The Chair (2014) s01e08 Episode Script
Two Martinis
The original script, it was an ensemble teen comedy about a couple who has been dating throughout high school.
They go to college, and when they come back for Thanksgiving break, one of them gets dumped.
And the entire movie took place from Wednesday, the day that they got home, to Sunday when they went back to school.
I'm saying they have until 11:55 to get this.
11:55, we pull the plug.
That's it.
And I'm standing in front of the camera at 11:55.
What do you want me to do? - 10 more minutes.
- That's fine, can you go? You brought the stank energy, and it's like bothering me.
I don't need that.
And action! Resetting! For Anna, doing rolling takes, it makes her feel more comfortable.
And it's a bit of an end run around your first AD.
As long as you keep the cameras rolling, the AD can't move you on to the next shot.
I mean, I can't talk to you.
This is why I can't talk to you because you jump down my throat.
Because we're in the middle of fucking filming.
The core creative team has a silent partner.
Victor is not the director of our movie.
To really sell the joke, it has to be butt, butt, empty window, dick.
We have to find a penis this week.
- Gotta find a black penis.
- Mm-hmm.
We have to have a conversation again about the schedule and making our days.
We can't shoot through our clock.
We can't afford it, can't afford it, can't do it.
People get exhausted.
People make bad decisions.
The problem is when things aren't going well, the only solution is more time.
So, black penis update.
I was rejected by every black escort there is in the city.
I called, like, six different strip clubs and agencies and they said, "No, we don't have black people," and the last guy I just spoke to was just like, "There are no black strippers in Pittsburgh," and I was like So where we going, Craigslist next? I already did that.
My name is Corey.
I'm actually shooting a film here in Pittsburgh.
We're in from Los Angeles, and I'm trying to hire somebody who would be basically a body double.
And I'm actually trying to find somebody who would be willing to do male nudity who's African-American.
Hello, is this for the adult entertainment? I am trying to see if you have any African-American strippers.
You don't? Bad people trying to get young people to show their privates.
I really do think a prosthetic is the way to go.
I know, we don't have the time to get a proper one.
We can buy a dildo but not like a proper but also, like, who are we gonna put it on? Me.
You weren't in the Incline, so the way he is, he's like I just want to say for the record, in terms of the realism, the reality of it, this movie takes place on a another planet.
Okay.
Corey, calm down.
- I'm just talking it out.
- I will so do this.
Can I just do it? Can we just filter it and make it look dark? Let's talk this out for a minute because he really does have his pants on.
So it's really just like he's kind of got it open and it's a little bit.
They're looking for a stunt double, a body double, a dick double, and I'm looking for an African-American male.
I was wondering if maybe no, you don't think so? What needs to probably happen with Shane is we need to figure out out some way to do that without having a black penis.
Like, that needs to be discussed at this point.
I've been making dick calls for the past 10 minutes.
- Yes.
- It's been quite hysterical.
I called a male strip club here, but they have no black strippers.
- What? - I know.
What kind of strip club is that? Right? I'm actually I'm a film producer.
I'm making a very No, you don't do any of that? - Not a porn.
- It's not a porn, by the way.
- It's a legitimate movie.
- Zachary Quinto, Zachary Oh, he hung up on me.
Okay.
I honestly, like, have no idea how I'm gonna do this week.
Ugh.
Definitely do not want to be doing that right now.
The whole theory of doing everything one day at a time is really working out for me so I'm gonna keep because when I look back at week one, I have no idea how I did all that stuff.
Like, I have no idea how I directed the scenes.
The only thing I've lost on this shoot is my voice.
Definitely haven't lost any more weight.
Um, definitely lost my mind.
This is gonna be a big week.
I got to do some shaving my head.
It's gonna be an interesting week, but I'm ready for it, and I'm ready to wrap and to be able to say I've directed my first movie.
The really cool thing about this for me is realizing that there's, like, a sweet spot where you're prepared but you're not rigid.
Most directors want to tinker endlessly.
- Endlessly.
- They just need to stop it.
Anna, what about this license plate? - I was just about - I was thinking, um, I could put it there or I could even put it under the light switch.
Let me go look at the monitor real quick.
I think with a first-time director, you want them to have as many options as possible because they don't know.
They can't edit it beforehand in their head.
They don't see exactly what that's gonna be.
Action on rehearsal.
There will be scenes where there won't be options in terms of performance, whereas there will be options on a lot of smaller things where you play it five different ways, but who cares? You're watching a guy sitting up out of bed.
Cut.
Yes.
That was good except I think I'd like to see it can we run it one more time? Cut! I need a little limping action from you into the room.
Cut! Your whole body feels like it hurts.
And, action.
Cut! Let's get up and reset, and just do it one more time.
- Cut! - That's a cut.
I like that one.
I think it's common for a first-time director to become obsessed over the minutia details because they can.
- Meena, can we print it? - Yes.
- I'll print it.
- You can print them all.
- Yay.
- So that's it for 56.
There are directors who shoot every fucking thing they can think of because they're not gonna cut it until they get into the editing room.
There are other directors who are cutting the movies in their head.
We only have this shot of Tori and then the wide, and that wide will be the same shot we start with in the next scene.
They are only shooting the shots they need for the cut they see in their head.
This is supposed to be night.
Do we want to keep it night? - Yeah.
- Okay.
'Cause then our porch conversation, is right after that.
- Right, okay.
- We can just black that window? Yeah, no sweat.
Yeah, we'll make it happen.
The thing about Shane is he is sort of shooting that way.
He is very confident on set.
The question for me is just is he right? Cool, cut.
That was perfect.
Can we do one more where you don't move with the phone so it's not a weird cut? - But the way you did that was perfect.
- Okay.
Because I see a lot of times where he's not covered it, where there's not gonna be a lot of options.
What that means is most of the edit will be just cutting whole scenes as opposed to making scenes work better because he didn't shoot the footage.
He drops the clippers, runs over and they meet each other somewhere here for their big epic kiss.
We get the shot of the family reacting.
The overall looking out for, "Did we get the story? Do we have the scene? Can we put it together?" I think Lauren's pretty good at that.
I think, though, sometimes Lauren and Shane don't see the same movie.
Are you gonna do a couple or you're just doing the one? Did you I mean, you're doing it every time I say something.
No, I know, but, I mean, like, I'm just I'm talking about in the moment, like, when you've done it once - and we're - No.
It didn't really work and I don't know.
- I'm just thinking - No, I mean, I do it once.
Colleen says "why" and then I come to my Okay, so what happens if you do it once? "I'm going to make a complete asshole" blah, blah, blah, - But, like, I'm just - If it doesn't sell, then we cut to the shot of the floor with hair falling on it.
If Lauren thinks it's done, Shane might not, and if Shane thinks it's done, Lauren might not.
That's more what I'm worried about is that Shane just has so much going on in his head, can he really continue to keep the cut in his head so we don't end up in the editing room realizing, holy shit, we forgot the whole other side of this scene, or I have nothing to cut to because we didn't shoot anything else.
And then we get their dialogue here.
- Okay.
- So we stay there.
It's not that much, but I'm shaving my head - so it's gonna be a nightmare.
- Yeah.
Shane is shaving his head for the movie, so, obviously, the most important thing we need to figure out is make sure that we've shot everything we possibly need to shoot with his hair before he gets rid of it.
This tape was out in the car, so it's all cold, it won't stick.
Yeah, looks good.
- Feel good? - Yeah.
Cool.
And the last shot we needed to get of him with hair was an insert shot on the Duquesne Incline of him pressing his face against the glass.
Action.
Point at something.
Draw a wiener.
- Cut! - Got it? Did you want any other options or are you good? I think we're good.
Dick sounds like it's happening in L.
A.
Now.
- Dick will happen.
- In L.
A.
They're having a hard time finding the right dick.
Pittsburgh has a lot of things.
They have French fries on their salad.
They have beautiful architecture.
They have a definite lack of black penises that are willing to be shown on camera, and I think I have really exposed that.
- It needs to be black.
- It has to be black? - It's the homeless guy's dick.
- Oh, it's the homeless dick.
I mean, we tried everything.
Corey was calling prostitutes.
I was on Tinder.
Lauren was on Craigslist.
We couldn't find any.
It was ridiculous.
So when I get back home to L.
A.
I need to get a shot of two butts, a shot of a black penis.
Actually, that's it.
When I walked into Animal, I felt like they were old friends.
It felt like our office in Dumbo, just with money.
During production on my day off, I met with Beth Voltz who is an editor who works out of Animal in Pittsburgh, and she's super talented.
So you're having a lot of fun still? I definitely feel fatigue, and sometimes it effects my mood, but, um, I'm having the time of my life, Beth.
The actual editor of my film is Charlie Porter, but Beth was the person who took in all of the footage as we shot it, and then she would take the script and basically put together the sequences that she could with the footage that she had.
In my experience, every time a director sees something for the first time, they freak out.
There is the shock of the actual thing because for so long you've been living with the thing that you imagined, and you've been working so hard to make that thing that you imagined into something real that other people get to look at, and the first time you see it it's going to, of necessity, be radically different from all of the things that you imagined, and that usually scares directors.
And then, after a couple of days, they realize, "Oh, wait a minute, I did actually make something.
No, wait a minute, that thing is actually beautiful, and, oh wait, you know, that actually bears a really striking resemblance to the thing that I set out to make.
" Anna said to me, which was really, really sweet after looking at the dailies, "It is so crazy to me how much they look like what I was imagining.
It's like my brain vomited out onto this film and I'm actually just looking at it.
" So there's a scene in the movie where Scott and Tori have their first kind of angry conversation and it all takes place while dancing.
We have taken two of the whitest people on the planet - Yeah.
- And forced them to learn moves that should only be done by professional black people.
I'm supposed to look like that.
She's supposed to look like that.
Are we gonna wear the same wardrobe? We're gonna be naked.
That way people will be distracted, - and it's gonna be in 3D.
- Nudity in the movie oh, my God! This is the most unpleasant visual that I've ever had.
I'm gonna be editing this movie so I can speed us up, slow us down.
Can you make me look like J.
Lo? I can't do everything.
The day of my head shaving was a hard day because we were also doing the big dance sequence.
So there was a lot going on that day.
So Shane's getting very concerned 'cause every time he turns around, everybody's eating a sandwich, and the next half of the day is way more important than this half of the day, so I know you're going fast - but like we got to - I'm pushing 'em.
- This is a big - But like, I know, he's just sort of like, "Every time I look around people are, like, eating a fucking sandwich and I get it, there's food and they can eat it, but, it's like, 'I got the second half of the day.
"' He's really nervous about it.
