Shooting wrapped on 6/16 and I’m still processing the experience. It was simultaneously exhausting and exhilarating, wildly tense and enjoyable. We made a lot happen in a mere 10 1/2 days I’m not exactly sure what magic allowed us to to pull it off even better than I expected.
I’m not exaggerating by describing the shoot of “The Adventures of Paul and Marian” as a life-changing event. It was the first movie I’ve directed about characters I created. It was the first film I’ve made that had such a large machine behind it; a crew of about 30, with a large support team, and over 50 on-screen roles. My other films have been chamber pieces; this was a full out production.
This film was in many ways a celebration of my nearly 20 years of living and working in NYC. Collaborators from my previous film, radio and theater projects appeared in this movie and/or contributed in some way to the production. Cameo roles went to friends and collaborators from all parts of my life. Our PAs, art department assistants, and camera crew were for the most part Purchase students who studied or are currently studying with our cinematographer Alan McIntyre Smith. This gave the set a real feeling of family, and our new colleagues were quickly folded in to it. Everyone was really eager to work together and this enabled us to move quickly and stay focused. And since the film has so many small roles and needs so many extras, pretty much everyone who worked on the set appears on screen at some point.
This shoot, as stressful as it might be to shoot a feature with singing and dancing and multiple sets in just 10 1/2 days, was also the most relaxed feature set I’ve had the privilege to helm. The cast, as anxious as they might have been about their dance numbers and figuring out their blocking on the spot, was extremely prepared and focused. The fun we had on set was possible only because of the amount of preparation and discipline that the cast and crew exhibited.
I’ve worked on fast sets before; my first feature “The Changeling” was shot in a mere 6 days and my previous feature “Spirit Cabinet” (currently in post) was shot in just 5. But there was one moment on this production that just stunned me; one day we were running late and had four brief scenes to shoot and 20 minutes to do so before the end of the day. We finished blocking, lighting, and shooting them all in just 18 minutes. And two of them included dolly shots. The crew and cast were just that ready and attentive. You don’t see this kind of thing on larger budget movies. Granted, if you have lots of cash you don’t need to shoot four scenes in 20 minutes, but people’s hearts are more into a movie like ours than something they’re just doing for a paycheck.
There were some really odd moments on set for me; I’d look around and see a bunch of people in costume and marvel at this strange movie we’ve put together. It is a strange little creature. At one point I was shooting a scene starring my close friend Victor Varnado (also a director, writer, and comedian) and he started laughing. I asked him why, and he told me that he was trying to follow my direction to play the role of the Hermit grounded and naturalistically and then he realized that he was acting opposite of a singing rock hand puppet.
So besides finally bringing this project to life which I’ve been thinking about and working on for nearly 2 1/2 years, the shooting experience was a real celebration. Donors, family and friends visited us on set. Old colleagues came together and new working relationships were formed as well.
After a short rest (well, not really a rest– I’ve been hired to direct a play that starts preproduction next week), we’ll get back to fundraising and start the long and intricate post production process. But for now it’s time for us to take a breath and celebrate what we’ve all achieved. I still can’t believe that this dream project is actually in the can. Wow.
Our Crew at Work
On Set with Paul Herbig and Marian Brock
Rehearsing the Finale
