The Chair (2014) s01e07 Episode Script
Making Your Days
1 - Josh Shader: Heinz Field.
- Lauren Schnipper: We got it? - Shader: We got it.
- We got it? - Schnipper: Yay! - Yay! Would you rather spend time establishing the physical space of this house in continuity or time on the performances - of your actor in one of the biggest - Performances.
Shane Dawson: So we're filming at the incline.
It would be, like, butt, butt, empty, dick.
Tori: Butt, butt, empty, dick.
(shouts) It's been mentioned many, many times that shit eating is a problem for people.
Changing the movie is not the answer.
So what's the other answer? - Donna Belajac: Then Angela - Oh, I think I'm playing Angela.
- Belajac: Oh, are you? - Yeah.
Dan Schoffer: It's very weird being a writer on set.
Like, it's not my movie.
Like, I get that.
Chris Moore: Director role is a very crucial decision-maker role.
I feel like the major thing I have to do right now mentally is just not complicate things.
Really stare at that pie, you know what I mean? - Phillip Rush: Uh, no I don't.
- I mean, really? You're gonna go to other people? That's what I'm talking about, like everybody going back and talking about what we wish we would've gotten Did you create the monster or was it always there? No, it's always there.
Corey Moosa: Anna has been getting from A to B by having one voice in her ear, which has been Phil.
Moore: The hardest thing about directing every asshole out there is staring at you going "That's a bad decision.
I wouldn't have done that.
" - (music playing) - (train horn blowing) Siena Brown: Hey, Toby and Rachel? Basically, what were gonna do is we're gonna roll whenever a train comes in here and we want to make sure we're totally ready when a train gets here.
Anna Martemucci: We had written a montage of Scott and Tori going around the town and doing beautiful things, and one of them was a train going by.
Just like a poetic, beautiful, silent kind of montage-y moment.
You're just walking with purpose.
You're showing her this place, come on.
Just a regular walk at a nice clip and when the train comes, I'll say action and you do it, and then the trains are so long that we might be able to pop off maybe two, maybe three takes.
So, Jim, you know we're gonna roll, like, right before the train comes in here and then Martemucci: Why? Do you feel a train coming? Maybe they should stand and make out.
Maybe they should stand I like how, like, acting, or, like, directing, you could just tell people to do that.
It's so weird, I know.
Stand and make out.
Now sit and make out.
You know that I want you stand and make out with each other? Oh! - Brown: I mean, Anna? - What?! I keep on hearing trains.
I feel like we should wait for the train.
- (train horn blows) - Yeah, but Train's coming, train's coming.
Keep making out! - Jim: I see it.
- (train horn blows) And then, Jim, we want them to start walking when The train is coming! Keep making out, and I'll tell you when to stop! Tell them to keep making out and we'll tell them when to stop.
Brown: Tell me when you want them to walk.
Martemucci: Okay, now.
Walk, walk, walk.
Tell them to walk.
Jim, tell them to walk.
- All: Walk! - Tell them to walk.
Tell them to walk.
Martemucci: Okay, reset! Run back, run back, run back! Brown: Don't run, don't run, don't run, Martemucci: Be careful but run.
We're still rolling, still rolling.
They're gonna do it one more time.
- Are we ready? - Brown: Action! Brown and Martemucci: Action, action.
Action! Action! Brown: Run back, run back! There's some colorful cars coming.
- Brown: One more? - Martemucci: Yes.
- And grabbing hand at the end.
- Brown: Okay, we got to go.
Make out! Have them make out and then walk.
Brown: Make out and then walk.
Make out and then walk! Make out and then walk! Make out! Make out! Make out! (theme music playing) Dawson: So right now we're at Heinz Field which is amazing.
I cannot believe they're actually letting us film here and this is a scene where Scott takes Tori for a big romantic date, and she opens her eyes and she's in the middle of the field.
It'd be cool to have them enter from that passageway, so it's like a dark kind of you don't really know where they are and then their dialogue is as he's walking toward the center of the field, she's kind of trailing behind.
Frank Paladino: It's crazy just to be on the field because every time I've been here I've been, you know, way up top.
And you get the nice view of the city and we're gonna try to utilize that in, like, a super wide shot of, like, them.
You see, like, just two dots on the field and you have the whole stadium and the city in the background, so it's gonna be exciting.
(laughs) Dawson: How much time do we have here? - We have, shooting wise - Well, from 5:00 to 9:00.
- You're gonna have about three hours.
- So, yeah.
So this location is amazing.
The only thing I'm a little nervous about is we're only getting 25% of the lights turned on, so I'm curious what that's gonna look like, but it's nice to have a huge, open, empty space that is also epic at the same time.
It just creates a huge moment that I really wanted that I could not have gotten anywhere else but this.
It's me! - Hi! - Just me, just me! Hi! - Oh! - Reunited Oh, they're filming us here, sorry.
I feel like we're on a dating show.
You just have to you're stuffy.
It's like that feeling when you can't think.
Have you met with the acting coach anymore? Or you're just going for it? No.
I just need you to read lines with me.
Corey is one of the producers.
He's, like, Zachary Quinto's, you know, partner.
So he's been there every day and - He loves it? - Yeah, and he's, like, an acting teacher-type.
It just helps that they're all excited about it and they all think it's funny and everybody laughs.
Did you do your bus driver? Mm-hmm, and of course the one day Zachary fucking Quinto shows up is the day I am drag.
I'm sure he loved it.
Supposedly, Zachary laughed.
Who knows? I just wanna make sure this movie is really good because that will let me be able to make another one.
Julie Buck: There's a bunch of this stuff I haven't seen at all.
Shader: She's getting this from Josh Hetzler: She's taking edited scenes from Beth and lining them up in Beth's projects.
Okay.
Which is partially what we're gonna see right now.
- It's 35 minutes, right? - Buck: About 35, yeah.
Moore: I'll need some dessert for that.
Hetzler: Are you watching these, Julie Oh, no, I'm really comfying out with Shader: Aren't you gonna come around? Or you just gonna listen? I just wanna watch your reactions to it.
Moore: She really bucks continuity, baby, right there.
Hetzler: Mm-hmm.
Buck: We're fine, except for this week when we have to do all of Tori's exteriors and it's gonna be 60 degrees outside.
Shader: It's Pittsburgh weather.
Just throw in a throw-away line.
Buck: Nothing like Phil scratching his balls.
Man on screen: Wait, wait, no don't! - (grunts) - Ow! - Oh, shit.
- Oh, God.
(screams) So far, now continuity has been fine.
Just this week is the week that's gonna not be fine.
Moosa: It's pretty good.
Looks great.
It's coming together really nice.
It's flowing together, like the cuts are working.
It looks like she's got everything that she needs.
I know how much she's gonna tinker with this now.
- A lot.
A lot.
- I can't wait.
- We'll figure that out.
- Buck: We'll figure that out.
I'm not worried.
I hope she appreciates how much you guys look out for her.
I think I think she does.
Buck: I think she does sorta, mostly, yeah.
We love Anna.
Whenever I realize that things are being dealt with and hidden from me, it's just like gives me so much more appreciation for Josh and Julie and the insane amount of work that they're doing.
The other part of it is that for her because of the dynamic of the way we set up this project she is not hands-on with the budget, so it's literally just an abstraction.
Okay.
Hetzler: It's true.
We are also, like, carrying a lot of additionals that we hadn't anticipated in our original budget.
Today, we're shooting on Duquesne Incline.
It's a quick scene between Scott and Tori.
Part of the montage.
We're just gonna be going up and down the tracks all day.
All right, let's go ride this thing.
From here, you have me, her, and him, and they turn back and see him.
They're just mooning in general, they're not like mooning the other car, right? No, it's just like the whole city.
Yeah, okay.
To really sell the joke it has to be butt, butt, empty window, dick.
You know, this is filmmaking, guys.
So, we have to find, like, a penis this week.
- We have to find a black penis.
- Mm-hmm.
Yeah, I'm just gonna go on Back Page under the escort section, male escorts, and I just want to do it close today.
Oh, my God, what if it's like 15 inches long? (laughs) That would be even funnier.
I'll be like, "Either have a gross penis" - "Either gross" - Both: "Or huge.
" (laughs) So we're gonna load you guys on.
Frank's gonna pee, and then we're gonna go down, rehearse on the way down, and shoot on the way up.
Yeah, you know.
Okay, go for it guys, I want to see what positions you're gonna be when you're mooning.
Okay, this is the positions.
All right, let's roll it up.
Scene 45, take one.
Rush: And action.
(laughing hysterically) Dawson: Awesome.
Quick question.
It'd be funnier if it was my face up against glass, right? - Yeah, yeah.
- Okay, Phil, Phil? We can shoot that on the green screen though.
I think were actually gonna do my face on the green screen so I can put my face up against the glass - 'cause I think that'd be funnier.
- Rush: Oh, okay.
So I think we're done here.
So that's a wrap on Shane as an actor for today, too.
Today we shot at the Duquesne Incline and ultimately we got that done and we got it done pretty quickly.
The next scene on our schedule took place at night, so we found ourselves sitting around literally waiting for the sun to go down, which is bad.
We've got an hour and a half until it's even dark enough to shoot it.
Shader: We actually had what you don't want to have on a set, which is dead time.
That's bad scheduling, bad planning to have an hour or two hours with no work to do.
We quickly realized that we better shoot something.
So the sex shop? What do you see happening at the sex shop? Is she outside on the sidewalk waiting for you? She's outside on the sidewalk I come out.
I throw the dildo at her.
We laugh and run away.
I saw three shots, like, one from across the street seeing the sex like that it's a sex shop.
- You come out.
- Shader: Can you do it in an hour? Dawson: Let's go to the sex shop right now.
- If you had any - Dawson: We have time.
Can we do it right now outside here? Maybe we could ask Hillary.
Schnipper: Can we do the sex shop right now? If we could do the sex shop right now, that would make life It's 4:30.
It doesn't get dark for two hours.
Oh, you mean, like, anything around here Rush: Yeah.
Yeah.
- And can we steal it? - Yeah.
Dawson: Where's Hillary? Can we talk to her? Is she here? So, this is crazy, but we're, like, sitting around right now, like, killing time because it's not dark out yet and they were, like, gonna see if maybe we can steal the sex shop location somewhere around Lamont, but we would need, like, a sign and, like, a dildo or something.
Are you anywhere where you have anything like that? I mean, is it a possible I mean, listen, if we find a shady area that has, like, a black window or something that, like, later we could go to a black window and put the sign.
Find a sex shop right outside first Guys, she's pretty sure Matt has the dildos here.
Is Frank gonna go try to scout something? - Rush: Frank, are you going outside? - Yes, yes, yes.
- Rush: Do you want me to go with you? - Frank: Sure.
Rush: Should we give them other options? Paladino: Yeah.
Rush: Watch yourself.
- You got it? - Yep.