So the scene where Scott and Tori are dancing is when Scott comes over to her house on Thanksgiving because he realizes that he thinks he has feelings for her, so he tries to explain it to her which he's never really had to do before 'cause girls just jump all over him.
This is very hard for me to play, but you know what's easy for me to play? Getting rejected, which is what happens.
You know what? Maybe I don't want a teammate who's merely average sized, somewhat herky-jerky, and pays nowhere close to the attention to detail that one would expect from an aspiring photographer! That was fun scene to do because getting rejected by a girl 'cause I can't dance and 'cause I have an average-sized penis, just a day in my life.
One, two, three.
Perfect.
Our art department is responsible for anything that's in front of the camera.
That includes, for this picture, two Thanksgiving dinners.
They're a little different.
Not only are they in different families so the things that they're serving are going to be different and that's part of the production design I'm trying to convey who these people are and how they live.
One of the dinners is actually going to be plated, and they're gonna be eating at Heather's house.
College seems like a great way to be in debt for the rest of my life.
He's anticipating a little bit off of her line.
Just tell them not to anticipate their line.
I'm paying for your college.
Your argument makes no sense, honey.
I need to make food that people are going to enjoy eating and that they're gonna be able to eat a lot of because there's probably gonna be a handful of takes.
It's not just that Rob is our production designer, and he's a very, very good production designer and the film owes a lot to him.
Rob came in and did everything for us from helping us put up a wall in one of the houses so somebody could have a private living space - To bringing in all of his - Personal employees in the art depart - things, right.
Under his payroll providing us with a studio space to shoot in.
He is really a value-added partner because he was always going one step further.
Let the silence happen, 'cause I want there to be a silence, and then I want restaurant quality to come from the silence.
I'm thankful for all of this awesome food.
My experience with Thanksgiving is this really awkward time.
Dan's original script, what I loved about it and the reason I really liked it is that first Thanksgiving and I was always amazed that nobody ever made that first Thanksgiving movie because it seemed like such a classic coming-of-age moment.
Kid's table.
But for college kids, you've gone away and to some extent redefined yourself.
You've probably fallen a few pegs because you were a senior in high school, and now you're a freshman in college, right? You've also decided that person I was in my hometown or the person I was in high school, I don't really want to be that person anymore, so you try to redefine yourself a little bit.
I am thankful that my paintings were selected to hang at the Met, and that I learned how to finally drive a car! So the reason Thanksgiving is such a weird time is because then you come back half the new person and then you fall right back into the old person thing.
At least turn off your send/receive features! Given that Thanksgiving plays a role in the movie, we obviously have Thanksgiving dinner scenes.
One of those scenes is the scene we shot on Shane's movie at Scott and Janie's house.
Hey, guys, sorry you got stuck over here.
Most of the scene is really more serious than it is comedic.
For Shane, it's a really important thing that he has in this movie which is a balance between broad comedy and sort of real grounded emotions.
At least we don't have to sit next to crazy Aunt Flo.
The character of Ray I think very much helps provide that counterbalance as Scott's dad, and then of course, you've got the crazy aunt who gives the other side of the coin.
Did I ever tell you about the time I got abducted by aliens? Funny story actually.
At some point, I wanna sit down with you guys and really talk about that post schedule.
We're done shooting like I think Shane could be here as much as two weeks after.
He even said yesterday which is fine.
I think he's gonna have a rough cut of the movie that he can show to people two weeks after.
Oh, 100%, I'm just saying what I'm most worried about 'cause we are with this VFX situation, we are adding we've, every day, added stuff to this kid's plate.
Like, and I'm I have no doubt he can get it done, I think it could take two months.
Let's see how it looks after his two weeks and, like, if there's some obvious notes that we can give him But I can already tell by the way he's confident sharing early cuts you know what I mean, that he's gonna have a cut.
- Don't you think he's gonna? - I feel like he's gonna have a cut three days after we're done shooting.
I'm gonna tell you exactly what's gonna happen.
- Tell us.
- He's going to have a cut.
My concern is, though, he gets so in the hole and so exhausted that he's just kind of over it, and when I say over it, I don't mean over the movie, it's just that like he feels like he's looked at it from every angle.
He should then take time off.
Can we schedule in I mean, I have a huge problem with this with directors, usually, but it's like take take a week off when you're done shooting before you start your editing process He won't do that.
He won't do that.
Because he's the type of person that can't literally can't function when he's got a project hanging over his head.
I was really nervous about having somebody else edit anything on my movie because I edit all my own stuff.
Do you just want to look at this what I've be cutting just the Sure.
Let go of me! I came here to apologize! I came here to tell you that I like you for who you are only to find out that you are a fucking asshole! Look, like, Heather basically raped me! Oh, my God! She weighs 90 pounds! 87! Oh, my God, I love it.
It's just something I was cutting this morning.
- I love it.
- It's working.
It's working, yeah.
Yeah, editing is this is amazing.
- I'm very, very excited.
- Thank you.
I usually hate everything.
I'm very excited.
Like, I don't hate Edvard was my assistant editor, which was really great 'cause I never, ever have help when I'm editing my internet stuff.
After going in and seeing just an assembly, a rough cut of some of the scenes, I knew I made the right choice hiring him, and I gave him a few notes and we worked on it together and now we have like 20 minutes of the movie done.
There's this really outrageous moment so far and there's also really, like it's all working.
Yeah, yeah.
I feel like we're all in the same movie.
To be honest, when I first read the script, I thought it would be too vulgar or crazy, but it's being balanced, thanks to you, in such a nice way that it's not.
It's it's a good balance.
Should we trim that up a little bit? - It's not bad.
- Yeah, that's not bad.
It echoes throughout the whole room.
Do you think Anna's looking for barfing sounds? I'm a little bit, going into the editing process, nervous 'cause I know how Shane works and he'll get this edit down, and he'll just almost be over it after two weeks of working on it.
I've seen a couple little edits that Shane has done, and they're funny, and I definitely have some notes, but I have not given any because I'm really curious to see how these things go together.
I think some stuff might get cut because I think it will start to feel a little bit schticky.
Their queen impregnated me, and the baby grew to full size in less than eight hours and then ate its way out of my uterus! Want to see the scar? No.
He's gonna have to listen to my notes even though he might fight them.
And also hear other peoples' notes, and maybe I'll have none.
Maybe it will be great.
I mean, hello! I got all the voices in my head telling me that! So, wait, I want to make sure that you and Rob and Meena are in agreement as to the lighting effect and how you want it to run.
I'm pretty sure I was just thinking the same thing, but I'm pretty sure that we all just agreed to do on-off, on-off.
Something that Anna and I had talked about from an early part of the process was basically a collaboration with my team and with the grip and electric team to figure out what the light fixtures were gonna be.
- You're walking - Yeah.
And then the sensor lights on the garage are activated - by your movement - Got it.
And all I want out of your face at that moment is, uh, shit, like, life is great.
You know that thing? And that's it.
That's all I want.
Pretty much it's one shot and we'll do a couple of takes.
- Okay, cool.
- It's just you walking that's true, and then we're doing a different scene entirely - and I'll coach you through that.
- Cool.
- Anna, you ready?! - Ready.
Okay, set.
Action.
- Cut! Nailed it.
- Just move on, move on.
We can even speed it up a little or with the right song.
Ask Meena.
Did you like that shot? She loved it.
I mean, it's gorgeous.
If we don't move on now we won't get this next thing.
We just won't get it.
- I feel we need to do one more.
- I could do one take really quick Okay, guys, we're resetting we're gonna do one more take of this.
We're gonna do one more take of this and then we're moving on.
In truth and I don't know if Victor thinks this is really rude but I think I would have wanted a bunch more shots of the lights hitting Toby in the alleyway, but you don't necessarily need that shot to tell the story.
It's like a poetic moment that could be gone and the movie would still work, so I feel grateful to have gotten it all.
Every night it's like a panic and then it's all fine.
It's just that Hetzler is really trying not to go overtime because we can't afford it.
I'm considering right now dropping the other shot if you guys make me, obviously, the other one, because I can go directly from Craig's party - to him bursting into his door.
- We're gonna get both.
Just focus in on this, get this now, move on quickly, be ready with what you need for the next shot.
I am.
I don't know what to tell you.
Then then you're great.
Then you've done it.
But I have people telling me very explicitly that I will not get the other shot, so I'm telling them this is what I'm considering.
Do you approve? They're set.
Action! Oh, my God, it's so fucking gorgeous.
It's so beautiful.
Cut! Where does the money come from if you go over budget? Think Shader and Moore just - It comes from post production.
- Oh.
- And then you have a shittier movie? - Yes.
What is that look? Don't even ask those questions.
Ah, right.
I just got to be me, man.
It doesn't matter, we're not gonna have any money for post production 'cause she's gonna burn through all of our money on OT.
That might be true, sadly.
This is it.
My hair's gonna be gone.
What are you gonna do? I'm so excited.
I'm just nervous about you actually doing it.
Do you know how to do it? I mean, I've shaved my body before.
It's the same thing.
Are you sad? Are you scared? No, I'm very happy.
I hate my hair.
I really think you should keep the hair.
Somebody will buy it.
I mean, we're over budget so I can just That's yeah, that's extra money you need.
Yeah.
Say good-bye.
Should we take a picture for the last day? Come on.
He's cutting the hair today.
You're cutting your hair today? You should cut your hair too, in support.
I'm gonna cut my hair in support.
Okay, let's talk about the first time like, when did you know you had to straighten your hair? When's the first time you straightened it? - I was 18 years old.
- Okay.
- And I went for my yearly cut.
- Uh-huh.
Yearly? Yearly cut.
Was that a money thing, or was that just because you didn't bother getting your hair cut? I was gross and fat.
I didn't care about my appearance.
- Okay, great.
- She cut it way too short.
I literally remember every detail.
She cut it way too short and I said "Oh, my God, oh, my God, oh, my God," and she goes, "Well, it'll look longer if I straighten it.
" - Okay.
- And I said, "Oh, what is straightening?" She goes "Oh, it's a new thing.
" - You didn't even know.
- I'm like, "Okay.
" So she straightened it and, you know, granted, I was, you know, 350 - Sure.
- But - But you never look better.
- It looked good.
And I went home and I was all nervous and, of course, my mom and my brother were just like, "Oh, my God, that look really cool," and then all the bands started doing it - and like then, you know.
- Sure.
Everybody in Hollywood started doing it.
And then I lost all the weight and I kept the hair.
Uh-huh, is this basically the same haircut you got that time, like a version of it? Mm-hmm.
So you've had this haircut for seven years? Sabrina the Latina in Long Beach.
- She changed your life.
- Changed your life.
Her and her big old spiderweb neck tattoo.
