Before the fun
of the cool things about being the director is that when you ask
for stuff, the crew generally figures out a way to accommodate
you. There are, of course, limitations. Safety is a huge one. Time
and money follow close behind. In the case of EvenHand,
budget is one of the primary concerns with everything we do.
Fortunately, Fernando and the art department have come up with
some pretty great creative solutions for many of my requests.
a terrific example: I wrote a new scene for a montage sequence
that occurs early in the film. The purpose of the scene is to
provide a visual transition from the montage that precedes it to
the beginning of the story. The scene reads as follows:
EXT. STREET #3 -
MONTAGE -- NIGHT
Tight on Francis in
the passenger seat, lights flashing above him. The patrol
car slows and turns the corner, arriving at the scene of a car
accident in front of a small take-out restaurant. A small
crowd has gathered.
We continue straight
down the street and find A MAN standing on the corner wearing a
sign reading "I sold drugs near schools." In the
background the patrol car lights flash as Francis and Morning
slowly get out.
never get close to the accident, so I wanted it to be visually
interesting from a distance. I also wanted it to be different
enough from the Carol scene that opens the story, which features a
car accident as well. My conclusion was that an overturned car
would be perfect. Could we afford this for a tiny little scene
that didn't strictly need it? Only one way to find out: ask.
told Gary Ledyard, our production designer, that an overturned car
would be fabulous for this scene. He said he would see what he
could do. Today a flatbed trailer arrived with the car you see in
the photo above (a Dodge Daytona) sitting on it. I was
surprised that it wasn't crushed or otherwise damaged. Thomas, the
Art Dept. coordinator, told me that it would be smashed to order.
first step was flipping it over. With some deft maneuvering by the
operator, the flatbed did most of the hard work and the boys and I
gave it the final shove. Note the director's finely chiseled
car was flipped onto it's back, but sustained very little damage
other than coffee cups, dust mites and small change collecting on
the inside of the roof. It was now evidently time for plan B:
dragging it back onto it's side and ramming it into the edge of
the loading dock.
you can see our crack Art Dept. intern, Robert White, observing as
the Daytona is prepared for it's final ride.
impossible to convey in a still photo the screeching slide across
the pavement and delicious sound of crunching metal and glass that
accompanied the ramming, but I assure you it was quite marvelous.
Below you can see the final result.
cost: $150.00. Low budget filmmaking at it's best.
PARTY HARD AT LOGSVILLE LODGE
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Inc. All rights reserved.