The First Schedule, Laugh, and Designer

So I skipped class again Tuesday night. I just didn’t want to deal with this directing class I’m taking with Chris LaMont. He’s a good guy but he requires a lot and I’m a little stressed out. I’d much rather be working on this project then school stuff. Well I’m really glad I skipped class cause I spent Tuesday night and Wednesday morning working on the schedule, skipped management class again, and finished the schedule. It’s just the first schedule and I’m sure it will change. These things always do. Especially if I make any major changes as I re-write scenes. But I don’t foresee that happening. But for now this means I can start to really talk to the Police, Facman, and Reslife about what exactly I’ll need. We’re looking at a 17-18 day shoot. Right now it’s 17 but we’ll see what the different departments have to say.

I’ve started looking for produces and designers. So far I’ve got one designer. She said that she has lots of experience in costume but is interested in other parts of design. I know her fairly well. Her name’s Linneae Kimball. She’s an Adult re-entry student and has 20 years experience in costuming. So she’s definitely got the job as far as costuming goes. I’m gonna talk to her about being over all production designer because she’s really reliable and knows what she’s doing. I’ve given out a few personal invites to some people. Chad Ohnstad, who produced LOTD with me, and Travis Padour, a student I’ve worked with before. Chad said to send him the script. Travis said he’s not sure if he’s gonna be here next semester. He seemed really reluctant. Which is fine cause it’s going to be a lot of work. He’s in the screenwriting class that I’m auditing and we read the 1st 15 pages of the screenplay. Everyone seemed to like it Travis said he was gonna read the rest. (I sent the 2nd draft to him sometime in January.) So we’ll see what he has to say after he reads the script.

When I made LOTD I got laughed at a lot during pre-production. I got laughed at by companies and establishments that we were trying to get things from. For instance Chad and I went to a hummer dealer ship to see who we had to talk to about getting the rights to use a hummer in our film. They thought we wanted to take a hummer of the lot that day for free, use it for the film, and bring it back. And no matter how much we told them what we wanted to do, that we weren’t filming for a few months, they just didn’t understand. I went to the town hall of Tempe to get permission to film on mill ave for a day. Just a guy sitting against the wall having conversations. This jerk at the city of Tempe was extremely rude and condescending to me and told me I needed a million dollar insurance policy to even start the process for getting permission to film. We ran into situations like that all the time. We just wanted to make a little movie for school and everyone treated us like we thought we were as powerful as Hollywood. The reason I’m writing this is cause I found who has the rights to Take My Breath Away. They laughed at me. Literally laughed at me on the phone, gave me this ridiculous list of things I had to do, and basically told me I couldn’t do it. It was the clearances department at Paramount Pictures. I told Ron Newcomer, a mentor of mine and professor, and he said he knows a company that helps get rights to music and things for small productions. He’s gonna help us out. He told me to write up a list of exactly what I’ll need for the whole film and he’ll contact his contact and see what it’s gonna cost. I probably won’t pull that string for a while now. I wanna make sure I cover everything I need so we just do it once.