The idea of the character of Scott shaving his head came from Shane.
When we were working on the script, it came up.
What's the thing that this character wouldn't do? Like, what is the big thing, and it was this really fun little bit of a wink to his audience 'cause they know how much his hair is part of him that this character is obsessed with his hair.
Why would she dump you, Mr.
Perfect, with the amazing hair? I always wanted to do that.
- Yeah, feel good? - Yeah, it feels great.
Okay, good.
You think my hair's amazing? Okay, you know what? You know you're attractive, it's annoying.
Oh, my God, I know what I got to do to get her back.
So shaving it for the character is a huge, huge sacrifice, and as Shane I know he's kept it as long as he's kept it for YouTube purposes, and he'll tell you, like, the Shane that he plays on YouTube is a little bit of a character.
Honestly, I think two years ago, he started growing out of this character, and at this point, he's really ready to do other things and we've always joked that his last video ever on YouTube is gonna be of him shaving his head.
Set everybody? And action.
Scott, what the fuck are you doing?! This.
I'm a complete asshole.
But I want to change.
What happened with Heather didn't mean anything to me.
Yesterday was the best day of my life.
I think Shane's tears and reaction on that first take was really very much from Shane.
I think you could see the real person shine through in way that I think will work great within the movie as well.
I know hating everything and everyone is kind of your thing, but, Tori, I don't hate you.
- Okay? - Uh-huh.
All right.
And cut.
Oh, my God, whoo! Not a dry eye in the house.
Shaving my head was definitely like graduation.
It was kind of like time to grow up, time to move on.
You know, I'm 25 years old.
I shouldn't have that haircut.
I probably shouldn't have had that haircut for the last five years, to be honest.
Everybody in my personal life couldn't have been happier that I shaved my head.
Everybody hated my hair, everybody.
My family, my girlfriend, my producing partner, everybody in my life because they knew how much I hated it, so when I finally I got to shave it, I mean, it was like the happiest day I've ever had.
There was a stepping out of this young Internet world that I've been a part of for the last eight years.
And I was happy and I'm ready to move on and direct movies and still make Internet videos, but, hopefully, it'll be okay that I have a shaved head.
It'll be a little creepy, especially since my audience is pretty young.
But you know what? Maybe they'll grow up with me.
I'm really tired.
It's 5:30 in the morning.
It's the last day of our shoot.
Today is the last day.
It is the last day of the shoot.
The last day that I can say I'm a first-time director.
I've been experiencing, like, huge waves of disbelief, awe, gratitude.
I can't believe it.
I mean, I can believe it because we've been working our asses off, and it's been 20 days, and so I guess that is what happens after that.
I feel very proud seeing the level at which people are into this and having this be something that is so personal to me.
I've made a movie that I think is gonna be really funny and really heartwarming and really fun to watch.
The adrenalin's pumping, and I know that I only have one more day.
I just hope this isn't the last movie I make.
Is Phil already in the car? - Yeah.
- Oh, my gosh.
- Phil's good, - He's good.
Come on, Booby, we are literally like you got to come now, right now.
Okay, I'm coming.
There are breakfast burritos on the line here.
- We're taking off.
- Oh, man.
With or without you.
We'll just have the PA shoot it.
- Come on, Booby.
- I'm sorry, guys.
- Here, here.
I got it.
- I take this.
- You take these.
- Okay.
Thank you so much.
Let's do it! Let's go make a movie! Hello! Last day! What-what? So, like, what's the first thing your gonna do when you go back to Modesto? What do you mean the first thing I'm gonna do? What are you doing there? Like, okay, so you get there and then what? I think my grandma and my mom are gonna pick me up, and were gonna go out, like, for Thai food or something.
You're just gonna tell 'em all about everything? Yeah, they're gonna ask questions they've been asking over and over again.
Whoa! Whoa! We So we're going to the last day.
We're all very excited, a little punch drunk, maybe.
So excited to finish this movie.
You don't have anything for that.
You're out of frame.
It's just Toby has to pretend to get a bad blow-job.
Oh, you poor guys.
It must be scary having a penis.
Page 90.
I mean, scene 90.
I think the Vinyl Vault was one of our most amazing locations.
Shane didn't want a hardcore record store look with, like, 20 million records.
He felt it was more almost like a coffee shoppe type of record stores.
Bringing Hillary, our production designer, out from L.
A.
, was one of the best choices I've ever made in my entire life, not just in this movie, just in life.
This is awesome.
It's the first time I've been here.
This was nothing but white walls.
- Was it really? - Yeah.
She turned this little art gallery into an actual record store that looked amazing, and she did in no time.
Hillary and Callen and everybody else on the art team really worked their asses off.
And she built it from the ground up, and it looked phenomenal.
OMG, that is amazing.
"Surfing through a Pittsburgh winter!" Oh, my God, these are to fun.
Looking at the album covers in the Vinyl Vault made me understand why this store closed because nobody wants any of those.
Nobody wants that creepy album of Lauren doing the skinny arm.
Nobody wants that creepy album cover of Josh and Dan looking behind their shoulders as if anybody is looking for them.
It's a hit record here.
It's Shader and Schoffunkel.
Awesome.
I like "I am not a rock.
" That's my favorite.
Actually, they probably want those, and the sad part is, they're probably hanging on their walls right now.
Hollywood makes me sad.
I can't stop looking at it.
Is that bad? 'Cause I know it's like me and I'm, like it's weird.
Logistically-wise, though, it was a nightmare of a location.
They had one shitty bathroom in a basement that, like, I could barely fit into.
- Gross.
- I'm sure.
There's not even there's no door.
- I'm sure.
- It's a shower curtain.
I was just, like, not even sure if I was gonna make it.
It was so cold, and there was nowhere to pee.
But it was worth it, ultimately.
I mean, it looked so good.
That's the ending of the movie.
It's gonna be with my shaved head.
It's gonna be an emotional scene in the Vinyl Vault, and it's gonna be amazing because it looks amazing, and I had nothing to do with that.
Cut, I do want one more, but there's something about it that felt vaguely non-blow-jobby.
- I don't know why.
- You can't.
- You got to move on, kiddo.
- Okay, we'll move on.
Yeah.
We have enough.
Being married to someone, it's a really weird thing, and it's just like every couple weeks it's a new, interesting challenge.
What are y'all talking about? Sometimes Anna can sometimes be a little mean to me.
Like, I was here for five minutes yesterday and she literally was like, "What are you fucking talking about? You don't know what you're talking about.
You weren't here.
You haven't been here.
" And I'm like, I know technically I haven't been here, but I've been on the phone with you every night.
You call me about script notes.
I think having Victor on set, at first we felt a level of concern about the pace of shooting because that creative team works really, really closely together.
Hey, kiddo, real quick I got a suggestion for you.
- Yeah.
- You don't have to take it.
But because we're running out of time and we need coverage for this right now, this scene would not cut in a million years.
We're going in for the closies.
Here's what's eating up the most time Your direction before the takes.
It's running to two to three minutes before the scenes are rolling.
I let them roll, and then I direct them.
- Yes, you have to get - I do that, mm, sorry.
You have to get your direction in while they're setting up right now.
As it happened, having Victor at the monitor for the most part made us go faster.
Cut! That's great.
Sorry, guys.
- I let you go 'cause it was so good, That's a cut.
- Should I do it one more time before they change? - No, it's too late.
I got to say I have a lot of respect with how you put up with me on "Breakup at a Wedding.
" It's not easy having someone be like "Wait, wait, wait, wait.
" Like, having like a second But aren't you glad when it does work out, though? When it doesn't work out who cares? Discard it.
What scares me is that sometimes, it loses time because it throws me off - Hey, Anna! - Yeah Ready for rehearsal, we'll give you a run through - to see the lean-in for camera.
- Cool.
- She's starting to cook.
- I know, I get it.
- Hey, been there.
- She doesn't like doubt.
Anna does not like doubt.
When you're making a movie, it's obviously important what's going on in front of the camera because that's what you're capturing for the movie and that's where the dollars need to go to, but you have to have facilities for your cast and crew that are adequate.
It's not that fucking bad in here, compared to like other places we've been.
Shooting in the Vinyl Vault also presented us with some logistical challenges, specifically in regards to the location that we were shooting at.
It was a tight location.
There was one tiny bathroom down in the basement and ultimately our cast and crew holding was across the street at another location that I discovered when I walked in apparently didn't have heat and also didn't have a working bathroom.
So to me, this was poor planning, and it sort of reflects poorly on everybody.
If power's an issue we can't just plug in heaters everywhere.
Right.
I mean, there's a heat there's a stove right there.
There's this.
I was slightly confused when I walked into the extras holding and I saw campfires.
I mean, I didn't know you can do that indoors.
I thought that it created, you know, some kind of a smoke that could kill you.
I'm sorry, did our set medic just come in with kindling for the Yes.
Well, no, they've been having to do that.
That's not the first time that's happened.
What is it? The fucking 19th century? Yes, yes.
I was very frustrated with Drew that night and ultimately, we had to find another solution.
Lauren, is Drew around? Have you seen Drew? - Drew locations? - Yeah.
Drew, I don't know that was a while ago.
So he has no location rep here? Not that I know of.
I fucking hate this.
Fucking hate this.
Fuck them, no.
I mean, what the fuck do they want me to do? It's not L.
A.
, I'm sorry.
This is Pittsburgh in fucking February Oh it's March, so suck it up, put a fucking blanket around your face.
- Drew! - I'm fine, I'm warm.
My heat my fucking blood is boiling.
I am good.
I think a lot of people by that point in the shoot were just looking for something to complain about because we haven't really had much to complain about.
So everybody got excited that there was a problem.
I mean, this place is kind of notoriously cold.
Right.
So this was just a bad idea.
But, I mean, it's not a bad idea because it's right across the street from set - and it's the only option.
- Right.
But it's cold.
I went with the best option.
I don't appreciate it being called a bad idea.
Because I busted my ass to get in here for the price we did the week that we're doing it.
- Okay.
- Every other gallery on the street turned me down.
So and if they weren't willing to do the roundie that was cheaper, I would've done that.
- Right, okay.
- So, I mean If you were told by the ADs that that was not an option you should've come to us because having we can't have people, you know when it's 15 degrees outside, we can't be in a location without heat.
That's the part that's a bad idea.
It's not being put on you that that if The actual location of the place is awesome.
It's just, you know I've just been hearing it from everybody all day.
I understand.
Everyone's tense, everyone's tense.
You know why? 'Cause they got nowhere to piss or shit, and they're cold, so, yes, and when people complain about a location, they're gonna complain to the fucking location manager and that's what you are, so that's what you know, I mean, comes with the fucking territory.
- I know.