That could work.
This is cinematography gold right here.
It's so worth it.
Rush: How do you feel, bud? Are you good enough? - Dawson: Yeah, let's do it.
- Rush: All right, and action! Think fast! - Okay.
We got it.
- Cut! Rush: All right, you guys are good to go.
Good job.
Rush: Going back to the pie day, I did what a lot of actors do is I think I overprepared.
She had to take a moment to adjust me, and in that moment I defended my acting choice by bringing up, you know, "Hey, I talked with Victor about this a couple of days ago," and there was a moment of misinterpretation there where she took it as, "Well, Victor can't direct you on this scene.
" And I love these guys.
I don't want this scenario, us working together, to ever go away.
- What's up? - I was just gonna grab a full - on this shit, man.
It's so cute.
- Uh, no.
Can't? Okay.
Anna, do you have a second? You got two minutes, right? Martemucci: I guess so.
I think so.
I don't know.
(Martemucci mock screaming) Quinaz: Quick talk without no cameras.
(blows raspberry) Um Martemucci: Yeah? Martemucci: Not at all.
Martemucci: And I'll just listen in.
Martemucci: No.
There's nothing for me.
Brown: Okay, Anna, hey, Anna were moments away.
- Are you good? - Martemucci: Got to go, moments away.
Oh, let me out.
Yeah! I'm ready! Brown: Thank you, Anna.
Okay, here we go! Quinaz: You know, I had I created this scenario that a lot of times I felt like people were leading me to have conflicts with Anna Martemucci and they would talk about how impossible it was for a family to be creating together, which I will obviously speak out against.
I am trying to create an example of how a family dynamic can work.
I felt like there was some weird story that certain people were creating or wanting to like tie into that it's just not the truth, you know.
The truth is is we create together as a family.
We have the conflicts that come with that, but we make great shit because of that.
- (sighs) - Woman: Aw all day? Quinaz: Off and on.
My body maybe just be like, "Good job, Phil, you worked hard.
- Yeah.
- Now we have to die a little.
" It was a big day for me because it was the first day where I actually had to wear all the shoes that I'm wearing right now, and no one wears two shoes at the same time, - but also specifically - Martemucci: Oh, you and this is important to me, is I wanted to apologize for the miscommunication that happened as an actor.
I thought I was being helpful, but I don't think it was helpful at all.
Number one, I want to apologize to you because it's not fair to you as a director but also I want to apologize to Victor, too, because I never want to give that feeling that I'm undermining you as a director.
You're doing a crazy good job, honestly.
Man: 52-Baker, take one.
All right, picture's up! Everybody settle! Man: You bury the eights.
- Everybody set for it? - Set.
And action.
Dad's dead! Dad's dead! Dad's dead, Gilbert, dad's dead! I can't believe you like "What's Eating Gilbert Grape.
" - I thought I was the only one.
- Are you kidding me? Literally, the only thing hotter than Leonardo DiCaprio is a retarded Leonardo DiCaprio that needs constant diaper changes.
That shit makes me so wet.
That night in Lamont we shot what is the most important emotional scene between Joel and Janie.
You Facebook stalked me.
What? Lacy posted that stupid shit on my wall, like, six hours ago talking about how she wanted to get fucked up on ethyl.
Joel: You're on Facebook? Shader: Ultimately, it's the scene where Janie sort of breaks down and reveals to Joel that she's not living the life that that she's sort of putting out there to the world.
If you're not into this ethyl stuff then why did you like Lacy's post? I don't get it.
I don't like half the shit I like on Facebook.
It's just easier to go along with everyone.
Shader: That was the scene that got Michelle cast in the movie.
It was the scene that she auditioned for.
Ultimately, it was being able to nail that turn from being sort of the cool popular girl who then pulls back a layer and reveals that she's actually really insecure and doesn't know who she is.
That is the Janie character.
Thank you for dinner.
It was really retarded.
In a good way.
Cut! (man whispers) This might be another one.
I just don't want to say "Facebook" so many times, you know what I mean? It's more like you're finally like talking heart-to-heart with him about the shit that you're annoyed with.
- Mm-hmm.
- Um that way, by the end, we think there's a chance that you guys might actually get together again.
It's fine that you're saying Facebook.
I just don't want to say it too many times.
So it's "I don't like half the shit I like.
" You don't have to say "I don't like half the shit I like on Facebook.
" - Oh, I see.
- You know what I mean? But she also says, "You Facebook stalked me.
" I know, we can say it but it's just saying it a lot - and it's fine - So what do you mean? Should we get her saying something else besides, "You Facebook stalked me"? It's the type of thing where if we don't get Facebook like, we don't get it, we can use it but say if the opening montage doesn't have Facebook in it.
It's, like, generic whatever.
Do you not understand what I'm saying? - I do.
- She says "Facebook stalked.
" It's okay if we say it, it's okay.
Then why are you saying it's not okay if she says it twice? Because she's saying it so many times - We can only say it once? - No.
It's just like overdoing too much with a brand that we may or may not have deal with.
So then we either can say it or we can't.
- No, that's not - Do you understand what she's saying? - It's - No.
I don't either, okay.
Just a second.
Let's get to acting notes and not, like, word notes.
What are you thinking? Honestly, what I think will help you get where you need to go is if we can do it and then we can do it again right away without much of a pause in between.
The second time around, of course, was just cleaner.
I think the pace is still the rhythm we have to find in this, in the ups and the downs, which I think you can do pretty quickly right now.
We're gonna do this one more time, but she's gonna do two takes.
So we're just gonna keep rolling.
Okay? The reason I was saying that it's fine that we're saying it, I'm just sort of like, we don't need to say we get the point of the line, we don't need it.
- Okay, but then say that.
- That's what I did.
You said that we're not allowed to use it.
I didn't say that.
You didn't say what you just said.
You just said don't overuse it if we can't use it.
No.
You literally said, "If we can't use the word - then stop using it.
" - That's not what I said.
Then that means we have to get an alternate - where she doesn't say it at all.
- That's not what I said.
I said if we don't get the rights It's fine, I get it.
You made your point.
Oh, God.
I mean, I can't talk to you.
This is why I can't talk to you 'cause you jump down my throat.
Because we're in the middle of fucking filming and that's - I get it.
- No, I just wanted to give her the note and that was it.
It's fine, but the way you're explaining it did not make any sense to me.
Because you don't let me explain myself.
Rush: And action! Heather: I'm just figuring out what a scam all of it is.
Meanwhile, I'm majoring in English.
I'm probably gonna be worse off than the parks management girls.
I mean, are there gonna be that many parks for them to manage when they graduate? Who am I kidding? We're all gonna be unemployed.
Cut! Beautiful! Brown: That's a cut.
Schoffer: Once the original writer is re-written by another writer that writer is the writer on set.
That's the writer who's involved.
So the previous writers really are not involved at all, let alone on set.
I would not have been there in any other circumstance other "The Chair" experiment.
It's very difficult to see people given the opportunity to direct a movie and they're choosing to direct a script that I think is not very strong, and I'm in, like, a weird no-win situation where if the movie comes out and is bad, I have my name on a bad movie.
If it's good, I'm the asshole who's saying the script's no good and then they make a great movie.
What does this guy know? I have no involvement.
I should not be on her set.
I have no reason to be on her set.
I am choosing to leave Pittsburgh as soon as Shane's movie wraps.
Shader: You don't feel the same with Anna? I wrote the shooting script for Shane's movie.
When I'm on set, I know that generally they actually have to hit some story points for the story to work as a greater whole and I can sometimes, you know, say something or guide in a way or be helpful because I know that there's a greater story being served by these individual scenes.
In Anna's movie, they rewrote it in such a way that there's a bunch of scenes that I have no idea what the purpose of their being in the movie is.
Maybe I'm wrong, but I feel like general consensus is crossing your fingers that something comes together in the editing room.
Do you think there's a chance that they could surprise you and you sort of do a 180 or? Yeah, there's a chance.
There's a chance they can edit this movie into something that works.
It's gonna be very difficult, but there's a chance.
Dawson: Hello.
Schnipper: Hello, did you just call me? Dawson: I'm about to leave.
Do you have any medicine or anything? Schnipper: Come and knock on my door.
Okay, I have the camera crew with me, PS.
I am in my pajamas, okay.
Okay, great, bye.
You look terrible, great, let's go.
(sighs) - Oh, hello.
- Mm-hmm.
It's so lovely to see you.
- Here's your tablet.
- Those are your pajamas? - Yeah, is that all right? - Going to the Grammys.
Well, I'm gonna do it.
Two tablets every four to six hours.
Do you want to do the Neti Pot again? You should do it again.
One for each nose.
I mean, I don't have time right now.
It's only gonna take three minutes to do it.
I'm just gonna get a tea.
Do the Neti Pot.
See you later, bye.
Get ready for a show, Tony.
(sniffs) You're welcome.
I wonder if Anna would use a Neti Pot on camera? Here I'll give you guys the shot you want.
I just like to make my own tea, you know, just for the people on set.
As a director I just want to give them part of me.
You know what I mean? I just wanna I just want part of me in this movie.
Bottoms up.
Hetzler: So Anna had said to me at the end of a day at Scott's house, you know, "Oh, I want this, I want that, I want this, I want that," and I had to say, "You have to decide between these two things 'cause your nor getting both.
" Later, she said to me, "I figured that if I pushed on you, you would just say yes," and I had to make it clear that it's the difference between having money for post production and not having money for post production.
Buck: You have to make concessions to that.
Hetzler: And it is the director's job to Buck: Push it as much as far as you can - Yeah, to fight for everything.
- But it's also your team's job - to say no sometimes.
- Yeah.
Martemucci: All right, guys, this is the last one, guys.
Let's get this one.
Feeling good.
Thank you.
(chatter) Martemucci: Cutting! Cut! Man: That's a cut! Quiet, please.
Cut.
I think you all know this, but we as your producers are saying out loud to you one hour to camera wrap.
Martemucci: Oh.
- Let's talk about grabbing Heather.
- We kind of have to grab Heather.
And then you just lock eyes and barely anything, just a just an acknowledgment.
Exactly.
Thank you.
Okay.
Here we go, guys! Everyone, picture's up and action! Reset.
Keep rolling.
Reset.
Put your coat back on, action! Martemucci: Resetting.
Buck: For Anna, doing rolling takes, it makes her feel more comfortable.
And action! Hetzler: And it's a bit of an end run around your first AD because it means as long as you keep the cameras rolling the AD can't move you on to the next shot.
Let's reset with the coat.
Brown: Anna, they're just fixing this light.
I think I got this, we're gonna cut.
- John's gonna help - Can we hold for just a second? - Can I talk to you for a second? - Yeah, no problem.
Is it possible since everybody's here again can we just hold everybody and shoot this Heather thing and then quickly do one without high fives, like super fast? I really don't think so, especially if you want to get that I know, but it's the movie.
