I need more ways to work a variation of "shoot" into this post.

Chris posted a bunch of stills from the DVX "behind the scenes" camera from the shoot day over at his blogsite, godspeedprojects. I really like the color...

Oh, and there's some more good advice for beginning filmmakers scattered throughout his writing, largely on lighting. Recommended reading all around.

It actually wasn't a long day, but it felt like it.

Getting up early Sunday, I wanted to be on time (for once) for the 8 a.m. shoot. That meant a quick stop to pick up doughnuts for the crew before heading to Courtney's.

Then the phone rang.

Kenn McCracken, the director, was having car problems and needed a ride. So goodbye, doughnuts, and possibly being on time.

No problem, I said. Ah, the life of a PA.

The "Muckfuppet" shoot took 10 hours, 24 people, one diner and one award-winning script -- all for a five-minute movie.

We did make it on time, greeting our DP Chance Shirley and lighting expert Chris Hilleke. Chris, by the way, had come in earlier. At 6 a.m.

That's dedication. (He later explained that he just needed to be sure his mass of equipment was sorted out and in place.)

At the restaurant, several lights were already in place at one end. Because Christmas decorations were up everywhere, including painted on the front windows, our screenplay setting now becomes Christmastime.

It is early, and our three main cast members are straggling in. Donna Littlepage arrives with curlers in coif. Melissa Bush calls to say she's running behind, but still sneaks in a few minutes later. Scott Ross is ready to go, though he's concerned about his band-branded tee. (A crew member teases him for his costume choice.) The extras are due at 12:30 p.m., so we must get the closeups before lunch.

Melissa touches up her makeup.

(Photos by James.)

While the cast arrives and prepares, crew members are setting the lights, moving tables, consulting each other for how to set up this end of the diner for shots. It's still fairly low-key at this point. I scoot off to grab drinks, snacks and Krispy Kremes for the day -- I hate to be away from the action, but we don't want underfed cranky people on the set.

I'm back at 9:45, loaded with caffeinated beverages, bottled water and sugary goods. Surprisingly, the fruit went the fastest. Someone else brought two jugs of Starbucks, and Lauren Doyle, with Red Bull, brought three cases.

Setting up was punctuated with outdoor smoke breaks. Fortunately, the weather was clear and warm enough.

Sometime after 10, Kenn called action and shooting commenced. I hunkered down in a back corner working on my laptop, while Stacey, the producer, continued reading her book. Killing time on a set comes easy to those who've been around productions.

Setting up a shot.

Still, they needed extras around the frame, so I, Stacey and a few others were scattered throughout the diner. Fortunately, I could hang on to my computer and continue working on my own stuff all throughout shooting. I just needed to keep from typing too loudly.

The real noise problem was the restaurant equipment, with the gentle hum of coolers and compressors creating a challenge for Eric McGinty, who was running sound. Not much we could do -- Kenn said he could compensate in editing since it was a steady pitch/level.

Chance: "Sound." Eric: "Rolling."

Chris rigged the blinds on a portable stand to adjust the lighting.

The mood is loose, with the prospect of a full day of shooting ahead. Most scenes get a couple of takes, even if the extra shots are simply for insurance. Not much chatting going on as we need to get these scenes in the can as efficiently as possible.

I'm sipping on my Diet Coke, trying to be as productive as possible. When I look up one time, everyone has migrated outside for smokes. I'm almost always out there, if only to stretch my legs and be semi-social.

Smoke break in the parking lot.

Close to 11:30, a few extras arrive early. We can't really use them yet, so they've gotta sit down and shuddup. They can't wander outside, because they might get in the shot. Kenn greets them by name (amazing, since he likely hasn't met half of them before today). He gripes later that some folks who promised to be there didn't show.

Fortunately, we seem to be covered.

Newly arrived extras await their turn.

Someone has ordered pizza. Lunch is coming up, and not surprisingly, we're behind schedule, if only by a few minutes.

(Speaking of food, Courtney's is closed on Sundays, which is why we could shoot unhindered. Funny how people driving by saw all the parked cars and stopped in, thinking the restaurant was open for breakfast and lunch. I shudder to think how many takes could've been ruined by actual diners while shooting our fake diner scene.)