- Turned out there was a church down the street that we're able to get into that had heat and had better bathroom facilities and we were able to make do.
We got to move on.
We are falling pretty far behind.
Anna, you got too greedy.
You got too greedy there.
Sorry, but I got it so good.
We have seven pages.
But it's not.
We got to hurry it up.
How many more shots in this, two? - This is what I do.
- You'll get it in 15 minutes.
- It was great.
- Well, we just need the one more close-up of her, then were done, right? No, then we do this thing for I mean, if you need it.
We do the thing from the front seat.
Knowing that I was gonna stay flexible and making it something that I really loved through staying open to making changes in the script while we were shooting, which I did a lot, and using improv to make scenes come alive more where I thought maybe they weren't the writing wasn't in tip-top shape.
You can even say, "calm down, poop dick.
" I like that a lot.
Maybe maybe instead of "that got dark fast," you say "calm down, poop dick.
I obviously don't want you to DUI.
" And one of things that can really help us is that when we do these big rolling takes, it seems sort of like, "Oh we're saving so much time," but when you cut after each take then it really gives a sense of like urgency, like I'm gonna give my note and then we're gonna keep moving.
I really truly get what I want for real because there's so many notes, so many like We just do it so many times.
We do it so many times when we do a rolling take.
For Anna doing rolling takes, it does actually help her, makes her feel more comfortable.
It's a strategy in the sense that it also allows the actors to sort of flow into a performance.
Okay, hold.
You want to take it again real quick.
"Wasn't that just more of just the tip situation?" "That's very flattering, but I was halfway inside of you.
" Let's take that a little more charming.
Hold let's just do that one more time and put your hand on the back of her hair and make it really passionate 'cause you're actually inside of her right now halfway, and action.
Hold let's do that again and, Rachel, can you put your shoulder down a little bit? "Wait, whoa, whoa, whoa, maybe wait, wait.
"Maybe we shouldn't," and you're like and you're you're actually super like, "Are you serious? I was halfway inside of you.
" You're like, "This doesn't make logical sense," okay? He didn't get that awesome moment "That's very flattering" - The way you wanted, I got it.
- I want it until the end.
And then I was so super satisfied, and I'm super confident that I don't need to do it again, but I needed all that rollingness to get to that place.
They're all gonna start here, and then they'll go back.
Can everybody be quiet for a minute?! I just need to say something?! Okay, so once the music starts and we - everybody be quiet, I'm not - Everybody be quiet! I love everybody, but shut the fuck up just for a second.
'Cause we are not good dancers and we need to nail this, so once the music starts and we start doing this type of shit, everybody just kind of like, "what the fuck is going on?" Give us room, kind of spread out, and then once we start going, it's kind of like a "yeah," and start getting into it like cheering us on.
Cool, let's do it.
All right! Here we go, let's roll it up! If we're not in the shot let's clear the frame! Picture's up! Background action, and action! So the scene where Scott and Tori are dancing there is choreography, there is acting, there is a lot going on, so we had a practice it.
After about eight hours of practicing, we were just okay, and that's good enough for me.
Cut! - Yeah! - We got.
We got it.
Sometimes you don't get it.
Sometimes a guy doesn't give it.
But it's so worth it when you get it, and I'm not actually over yet.
You know what I mean, like, we can go superfast on the wide so that I'm only five minutes over and then there's no problem.
I know, but it is a giant day.
- I know.
- It's a shockingly giant day.
It's a giant day in that there's time allotted for each scene and I'm within my time right now.
I won't be in 20 minutes.
Yeah, I know you're feeling a little stressed right now.
Let's try and alleviate that.
You don't need to feel that.
- I'm sorry.
- Well, that's kind of my point is I'm just trying to convey to you guys that I'm not stressed so you don't need to be stressed.
Every day, it's like, "You have to do it," and I'm like, "It's okay.
" No, no, no, this is a conversation.
You remember we talked about the difference between like - criticism and coaching? - Totally.
- This is just you guys - But I don't know if I agree that cutting and then giving a note that's just not how I'm working.
I find it actually defuses everything and I really, really, get what I want when I do the rollingness and they like it too, so, like, I think it saves time.
It's a complicated relationship because we work together and we're in love with each other and were married and we have this life together, and it's just it's interesting.
Cut.
So good.
Oh, my God! That was so good.
That was a total orgasmo, it was great.
Hey, kiddo, script-wise, if you're gonna watch this one shot, it's all gonna be one shot, which I think is a great idea, I would cut the when she says the lesbian line and they're about to go back to kissing.
That's where she hesitates the kiss, he goes "what?" And then they kiss again.
They shouldn't have make out, then a what, then a make out.
There's too much making out.
There's a lot of making out in this movie.
So is your thing is your idea that he tries to make out with her after "sicko," and she's like, "hold on," and she looks at him? No, no, yes, but it's not like he tries.
It's just a quick moment, a very a quick moment.
It's just a moment where he sees something in her eyes? He sees that she is taking him in and like is so impressed - that she's with Scott - Yeah, that's what it is.
And then he goes, "What?" And he goes, "Nothing" and then you guys make out again.
I mean, are you sure that There's nothing to cut to.
You can't cut back to the wide on it.
So you're trying to make it quicker, is that what it is? It will be a quick beat.
The scene is totally turning I was gonna instruct that she push him away so we know I don't I don't know if l like that's a big jump to make with like "sicko," he's being all sexy - and then - It'll be funny.
Just make it a funny sicko, It's not a gross sicko, it's just a funny sicko.
No, I'll just usurp you right now 'cause I'm the director.
No, you're not usurping me.
This is a suggestion.
You can use it or you don't have to use it.
I suggest it as an alt because this is going to be a one take in the edit.
Okay, I hear you, I hear you, I think it's just a matter of making the make out really fast and then I want her to push him away and look at him - You want this? - But maybe you're right.
I think I'm gonna try it.
Can we just rehearse real quick? Do you want to just take it from the lesbian line? Totally.
Thank you.
We're doing Victor's thing where you don't kiss at all, "sicko," and then he sees something in your eyes that makes him ask "what?" Okay.
She got to use the word "usurp," so the reality show gets that now.
She says, "I'm gonna usurp you, wait, no, I'm the director.
" I'm like and I said, "I'm not usurping you.
This is a suggestion.
" Everybody, quiet, please.
I know it's all good 'cause in the end, it comes down to an edit bag.
There's some very dark days, some very long dark days.
Anna, on your call.
So this is what I did.
That's good, can we just get, like, her head you see us dancing - and then she cuts - But not Bill, just Janie? 'Cause we already got the Bill and Janie.
Okay, all right.
So what's - So still 87.
- Same thing.
- Same thing? - Yeah.
All right, guys, here we go! We're gonna do it one more time! Jim, let me know when you're totally set back there.
Okay, everybody listen up, I'm gonna be a bitch one last time and ask you guys to be quiet, totally, totally fucking quiet! No work, no talking, no footsteps, no moving! It's gonna be as painful as hell, and you're gonna love it! So that's starting now! Hit it, Joey! And we're dancing! Probably the last time we're ever gonna see each other again.
It's a slow romantic action.
Have you found your quiet place? Great, like kindergarten.
Here we go, roll sound.
Yup, sound speeds whenever you're ready.
Ready, and action.
They say you can't go home again, and I never really understood what that meant until you come back for Thanksgiving break.
87 Jackson take 3.
- Okay, got it.
- Got it? Yep.
But in my Fiction 101 course we read a bunch of John Updike.
"So why be afraid of death," Updike says, "when death comes all the time?" There's something nice about the idea of dying every day and of being born and born and born.
Okay, cut.
- You got it, Anna? - Got it.
- Shane, is that thumbs? - That was great.
Okay! Great! Beautiful people, that is a wrap on "Hollidaysburg"! Everybody, listen up! It's also a wrap on Rachel Keller! Whoo! It's a picture wrap on Cherami! And that is also a picture wrap on Shane Dawson! Yay! Congrats, buddy.
Coach! You did a great job.
Yay, fabulous.
Get in here.
Whoa, don't hurt anyone! Ohh! All our background, all our crew, you guys were just fucking amazing! We just made a movie in 20 days.
We're gonna kick the shit out of team Anna, and we're gonna fucking win.
How can we not? Thank you guys so much! This is just a dream come true that I could ever have imagined it.
Literally, this was what I was working towards and what I always wanted, and it was even more incredible than I ever could've ever known or imagined because I didn't know who each of you were and I feel like each person who is here right now gave so much of yourselves to it.
Hey, everybody, sorry to interrupt the party.
I just want to say thank you guys so much for not only being part of the movie but also for coming to this wrap party because I know a lot of you guys you didn't have to come and you came, and that means a lot, so thank you, guys.
Working with Shane was was amazing.
Thank you for kindling our love.
I'm so, so thankful to Shane and Lauren and Josh and Chris and Dan and Corey.
- Bye.
- That was not kiss.
- We love you, Shane.
- Come on, kiss.
- Somebody I want to talk about is Joey.
- Oh, yes.
He is our office PA/ producer's assistant/handyman.
Basically, he's awesome.
This is Joey.
I finally feel like I know what I want to do now, and I just can't say thank you enough.
What was your favorite part of today? Our favorite part of the day, we had a very long, long, long involved question about producing credits - on this picture, actually.
- That's true, yeah.
And we decided our favorite part of the day was right now Uh-huh.
When we tell Rob Long that he's getting a co-producer credit.
See, look? There's a happy face.
- Happy face, happy face.
- That Rob's happy face.
- Yay.
- Thank you, guys.
So I told myself I would never cry on this show.
I just feel very, very grateful and very happy because today everybody came up to me during the wrap party and said that, um, I made them feel important and I made them feel like that they were doing a good job and I made them feel happy and I made them feel appreciated and that's it's all you want as a director.
You want people to be on your team and be excited about the project and feel like feel like what they're doing means something.
Drew just kind of you know how awkward Drew is.
I said goodbye to him and of course I kind of got sad and teary because, you know, I'm gonna miss him.
I mean, I took a kid, an 18-year-old kid from some random town in California who's never done any acting in his whole life and I put him as a star in a movie and he killed it, you know, and it's gonna change his life and like it feels really good to do that, so All right, I'm at a gas station so I'm gonna go inside and get a candy bar.
You produce the movie in pre-pro.
You go into shooting, and it's like hunting and gathering.
You're grabbing as much as you can, and then when you go into post that's when you build your movie.
It is two days after we wrapped the movie.
I'm happy, but it's not over.
I have to like edit it.
I'm excited to cut it.
And then I have to, you know, do sound mixing.
I feel like it's gonna take a second.
I'm sure I'm wrong.