It's like, it's worth it to me.
It's so worth it.
- Josh Hetzler? - Yeah? Since everyone is here, all these extras are here, can I get one after this of Heather of him doing it without the high fives going through the party and just keep everyone nice and quiet right here - and then bang out the door.
- You can work until 10:30.
Okay.
It's a few minutes before 10 now.
Martemucci: Siena's a young AD and sometimes she needs a little bit of backup.
And action! It's a different thing to hear from your AD that you have to move on than it is to hear from your producers that you have to move on.
If you wanna go outside, it has to be out now.
I can't like, five, 15 minutes from you guys to get this because I don't know if I like the high fives and it's a major, major moment in the movie that we can never re-create after this moment and we have all these people waiting, so I just need 10 more minutes.
- You can't have both.
- I really need both, - and we're all right here.
- It's already past 10:00 now.
It's all for shit? But we're right here and So we can work on getting this, but in 10 minutes I don't think we're gonna get that, too.
Hetzler: It's getting dangerous outside.
Martemucci: Dangerous? Hetzler: Yeah, a light just blew off in the wind.
Martemucci: Oh, the wind is bad, okay.
Both of them are absolutely not happening? Brown: Absolutely not.
So if we're doing the exterior we should do that now.
- Okay.
- Brown: Instead of the pie.
- Exterior? - I mean, this is painful for me.
Okay, we'll do this.
Can this be built and set in that time? - Man: Yes.
- Okay.
Martemucci: Moving on.
- Martemucci: Miss Martemucci? - Yeah.
Can I get you over here to start rehearsing this with Toby? - Sure.
- Great.
So, your gonna want Toby to bust out and run along the dolly, right? Brown: I'm 10:11, at 10:30 we got to get done.
My only intention for the shot was to get the door bursting open and a person running out.
We have to clear this frame out so anything that's back there that belongs to set, like, should be totally cleared out.
- So that means - Martemucci: Perfect.
That means sandbags, that means those chairs.
- Everything's got to go.
- And action.
Singh: Action! - Martemucci: Meena, you good? - I think I'm good.
Cut, let's cut.
Let's cut.
- That's a cut.
- Cool.
Is that it? Okay.
That's it, guys.
Yeah.
Thank you, everyone.
So today's a big day because it is the beginning and ending of our movie.
Look up.
So Lisa is playing Marissa which is Tori's sister in the movie.
Originally this character was kind of uptight and kind of just a plain Jane overachiever, so I turned her into a psychotic blind girl who is dating an obviously gay man.
Give me your blind look.
Dawson: I actually wanted to make her blind because I thought it was even funnier that she's such an overachiever and she does everything better than Tori and she has a disability, so it just makes Tori feel even more like shit.
Speaking of shit, we shot something else that day.
A little more and a do.
Yeah, yeah, this shit up in here.
And speed it up a little bit.
A little less beats in between.
On this last one, after this one "I'm glad my family dead" dig in.
Shit, this why I'm glad my family dead.
(laughs) Cut.
Oh, my God! - Okay, good.
- Rush: All right, moving on.
That was awesome.
This is the last piece you feel you need from this scene? - The shot - A clean of them up there.
- Yes.
- Okay.
Dawson: So after she says "I'm still jealous of you," that's your guys cue to run over.
Rush: All right, let's roll it up.
Picture's up! Everybody, settle! And action! Ahhh! I am so happy you're home! Yep, it's still you! Fuck! Back to one, back to one.
I can't wait to stay up all night gossiping about Northwestern boys Dawson: I'm sorry.
I'm sorry, cut.
Why aren't we moving? What happened? I thought you were gonna cue them.
Dawson: No, just follow.
Fuck.
At the airport, which was our train station location, that day was the first time I really ever saw Shane get frustrated on set.
I cannot wait to stay up all night gossiping about Northwestern boys.
Man: Or girls, we don't judge.
- Just don't talk to - Fuck! - Cut! Come on! - Cut! Shader: It was a tight day.
We had a lot of work to do in a limited time, and he was frustrated because we were butting up against lunch and Frank ultimately wasn't making the move that he needed to make.
The timing was off.
You know what? I wanted to do this in one shot - but maybe we can't - No, it's fine.
- We're gonna get it.
- Are you sure? - Yes.
- Are we good? - Yes.
- Okay.
Up all night gossiping about boys.
Got it.
- Or girls.
- Got it.
Let's do it again.
It was just complicated 'cause with the steady cam it's like every move is calculated, and you have this 80-pound boy carrying this terminator machine and he's trying to hold himself it was intense.
We need this to be the one, like 100%.
- What's that? - This has to be the one.
- Okay.
- We don't have time.
Dawson: It was the first day I think I had ever really got stressed and I think it was because there was new actors.
We had the parents.
We had my girlfriend.
We had all these new people that had never been on set before and a lot of extras.
Keep rolling, keep rolling.
Back to one.
We really need to get up to Dad faster, guys.
Okay.
Right after she says "I'm excited you're home," fucking go right to Lisa.
Actually I love seeing him get frustrated.
I like seeing him get emotional.
I think I actually can have a positive effect sometimes on the crew when they see a director reveal their emotions in that way, because it makes everyone sort of snap to and work a little harder to get where you need to get.
Are you looking at it? I hear it's beautiful! Dawson: Great, great.
Keep rolling, keep rolling, keep rolling.
Back to one, Were gonna do it one more time.
- Everybody back to one.
- That was awesome.
Great job, guys.
Good energy, thank you.
Dawson: I wanted a shot of the dad, and they kept shooting the mom.
But we ended up getting the shot.
It just took a little while.
- Okay, great, cut.
- Cut! - Okay, let's move on.
- Moving on.
Brown: This morning, the first thing that we're doing is gonna be that big establishing wide.
Meena's gonna shoot that while I go into HM.
Buck: Anna was acting in those scenes.
She's acted in other things before, but acting and directing herself - Is incredibly hard.
- Is very, very difficult.
And action! Hey, where were you? Mom is not happy.
Katy, this is Courtney.
Courtney has a vocal cord injury so she has to speak really softly right now.
- Oh - (quietly) Hi, how are ya? Quinaz: It looks like, first off, the two people were anticipating a little bit their arrival.
Uh-huh.
That was not without its difficult moments but all in all it worked great, 'cause I really trust Phil's creative opinion, especially on acting stuff.
So he basically would be saying, "That was so awkward.
I was really drunk.
" It's a false apology, so as long as that and I think, yeah, I think that he can start off by saying the apology for that and then launch into the whole really false "I think, you know, I think you're a miracle.
I think this is a miracle.
" I think maybe if we had gone into the day having talked about it before and strategized, like this is definitely how it's gonna go down, we would've been a little better off but, again, it's always that time crunch, and it was like, we needed to sleep so we didn't do that.
- Martemucci: She already knew.
- Yeah.
'Cause I'm confused 'cause it sounds like you're saying that you want her to kind of freak out after she kisses him and realize I'm just verifying with you that in that performance there you're happy with the amount of neuroses that's in there because to me it just seems like she already knows exactly what's she's doing.
It just seemed so calculated and calm, and I'm just verifying with you that that's the way you wanted it to read.
Quiet, please.
Brown: Meena, you're set? Okay.
Anna, on your call.
Didn't we just agree that Phil would do it? Brown: Oh, yeah, sorry, Phil, on your call.
Got it.
And Wait, wait, you wait for camera set, Phil.
- Or did you already say it? - Yeah.
And action on rehearsal.
Hetzler: For the first time doing that, she did an impressive job.
I think the thing that is really, really difficult is that there isn't a hard transition that happens like that.
It's not like you suddenly become one thing and suddenly become the other.
You literally have to do both at the same time.
For someone doing it for the very first time, I think she pulled it off better than I expected.
So many people do it, I thought like, oh, it'll be fine.
It's really hard.
I feel like a pansy, though, 'cause I see Lena Dunham, and I'm like, "Okay, I can do it.
" Fucking fuck, man.
Rush: Hey, we shot the beginning and the end of the movie today.
- I mean, that happened.
- Yeah.
I mean, we did that.
You just put those together and you got a short.
Fuck it, movie's over.
Done.
Moosa: How was the first half of the day, Frank? Were you happy with what you got? Yeah.
I just we were rushing and l - Yeah? That's normal.
- Paladino: Right.
- You frustrated? - Yeah, I'm frustrated with myself.
- Dawson: What's wrong? - Don't be frustrated with yourself.
What? No, no, I'm fine.
It's amazing, everything looked great.
(laughs) What do you feel like you didn't get? No, no, we get everything we need.
I just I'm frustrated with myself.
Why? I could've been a little bit more prepared and whatnot.
Dude, please, we got everything.
The ending shot of her smiling and leaving frame was awesome.
Yeah, and we we shot a little I wanted to leave a little bit more room just so we'll be able to stabilize that.
- So? - Yeah, the tattoo shot.
By the time we get there and we load we're gonna get there about 9:00.
Yeah, and I'll talk to Frank about just simplifying.
Schnipper: How many shots are we looking at, the two shot? Three shots, how much coverage? We have 'til midnight there.
I know time is a-ticking, but It's a lot of coverage.
We'll try to simplify it.
So, if I've learned anything through this entire experience it is that special effects are so complicated and take forever.
Having a blood tube connected to your head while you're supposed to be acting like you're getting your ears pierced, it's very hard and complicated.
Also what was hard about that was the tattoo shop owner wanted to murder me for reals, like not with a blood tube, like with actual blood coming out of my body.
And she was like, "I watched his videos last night.
They're disgusting.
They're racist.
I hate him.
" And if we wanted her to, she would come in and kick his ass and yell at him.
I don't know, man, she scared me, and she basically said - The one with the red hair? - Yeah the one with the white tattoos on her face, like Yeah, that was her, that was her.
How could you hate him? Moore: Of course, I hired him.
- Rush: He actually isn't.
- Store owner: Awful human.
Well, why did you let us shoot here, then? Yeah, that was very nice of you.
- No, I get it.
L I - No, it's like I don't understand All right, I'm sure he won't.
Yeah.
I think were gonna have to combine these scenes - for obvious reasons.
- Yeah.
Starting on a tattoo gun and then going over and now revealing my scared face.
I'll be like, "I can't do it, I can't do it, it's gonna hurt.
" Reveal and then go to Tori, "Stop being such a baby.
" We get a good three shot of us, cut back, and then after that, if we have time, we can get - The intro? - The intro.
I mean, I see that taking, like Of course it's only gonna take an hour, but then like this.
No like 10 minutes, max.
To light it, to set it up, to do everything.
I know how that works.
It's not gonna take five minutes.
I'm just saying, if we don't get to this then there's no reason for us to be here.
- You know what I'm saying? - Paladino: Mm-hmm.
Shader: The thing that I was noticing last night that kept happening was that uncomfortable lag and pause between getting a couple takes and Siena feeling like it's time to move on and Anna not making the decision on moving on.
