Of course, there’s still work to be done before the film is ready. But with two more days of shooting in the can, principal photography on Three Yellow Roses has officially come to a close. Continue reading
Given the wibbly-wobbly timey-wimey nature of production schedules, it’s pretty standard for effect to precede cause when you’re putting a story on film. The cast, crew, and locations you need for Scene 3 might only be available before those you need for Scenes 1 and 2, so it’s often a necessity to work out of sequence. So it’s been with Three Yellow Roses.
Having filmed a steak dinner on our first day of production, Tuesday evening brought us to Green Fields Market to film the shopping trip before said dinner, and another trip taking place some time after it. Given that one of the themes of the film is the relationship between past, present and future, it seems fitting that our production schedule brings them together as it does. Continue reading
In the tongue of our trade, the last set-up is known as the Martini Shot. When we were working on La Vida de Noche, as Pete and Wes were setting up our first shot, I wondered if there was a similar name for that first set-up.
After last night, I may have to start calling it the Steak Shot.
The slate we’ll be using on our next film is a really nice affair. It’s a dry-erase clapboard (very like the one you’ll see to your left) that Nikki picked up at MPS Studios in Dallas as a birthday present in 2009.
And tonight we’ll be using it to call “action” on one of our projects for the first time. Continue reading