And then I have to do a million, bajillion screenings and meetings.
Okay.
It's only just begun.
They go to college, and when they come back for Thanksgiving break, one of them gets dumped.
And the entire movie took place from Wednesday, the day that they got home, to Sunday when they went back to school.
I'm saying they have until 11:55 to get this.
11:55, we pull the plug.
That's it.
And I'm standing in front of the camera at 11:55.
What do you want me to do? - 10 more minutes.
- That's fine, can you go? You brought the stank energy, and it's like bothering me.
I don't need that.
And action! Resetting! For Anna, doing rolling takes, it makes her feel more comfortable.
And it's a bit of an end run around your first AD.
As long as you keep the cameras rolling, the AD can't move you on to the next shot.
I mean, I can't talk to you.
This is why I can't talk to you because you jump down my throat.
Because we're in the middle of fucking filming.
The core creative team has a silent partner.
Victor is not the director of our movie.
To really sell the joke, it has to be butt, butt, empty window, dick.
We have to find a penis this week.
- Gotta find a black penis.
- Mm-hmm.
We have to have a conversation again about the schedule and making our days.
We can't shoot through our clock.
We can't afford it, can't afford it, can't do it.
People get exhausted.
People make bad decisions.
The problem is when things aren't going well, the only solution is more time.
So, black penis update.
I was rejected by every black escort there is in the city.
I called, like, six different strip clubs and agencies and they said, "No, we don't have black people," and the last guy I just spoke to was just like, "There are no black strippers in Pittsburgh," and I was like So where we going, Craigslist next? I already did that.
My name is Corey.
I'm actually shooting a film here in Pittsburgh.
We're in from Los Angeles, and I'm trying to hire somebody who would be basically a body double.
And I'm actually trying to find somebody who would be willing to do male nudity who's African-American.
Hello, is this for the adult entertainment? I am trying to see if you have any African-American strippers.
You don't? Bad people trying to get young people to show their privates.
I really do think a prosthetic is the way to go.
I know, we don't have the time to get a proper one.
We can buy a dildo but not like a proper but also, like, who are we gonna put it on? Me.
You weren't in the Incline, so the way he is, he's like I just want to say for the record, in terms of the realism, the reality of it, this movie takes place on a another planet.
Okay.
Corey, calm down.
- I'm just talking it out.
- I will so do this.
Can I just do it? Can we just filter it and make it look dark? Let's talk this out for a minute because he really does have his pants on.
So it's really just like he's kind of got it open and it's a little bit.
They're looking for a stunt double, a body double, a dick double, and I'm looking for an African-American male.
I was wondering if maybe no, you don't think so? What needs to probably happen with Shane is we need to figure out out some way to do that without having a black penis.
Like, that needs to be discussed at this point.
I've been making dick calls for the past 10 minutes.
- Yes.
- It's been quite hysterical.
I called a male strip club here, but they have no black strippers.
- What? - I know.
What kind of strip club is that? Right? I'm actually I'm a film producer.
I'm making a very No, you don't do any of that? - Not a porn.
- It's not a porn, by the way.
- It's a legitimate movie.
- Zachary Quinto, Zachary Oh, he hung up on me.
Okay.
I honestly, like, have no idea how I'm gonna do this week.
Ugh.
Definitely do not want to be doing that right now.
The whole theory of doing everything one day at a time is really working out for me so I'm gonna keep because when I look back at week one, I have no idea how I did all that stuff.
Like, I have no idea how I directed the scenes.
The only thing I've lost on this shoot is my voice.
Definitely haven't lost any more weight.
Um, definitely lost my mind.
This is gonna be a big week.
I got to do some shaving my head.
It's gonna be an interesting week, but I'm ready for it, and I'm ready to wrap and to be able to say I've directed my first movie.
The really cool thing about this for me is realizing that there's, like, a sweet spot where you're prepared but you're not rigid.
Most directors want to tinker endlessly.
- Endlessly.
- They just need to stop it.
Anna, what about this license plate? - I was just about - I was thinking, um, I could put it there or I could even put it under the light switch.
Let me go look at the monitor real quick.
I think with a first-time director, you want them to have as many options as possible because they don't know.
They can't edit it beforehand in their head.
They don't see exactly what that's gonna be.
Action on rehearsal.
There will be scenes where there won't be options in terms of performance, whereas there will be options on a lot of smaller things where you play it five different ways, but who cares? You're watching a guy sitting up out of bed.
Cut.
Yes.
That was good except I think I'd like to see it can we run it one more time? Cut! I need a little limping action from you into the room.
Cut! Your whole body feels like it hurts.
And, action.
Cut! Let's get up and reset, and just do it one more time.
- Cut! - That's a cut.
I like that one.
I think it's common for a first-time director to become obsessed over the minutia details because they can.
- Meena, can we print it? - Yes.
- I'll print it.
- You can print them all.
- Yay.
- So that's it for 56.
There are directors who shoot every fucking thing they can think of because they're not gonna cut it until they get into the editing room.
There are other directors who are cutting the movies in their head.
We only have this shot of Tori and then the wide, and that wide will be the same shot we start with in the next scene.
They are only shooting the shots they need for the cut they see in their head.
This is supposed to be night.
Do we want to keep it night? - Yeah.
- Okay.
'Cause then our porch conversation, is right after that.
- Right, okay.
- We can just black that window? Yeah, no sweat.
Yeah, we'll make it happen.
The thing about Shane is he is sort of shooting that way.
He is very confident on set.
The question for me is just is he right? Cool, cut.
That was perfect.
Can we do one more where you don't move with the phone so it's not a weird cut? - But the way you did that was perfect.
- Okay.
Because I see a lot of times where he's not covered it, where there's not gonna be a lot of options.
What that means is most of the edit will be just cutting whole scenes as opposed to making scenes work better because he didn't shoot the footage.
He drops the clippers, runs over and they meet each other somewhere here for their big epic kiss.
We get the shot of the family reacting.
The overall looking out for, "Did we get the story? Do we have the scene? Can we put it together?" I think Lauren's pretty good at that.
I think, though, sometimes Lauren and Shane don't see the same movie.
Are you gonna do a couple or you're just doing the one? Did you I mean, you're doing it every time I say something.
No, I know, but, I mean, like, I'm just I'm talking about in the moment, like, when you've done it once - and we're - No.
It didn't really work and I don't know.
- I'm just thinking - No, I mean, I do it once.
Colleen says "why" and then I come to my Okay, so what happens if you do it once? "I'm going to make a complete asshole" blah, blah, blah, - But, like, I'm just - If it doesn't sell, then we cut to the shot of the floor with hair falling on it.
If Lauren thinks it's done, Shane might not, and if Shane thinks it's done, Lauren might not.
That's more what I'm worried about is that Shane just has so much going on in his head, can he really continue to keep the cut in his head so we don't end up in the editing room realizing, holy shit, we forgot the whole other side of this scene, or I have nothing to cut to because we didn't shoot anything else.
And then we get their dialogue here.
- Okay.
- So we stay there.
It's not that much, but I'm shaving my head - so it's gonna be a nightmare.
- Yeah.
Shane is shaving his head for the movie, so, obviously, the most important thing we need to figure out is make sure that we've shot everything we possibly need to shoot with his hair before he gets rid of it.
This tape was out in the car, so it's all cold, it won't stick.
Yeah, looks good.
- Feel good? - Yeah.
Cool.
And the last shot we needed to get of him with hair was an insert shot on the Duquesne Incline of him pressing his face against the glass.
Action.
Point at something.
Draw a wiener.
- Cut! - Got it? Did you want any other options or are you good? I think we're good.
Dick sounds like it's happening in L.
A.
Now.
- Dick will happen.
- In L.
A.
They're having a hard time finding the right dick.
Pittsburgh has a lot of things.
They have French fries on their salad.
They have beautiful architecture.
They have a definite lack of black penises that are willing to be shown on camera, and I think I have really exposed that.
- It needs to be black.
- It has to be black? - It's the homeless guy's dick.
- Oh, it's the homeless dick.
I mean, we tried everything.
Corey was calling prostitutes.
I was on Tinder.
Lauren was on Craigslist.
We couldn't find any.
It was ridiculous.
So when I get back home to L.
A.
I need to get a shot of two butts, a shot of a black penis.
Actually, that's it.
When I walked into Animal, I felt like they were old friends.
It felt like our office in Dumbo, just with money.
During production on my day off, I met with Beth Voltz who is an editor who works out of Animal in Pittsburgh, and she's super talented.
So you're having a lot of fun still? I definitely feel fatigue, and sometimes it effects my mood, but, um, I'm having the time of my life, Beth.
The actual editor of my film is Charlie Porter, but Beth was the person who took in all of the footage as we shot it, and then she would take the script and basically put together the sequences that she could with the footage that she had.
In my experience, every time a director sees something for the first time, they freak out.
There is the shock of the actual thing because for so long you've been living with the thing that you imagined, and you've been working so hard to make that thing that you imagined into something real that other people get to look at, and the first time you see it it's going to, of necessity, be radically different from all of the things that you imagined, and that usually scares directors.
And then, after a couple of days, they realize, "Oh, wait a minute, I did actually make something.
No, wait a minute, that thing is actually beautiful, and, oh wait, you know, that actually bears a really striking resemblance to the thing that I set out to make.
" Anna said to me, which was really, really sweet after looking at the dailies, "It is so crazy to me how much they look like what I was imagining.
It's like my brain vomited out onto this film and I'm actually just looking at it.
" So there's a scene in the movie where Scott and Tori have their first kind of angry conversation and it all takes place while dancing.
We have taken two of the whitest people on the planet - Yeah.
- And forced them to learn moves that should only be done by professional black people.
I'm supposed to look like that.
She's supposed to look like that.
Are we gonna wear the same wardrobe? We're gonna be naked.
That way people will be distracted, - and it's gonna be in 3D.
- Nudity in the movie oh, my God! This is the most unpleasant visual that I've ever had.
I'm gonna be editing this movie so I can speed us up, slow us down.
Can you make me look like J.
Lo? I can't do everything.
The day of my head shaving was a hard day because we were also doing the big dance sequence.
So there was a lot going on that day.
So Shane's getting very concerned 'cause every time he turns around, everybody's eating a sandwich, and the next half of the day is way more important than this half of the day, so I know you're going fast - but like we got to - I'm pushing 'em.
- This is a big - But like, I know, he's just sort of like, "Every time I look around people are, like, eating a fucking sandwich and I get it, there's food and they can eat it, but, it's like, 'I got the second half of the day.
"' He's really nervous about it.
So the scene where Scott and Tori are dancing is when Scott comes over to her house on Thanksgiving because he realizes that he thinks he has feelings for her, so he tries to explain it to her which he's never really had to do before 'cause girls just jump all over him.
