CrashCam CineProductions
PRODUCTION

week 3

SUNDAY JULY 12, 1998, Shooting Day 9 of 16

We shot Toe and the desolate road scene after he leaves Stu’s house and is all fucked up on big game tranquilizer. It was a lot of fun to shoot this scene and we got a ton of good stuff. Lots of road flare scenes shot at 6 fps, and some black light scenes where we had some chemicals in Toe’s eyes to make them glow green.

We also shot Paco calling Jarvis after the Del Rio shoot-out. This scene was powerful. Luis really gets into playing Paco. It was a great performance.

 

MONDAY JULY 13, 1998

G&S Lounge fell through. Lots of miscommunication here. They thought we were going to show up at 10:30 AM and be finished by 4:00PM. We thought we would show up at 6:00 PM and shoot all night. The owner said he would block the back parking lot, alert the neighbors of the shoot, tell the police that we were going to be shooting off blanks, and let us film wherever we wanted. It turns out that there are two owners and the second guy says "Hell no we can’t block the parking lot. You’re nuts if you think you’re going to shoot off blanks, we have neighbors to consider. There’s no way I’m going to let you film at night…"

 

TUESDAY JULY 14, 1998, Shooting Day 10 of 16

We shot some pick ups. Barna got us another pawn shop, Scott’s Pawn on East 7th, the last independently owned pawn shop in Austin. It was perfect.

We went to Sugar and Spice on South Lamar. We shot the scene where Toe calls Ross to sell him the pills. There were a lot of cool shots and great colors. I felt really good about that stuff. It was also fun to busts open the gum ball machine.

Richard and Barna ran the B and C camera. Richard was on a ladder for the bird’s eye view, he ran the CP-16 we got from Jay Duplass and shot on Ektachrome reversal. Barna shot the super8 footage, and Jackson ran his camera in slo-mo. I think it would be neat to, at the point of impact, cut to all three explosions for a triple shot.

WEDNESDAY JULY 15, 1998, Shooting Day 11 of 16

We shot scenes where Jarvis kidnaps Ross. Paul was great as the nut case, Jarvis.

At one point, Jarvis’s belt buckle flew off. The buckle bounced off of Scott Pate’s Volvo and hit Jackson in the hand resulting in a small wound, for both Jackson and the vehicle.

We also shot the drop site scene at the car wash, where Ross and Jarvis fight. Jackson wasn’t happy with the location and all the different colored light sources. I like the idea, myself. So Jackson set up a bank of white soft light to just light up everything. I didn’t get the coverage I wanted, Jackson was moping and we were fighting the sun as it threatened to rear it’s ugly head. I filmed some masters from different angles in hopes to get enough coverage.

Ross and Jarvis were throwing themselves around for the camera. They rolled off the hood and onto a matters several times. One time in particular, they rolled off fast and as they hit the ground, all I saw were feet sticking up. It looked pretty good. If I had more time I would have liked to shoot some of the stuff with a longer lens. I went with the wider stuff so we would have a deeper depth of field and we could speed things up and get more coverage.

Richard brought a bunch of photos to the set, he’s been snapping the camera quite a bit and the stuff looks great. I’m going to send them over to Allison to be scanned into the web site


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