We can't really rush, so the growing number of extras are herded into the back corner on the opposite end. They can't talk, they must shut off their cell phones, and they can't wander. Glamorous, no?

Back to sound ... Even Scott's vibrating cell phone is loud enough for the sound guys to pick up. Imagine how a giant industrial freezer can screw up the levels.

Scott rehearses with Melissa, phone.

Lunch is called close to 1 p.m. About a dozen extras are already eating our pizza. Our pizza!! The whole point of bringing them in at 12:30 was to give the folks who've been on set since 8 a chance to feed before the afternoon shoot. Sigh.

Lunch break.

The pizza is barely warm now, but I don't care. I'm starving. And I really haven't done anything except sit in a booth and stare at my computer screen.

Outside, I call my sweetie while wolfing down a slice. Chance and Eric and Sam Frazier Jr. are working with the extras, recording some footage and background diner noise. I wander in and chat with a few of the extras I know. Donna sits with her pals, chatting and relaxing.

Our busy diner is ready to go.

Scott is lying down on the ground outside with his jacket over his face to block daylight. We should really get a PA or an extra to block the light for one of our stars. And magically, one appears, and stands in the right spot so he can catnap.

Kenn consults his shot list, written on an order pad sheet, again and again. Time to get going.

It's past 1 now. They forgot to shoot me standing by the doorway waiting on a table, but no matter, it wasn't a crucial shot. They did shoot Sam paying and leaving, along with a dolly shot of Melissa walking into the restaurant, with a few shots of her leaving.

Scott amuses himself by taking cellcam shots and footage. He does a few jumping jacks to keep the energy up. Chris and Stacey are shooting behind-the-scenes footage on a secondary camera. My pal the extra is snapping away on his digital camera. Between the still cameras, the video cameras and this blog, this is going to best documented five-minute short is history.

Scott films his own mini-movie with Chance as the star

and Donna looking on.

Later in the afternoon, Kenn agonizes over dismissing the extras. He studies his shot sheet to make sure. Much later, he realizes he still needed them (don't know for what shot), but Chance works around it. Better to keep the extras around, even if they're getting restless, than risk the lost shot.

But people notice the one or two things that go wrong. Few notice the million things that go right. Kenn is directing and slating shots. Stacey is looking over Chance's shoulder (literally) to make sure the shot is perfect, down to the reflections in the glass panels along the tops of the booths. Most people are doing something on set, just to ensure a smooth production.

Chance lugged that camera on his shoulder for most of the day.

Stacey is backing him up.

Chris and Sam waiting in the wings.

The silly hour has arrived. One take goes awry, and Scott captures the moment. Melissa is becoming cranky -- we've been shooting for hours, and each sidetrack pushes us closer to the ultimate deadline, sunset. No natural light, no good shots.

Chance shoots a scene several times, then moves to the next booth and starts over. Each angle is slightly different as the scene advances. The booms are somewhat problematic as they cast shadows on the actors from above. So Sam and Eric kill Piggy. Or adjust throughout the shot.

Scott, Melissa and Chris wait for setup.

Melissa and Donna are ready, as Kenn looks on.

Near the end, we've lost the light. But the shooting continues past 5. Now it's tight shots on hands and cups, fill-in footage to break up the one shot, other shot, two shot combos.

I can't leave. I'm the director's driver.

But I am tired. I clean up here and there, as does Kenn. Chance and Chris work on the last few shots, and once Melissa is done, she's outta there. Donna has already left, and Scott continues to stir his coffee for the camera from above.

Kenn is running on fumes, having had no sleep the night before plus a late-night gig (along with Chance and Eric). I am simply worn out, having been sick most of the week before. Chance calls it a wrap, and they finish taking down lights and moving back furniture. I sit in a booth, jotting notes in my pad, my laptop battery having run down hours ago.

Scott heads out, and it's just the four from this morning. We carry the piles of equipment (sandbags, dufflebags, light poles) to Chris' car. Kenn calls the owner so we can lock up for the night.