This is very hard for me to play, but you know what's easy for me to play? Getting rejected, which is what happens.
You know what? Maybe I don't want a teammate who's merely average sized, somewhat herky-jerky, and pays nowhere close to the attention to detail that one would expect from an aspiring photographer! That was fun scene to do because getting rejected by a girl 'cause I can't dance and 'cause I have an average-sized penis, just a day in my life.
One, two, three.
Perfect.
Our art department is responsible for anything that's in front of the camera.
That includes, for this picture, two Thanksgiving dinners.
They're a little different.
Not only are they in different families so the things that they're serving are going to be different and that's part of the production design I'm trying to convey who these people are and how they live.
One of the dinners is actually going to be plated, and they're gonna be eating at Heather's house.
College seems like a great way to be in debt for the rest of my life.
He's anticipating a little bit off of her line.
Just tell them not to anticipate their line.
I'm paying for your college.
Your argument makes no sense, honey.
I need to make food that people are going to enjoy eating and that they're gonna be able to eat a lot of because there's probably gonna be a handful of takes.
It's not just that Rob is our production designer, and he's a very, very good production designer and the film owes a lot to him.
Rob came in and did everything for us from helping us put up a wall in one of the houses so somebody could have a private living space - To bringing in all of his - Personal employees in the art depart - things, right.
Under his payroll providing us with a studio space to shoot in.
He is really a value-added partner because he was always going one step further.
Let the silence happen, 'cause I want there to be a silence, and then I want restaurant quality to come from the silence.
I'm thankful for all of this awesome food.
My experience with Thanksgiving is this really awkward time.
Dan's original script, what I loved about it and the reason I really liked it is that first Thanksgiving and I was always amazed that nobody ever made that first Thanksgiving movie because it seemed like such a classic coming-of-age moment.
Kid's table.
But for college kids, you've gone away and to some extent redefined yourself.
You've probably fallen a few pegs because you were a senior in high school, and now you're a freshman in college, right? You've also decided that person I was in my hometown or the person I was in high school, I don't really want to be that person anymore, so you try to redefine yourself a little bit.
I am thankful that my paintings were selected to hang at the Met, and that I learned how to finally drive a car! So the reason Thanksgiving is such a weird time is because then you come back half the new person and then you fall right back into the old person thing.
At least turn off your send/receive features! Given that Thanksgiving plays a role in the movie, we obviously have Thanksgiving dinner scenes.
One of those scenes is the scene we shot on Shane's movie at Scott and Janie's house.
Hey, guys, sorry you got stuck over here.
Most of the scene is really more serious than it is comedic.
For Shane, it's a really important thing that he has in this movie which is a balance between broad comedy and sort of real grounded emotions.
At least we don't have to sit next to crazy Aunt Flo.
The character of Ray I think very much helps provide that counterbalance as Scott's dad, and then of course, you've got the crazy aunt who gives the other side of the coin.
Did I ever tell you about the time I got abducted by aliens? Funny story actually.
At some point, I wanna sit down with you guys and really talk about that post schedule.
We're done shooting like I think Shane could be here as much as two weeks after.
He even said yesterday which is fine.
I think he's gonna have a rough cut of the movie that he can show to people two weeks after.
Oh, 100%, I'm just saying what I'm most worried about 'cause we are with this VFX situation, we are adding we've, every day, added stuff to this kid's plate.
Like, and I'm I have no doubt he can get it done, I think it could take two months.
Let's see how it looks after his two weeks and, like, if there's some obvious notes that we can give him But I can already tell by the way he's confident sharing early cuts you know what I mean, that he's gonna have a cut.
- Don't you think he's gonna? - I feel like he's gonna have a cut three days after we're done shooting.
I'm gonna tell you exactly what's gonna happen.
- Tell us.
- He's going to have a cut.
My concern is, though, he gets so in the hole and so exhausted that he's just kind of over it, and when I say over it, I don't mean over the movie, it's just that like he feels like he's looked at it from every angle.
He should then take time off.
Can we schedule in I mean, I have a huge problem with this with directors, usually, but it's like take take a week off when you're done shooting before you start your editing process He won't do that.
He won't do that.
Because he's the type of person that can't literally can't function when he's got a project hanging over his head.
I was really nervous about having somebody else edit anything on my movie because I edit all my own stuff.
Do you just want to look at this what I've be cutting just the Sure.
Let go of me! I came here to apologize! I came here to tell you that I like you for who you are only to find out that you are a fucking asshole! Look, like, Heather basically raped me! Oh, my God! She weighs 90 pounds! 87! Oh, my God, I love it.
It's just something I was cutting this morning.
- I love it.
- It's working.
It's working, yeah.
Yeah, editing is this is amazing.
- I'm very, very excited.
- Thank you.
I usually hate everything.
I'm very excited.
Like, I don't hate Edvard was my assistant editor, which was really great 'cause I never, ever have help when I'm editing my internet stuff.
After going in and seeing just an assembly, a rough cut of some of the scenes, I knew I made the right choice hiring him, and I gave him a few notes and we worked on it together and now we have like 20 minutes of the movie done.
There's this really outrageous moment so far and there's also really, like it's all working.
Yeah, yeah.
I feel like we're all in the same movie.
To be honest, when I first read the script, I thought it would be too vulgar or crazy, but it's being balanced, thanks to you, in such a nice way that it's not.
It's it's a good balance.
Should we trim that up a little bit? - It's not bad.
- Yeah, that's not bad.
It echoes throughout the whole room.
Do you think Anna's looking for barfing sounds? I'm a little bit, going into the editing process, nervous 'cause I know how Shane works and he'll get this edit down, and he'll just almost be over it after two weeks of working on it.
I've seen a couple little edits that Shane has done, and they're funny, and I definitely have some notes, but I have not given any because I'm really curious to see how these things go together.
I think some stuff might get cut because I think it will start to feel a little bit schticky.
Their queen impregnated me, and the baby grew to full size in less than eight hours and then ate its way out of my uterus! Want to see the scar? No.
He's gonna have to listen to my notes even though he might fight them.
And also hear other peoples' notes, and maybe I'll have none.
Maybe it will be great.
I mean, hello! I got all the voices in my head telling me that! So, wait, I want to make sure that you and Rob and Meena are in agreement as to the lighting effect and how you want it to run.
I'm pretty sure I was just thinking the same thing, but I'm pretty sure that we all just agreed to do on-off, on-off.
Something that Anna and I had talked about from an early part of the process was basically a collaboration with my team and with the grip and electric team to figure out what the light fixtures were gonna be.
- You're walking - Yeah.
And then the sensor lights on the garage are activated - by your movement - Got it.
And all I want out of your face at that moment is, uh, shit, like, life is great.
You know that thing? And that's it.
That's all I want.
Pretty much it's one shot and we'll do a couple of takes.
- Okay, cool.
- It's just you walking that's true, and then we're doing a different scene entirely - and I'll coach you through that.
- Cool.
- Anna, you ready?! - Ready.
Okay, set.
Action.
- Cut! Nailed it.
- Just move on, move on.
We can even speed it up a little or with the right song.
Ask Meena.
Did you like that shot? She loved it.
I mean, it's gorgeous.
If we don't move on now we won't get this next thing.
We just won't get it.
- I feel we need to do one more.
- I could do one take really quick Okay, guys, we're resetting we're gonna do one more take of this.
We're gonna do one more take of this and then we're moving on.
In truth and I don't know if Victor thinks this is really rude but I think I would have wanted a bunch more shots of the lights hitting Toby in the alleyway, but you don't necessarily need that shot to tell the story.
It's like a poetic moment that could be gone and the movie would still work, so I feel grateful to have gotten it all.
Every night it's like a panic and then it's all fine.
It's just that Hetzler is really trying not to go overtime because we can't afford it.
I'm considering right now dropping the other shot if you guys make me, obviously, the other one, because I can go directly from Craig's party - to him bursting into his door.
- We're gonna get both.
Just focus in on this, get this now, move on quickly, be ready with what you need for the next shot.
I am.
I don't know what to tell you.
Then then you're great.
Then you've done it.
But I have people telling me very explicitly that I will not get the other shot, so I'm telling them this is what I'm considering.
Do you approve? They're set.
Action! Oh, my God, it's so fucking gorgeous.
It's so beautiful.
Cut! Where does the money come from if you go over budget? Think Shader and Moore just - It comes from post production.
- Oh.
- And then you have a shittier movie? - Yes.
What is that look? Don't even ask those questions.
Ah, right.
I just got to be me, man.
It doesn't matter, we're not gonna have any money for post production 'cause she's gonna burn through all of our money on OT.
That might be true, sadly.
This is it.
My hair's gonna be gone.
What are you gonna do? I'm so excited.
I'm just nervous about you actually doing it.
Do you know how to do it? I mean, I've shaved my body before.
It's the same thing.
Are you sad? Are you scared? No, I'm very happy.
I hate my hair.
I really think you should keep the hair.
Somebody will buy it.
I mean, we're over budget so I can just That's yeah, that's extra money you need.
Yeah.
Say good-bye.
Should we take a picture for the last day? Come on.
He's cutting the hair today.
You're cutting your hair today? You should cut your hair too, in support.
I'm gonna cut my hair in support.
Okay, let's talk about the first time like, when did you know you had to straighten your hair? When's the first time you straightened it? - I was 18 years old.
- Okay.
- And I went for my yearly cut.
- Uh-huh.
Yearly? Yearly cut.
Was that a money thing, or was that just because you didn't bother getting your hair cut? I was gross and fat.
I didn't care about my appearance.
- Okay, great.
- She cut it way too short.
I literally remember every detail.
She cut it way too short and I said "Oh, my God, oh, my God, oh, my God," and she goes, "Well, it'll look longer if I straighten it.
" - Okay.
- And I said, "Oh, what is straightening?" She goes "Oh, it's a new thing.
" - You didn't even know.
- I'm like, "Okay.
" So she straightened it and, you know, granted, I was, you know, 350 - Sure.
- But - But you never look better.
- It looked good.
And I went home and I was all nervous and, of course, my mom and my brother were just like, "Oh, my God, that look really cool," and then all the bands started doing it - and like then, you know.
- Sure.
Everybody in Hollywood started doing it.
And then I lost all the weight and I kept the hair.
Uh-huh, is this basically the same haircut you got that time, like a version of it? Mm-hmm.
So you've had this haircut for seven years? Sabrina the Latina in Long Beach.
- She changed your life.
- Changed your life.
Her and her big old spiderweb neck tattoo.
The idea of the character of Scott shaving his head came from Shane.
When we were working on the script, it came up.