But she's getting better.
Before, she would go outside between literally every single take, have five or six minutes with Phil.
Right, there was a moment yesterday where I saw like, Siena needed to move on, and was just I want Siena to know that you guys and everyone else - support Sienna - That's why we went down there.
Siena to turn to her Siena can say, "We need to move on.
" The problem that Anna doesn't understand is that for her it's the amount of time that she's actually shooting is not that long, when have a whole set up.
Well, it's getting her to spend less time on the less important stuff and more time on the important stuff.
Well, that's the other piece that we talked to her about very, very specifically.
I said, "The crazy thing is, Anna, you have literally 100 versions of Toby getting out of bed" - Right.
- Literally that's it "and then you have a big huge talking scene with Phil and with Toby that's very, very important to the story and you get two takes because you've run out of time because you spent so much time on all of the minutia rather than the meat of the story.
" I had a conversation with Anna and Meena to explain to them that it was really, really important that they made their days.
The importance of making your day for a director is the difference between directors who have a career and directors who don't.
Hetzler: What time is it? So are we pushing into lunch? Yeah, we're gonna do lunch a little bit later, get this shot, break for lunch, do it after.
Okay.
I don't like having to be the guy who comes in at the end of the day and says, "You have to cut your shot list because you're running out of time.
" At that point, it had already happened a couple of times, basically, because we were running down the clock with more work to do than there were minutes in the day at that point.
Martemucci: Tell me what the time is is that we have to have camera wrap tonight? Hetzler: What time did we call? - 9:30.
- 9:00.
Singh: So we have an hour to wrap up.
Hetzler: I mean, if your backs are really up against the wall, we can maybe barter for, like, 10 or 15 minutes, but maybe not.
Okay.
Reminds me of myself that age, fucking bitch.
- Uh, cut! - (laughs) Is that how we doing? Brown: I thought it was good.
Anna, if we could move on, that would be great.
Hetzler: Who is working up there?! Don't make me ask for quiet again! John, I need somebody stationed upstairs making sure that nobody is moving around or talking while were rolling.
Everybody, quiet please, totally quiet! Okay, guys, we're rolling! I need it quiet upstairs! Guys, I hear you! Can we stop the talking? We're rolling.
Stop.
Guys! What the hell is going on up there? - I need it quiet! - Is there an emergency upstairs? Quiet! We got to hear Josh Hetzler's dad reprimand voice today, - Did you hear that shit? - I know.
"I'm gonna knock some heads together!" (both laughing) "Don't make me raise my voice.
" So, obviously, we have to have a conversation again about schedule and making our days and what that means.
We have to have wrap time every day.
We can't shoot through our entire clock.
There has to be an amount of wrap time or we hit some amount of OT, but I don't want us for these last few nights to be doing that every single time.
Today we did not need to be hitting that wall.
I understand that we will probably need to hit the wall like that maybe even for the rest of the schedule 'cause they are big monster days, but the fact that we're not winning the easy battles now means that when we get to those tough battles then we're looking at serious, serious OT, and I just we can't afford it, can't afford it, can't do it.
Set and action.
Hey.
I think I see Jesus.
Uh, at least you didn't pierce your dick.
- Dawson: Cut.
- Rush: Cut! Well, that was interesting.
- It didn't work? - Rush: No, it worked great.
It went every-fucking-where.
- This is violent - Can I watch it? Rush: You should definitely watch that.
Schnipper: Cannot go over, so Okay.
You tell me when to pull the plug and I'll pull it.
Well, it depends on how long people need to get out of here.
Hey, Will, how much time would you have do you think Will: When the scenes are wrapped.
30? Phil, I'm saying they have until 11:55 to get this.
11:55, we pull the plug, okay.
- That's it.
- Okay.
I'm standing here watching over it and I'm standing in front of the camera at 11:55.
Okay.
- Can you tell Shane that? - Yep.
- So we have until we have 10 - Dawson: Let's do the close up.
- Yeah, 10 minutes and then - Schnipper: And that's it.
And then Lauren's just pushing everybody out.
Okay, well, we just need the close up - Schnipper: No, I know, but - What do you want me to do? If it doesn't get done by 11:55, we have to move on because we can't.
Dawson: We move on to nothing.
We're done.
No, I'm saying if it doesn't get done that time, though, 'cause we have to be wrapping out by 11:55.
Okay.
I'm just saying, it's not move on, it's You know what I mean move on from I mean we have to just we either get it or we don't by 11:55.
We haven't done multiple takes.
We've done one take.
No, I know, everybody's working very fast.
I just wanted to give you a heads up.
Okay, all right.
Rush: Now the mood just went to shit in here, holy fuck! - Oh, my God.
- Man: It's all Lauren's fault! That's my fault, I'll take it.
I'll take it.
Rush: 10 more minutes.
Dawson: That's fine, can you go? Like you just, you brought the stank energy and it's, like, bothering me, if we really only have one more of these, I don't need that.
I'll be right here.
I'm right here.
I'm right here.
Huh, I think I see Jesus.
- Dawson: Cut.
- Rush: And cut.
- Dawson: Good? - Rush: Yeah, that was good.
Is that it? Finisio? All right, guys, that's a wrap.
Let's wrap, wrap, wrap.
Great job, guys.
That was a hell of a day today, man.
Martemucci: I was hung up on Scott Karazewski taking Tori Humilovich on a journey through the town that they'd both grown up in, that made her realize that maybe it's not so bad, and see her hometown in a way that she hadn't seen it before, and I told everybody, "What are the magical locations in Pittsburgh? What's something cool that this guy could take this girl and they break into it or they have a magical experience in this special location?" And I found Carrie Furnace, which was like right there, pretty much in Pittsburgh proper.
I just couldn't believe it.
It was this huge abandoned magical mill.
This is absolutely the place where Scott takes Tori.
Brown: Hey, guys, we're gonna have a safety meeting over here.
So, welcome to Carrie Furnace.
This location is fucking awesome, and we're really excited to be here but there's a few things that we just want to make everyone aware about before we head in.
This is an old abandoned steel mill that has not been touched in a very long time.
There are a lot of rusty pipes and beams here.
I need to make sure that everyone is really watching, not only your footing, but also where you're grabbing.
I want to make sure that everyone who hasn't had their tetanus shot just watch where you're putting your hands here.
There's a lot of rusty beams.
We want to make sure that people are being really careful.
Shader: It's interesting that both films picked classic Pittsburgh sites to have their big emotional scenes.
Both of the scenes are Scott taking Tori to some special location, and I guess this is the one Shader: This is kind of creepy special.
Man: Yeah, creepy special.
Heinz Field is a different kind of special though it's ironic in the sense that Scott and Shane pretty much know nothing about football.
(laughs) Ah, look at this.
Look how beautiful this is.
This is gonna make our movie so much cooler.
It's gonna make me so much straighter, and it's gonna make everybody involved feel just heroic.
Look at Lauren, she's twirling.
The gayest thing that's ever happened on this field is happening right there.
- Are you recording this one? - I'm never done dancing.
I'm getting all of this.
Come on, do the touchdown dance.
Oh, wait, like, which one? Like when they thrown down there like - Dawson: Yeah.
- That's quite possibly the most disturbing thing you've ever done.
- Today.
- Right.
Shader: Typically for a low-budget indie movie like this you wouldn't be able to get such a high value location.
Because it's one of the important scenes in the movie, we fought for it, we're able to get it, and through some negotiations we were able to lock down Heinz Field.
Rush: We're good? Okay, guys, let me know when you're set.
- Set.
- Rush: All right, and action.
Not as gross as you'd expect.
Pretty nice, good to know.
Schoffer: In the original script in both movies, Scott and Tori have spent a long day together.
There's always been kind of a montage of them in the town, and they culminate at big spot, one is Heinz Field and one is Carrie Furnace.
In both scenes they serve the same purpose for the story.
Scott: I think you're gonna really like it.
It's a little bit weird, but it's beautiful.
Tori: How did you get in here? Well, you know, I have connections.
Security guard was in my community photography class.
My mom was a big fan.
I've never heard you talk about your mom before.
It was cancer, right? Actually, no, she was a Gemini.
What's your mom? So, what's California like? This is gonna sound really stupid but no one out there returns my high fives, and it's happened, like, three times.
- No.
- Yeah.
It's highly disconcerting.
Can we actually skip the whole "how did it feel when she died" thing? I've done that with so many guidance counselors and so many therapists, I'm good.
No, thank God, seriously, it was your moment.
I didn't want to take it from you if you needed to go to that place, but thank you, I was already getting super bored already.
If the worst thing you can say about UCLA is that no one returns your high fives I'm guessing it's pretty great.
Schoffer: This is a point that it all builds to.
Scott and Tori have been forming a connection and it's really the emotional peak of their relationship.
So what would you prefer to talk about? First three weeks at CMU I felt like I was walking around doing a weird impersonation of myself.
You know the other night when you said it was just sex? So, is that, like, just sex just one time or can we just sex just again? You're homesick, homeboy.
What? Wow from the dead mom to sex.
That's a very impressively smooth segue.
- I'd say it's a touchdown! - (laughs) You're right, I am.
I'm homesick.
Martemucci: The character of Scott Karazewski was a guy who was cool, but in a very specific, grounded way.
Attractive magnetism that you would believe that these two beautiful girls want to be with him.
Thanks for hitting me with your van.
Thanks for taking me to an abandoned warehouse and not murdering me.
Yet.
Scott Karazewski is the character that Victor, Phil, and I came up with.
He's based on a bunch of different people.
Victor is definitely one of them, and then there's a bunch of different dudes from my high school, and I made, like, the superboy.
Finding Toby was insane.
A guy who looks like Phil who can handle being funny and also handle the drama.
He also had a lot of improv training.
That was something I really wanted to find.
Dawson: The hardest part about this process for me was creating a really interesting character out of Scott.
He is not that interesting of a person.
He's supposed to be the straight guy.
No, seriously, though.
You didn't answer the question.
- (shouts out) - Oh, shit! I feel like by the time we were at Heinz Field I had really figured him out, and I think everything we shot there and everything we shot after that was kind of the best of Scott.
I think the chemistry between Scott and Tori was great and I really think I created a Scott that people are gonna care about.
Um, today was really, really crazy and (sighs) Intense and crazy.
And I'm talking quietly 'cause my girlfriend's in the room sleeping.
It seems like maybe I have a thing where I spend too much time on things at the start of the day and then I don't give myself enough time to finish them at the end of the day.
Me and Lauren just had a full conversation in the car on the way home because she was upset that I snapped at her, and I had to explain to her that I'm sorry and I snap at the people that I love and, you know, we cried it out, so we're doing fine now.
I think it's gonna be a pretty sweet movie, if we can get all of this stuff in the next week.
Tomorrow I get to get hit by a car, so hopefully I don't die.
