sure to get in a lot of good naps. There will be no need to re-shoot our re-shoot, which is really ideal. My thanks to the super group who helped out that night, especially those who did so back in November too--it was well worth it!!
Day 40 was brought to us by the extremely helpful Town of Saugus, who had previously allowed us to shoot in the town center. The Town Manager, Andrew Bisignani, as well as the chief of police, James McKay, were very generous in giving us access to our choice of rooms in the Saugus Police Station and made it one of our quickest most efficient shoots to date.
We had our smallest crew to date (me, Maura, & Mark), and we worked hard and quick to make it go effortlessly that night. We had a reunion with Mr. Tom Mariano (yes--that one!) and, you know, Jim. We did a quick pack-up of the car and drove the five minutes to the station to begin the shoot.
We were also very lucky to have Sgt. Mike Stewart as our detail and tour guide for the night, and his excitement about the movie and the performances and shots he saw--as well as our inclusion of him as an extra--was contagious. He was really great to have around. Maybe I'll start having him come to all the shoots. Instead of the rest of the lame-o's I'm stuck with. My apologies to those non-lame-o members of the crew: you know who you are.
Mark & Maura busted out some really good lighting, even though my first instinct was we didn't need much. Dumb instinct. Our white balancing left something to be desired (like white balancing), but we made it all work well.
As the scene got underway, the actors did a great job with their parts. Tom not only supplied his generous amount of bloopers, but he also did really well at connecting with the part as the interrogating officer and he suggested that it would be more intimidating and natural if he stood very close to Mitch. That worked out great, and you could tell both performances were even better because of it. Jim, as always, was able to do the Mitch-blow-up great and I really like that the scene plays out with him getting so angry--like a caged animal--and how easily he dismisses Ally's intentions. I was also struck by his nuanced take on a line that I forgot was a lie but his very subtle read on it was note-perfect. We also did a take or two at the end with Tom's detective being more soft-spoken and I really, really enjoyed that too. Good work, boyz! It's also amazing how much authenticity we gained by having Det. Stewart walking in the background--it was awesome!
Then when we moved downstairs, Maura got the perfect shot of Jim waiting on the bench: his face in sharp focus, with Tom approaching in soft focus, racking slightly to his gun and badge as it enters the frame. There was one take that was just the perfect rack. And then Maura decided to turn the camera on. Despite there being an awful lot of Tom crotch shots (more than I prefer) for the night, our shots were very good that night. Also we had a great extra, Jack, who as usual I called something else once or twice, but then once I got his name down, we were golden. Det. Stewart was so excited about our cool shot, that he called another officer over to watch how neat it looked. Basically we rule.
We were done ahead of schedule, we had a good time, and we got very good footage--thanks again to the 2 crew members, the 2 actors, the 2 extras, the 2 Town of Saugus benefactors, and the me (of which there is only one, thank the Lord).
Our Day 39 happened on a hot and humid Tuesday afternoon, and I have to again give huge thanks to Lou's friend Sue for hooking us up with a terrific (and wonderfully air-conditioned) location. It was our second and final night in the basement, and we were moving like a well-oiled machine. There was a lot of preproduction and planning, and yes the master chunk board and post-it storyboards were there, to make sure everything went like clockwork: which it most certainly did.
Stacey & I met up with Lou at the wrong gas station in Hopkington, and made our way over to the location. We quickly brought everything downstairs and began setting up, and who showed up almost immediately but...Rajah?!!! I was very happy. This was great news for us because the four of us were able to light the room appropriately, block the positions out, and even begin shooting some of the opening shots (for Scene 2 in the movie), where we see the whole expanse of the room, and insert shots of the pool table, the bar, the entertainment center, etc. Rajah was angry with the daylight, but Lou's suggestion of lining up the liquor right by the window, seemed to satisfy Rajah at least a little bit. He was also very excited about using both more basic, flatter lighting for the shoot, and a second camera to shoot everything in video which meant we got double the footage (or took half the time, depending on how you enjoy doing math). Essentially Rajah was gearing up for his trip to Israel in 16 hours, and my theory is that that's why he was so quick and happy and scarily positive about everything. I'm going to plan a trip to Israel for him after each shoot. :)
Mark and Maura arrived, and we had already finished all of our shots that didn't involve actors--unless you consider liquor an actor, which I do to a degree because tequila keeps telling me it's my best friend. It wasn't even call time for cast yet, and we were ready to shoot Suzanne's extreme close-ups which will be some of the first shots you see in the movie. It went really well, and as we were completing those, our first additional cast member, Susan Wornick showed up and was camera ready in about five minutes; no delays. We went and got her out of her trailer (a bench near the pool table), and immediately started in with her reaction shots. Reactions shots are just about the dumbest thing to shoot when you haven't yet seen what you're reacting to, but she did a great job running the gamut of what we'll need to cutaway to, and it was very exciting that we were already speeding through things and getting great footage!
Then Tony the Diva showed up and, as you know, that meant we all had to pay tons of attention to him. I can't be sure but I think he insisted that nobody address him while he was getting into character, or look him in the eye, and Stacey, Susan and I gamely complied. Man, he's pretentious. Also not only did he not wear his fantastic pants, but he decided to dress wearing what I like to call "crazy shorts," which thankfully were not in the shot. He did have enough sense to ask "what his frame was," so that was really helpful.