What's the thing that this character wouldn't do? Like, what is the big thing, and it was this really fun little bit of a wink to his audience 'cause they know how much his hair is part of him that this character is obsessed with his hair.
Why would she dump you, Mr.
Perfect, with the amazing hair? I always wanted to do that.
- Yeah, feel good? - Yeah, it feels great.
Okay, good.
You think my hair's amazing? Okay, you know what? You know you're attractive, it's annoying.
Oh, my God, I know what I got to do to get her back.
So shaving it for the character is a huge, huge sacrifice, and as Shane I know he's kept it as long as he's kept it for YouTube purposes, and he'll tell you, like, the Shane that he plays on YouTube is a little bit of a character.
Honestly, I think two years ago, he started growing out of this character, and at this point, he's really ready to do other things and we've always joked that his last video ever on YouTube is gonna be of him shaving his head.
Set everybody? And action.
Scott, what the fuck are you doing?! This.
I'm a complete asshole.
But I want to change.
What happened with Heather didn't mean anything to me.
Yesterday was the best day of my life.
I think Shane's tears and reaction on that first take was really very much from Shane.
I think you could see the real person shine through in way that I think will work great within the movie as well.
I know hating everything and everyone is kind of your thing, but, Tori, I don't hate you.
- Okay? - Uh-huh.
All right.
And cut.
Oh, my God, whoo! Not a dry eye in the house.
Shaving my head was definitely like graduation.
It was kind of like time to grow up, time to move on.
You know, I'm 25 years old.
I shouldn't have that haircut.
I probably shouldn't have had that haircut for the last five years, to be honest.
Everybody in my personal life couldn't have been happier that I shaved my head.
Everybody hated my hair, everybody.
My family, my girlfriend, my producing partner, everybody in my life because they knew how much I hated it, so when I finally I got to shave it, I mean, it was like the happiest day I've ever had.
There was a stepping out of this young Internet world that I've been a part of for the last eight years.
And I was happy and I'm ready to move on and direct movies and still make Internet videos, but, hopefully, it'll be okay that I have a shaved head.
It'll be a little creepy, especially since my audience is pretty young.
But you know what? Maybe they'll grow up with me.
I'm really tired.
It's 5:30 in the morning.
It's the last day of our shoot.
Today is the last day.
It is the last day of the shoot.
The last day that I can say I'm a first-time director.
I've been experiencing, like, huge waves of disbelief, awe, gratitude.
I can't believe it.
I mean, I can believe it because we've been working our asses off, and it's been 20 days, and so I guess that is what happens after that.
I feel very proud seeing the level at which people are into this and having this be something that is so personal to me.
I've made a movie that I think is gonna be really funny and really heartwarming and really fun to watch.
The adrenalin's pumping, and I know that I only have one more day.
I just hope this isn't the last movie I make.
Is Phil already in the car? - Yeah.
- Oh, my gosh.
- Phil's good, - He's good.
Come on, Booby, we are literally like you got to come now, right now.
Okay, I'm coming.
There are breakfast burritos on the line here.
- We're taking off.
- Oh, man.
With or without you.
We'll just have the PA shoot it.
- Come on, Booby.
- I'm sorry, guys.
- Here, here.
I got it.
- I take this.
- You take these.
- Okay.
Thank you so much.
Let's do it! Let's go make a movie! Hello! Last day! What-what? So, like, what's the first thing your gonna do when you go back to Modesto? What do you mean the first thing I'm gonna do? What are you doing there? Like, okay, so you get there and then what? I think my grandma and my mom are gonna pick me up, and were gonna go out, like, for Thai food or something.
You're just gonna tell 'em all about everything? Yeah, they're gonna ask questions they've been asking over and over again.
Whoa! Whoa! We So we're going to the last day.
We're all very excited, a little punch drunk, maybe.
So excited to finish this movie.
You don't have anything for that.
You're out of frame.
It's just Toby has to pretend to get a bad blow-job.
Oh, you poor guys.
It must be scary having a penis.
Page 90.
I mean, scene 90.
I think the Vinyl Vault was one of our most amazing locations.
Shane didn't want a hardcore record store look with, like, 20 million records.
He felt it was more almost like a coffee shoppe type of record stores.
Bringing Hillary, our production designer, out from L.
A.
, was one of the best choices I've ever made in my entire life, not just in this movie, just in life.
This is awesome.
It's the first time I've been here.
This was nothing but white walls.
- Was it really? - Yeah.
She turned this little art gallery into an actual record store that looked amazing, and she did in no time.
Hillary and Callen and everybody else on the art team really worked their asses off.
And she built it from the ground up, and it looked phenomenal.
OMG, that is amazing.
"Surfing through a Pittsburgh winter!" Oh, my God, these are to fun.
Looking at the album covers in the Vinyl Vault made me understand why this store closed because nobody wants any of those.
Nobody wants that creepy album of Lauren doing the skinny arm.
Nobody wants that creepy album cover of Josh and Dan looking behind their shoulders as if anybody is looking for them.
It's a hit record here.
It's Shader and Schoffunkel.
Awesome.
I like "I am not a rock.
" That's my favorite.
Actually, they probably want those, and the sad part is, they're probably hanging on their walls right now.
Hollywood makes me sad.
I can't stop looking at it.
Is that bad? 'Cause I know it's like me and I'm, like it's weird.
Logistically-wise, though, it was a nightmare of a location.
They had one shitty bathroom in a basement that, like, I could barely fit into.
- Gross.
- I'm sure.
There's not even there's no door.
- I'm sure.
- It's a shower curtain.
I was just, like, not even sure if I was gonna make it.
It was so cold, and there was nowhere to pee.
But it was worth it, ultimately.
I mean, it looked so good.
That's the ending of the movie.
It's gonna be with my shaved head.
It's gonna be an emotional scene in the Vinyl Vault, and it's gonna be amazing because it looks amazing, and I had nothing to do with that.
Cut, I do want one more, but there's something about it that felt vaguely non-blow-jobby.
- I don't know why.
- You can't.
- You got to move on, kiddo.
- Okay, we'll move on.
Yeah.
We have enough.
Being married to someone, it's a really weird thing, and it's just like every couple weeks it's a new, interesting challenge.
What are y'all talking about? Sometimes Anna can sometimes be a little mean to me.
Like, I was here for five minutes yesterday and she literally was like, "What are you fucking talking about? You don't know what you're talking about.
You weren't here.
You haven't been here.
" And I'm like, I know technically I haven't been here, but I've been on the phone with you every night.
You call me about script notes.
I think having Victor on set, at first we felt a level of concern about the pace of shooting because that creative team works really, really closely together.
Hey, kiddo, real quick I got a suggestion for you.
- Yeah.
- You don't have to take it.
But because we're running out of time and we need coverage for this right now, this scene would not cut in a million years.
We're going in for the closies.
Here's what's eating up the most time Your direction before the takes.
It's running to two to three minutes before the scenes are rolling.
I let them roll, and then I direct them.
- Yes, you have to get - I do that, mm, sorry.
You have to get your direction in while they're setting up right now.
As it happened, having Victor at the monitor for the most part made us go faster.
Cut! That's great.
Sorry, guys.
- I let you go 'cause it was so good, That's a cut.
- Should I do it one more time before they change? - No, it's too late.
I got to say I have a lot of respect with how you put up with me on "Breakup at a Wedding.
" It's not easy having someone be like "Wait, wait, wait, wait.
" Like, having like a second But aren't you glad when it does work out, though? When it doesn't work out who cares? Discard it.
What scares me is that sometimes, it loses time because it throws me off - Hey, Anna! - Yeah Ready for rehearsal, we'll give you a run through - to see the lean-in for camera.
- Cool.
- She's starting to cook.
- I know, I get it.
- Hey, been there.
- She doesn't like doubt.
Anna does not like doubt.
When you're making a movie, it's obviously important what's going on in front of the camera because that's what you're capturing for the movie and that's where the dollars need to go to, but you have to have facilities for your cast and crew that are adequate.
It's not that fucking bad in here, compared to like other places we've been.
Shooting in the Vinyl Vault also presented us with some logistical challenges, specifically in regards to the location that we were shooting at.
It was a tight location.
There was one tiny bathroom down in the basement and ultimately our cast and crew holding was across the street at another location that I discovered when I walked in apparently didn't have heat and also didn't have a working bathroom.
So to me, this was poor planning, and it sort of reflects poorly on everybody.
If power's an issue we can't just plug in heaters everywhere.
Right.
I mean, there's a heat there's a stove right there.
There's this.
I was slightly confused when I walked into the extras holding and I saw campfires.
I mean, I didn't know you can do that indoors.
I thought that it created, you know, some kind of a smoke that could kill you.
I'm sorry, did our set medic just come in with kindling for the Yes.
Well, no, they've been having to do that.
That's not the first time that's happened.
What is it? The fucking 19th century? Yes, yes.
I was very frustrated with Drew that night and ultimately, we had to find another solution.
Lauren, is Drew around? Have you seen Drew? - Drew locations? - Yeah.
Drew, I don't know that was a while ago.
So he has no location rep here? Not that I know of.
I fucking hate this.
Fucking hate this.
Fuck them, no.
I mean, what the fuck do they want me to do? It's not L.
A.
, I'm sorry.
This is Pittsburgh in fucking February Oh it's March, so suck it up, put a fucking blanket around your face.
- Drew! - I'm fine, I'm warm.
My heat my fucking blood is boiling.
I am good.
I think a lot of people by that point in the shoot were just looking for something to complain about because we haven't really had much to complain about.
So everybody got excited that there was a problem.
I mean, this place is kind of notoriously cold.
Right.
So this was just a bad idea.
But, I mean, it's not a bad idea because it's right across the street from set - and it's the only option.
- Right.
But it's cold.
I went with the best option.
I don't appreciate it being called a bad idea.
Because I busted my ass to get in here for the price we did the week that we're doing it.
- Okay.
- Every other gallery on the street turned me down.
So and if they weren't willing to do the roundie that was cheaper, I would've done that.
- Right, okay.
- So, I mean If you were told by the ADs that that was not an option you should've come to us because having we can't have people, you know when it's 15 degrees outside, we can't be in a location without heat.
That's the part that's a bad idea.
It's not being put on you that that if The actual location of the place is awesome.
It's just, you know I've just been hearing it from everybody all day.
I understand.
Everyone's tense, everyone's tense.
You know why? 'Cause they got nowhere to piss or shit, and they're cold, so, yes, and when people complain about a location, they're gonna complain to the fucking location manager and that's what you are, so that's what you know, I mean, comes with the fucking territory.
- I know.
- Turned out there was a church down the street that we're able to get into that had heat and had better bathroom facilities and we were able to make do.