All right.
(theme music playing)
- Lauren Schnipper: We got it? - Shader: We got it.
- We got it? - Schnipper: Yay! - Yay! Would you rather spend time establishing the physical space of this house in continuity or time on the performances - of your actor in one of the biggest - Performances.
Shane Dawson: So we're filming at the incline.
It would be, like, butt, butt, empty, dick.
Tori: Butt, butt, empty, dick.
(shouts) It's been mentioned many, many times that shit eating is a problem for people.
Changing the movie is not the answer.
So what's the other answer? - Donna Belajac: Then Angela - Oh, I think I'm playing Angela.
- Belajac: Oh, are you? - Yeah.
Dan Schoffer: It's very weird being a writer on set.
Like, it's not my movie.
Like, I get that.
Chris Moore: Director role is a very crucial decision-maker role.
I feel like the major thing I have to do right now mentally is just not complicate things.
Really stare at that pie, you know what I mean? - Phillip Rush: Uh, no I don't.
- I mean, really? You're gonna go to other people? That's what I'm talking about, like everybody going back and talking about what we wish we would've gotten Did you create the monster or was it always there? No, it's always there.
Corey Moosa: Anna has been getting from A to B by having one voice in her ear, which has been Phil.
Moore: The hardest thing about directing every asshole out there is staring at you going "That's a bad decision.
I wouldn't have done that.
" - (music playing) - (train horn blowing) Siena Brown: Hey, Toby and Rachel? Basically, what were gonna do is we're gonna roll whenever a train comes in here and we want to make sure we're totally ready when a train gets here.
Anna Martemucci: We had written a montage of Scott and Tori going around the town and doing beautiful things, and one of them was a train going by.
Just like a poetic, beautiful, silent kind of montage-y moment.
You're just walking with purpose.
You're showing her this place, come on.
Just a regular walk at a nice clip and when the train comes, I'll say action and you do it, and then the trains are so long that we might be able to pop off maybe two, maybe three takes.
So, Jim, you know we're gonna roll, like, right before the train comes in here and then Martemucci: Why? Do you feel a train coming? Maybe they should stand and make out.
Maybe they should stand I like how, like, acting, or, like, directing, you could just tell people to do that.
It's so weird, I know.
Stand and make out.
Now sit and make out.
You know that I want you stand and make out with each other? Oh! - Brown: I mean, Anna? - What?! I keep on hearing trains.
I feel like we should wait for the train.
- (train horn blows) - Yeah, but Train's coming, train's coming.
Keep making out! - Jim: I see it.
- (train horn blows) And then, Jim, we want them to start walking when The train is coming! Keep making out, and I'll tell you when to stop! Tell them to keep making out and we'll tell them when to stop.
Brown: Tell me when you want them to walk.
Martemucci: Okay, now.
Walk, walk, walk.
Tell them to walk.
Jim, tell them to walk.
- All: Walk! - Tell them to walk.
Tell them to walk.
Martemucci: Okay, reset! Run back, run back, run back! Brown: Don't run, don't run, don't run, Martemucci: Be careful but run.
We're still rolling, still rolling.
They're gonna do it one more time.
- Are we ready? - Brown: Action! Brown and Martemucci: Action, action.
Action! Action! Brown: Run back, run back! There's some colorful cars coming.
- Brown: One more? - Martemucci: Yes.
- And grabbing hand at the end.
- Brown: Okay, we got to go.
Make out! Have them make out and then walk.
Brown: Make out and then walk.
Make out and then walk! Make out and then walk! Make out! Make out! Make out! (theme music playing) Dawson: So right now we're at Heinz Field which is amazing.
I cannot believe they're actually letting us film here and this is a scene where Scott takes Tori for a big romantic date, and she opens her eyes and she's in the middle of the field.
It'd be cool to have them enter from that passageway, so it's like a dark kind of you don't really know where they are and then their dialogue is as he's walking toward the center of the field, she's kind of trailing behind.
Frank Paladino: It's crazy just to be on the field because every time I've been here I've been, you know, way up top.
And you get the nice view of the city and we're gonna try to utilize that in, like, a super wide shot of, like, them.
You see, like, just two dots on the field and you have the whole stadium and the city in the background, so it's gonna be exciting.
(laughs) Dawson: How much time do we have here? - We have, shooting wise - Well, from 5:00 to 9:00.
- You're gonna have about three hours.
- So, yeah.
So this location is amazing.
The only thing I'm a little nervous about is we're only getting 25% of the lights turned on, so I'm curious what that's gonna look like, but it's nice to have a huge, open, empty space that is also epic at the same time.
It just creates a huge moment that I really wanted that I could not have gotten anywhere else but this.
It's me! - Hi! - Just me, just me! Hi! - Oh! - Reunited Oh, they're filming us here, sorry.
I feel like we're on a dating show.
You just have to you're stuffy.
It's like that feeling when you can't think.
Have you met with the acting coach anymore? Or you're just going for it? No.
I just need you to read lines with me.
Corey is one of the producers.
He's, like, Zachary Quinto's, you know, partner.
So he's been there every day and - He loves it? - Yeah, and he's, like, an acting teacher-type.
It just helps that they're all excited about it and they all think it's funny and everybody laughs.
Did you do your bus driver? Mm-hmm, and of course the one day Zachary fucking Quinto shows up is the day I am drag.
I'm sure he loved it.
Supposedly, Zachary laughed.
Who knows? I just wanna make sure this movie is really good because that will let me be able to make another one.
Julie Buck: There's a bunch of this stuff I haven't seen at all.
Shader: She's getting this from Josh Hetzler: She's taking edited scenes from Beth and lining them up in Beth's projects.
Okay.
Which is partially what we're gonna see right now.
- It's 35 minutes, right? - Buck: About 35, yeah.
Moore: I'll need some dessert for that.
Hetzler: Are you watching these, Julie Oh, no, I'm really comfying out with Shader: Aren't you gonna come around? Or you just gonna listen? I just wanna watch your reactions to it.
Moore: She really bucks continuity, baby, right there.
Hetzler: Mm-hmm.
Buck: We're fine, except for this week when we have to do all of Tori's exteriors and it's gonna be 60 degrees outside.
Shader: It's Pittsburgh weather.
Just throw in a throw-away line.
Buck: Nothing like Phil scratching his balls.
Man on screen: Wait, wait, no don't! - (grunts) - Ow! - Oh, shit.
- Oh, God.
(screams) So far, now continuity has been fine.
Just this week is the week that's gonna not be fine.
Moosa: It's pretty good.
Looks great.
It's coming together really nice.
It's flowing together, like the cuts are working.
It looks like she's got everything that she needs.
I know how much she's gonna tinker with this now.
- A lot.
A lot.
- I can't wait.
- We'll figure that out.
- Buck: We'll figure that out.
I'm not worried.
I hope she appreciates how much you guys look out for her.
I think I think she does.
Buck: I think she does sorta, mostly, yeah.
We love Anna.
Whenever I realize that things are being dealt with and hidden from me, it's just like gives me so much more appreciation for Josh and Julie and the insane amount of work that they're doing.
The other part of it is that for her because of the dynamic of the way we set up this project she is not hands-on with the budget, so it's literally just an abstraction.
Okay.
Hetzler: It's true.
We are also, like, carrying a lot of additionals that we hadn't anticipated in our original budget.
Today, we're shooting on Duquesne Incline.
It's a quick scene between Scott and Tori.
Part of the montage.
We're just gonna be going up and down the tracks all day.
All right, let's go ride this thing.
From here, you have me, her, and him, and they turn back and see him.
They're just mooning in general, they're not like mooning the other car, right? No, it's just like the whole city.
Yeah, okay.
To really sell the joke it has to be butt, butt, empty window, dick.
You know, this is filmmaking, guys.
So, we have to find, like, a penis this week.
- We have to find a black penis.
- Mm-hmm.
Yeah, I'm just gonna go on Back Page under the escort section, male escorts, and I just want to do it close today.
Oh, my God, what if it's like 15 inches long? (laughs) That would be even funnier.
I'll be like, "Either have a gross penis" - "Either gross" - Both: "Or huge.
" (laughs) So we're gonna load you guys on.
Frank's gonna pee, and then we're gonna go down, rehearse on the way down, and shoot on the way up.
Yeah, you know.
Okay, go for it guys, I want to see what positions you're gonna be when you're mooning.
Okay, this is the positions.
All right, let's roll it up.
Scene 45, take one.
Rush: And action.
(laughing hysterically) Dawson: Awesome.
Quick question.
It'd be funnier if it was my face up against glass, right? - Yeah, yeah.
- Okay, Phil, Phil? We can shoot that on the green screen though.
I think were actually gonna do my face on the green screen so I can put my face up against the glass - 'cause I think that'd be funnier.
- Rush: Oh, okay.
So I think we're done here.
So that's a wrap on Shane as an actor for today, too.
Today we shot at the Duquesne Incline and ultimately we got that done and we got it done pretty quickly.
The next scene on our schedule took place at night, so we found ourselves sitting around literally waiting for the sun to go down, which is bad.
We've got an hour and a half until it's even dark enough to shoot it.
Shader: We actually had what you don't want to have on a set, which is dead time.
That's bad scheduling, bad planning to have an hour or two hours with no work to do.
We quickly realized that we better shoot something.
So the sex shop? What do you see happening at the sex shop? Is she outside on the sidewalk waiting for you? She's outside on the sidewalk I come out.
I throw the dildo at her.
We laugh and run away.
I saw three shots, like, one from across the street seeing the sex like that it's a sex shop.
- You come out.
- Shader: Can you do it in an hour? Dawson: Let's go to the sex shop right now.
- If you had any - Dawson: We have time.
Can we do it right now outside here? Maybe we could ask Hillary.
Schnipper: Can we do the sex shop right now? If we could do the sex shop right now, that would make life It's 4:30.
It doesn't get dark for two hours.
Oh, you mean, like, anything around here Rush: Yeah.
Yeah.
- And can we steal it? - Yeah.
Dawson: Where's Hillary? Can we talk to her? Is she here? So, this is crazy, but we're, like, sitting around right now, like, killing time because it's not dark out yet and they were, like, gonna see if maybe we can steal the sex shop location somewhere around Lamont, but we would need, like, a sign and, like, a dildo or something.
Are you anywhere where you have anything like that? I mean, is it a possible I mean, listen, if we find a shady area that has, like, a black window or something that, like, later we could go to a black window and put the sign.
Find a sex shop right outside first Guys, she's pretty sure Matt has the dildos here.
Is Frank gonna go try to scout something? - Rush: Frank, are you going outside? - Yes, yes, yes.
- Rush: Do you want me to go with you? - Frank: Sure.
Rush: Should we give them other options? Paladino: Yeah.
Rush: Watch yourself.
- You got it? - Yep.
That could work.
This is cinematography gold right here.