Then we were ready to begin the second half of the scene (easy to jump ahead when you've got the chunk board and the storypost-its!) where Maxine swoops in and tries to diffuse the situation where Suzanne hates her room--though Paul absolutely loves it. This was a VERY fun scene to shoot. We had the wonderful combination of the blooper twins (Stacey & Tony), coupled with Susan who had a series of lines that weren't really in response to anything, making it really difficult to remember their progression. However, all three of them did an excellent job, exactly as I would have expected. Maura and Rajah shot with both cameras, so that the scene can play out in the beginning of the film and during the viewing party, and Mark had his hands full logging every timecode on two cameras and slating perfectly for later sound-syncing purposes. Young Loubert sat at the top of the stairs and made sure a stationary light didn't move. I got made fun of, as is the norm.
Quite honestly, though, I am so happy with how this scene turned out, and I absolutely loved the dynamic between the three actors--Stacey was great at showing her utter disdain for the room (with some very funny lines), Tony showed huge enthusiasm for the new sportsbar that he loves, and Susan did a perfect job of making Maxine responsive to their polarized reactions, and was very convincing as a host who is genuinely trying to coax a more positive response from her guests. I am really looking forward to editing this one, because it is really entertaining.
From there we moved onto a very quick sequence where Maxine asks a question of Dina for the taped segments of the show. It would come as a surprise to nobody that both that and the next four voiceover segments that we had Susan read were spot-on--exactly as we wanted them. The only problem was that somebody, and I won't say who, left her cell phone on and ruined take after take with the incessant ringing to which I threw down my headphones and said, "Listen, [anonymous news anchor], the rest of us are trying to shoot a movie here, so could we please try to be professional?!" To which the unnamed news anchor denied that there even was a ringing phone, so I had to believe her since she is a trusted source of information, unlike Rajah and Lou who are just complete liars.
And with that, we were done with Susan for the day. It was really great fun working with her, she did an excellent job, and we're all excited to have her back for her second day. She really made the scenes feel authentic, and I hope she had as good a time as we did. After she left we had enough time before Sari arrived to shoot the first part of the scene, with Paul & Suzanne's initial reactions to the room, which were so much fun to watch, as usual. What can I say--I really enjoy seeing Tony play ridiculously happy, standing right next to Stacey playing seethingly angry, and the two of them did a great job in what is essentially page 1 of the script. Kudos to them. Also, I'm almost positive they laughed a lot at each other--just like real spouses do!
In the meantime, Sari arrived, got dressed as Dina--the very hands-off Southern designer--and was ready to go with her response to Maxine's question about how she liked working with Mitch & Ally. A quick note of thanks here too to Rajah, who moved like lightning and was very excited to be shooting in a fun reality-show way, to Maura for manning the main camera and sound and helping us move quickly throughout the night, to Mark for the aforementioned thankless task of logging twice as much stuff, to Lou who as usual seems absent until you need him and then he's right there to quickly help the very next set-up happen instantaneously, and to Stacey who jumps from one side of the camera to the other effortlessly, and did so throughout the night. I do feel the need to single all of them out now, because when a night goes as smoothly and (ahead!) of schedule like it did, it's because everyone is going above and beyond.
We got Sari into position, and she gave her response to the question great--with the right mix of joy and exuberance (how many times can I use that word in one blog) that makes Dina so great. We settled on the right version of Southern accent for her to do--somewhere in the middle of the range she described as Scarlett O'Hara to Forrest Gump. It worked really well, as did the next scene we did, which is going to be cut with the couch-moving scene we did with Jim & Amy a week ago. As they're struggling to lift and move, Dina stands their describing her vision, and I thought Sari did a great job with this. It's going to be very funny when we put the two together. And then we were done with Sari, again, ahead of schedule and were all VERY pleased with everything we'd already accomplished for the night.
Our remaining bits were to be lit dramatically, like our previous basement shoot, and again it was achieved largely with a very yellow light and shadows. Super cool looking. Stacey envisioned the lamb shank shot to be a close-up of the plate as she walked with it, and then Rajah tilted up to her face as she said her lines. It was excellent and I must say I love the version Stacey did when I had her kind of whisper her lines. I am really impressed by how Stacey, Maura, and Rajah were able to make this basement look so stylistically haunting last week, and then match it so well for this shoot. We then did the same thing for a shot of Suzanne descending the stairs to do laundry, which took a very long time to set up and get right, but I think it absolutely achieved what we wanted. And our final shot scheduled was Suzanne at the bar, that from the look of it will be equally great, sad, full of meaning, in no small part due to the actress and to the shot and lighting which just enhanced it all.
We thought we were done but Diva #2 suggested an additional shot with a more lit Suzanne on the stairs to make up for a shot in one of the montages that I had confused. It was not only the right choice to do it, but her performance in that simple shot was amazing, and the reverse shot that Rajah and I both wanted to do is a perfect lead-in to it. I have no doubt we will be using this in the film and, as I feel after most last-minute additions, I almost can't imagine the movie without it now.
So we all packed up as quickly as we always do, and headed outside into the cool 90 degree night, where we "thanked each other for tonight," as we always do, and headed our separate ways--some to the North Shore, some to Israel, some to get lost somewhere in between. It was a great afternoon/night shoot, and again I have to give big thanks to the talent (Susan, Stacey, Tony & Sari) and the talented crew (Rajah, Maura, Lou, Mark, & Stacey) and to our location, and to aspirin--in that order.