We got to move on.
We are falling pretty far behind.
Anna, you got too greedy.
You got too greedy there.
Sorry, but I got it so good.
We have seven pages.
But it's not.
We got to hurry it up.
How many more shots in this, two? - This is what I do.
- You'll get it in 15 minutes.
- It was great.
- Well, we just need the one more close-up of her, then were done, right? No, then we do this thing for I mean, if you need it.
We do the thing from the front seat.
Knowing that I was gonna stay flexible and making it something that I really loved through staying open to making changes in the script while we were shooting, which I did a lot, and using improv to make scenes come alive more where I thought maybe they weren't the writing wasn't in tip-top shape.
You can even say, "calm down, poop dick.
" I like that a lot.
Maybe maybe instead of "that got dark fast," you say "calm down, poop dick.
I obviously don't want you to DUI.
" And one of things that can really help us is that when we do these big rolling takes, it seems sort of like, "Oh we're saving so much time," but when you cut after each take then it really gives a sense of like urgency, like I'm gonna give my note and then we're gonna keep moving.
I really truly get what I want for real because there's so many notes, so many like We just do it so many times.
We do it so many times when we do a rolling take.
For Anna doing rolling takes, it does actually help her, makes her feel more comfortable.
It's a strategy in the sense that it also allows the actors to sort of flow into a performance.
Okay, hold.
You want to take it again real quick.
"Wasn't that just more of just the tip situation?" "That's very flattering, but I was halfway inside of you.
" Let's take that a little more charming.
Hold let's just do that one more time and put your hand on the back of her hair and make it really passionate 'cause you're actually inside of her right now halfway, and action.
Hold let's do that again and, Rachel, can you put your shoulder down a little bit? "Wait, whoa, whoa, whoa, maybe wait, wait.
"Maybe we shouldn't," and you're like and you're you're actually super like, "Are you serious? I was halfway inside of you.
" You're like, "This doesn't make logical sense," okay? He didn't get that awesome moment "That's very flattering" - The way you wanted, I got it.
- I want it until the end.
And then I was so super satisfied, and I'm super confident that I don't need to do it again, but I needed all that rollingness to get to that place.
They're all gonna start here, and then they'll go back.
Can everybody be quiet for a minute?! I just need to say something?! Okay, so once the music starts and we - everybody be quiet, I'm not - Everybody be quiet! I love everybody, but shut the fuck up just for a second.
'Cause we are not good dancers and we need to nail this, so once the music starts and we start doing this type of shit, everybody just kind of like, "what the fuck is going on?" Give us room, kind of spread out, and then once we start going, it's kind of like a "yeah," and start getting into it like cheering us on.
Cool, let's do it.
All right! Here we go, let's roll it up! If we're not in the shot let's clear the frame! Picture's up! Background action, and action! So the scene where Scott and Tori are dancing there is choreography, there is acting, there is a lot going on, so we had a practice it.
After about eight hours of practicing, we were just okay, and that's good enough for me.
Cut! - Yeah! - We got.
We got it.
Sometimes you don't get it.
Sometimes a guy doesn't give it.
But it's so worth it when you get it, and I'm not actually over yet.
You know what I mean, like, we can go superfast on the wide so that I'm only five minutes over and then there's no problem.
I know, but it is a giant day.
- I know.
- It's a shockingly giant day.
It's a giant day in that there's time allotted for each scene and I'm within my time right now.
I won't be in 20 minutes.
Yeah, I know you're feeling a little stressed right now.
Let's try and alleviate that.
You don't need to feel that.
- I'm sorry.
- Well, that's kind of my point is I'm just trying to convey to you guys that I'm not stressed so you don't need to be stressed.
Every day, it's like, "You have to do it," and I'm like, "It's okay.
" No, no, no, this is a conversation.
You remember we talked about the difference between like - criticism and coaching? - Totally.
- This is just you guys - But I don't know if I agree that cutting and then giving a note that's just not how I'm working.
I find it actually defuses everything and I really, really, get what I want when I do the rollingness and they like it too, so, like, I think it saves time.
It's a complicated relationship because we work together and we're in love with each other and were married and we have this life together, and it's just it's interesting.
Cut.
So good.
Oh, my God! That was so good.
That was a total orgasmo, it was great.
Hey, kiddo, script-wise, if you're gonna watch this one shot, it's all gonna be one shot, which I think is a great idea, I would cut the when she says the lesbian line and they're about to go back to kissing.
That's where she hesitates the kiss, he goes "what?" And then they kiss again.
They shouldn't have make out, then a what, then a make out.
There's too much making out.
There's a lot of making out in this movie.
So is your thing is your idea that he tries to make out with her after "sicko," and she's like, "hold on," and she looks at him? No, no, yes, but it's not like he tries.
It's just a quick moment, a very a quick moment.
It's just a moment where he sees something in her eyes? He sees that she is taking him in and like is so impressed - that she's with Scott - Yeah, that's what it is.
And then he goes, "What?" And he goes, "Nothing" and then you guys make out again.
I mean, are you sure that There's nothing to cut to.
You can't cut back to the wide on it.
So you're trying to make it quicker, is that what it is? It will be a quick beat.
The scene is totally turning I was gonna instruct that she push him away so we know I don't I don't know if l like that's a big jump to make with like "sicko," he's being all sexy - and then - It'll be funny.
Just make it a funny sicko, It's not a gross sicko, it's just a funny sicko.
No, I'll just usurp you right now 'cause I'm the director.
No, you're not usurping me.
This is a suggestion.
You can use it or you don't have to use it.
I suggest it as an alt because this is going to be a one take in the edit.
Okay, I hear you, I hear you, I think it's just a matter of making the make out really fast and then I want her to push him away and look at him - You want this? - But maybe you're right.
I think I'm gonna try it.
Can we just rehearse real quick? Do you want to just take it from the lesbian line? Totally.
Thank you.
We're doing Victor's thing where you don't kiss at all, "sicko," and then he sees something in your eyes that makes him ask "what?" Okay.
She got to use the word "usurp," so the reality show gets that now.
She says, "I'm gonna usurp you, wait, no, I'm the director.
" I'm like and I said, "I'm not usurping you.
This is a suggestion.
" Everybody, quiet, please.
I know it's all good 'cause in the end, it comes down to an edit bag.
There's some very dark days, some very long dark days.
Anna, on your call.
So this is what I did.
That's good, can we just get, like, her head you see us dancing - and then she cuts - But not Bill, just Janie? 'Cause we already got the Bill and Janie.
Okay, all right.
So what's - So still 87.
- Same thing.
- Same thing? - Yeah.
All right, guys, here we go! We're gonna do it one more time! Jim, let me know when you're totally set back there.
Okay, everybody listen up, I'm gonna be a bitch one last time and ask you guys to be quiet, totally, totally fucking quiet! No work, no talking, no footsteps, no moving! It's gonna be as painful as hell, and you're gonna love it! So that's starting now! Hit it, Joey! And we're dancing! Probably the last time we're ever gonna see each other again.
It's a slow romantic action.
Have you found your quiet place? Great, like kindergarten.
Here we go, roll sound.
Yup, sound speeds whenever you're ready.
Ready, and action.
They say you can't go home again, and I never really understood what that meant until you come back for Thanksgiving break.
87 Jackson take 3.
- Okay, got it.
- Got it? Yep.
But in my Fiction 101 course we read a bunch of John Updike.
"So why be afraid of death," Updike says, "when death comes all the time?" There's something nice about the idea of dying every day and of being born and born and born.
Okay, cut.
- You got it, Anna? - Got it.
- Shane, is that thumbs? - That was great.
Okay! Great! Beautiful people, that is a wrap on "Hollidaysburg"! Everybody, listen up! It's also a wrap on Rachel Keller! Whoo! It's a picture wrap on Cherami! And that is also a picture wrap on Shane Dawson! Yay! Congrats, buddy.
Coach! You did a great job.
Yay, fabulous.
Get in here.
Whoa, don't hurt anyone! Ohh! All our background, all our crew, you guys were just fucking amazing! We just made a movie in 20 days.
We're gonna kick the shit out of team Anna, and we're gonna fucking win.
How can we not? Thank you guys so much! This is just a dream come true that I could ever have imagined it.
Literally, this was what I was working towards and what I always wanted, and it was even more incredible than I ever could've ever known or imagined because I didn't know who each of you were and I feel like each person who is here right now gave so much of yourselves to it.
Hey, everybody, sorry to interrupt the party.
I just want to say thank you guys so much for not only being part of the movie but also for coming to this wrap party because I know a lot of you guys you didn't have to come and you came, and that means a lot, so thank you, guys.
Working with Shane was was amazing.
Thank you for kindling our love.
I'm so, so thankful to Shane and Lauren and Josh and Chris and Dan and Corey.
- Bye.
- That was not kiss.
- We love you, Shane.
- Come on, kiss.
- Somebody I want to talk about is Joey.
- Oh, yes.
He is our office PA/ producer's assistant/handyman.
Basically, he's awesome.
This is Joey.
I finally feel like I know what I want to do now, and I just can't say thank you enough.
What was your favorite part of today? Our favorite part of the day, we had a very long, long, long involved question about producing credits - on this picture, actually.
- That's true, yeah.
And we decided our favorite part of the day was right now Uh-huh.
When we tell Rob Long that he's getting a co-producer credit.
See, look? There's a happy face.
- Happy face, happy face.
- That Rob's happy face.
- Yay.
- Thank you, guys.
So I told myself I would never cry on this show.
I just feel very, very grateful and very happy because today everybody came up to me during the wrap party and said that, um, I made them feel important and I made them feel like that they were doing a good job and I made them feel happy and I made them feel appreciated and that's it's all you want as a director.
You want people to be on your team and be excited about the project and feel like feel like what they're doing means something.
Drew just kind of you know how awkward Drew is.
I said goodbye to him and of course I kind of got sad and teary because, you know, I'm gonna miss him.
I mean, I took a kid, an 18-year-old kid from some random town in California who's never done any acting in his whole life and I put him as a star in a movie and he killed it, you know, and it's gonna change his life and like it feels really good to do that, so All right, I'm at a gas station so I'm gonna go inside and get a candy bar.
You produce the movie in pre-pro.
You go into shooting, and it's like hunting and gathering.
You're grabbing as much as you can, and then when you go into post that's when you build your movie.
It is two days after we wrapped the movie.
I'm happy, but it's not over.
I have to like edit it.
I'm excited to cut it.
And then I have to, you know, do sound mixing.
I feel like it's gonna take a second.
I'm sure I'm wrong.
And then I have to do a million, bajillion screenings and meetings.
Okay.
It's only just begun.