It's so worth it.
Rush: How do you feel, bud? Are you good enough? - Dawson: Yeah, let's do it.
- Rush: All right, and action! Think fast! - Okay.
We got it.
- Cut! Rush: All right, you guys are good to go.
Good job.
Rush: Going back to the pie day, I did what a lot of actors do is I think I overprepared.
She had to take a moment to adjust me, and in that moment I defended my acting choice by bringing up, you know, "Hey, I talked with Victor about this a couple of days ago," and there was a moment of misinterpretation there where she took it as, "Well, Victor can't direct you on this scene.
" And I love these guys.
I don't want this scenario, us working together, to ever go away.
- What's up? - I was just gonna grab a full - on this shit, man.
It's so cute.
- Uh, no.
Can't? Okay.
Anna, do you have a second? You got two minutes, right? Martemucci: I guess so.
I think so.
I don't know.
(Martemucci mock screaming) Quinaz: Quick talk without no cameras.
(blows raspberry) Um Martemucci: Yeah? Martemucci: Not at all.
Martemucci: And I'll just listen in.
Martemucci: No.
There's nothing for me.
Brown: Okay, Anna, hey, Anna were moments away.
- Are you good? - Martemucci: Got to go, moments away.
Oh, let me out.
Yeah! I'm ready! Brown: Thank you, Anna.
Okay, here we go! Quinaz: You know, I had I created this scenario that a lot of times I felt like people were leading me to have conflicts with Anna Martemucci and they would talk about how impossible it was for a family to be creating together, which I will obviously speak out against.
I am trying to create an example of how a family dynamic can work.
I felt like there was some weird story that certain people were creating or wanting to like tie into that it's just not the truth, you know.
The truth is is we create together as a family.
We have the conflicts that come with that, but we make great shit because of that.
- (sighs) - Woman: Aw all day? Quinaz: Off and on.
My body maybe just be like, "Good job, Phil, you worked hard.
- Yeah.
- Now we have to die a little.
" It was a big day for me because it was the first day where I actually had to wear all the shoes that I'm wearing right now, and no one wears two shoes at the same time, - but also specifically - Martemucci: Oh, you and this is important to me, is I wanted to apologize for the miscommunication that happened as an actor.
I thought I was being helpful, but I don't think it was helpful at all.
Number one, I want to apologize to you because it's not fair to you as a director but also I want to apologize to Victor, too, because I never want to give that feeling that I'm undermining you as a director.
You're doing a crazy good job, honestly.
Man: 52-Baker, take one.
All right, picture's up! Everybody settle! Man: You bury the eights.
- Everybody set for it? - Set.
And action.
Dad's dead! Dad's dead! Dad's dead, Gilbert, dad's dead! I can't believe you like "What's Eating Gilbert Grape.
" - I thought I was the only one.
- Are you kidding me? Literally, the only thing hotter than Leonardo DiCaprio is a retarded Leonardo DiCaprio that needs constant diaper changes.
That shit makes me so wet.
That night in Lamont we shot what is the most important emotional scene between Joel and Janie.
You Facebook stalked me.
What? Lacy posted that stupid shit on my wall, like, six hours ago talking about how she wanted to get fucked up on ethyl.
Joel: You're on Facebook? Shader: Ultimately, it's the scene where Janie sort of breaks down and reveals to Joel that she's not living the life that that she's sort of putting out there to the world.
If you're not into this ethyl stuff then why did you like Lacy's post? I don't get it.
I don't like half the shit I like on Facebook.
It's just easier to go along with everyone.
Shader: That was the scene that got Michelle cast in the movie.
It was the scene that she auditioned for.
Ultimately, it was being able to nail that turn from being sort of the cool popular girl who then pulls back a layer and reveals that she's actually really insecure and doesn't know who she is.
That is the Janie character.
Thank you for dinner.
It was really retarded.
In a good way.
Cut! (man whispers) This might be another one.
I just don't want to say "Facebook" so many times, you know what I mean? It's more like you're finally like talking heart-to-heart with him about the shit that you're annoyed with.
- Mm-hmm.
- Um that way, by the end, we think there's a chance that you guys might actually get together again.
It's fine that you're saying Facebook.
I just don't want to say it too many times.
So it's "I don't like half the shit I like.
" You don't have to say "I don't like half the shit I like on Facebook.
" - Oh, I see.
- You know what I mean? But she also says, "You Facebook stalked me.
" I know, we can say it but it's just saying it a lot - and it's fine - So what do you mean? Should we get her saying something else besides, "You Facebook stalked me"? It's the type of thing where if we don't get Facebook like, we don't get it, we can use it but say if the opening montage doesn't have Facebook in it.
It's, like, generic whatever.
Do you not understand what I'm saying? - I do.
- She says "Facebook stalked.
" It's okay if we say it, it's okay.
Then why are you saying it's not okay if she says it twice? Because she's saying it so many times - We can only say it once? - No.
It's just like overdoing too much with a brand that we may or may not have deal with.
So then we either can say it or we can't.
- No, that's not - Do you understand what she's saying? - It's - No.
I don't either, okay.
Just a second.
Let's get to acting notes and not, like, word notes.
What are you thinking? Honestly, what I think will help you get where you need to go is if we can do it and then we can do it again right away without much of a pause in between.
The second time around, of course, was just cleaner.
I think the pace is still the rhythm we have to find in this, in the ups and the downs, which I think you can do pretty quickly right now.
We're gonna do this one more time, but she's gonna do two takes.
So we're just gonna keep rolling.
Okay? The reason I was saying that it's fine that we're saying it, I'm just sort of like, we don't need to say we get the point of the line, we don't need it.
- Okay, but then say that.
- That's what I did.
You said that we're not allowed to use it.
I didn't say that.
You didn't say what you just said.
You just said don't overuse it if we can't use it.
No.
You literally said, "If we can't use the word - then stop using it.
" - That's not what I said.
Then that means we have to get an alternate - where she doesn't say it at all.
- That's not what I said.
I said if we don't get the rights It's fine, I get it.
You made your point.
Oh, God.
I mean, I can't talk to you.
This is why I can't talk to you 'cause you jump down my throat.
Because we're in the middle of fucking filming and that's - I get it.
- No, I just wanted to give her the note and that was it.
It's fine, but the way you're explaining it did not make any sense to me.
Because you don't let me explain myself.
Rush: And action! Heather: I'm just figuring out what a scam all of it is.
Meanwhile, I'm majoring in English.
I'm probably gonna be worse off than the parks management girls.
I mean, are there gonna be that many parks for them to manage when they graduate? Who am I kidding? We're all gonna be unemployed.
Cut! Beautiful! Brown: That's a cut.
Schoffer: Once the original writer is re-written by another writer that writer is the writer on set.
That's the writer who's involved.
So the previous writers really are not involved at all, let alone on set.
I would not have been there in any other circumstance other "The Chair" experiment.
It's very difficult to see people given the opportunity to direct a movie and they're choosing to direct a script that I think is not very strong, and I'm in, like, a weird no-win situation where if the movie comes out and is bad, I have my name on a bad movie.
If it's good, I'm the asshole who's saying the script's no good and then they make a great movie.
What does this guy know? I have no involvement.
I should not be on her set.
I have no reason to be on her set.
I am choosing to leave Pittsburgh as soon as Shane's movie wraps.
Shader: You don't feel the same with Anna? I wrote the shooting script for Shane's movie.
When I'm on set, I know that generally they actually have to hit some story points for the story to work as a greater whole and I can sometimes, you know, say something or guide in a way or be helpful because I know that there's a greater story being served by these individual scenes.
In Anna's movie, they rewrote it in such a way that there's a bunch of scenes that I have no idea what the purpose of their being in the movie is.
Maybe I'm wrong, but I feel like general consensus is crossing your fingers that something comes together in the editing room.
Do you think there's a chance that they could surprise you and you sort of do a 180 or? Yeah, there's a chance.
There's a chance they can edit this movie into something that works.
It's gonna be very difficult, but there's a chance.
Dawson: Hello.
Schnipper: Hello, did you just call me? Dawson: I'm about to leave.
Do you have any medicine or anything? Schnipper: Come and knock on my door.
Okay, I have the camera crew with me, PS.
I am in my pajamas, okay.
Okay, great, bye.
You look terrible, great, let's go.
(sighs) - Oh, hello.
- Mm-hmm.
It's so lovely to see you.
- Here's your tablet.
- Those are your pajamas? - Yeah, is that all right? - Going to the Grammys.
Well, I'm gonna do it.
Two tablets every four to six hours.
Do you want to do the Neti Pot again? You should do it again.
One for each nose.
I mean, I don't have time right now.
It's only gonna take three minutes to do it.
I'm just gonna get a tea.
Do the Neti Pot.
See you later, bye.
Get ready for a show, Tony.
(sniffs) You're welcome.
I wonder if Anna would use a Neti Pot on camera? Here I'll give you guys the shot you want.
I just like to make my own tea, you know, just for the people on set.
As a director I just want to give them part of me.
You know what I mean? I just wanna I just want part of me in this movie.
Bottoms up.
Hetzler: So Anna had said to me at the end of a day at Scott's house, you know, "Oh, I want this, I want that, I want this, I want that," and I had to say, "You have to decide between these two things 'cause your nor getting both.
" Later, she said to me, "I figured that if I pushed on you, you would just say yes," and I had to make it clear that it's the difference between having money for post production and not having money for post production.
Buck: You have to make concessions to that.
Hetzler: And it is the director's job to Buck: Push it as much as far as you can - Yeah, to fight for everything.
- But it's also your team's job - to say no sometimes.
- Yeah.
Martemucci: All right, guys, this is the last one, guys.
Let's get this one.
Feeling good.
Thank you.
(chatter) Martemucci: Cutting! Cut! Man: That's a cut! Quiet, please.
Cut.
I think you all know this, but we as your producers are saying out loud to you one hour to camera wrap.
Martemucci: Oh.
- Let's talk about grabbing Heather.
- We kind of have to grab Heather.
And then you just lock eyes and barely anything, just a just an acknowledgment.
Exactly.
Thank you.
Okay.
Here we go, guys! Everyone, picture's up and action! Reset.
Keep rolling.
Reset.
Put your coat back on, action! Martemucci: Resetting.
Buck: For Anna, doing rolling takes, it makes her feel more comfortable.
And action! Hetzler: And it's a bit of an end run around your first AD because it means as long as you keep the cameras rolling the AD can't move you on to the next shot.
Let's reset with the coat.
Brown: Anna, they're just fixing this light.
I think I got this, we're gonna cut.
- John's gonna help - Can we hold for just a second? - Can I talk to you for a second? - Yeah, no problem.
Is it possible since everybody's here again can we just hold everybody and shoot this Heather thing and then quickly do one without high fives, like super fast? I really don't think so, especially if you want to get that I know, but it's the movie.
It's like, it's worth it to me.