It's after 6 when we leave. Kenn and I are off to get food and collapse. The shoot went smoothly, no major problems. Hopefully, we have all the footage we need. The crew was spot on, and Melissa, Scott and Donna shone in their performances.

One day can be a long one, but it can be enough to capture a romantic onscreen moment.

Oh, wait. I actually shot this on film, didn't I?

Bugger. Takes the steam right out of that post title, then.

Let's see: what can be said?

First: thanks to all who participated, from principal cast and crew to the extras who sat quietly to those who donated location, products, etc. If it weren't for all of these people, I'd be a writer, end of sentence.

Second: never never never let your extras go if you're not POSITIVE (in all caps, screaming through your head at 110 decibels) that you're through with them. It wasn't until the very end of the night that I realized that we had let the extras go too soon (we were down to Melissa and Scott, Chris, Chance, Wade and myself); fortunately, Chance was able to cheat the frame so that we should have a usable version of the shot with no extras.

Third: Don't bother questioning your call-time. It's pointless. Sure, I probably asked some of the crew and the cast to be there too early yesterday. There was a lot of deadtime in the morning, and that made for some cranky folks. But it occurs to me that had anything gone differently, the entire thing might have gone differently, and we probably would have run out of light or clock time.

As it was, we got plenty of good footage (I think -- we won't know for sure until the transfer and processing is done and the footage comes back to us, hopefully within a month or so). I believe that we got some good behind-the-scenes stuff on Chris Hilleke's DVX100, so there'll be a little something extra on the eventual DVDs.

And now, I'm going to not think about this movie for a few weeks. And it's not even so much that I need a little break from Muckfuppet (though I do) -- it's more that i need to attend to my life, which has sadly fallen by the wayside for a while.

Kodak donation enables local producer to go forward with film

Local filmmaker Kenn McCracken has partnered with Kodak for the filming of his award-winning screenplay, "Muckfuppet."

Sure, it's mostly a quoted press release, but maybe the exposure will domino into more people donating things like processing and transfer costs...

We're done.

And then there's MOCKFUPPET -- thanks to Scott Ross:

Quicktime
Windows Media

And then there's the moment about 3/4 of the way in where it takes a seriously surreal turn...

Kenn held the final rehearsal at his place on Southside. Here was one last opportunity for the actors to work out the kinks, for the director of photography Chance to visualize the camerawork.

And story time! And ciggy time! Lots and lots of ciggies!



We're waiting on Scott, who would also have his own yarn about the magistrate, the constable and the enchanted land of Shelby.



This photo is archetypal for Kenn's productions. Cast and crew gathered in living room, waiting for the next step. Melissa and Donna pass the time by giving the lowdown on crazy thesps in town. Chance was right: He should've videotaped the whole affair for another festival entry.







Rehearsal wrapped about 9 p.m., but didn't really get started until 8 anyway.

It's interesting to hear the actors bring the page to life. As I'm holding the script, I know exactly how I would have each one of them play it, which is somewhat different from the actors' way, somewhat different from the director's way. Should the dialogue be exact, or should there be some give-and-take with the actors?

The script is a living breathing thing, growing and shrinking and evolving with each run-through. Three or four times, they block the scenes, try out this or that, memorize their facial expressions, hand gestures.

The cat wanders through during the scene. Maybe we'll keep that.

It'll be different on shooting day, with the lights, the bored extras, the energy.

It'll be something to see.

Sing it, Joey Tempest!

Yeah, fine -- I admit to knowing the name of the singer from Europe (like you could ever forget that cheesy name?). I know the guitarist, too. Met him once. Nice guy.

Everything seems to be in place for the shoot. Confirmed the location with Courtney Daniel a few hours ago, and the cast and crew are all on board. Mary Catherine just emailed to let us know that Kodak is graciously providing us four cans of 16mm stock for shooting -- my budget concerns just went back to sleep.

One of the biggest things on this has been everyone's contributions. The donated services and products are wonderful, but more important to me is how much everyone is helping out -- most of the time, completely voluntarily, no assistance requested. Adding knowledge, ability, persuasiveness to my script.

Either this script is actually worth a damn, or everyone's counting on me throwing a massive party when this is all over.

Or both.