It's so worth it.
- Josh Hetzler? - Yeah? Since everyone is here, all these extras are here, can I get one after this of Heather of him doing it without the high fives going through the party and just keep everyone nice and quiet right here - and then bang out the door.
- You can work until 10:30.
Okay.
It's a few minutes before 10 now.
Martemucci: Siena's a young AD and sometimes she needs a little bit of backup.
And action! It's a different thing to hear from your AD that you have to move on than it is to hear from your producers that you have to move on.
If you wanna go outside, it has to be out now.
I can't like, five, 15 minutes from you guys to get this because I don't know if I like the high fives and it's a major, major moment in the movie that we can never re-create after this moment and we have all these people waiting, so I just need 10 more minutes.
- You can't have both.
- I really need both, - and we're all right here.
- It's already past 10:00 now.
It's all for shit? But we're right here and So we can work on getting this, but in 10 minutes I don't think we're gonna get that, too.
Hetzler: It's getting dangerous outside.
Martemucci: Dangerous? Hetzler: Yeah, a light just blew off in the wind.
Martemucci: Oh, the wind is bad, okay.
Both of them are absolutely not happening? Brown: Absolutely not.
So if we're doing the exterior we should do that now.
- Okay.
- Brown: Instead of the pie.
- Exterior? - I mean, this is painful for me.
Okay, we'll do this.
Can this be built and set in that time? - Man: Yes.
- Okay.
Martemucci: Moving on.
- Martemucci: Miss Martemucci? - Yeah.
Can I get you over here to start rehearsing this with Toby? - Sure.
- Great.
So, your gonna want Toby to bust out and run along the dolly, right? Brown: I'm 10:11, at 10:30 we got to get done.
My only intention for the shot was to get the door bursting open and a person running out.
We have to clear this frame out so anything that's back there that belongs to set, like, should be totally cleared out.
- So that means - Martemucci: Perfect.
That means sandbags, that means those chairs.
- Everything's got to go.
- And action.
Singh: Action! - Martemucci: Meena, you good? - I think I'm good.
Cut, let's cut.
Let's cut.
- That's a cut.
- Cool.
Is that it? Okay.
That's it, guys.
Yeah.
Thank you, everyone.
So today's a big day because it is the beginning and ending of our movie.
Look up.
So Lisa is playing Marissa which is Tori's sister in the movie.
Originally this character was kind of uptight and kind of just a plain Jane overachiever, so I turned her into a psychotic blind girl who is dating an obviously gay man.
Give me your blind look.
Dawson: I actually wanted to make her blind because I thought it was even funnier that she's such an overachiever and she does everything better than Tori and she has a disability, so it just makes Tori feel even more like shit.
Speaking of shit, we shot something else that day.
A little more and a do.
Yeah, yeah, this shit up in here.
And speed it up a little bit.
A little less beats in between.
On this last one, after this one "I'm glad my family dead" dig in.
Shit, this why I'm glad my family dead.
(laughs) Cut.
Oh, my God! - Okay, good.
- Rush: All right, moving on.
That was awesome.
This is the last piece you feel you need from this scene? - The shot - A clean of them up there.
- Yes.
- Okay.
Dawson: So after she says "I'm still jealous of you," that's your guys cue to run over.
Rush: All right, let's roll it up.
Picture's up! Everybody, settle! And action! Ahhh! I am so happy you're home! Yep, it's still you! Fuck! Back to one, back to one.
I can't wait to stay up all night gossiping about Northwestern boys Dawson: I'm sorry.
I'm sorry, cut.
Why aren't we moving? What happened? I thought you were gonna cue them.
Dawson: No, just follow.
Fuck.
At the airport, which was our train station location, that day was the first time I really ever saw Shane get frustrated on set.
I cannot wait to stay up all night gossiping about Northwestern boys.
Man: Or girls, we don't judge.
- Just don't talk to - Fuck! - Cut! Come on! - Cut! Shader: It was a tight day.
We had a lot of work to do in a limited time, and he was frustrated because we were butting up against lunch and Frank ultimately wasn't making the move that he needed to make.
The timing was off.
You know what? I wanted to do this in one shot - but maybe we can't - No, it's fine.
- We're gonna get it.
- Are you sure? - Yes.
- Are we good? - Yes.
- Okay.
Up all night gossiping about boys.
Got it.
- Or girls.
- Got it.
Let's do it again.
It was just complicated 'cause with the steady cam it's like every move is calculated, and you have this 80-pound boy carrying this terminator machine and he's trying to hold himself it was intense.
We need this to be the one, like 100%.
- What's that? - This has to be the one.
- Okay.
- We don't have time.
Dawson: It was the first day I think I had ever really got stressed and I think it was because there was new actors.
We had the parents.
We had my girlfriend.
We had all these new people that had never been on set before and a lot of extras.
Keep rolling, keep rolling.
Back to one.
We really need to get up to Dad faster, guys.
Okay.
Right after she says "I'm excited you're home," fucking go right to Lisa.
Actually I love seeing him get frustrated.
I like seeing him get emotional.
I think I actually can have a positive effect sometimes on the crew when they see a director reveal their emotions in that way, because it makes everyone sort of snap to and work a little harder to get where you need to get.
Are you looking at it? I hear it's beautiful! Dawson: Great, great.
Keep rolling, keep rolling, keep rolling.
Back to one, Were gonna do it one more time.
- Everybody back to one.
- That was awesome.
Great job, guys.
Good energy, thank you.
Dawson: I wanted a shot of the dad, and they kept shooting the mom.
But we ended up getting the shot.
It just took a little while.
- Okay, great, cut.
- Cut! - Okay, let's move on.
- Moving on.
Brown: This morning, the first thing that we're doing is gonna be that big establishing wide.
Meena's gonna shoot that while I go into HM.
Buck: Anna was acting in those scenes.
She's acted in other things before, but acting and directing herself - Is incredibly hard.
- Is very, very difficult.
And action! Hey, where were you? Mom is not happy.
Katy, this is Courtney.
Courtney has a vocal cord injury so she has to speak really softly right now.
- Oh - (quietly) Hi, how are ya? Quinaz: It looks like, first off, the two people were anticipating a little bit their arrival.
Uh-huh.
That was not without its difficult moments but all in all it worked great, 'cause I really trust Phil's creative opinion, especially on acting stuff.
So he basically would be saying, "That was so awkward.
I was really drunk.
" It's a false apology, so as long as that and I think, yeah, I think that he can start off by saying the apology for that and then launch into the whole really false "I think, you know, I think you're a miracle.
I think this is a miracle.
" I think maybe if we had gone into the day having talked about it before and strategized, like this is definitely how it's gonna go down, we would've been a little better off but, again, it's always that time crunch, and it was like, we needed to sleep so we didn't do that.
- Martemucci: She already knew.
- Yeah.
'Cause I'm confused 'cause it sounds like you're saying that you want her to kind of freak out after she kisses him and realize I'm just verifying with you that in that performance there you're happy with the amount of neuroses that's in there because to me it just seems like she already knows exactly what's she's doing.
It just seemed so calculated and calm, and I'm just verifying with you that that's the way you wanted it to read.
Quiet, please.
Brown: Meena, you're set? Okay.
Anna, on your call.
Didn't we just agree that Phil would do it? Brown: Oh, yeah, sorry, Phil, on your call.
Got it.
And Wait, wait, you wait for camera set, Phil.
- Or did you already say it? - Yeah.
And action on rehearsal.
Hetzler: For the first time doing that, she did an impressive job.
I think the thing that is really, really difficult is that there isn't a hard transition that happens like that.
It's not like you suddenly become one thing and suddenly become the other.
You literally have to do both at the same time.
For someone doing it for the very first time, I think she pulled it off better than I expected.
So many people do it, I thought like, oh, it'll be fine.
It's really hard.
I feel like a pansy, though, 'cause I see Lena Dunham, and I'm like, "Okay, I can do it.
" Fucking fuck, man.
Rush: Hey, we shot the beginning and the end of the movie today.
- I mean, that happened.
- Yeah.
I mean, we did that.
You just put those together and you got a short.
Fuck it, movie's over.
Done.
Moosa: How was the first half of the day, Frank? Were you happy with what you got? Yeah.
I just we were rushing and l - Yeah? That's normal.
- Paladino: Right.
- You frustrated? - Yeah, I'm frustrated with myself.
- Dawson: What's wrong? - Don't be frustrated with yourself.
What? No, no, I'm fine.
It's amazing, everything looked great.
(laughs) What do you feel like you didn't get? No, no, we get everything we need.
I just I'm frustrated with myself.
Why? I could've been a little bit more prepared and whatnot.
Dude, please, we got everything.
The ending shot of her smiling and leaving frame was awesome.
Yeah, and we we shot a little I wanted to leave a little bit more room just so we'll be able to stabilize that.
- So? - Yeah, the tattoo shot.
By the time we get there and we load we're gonna get there about 9:00.
Yeah, and I'll talk to Frank about just simplifying.
Schnipper: How many shots are we looking at, the two shot? Three shots, how much coverage? We have 'til midnight there.
I know time is a-ticking, but It's a lot of coverage.
We'll try to simplify it.
So, if I've learned anything through this entire experience it is that special effects are so complicated and take forever.
Having a blood tube connected to your head while you're supposed to be acting like you're getting your ears pierced, it's very hard and complicated.
Also what was hard about that was the tattoo shop owner wanted to murder me for reals, like not with a blood tube, like with actual blood coming out of my body.
And she was like, "I watched his videos last night.
They're disgusting.
They're racist.
I hate him.
" And if we wanted her to, she would come in and kick his ass and yell at him.
I don't know, man, she scared me, and she basically said - The one with the red hair? - Yeah the one with the white tattoos on her face, like Yeah, that was her, that was her.
How could you hate him? Moore: Of course, I hired him.
- Rush: He actually isn't.
- Store owner: Awful human.
Well, why did you let us shoot here, then? Yeah, that was very nice of you.
- No, I get it.
L I - No, it's like I don't understand All right, I'm sure he won't.
Yeah.
I think were gonna have to combine these scenes - for obvious reasons.
- Yeah.
Starting on a tattoo gun and then going over and now revealing my scared face.
I'll be like, "I can't do it, I can't do it, it's gonna hurt.
" Reveal and then go to Tori, "Stop being such a baby.
" We get a good three shot of us, cut back, and then after that, if we have time, we can get - The intro? - The intro.
I mean, I see that taking, like Of course it's only gonna take an hour, but then like this.
No like 10 minutes, max.
To light it, to set it up, to do everything.
I know how that works.
It's not gonna take five minutes.
I'm just saying, if we don't get to this then there's no reason for us to be here.
- You know what I'm saying? - Paladino: Mm-hmm.
Shader: The thing that I was noticing last night that kept happening was that uncomfortable lag and pause between getting a couple takes and Siena feeling like it's time to move on and Anna not making the decision on moving on.
But she's getting better.
Before, she would go outside between literally every single take, have five or six minutes with Phil.
Right, there was a moment yesterday where I saw like, Siena needed to move on, and was just I want Siena to know that you guys and everyone else - support Sienna - That's why we went down there.
Siena to turn to her Siena can say, "We need to move on.
" The problem that Anna doesn't understand is that for her it's the amount of time that she's actually shooting is not that long, when have a whole set up.
Well, it's getting her to spend less time on the less important stuff and more time on the important stuff.
Well, that's the other piece that we talked to her about very, very specifically.
I said, "The crazy thing is, Anna, you have literally 100 versions of Toby getting out of bed" - Right.
- Literally that's it "and then you have a big huge talking scene with Phil and with Toby that's very, very important to the story and you get two takes because you've run out of time because you spent so much time on all of the minutia rather than the meat of the story.
" I had a conversation with Anna and Meena to explain to them that it was really, really important that they made their days.
The importance of making your day for a director is the difference between directors who have a career and directors who don't.
Hetzler: What time is it? So are we pushing into lunch? Yeah, we're gonna do lunch a little bit later, get this shot, break for lunch, do it after.
Okay.
I don't like having to be the guy who comes in at the end of the day and says, "You have to cut your shot list because you're running out of time.
" At that point, it had already happened a couple of times, basically, because we were running down the clock with more work to do than there were minutes in the day at that point.
Martemucci: Tell me what the time is is that we have to have camera wrap tonight? Hetzler: What time did we call? - 9:30.
- 9:00.
Singh: So we have an hour to wrap up.
Hetzler: I mean, if your backs are really up against the wall, we can maybe barter for, like, 10 or 15 minutes, but maybe not.
Okay.
Reminds me of myself that age, fucking bitch.
- Uh, cut! - (laughs) Is that how we doing? Brown: I thought it was good.
Anna, if we could move on, that would be great.
Hetzler: Who is working up there?! Don't make me ask for quiet again! John, I need somebody stationed upstairs making sure that nobody is moving around or talking while were rolling.
Everybody, quiet please, totally quiet! Okay, guys, we're rolling! I need it quiet upstairs! Guys, I hear you! Can we stop the talking? We're rolling.
Stop.
Guys! What the hell is going on up there? - I need it quiet! - Is there an emergency upstairs? Quiet! We got to hear Josh Hetzler's dad reprimand voice today, - Did you hear that shit? - I know.
"I'm gonna knock some heads together!" (both laughing) "Don't make me raise my voice.
" So, obviously, we have to have a conversation again about schedule and making our days and what that means.
We have to have wrap time every day.
We can't shoot through our entire clock.
There has to be an amount of wrap time or we hit some amount of OT, but I don't want us for these last few nights to be doing that every single time.
Today we did not need to be hitting that wall.
I understand that we will probably need to hit the wall like that maybe even for the rest of the schedule 'cause they are big monster days, but the fact that we're not winning the easy battles now means that when we get to those tough battles then we're looking at serious, serious OT, and I just we can't afford it, can't afford it, can't do it.
Set and action.
Hey.
I think I see Jesus.
Uh, at least you didn't pierce your dick.
- Dawson: Cut.
- Rush: Cut! Well, that was interesting.
- It didn't work? - Rush: No, it worked great.
It went every-fucking-where.
- This is violent - Can I watch it? Rush: You should definitely watch that.
Schnipper: Cannot go over, so Okay.
You tell me when to pull the plug and I'll pull it.
Well, it depends on how long people need to get out of here.
Hey, Will, how much time would you have do you think Will: When the scenes are wrapped.
30? Phil, I'm saying they have until 11:55 to get this.
11:55, we pull the plug, okay.
- That's it.
- Okay.
I'm standing here watching over it and I'm standing in front of the camera at 11:55.
Okay.
- Can you tell Shane that? - Yep.
- So we have until we have 10 - Dawson: Let's do the close up.
- Yeah, 10 minutes and then - Schnipper: And that's it.
And then Lauren's just pushing everybody out.
Okay, well, we just need the close up - Schnipper: No, I know, but - What do you want me to do? If it doesn't get done by 11:55, we have to move on because we can't.
Dawson: We move on to nothing.
We're done.
No, I'm saying if it doesn't get done that time, though, 'cause we have to be wrapping out by 11:55.
Okay.
I'm just saying, it's not move on, it's You know what I mean move on from I mean we have to just we either get it or we don't by 11:55.
We haven't done multiple takes.
We've done one take.
No, I know, everybody's working very fast.
I just wanted to give you a heads up.
Okay, all right.
Rush: Now the mood just went to shit in here, holy fuck! - Oh, my God.
- Man: It's all Lauren's fault! That's my fault, I'll take it.
I'll take it.
Rush: 10 more minutes.
Dawson: That's fine, can you go? Like you just, you brought the stank energy and it's, like, bothering me, if we really only have one more of these, I don't need that.
I'll be right here.
I'm right here.
I'm right here.
Huh, I think I see Jesus.
- Dawson: Cut.
- Rush: And cut.
- Dawson: Good? - Rush: Yeah, that was good.
Is that it? Finisio? All right, guys, that's a wrap.
Let's wrap, wrap, wrap.
Great job, guys.
That was a hell of a day today, man.
Martemucci: I was hung up on Scott Karazewski taking Tori Humilovich on a journey through the town that they'd both grown up in, that made her realize that maybe it's not so bad, and see her hometown in a way that she hadn't seen it before, and I told everybody, "What are the magical locations in Pittsburgh? What's something cool that this guy could take this girl and they break into it or they have a magical experience in this special location?" And I found Carrie Furnace, which was like right there, pretty much in Pittsburgh proper.
I just couldn't believe it.
It was this huge abandoned magical mill.
This is absolutely the place where Scott takes Tori.
Brown: Hey, guys, we're gonna have a safety meeting over here.
So, welcome to Carrie Furnace.
This location is fucking awesome, and we're really excited to be here but there's a few things that we just want to make everyone aware about before we head in.
This is an old abandoned steel mill that has not been touched in a very long time.
There are a lot of rusty pipes and beams here.
I need to make sure that everyone is really watching, not only your footing, but also where you're grabbing.
I want to make sure that everyone who hasn't had their tetanus shot just watch where you're putting your hands here.
There's a lot of rusty beams.
We want to make sure that people are being really careful.
Shader: It's interesting that both films picked classic Pittsburgh sites to have their big emotional scenes.
Both of the scenes are Scott taking Tori to some special location, and I guess this is the one Shader: This is kind of creepy special.
Man: Yeah, creepy special.
Heinz Field is a different kind of special though it's ironic in the sense that Scott and Shane pretty much know nothing about football.
(laughs) Ah, look at this.
Look how beautiful this is.
This is gonna make our movie so much cooler.
It's gonna make me so much straighter, and it's gonna make everybody involved feel just heroic.
Look at Lauren, she's twirling.
The gayest thing that's ever happened on this field is happening right there.
- Are you recording this one? - I'm never done dancing.
I'm getting all of this.
Come on, do the touchdown dance.
Oh, wait, like, which one? Like when they thrown down there like - Dawson: Yeah.
- That's quite possibly the most disturbing thing you've ever done.
- Today.
- Right.
Shader: Typically for a low-budget indie movie like this you wouldn't be able to get such a high value location.
Because it's one of the important scenes in the movie, we fought for it, we're able to get it, and through some negotiations we were able to lock down Heinz Field.
Rush: We're good? Okay, guys, let me know when you're set.
- Set.
- Rush: All right, and action.
Not as gross as you'd expect.
Pretty nice, good to know.
Schoffer: In the original script in both movies, Scott and Tori have spent a long day together.
There's always been kind of a montage of them in the town, and they culminate at big spot, one is Heinz Field and one is Carrie Furnace.
In both scenes they serve the same purpose for the story.
Scott: I think you're gonna really like it.
It's a little bit weird, but it's beautiful.
Tori: How did you get in here? Well, you know, I have connections.
Security guard was in my community photography class.
My mom was a big fan.
I've never heard you talk about your mom before.
It was cancer, right? Actually, no, she was a Gemini.
What's your mom? So, what's California like? This is gonna sound really stupid but no one out there returns my high fives, and it's happened, like, three times.
- No.
- Yeah.
It's highly disconcerting.
Can we actually skip the whole "how did it feel when she died" thing? I've done that with so many guidance counselors and so many therapists, I'm good.
No, thank God, seriously, it was your moment.
I didn't want to take it from you if you needed to go to that place, but thank you, I was already getting super bored already.
If the worst thing you can say about UCLA is that no one returns your high fives I'm guessing it's pretty great.
Schoffer: This is a point that it all builds to.
Scott and Tori have been forming a connection and it's really the emotional peak of their relationship.
So what would you prefer to talk about? First three weeks at CMU I felt like I was walking around doing a weird impersonation of myself.
You know the other night when you said it was just sex? So, is that, like, just sex just one time or can we just sex just again? You're homesick, homeboy.
What? Wow from the dead mom to sex.
That's a very impressively smooth segue.
- I'd say it's a touchdown! - (laughs) You're right, I am.
I'm homesick.
Martemucci: The character of Scott Karazewski was a guy who was cool, but in a very specific, grounded way.
Attractive magnetism that you would believe that these two beautiful girls want to be with him.
Thanks for hitting me with your van.
Thanks for taking me to an abandoned warehouse and not murdering me.
Yet.
Scott Karazewski is the character that Victor, Phil, and I came up with.
He's based on a bunch of different people.
Victor is definitely one of them, and then there's a bunch of different dudes from my high school, and I made, like, the superboy.
Finding Toby was insane.
A guy who looks like Phil who can handle being funny and also handle the drama.
He also had a lot of improv training.
That was something I really wanted to find.
Dawson: The hardest part about this process for me was creating a really interesting character out of Scott.
He is not that interesting of a person.
He's supposed to be the straight guy.
No, seriously, though.
You didn't answer the question.
- (shouts out) - Oh, shit! I feel like by the time we were at Heinz Field I had really figured him out, and I think everything we shot there and everything we shot after that was kind of the best of Scott.
I think the chemistry between Scott and Tori was great and I really think I created a Scott that people are gonna care about.
Um, today was really, really crazy and (sighs) Intense and crazy.
And I'm talking quietly 'cause my girlfriend's in the room sleeping.
It seems like maybe I have a thing where I spend too much time on things at the start of the day and then I don't give myself enough time to finish them at the end of the day.
Me and Lauren just had a full conversation in the car on the way home because she was upset that I snapped at her, and I had to explain to her that I'm sorry and I snap at the people that I love and, you know, we cried it out, so we're doing fine now.
I think it's gonna be a pretty sweet movie, if we can get all of this stuff in the next week.
Tomorrow I get to get hit by a car, so hopefully I don't die.
All right.
(theme music playing)