So, last weekend, I was a production assistant on a short film shot in nearby Owensboro and Henderson Kentucky. Lee Goldberg, executive producer of Diagnosis Murder, writer for Monk, Spencer For Hire, Psych, Nero Wolfe Mysteries, and a whole slew of other well known series, was the director on this project- his directorial debut from what I understand. Nicest guy you could ever ask for– very cordial on set, easy going, more than willing to sign any of his many books for you (if you ever try to get two books signed within 5 mins of each other, use a different name the second go around …just a really cool guy all around.
I read the script for Remaindered a few days before the first day of shooting on Friday, and I loved it. It’s comical, there’s a bit of violence, but it’s balanced so well with the light nature of the whole project that it doesn’t ever really get dark in any manner. It’s got some really nice plot twists…I remembering reading– thinking to myself, ‘this seems rather mundane– pretty standard stuff’…until the end where you sit back and smile at the smart ending. Very clever, Mr. Goldberg, very clever, indeed.
So, production assistant isn’t a very glamorous job, and I spent most of Friday night outside just waiting for something to do. I had to miss Saturday’s shooting due to issues at work I had to deal with, and Sunday was fun. I met a lot of nice people Sunday– it was definitely nicer to be inside to see some of the shooting and the whole process as it takes place, even if I was lying on the floor in the produce department cueing extras into the scene for background action. It’s always nice to get any experience possible.
I’m nearly finished with this video and film program at school, hope to move somewhere in the southwest next fall to finish a bachelor’s degree in film or something closely related. My goal is directing, but I do love cinematography- just the way they make things look really fantastic in movies and TV. God knows the raw footage looks nothing like the finished project, and that process is just exciting in a lot of ways.
I’d like to thank Rodney Newton and P.J. Starks, whom I got in touch with about taking part in this whole process. I had a small role, but like I said, any chance to get more experience is worthwhile if you ask me. I hope to get the chance to do some more projects with them in any role they’ll have me fill. Same goes for the rest of the crew- Marx, Lewis, Neil, Sharon, and all the others who couldn’t have been nicer throughout our time together on this project and others.
I’d also like to thank Lee for being a cool guy. Friday night, I approach him, all fanboy nervous (I love Monk and the Monk books he writes), my voice cracking, trying my best not to sound dumb in front of THE Lee Goldberg, and what do I do, I awkwardly mention we had chatted online twice before about his first Monk book, and how I made a big deal about how he had the character of Monk eating cereal and milk (not realizing Monk is deathly afraid of milk). Shooting was about to start again, so our conversation was kind of cut short, so I kept hoping he didn’t think I was bashing him! He took it in stride, making note that around 10, 000 people had told him about the milk thing, totally cool about all of it.
Lee did tell us some really interesting and often hilarious stories while on set…about Hollywood, his experience in writing for TV, and even some of his experiences in years past in Owensboro where he comes to work with the Mystery Writers group.
I got that first Monk book signed and got a second stand alone novel of his signed as well. Now, I just need to get a Burn Notice book signed by his talented brother, Tod Goldberg, who is also an author (of course). Someday.
Can’t wait to see the final product of a weekend of hard work by all. I have a feeling, from what I did see, that it’s going to turn out great. A totally enjoyable experience, and hopefully there will be more to come.
On Thursday, June 4, 2009, USA Network kicks off a hot summer of hits with the Season 3 premiere of BURN NOTICE in its new timeslot at 9p/8c followed by USA’s newest original series, ROYAL PAINS at 10p/9c. Launching the Thursday night block, the network window premiere of the James Bond hit theatrical “Casino Royale” will serve as the lead-in to the two shows.
BURN NOTICE, the sexy, action-packed #1 show of the year, stars Jeffrey Donovan as Michael Westen, everyone’s favorite blacklisted spy. Stranded in sun-soaked Miami, he continues to use the only tools he has at his disposal: his wits, his charm, his special ops training, and his “friends” – Fiona (Gabrielle Anwar), a beautiful ex-IRA operative who also happens to be Michael’s ex-girlfriend, Sam (Bruce Campbell), a washed-up military intelligence contact who works as Michael’s sidekick, and his mother (Emmy Award-winner Sharon Gless), who Michael has spent most of his adult life trying to avoid.
This season opens with Michael emerging from the water, completely free from interference by the organization that burned him, but now under investigation by the police. Michael faces a new foe in Miami Police Detective Michelle Paxson (recurring guest star Moon Bloodgood – “Terminator: Salvation”), who becomes obsessed with uncovering the truth about Michael. Also in the upcoming season we see Michael and team help a kidnapped child, take on Latin American thugs and deal with some familiar faces while Michael works to get back into the CIA. Ben Shenkman (“Grey’s Anatomy”) also recurs as Strickler, a freelance spy broker who makes a living by contracting current and former spies to do work on the side. This season we also see the return of some of the most popular characters from the first two seasons including Jay Karnes as weapons dealer Brennan, and Seth Peterson as Michael’s brother, Nate.
BURN NOTICE was created, written and executive produced by Matt Nix (“Chasing Vermeer”). Mikkel Bondesen (“Catch That Kid”) also serves as executive producer. The series comes from Fox Television Studios and Fuse Entertainment.
The official BURN NOTICE online experience will be driven by the show’s innovative and industry-leading brand integrated gaming franchise – COVERT Ops (www.burnnoticeops.com), which to-date has challenged over 700,000 players to test their skills at being online spies. The new season and game-play promises to be just as compelling with arcade and casual game-play styles drawing in fans. The new gaming experience will feature mini games that test players’ advanced skills including weapons training, motorboat chases and dodging trackers. Another new user experience driving enhanced fan engagement will be the BURN NOTICE on Location feature, which provides fans with an insider’s look behind the scenes on location in Miami and interesting production tidbits that support the creation of the action-packed series. Back by demand will be key features, including “Ask a Spy” video Q&A hosted by the show’s lead character Michael Westen and “See it Like a Spy,” which challenges fans to build spy gadgets out of everyday items.
Usanetwork.com will also feature show trivia, full-episode streams and mobile and social applications.
USA Network is the #1 network in all of basic cable and is seen in 94 million U.S. homes. A division of NBC Universal, USA is the cable television leader in original series and is home to the best in blockbuster theatrical films, acquired television series and entertainment events. The award-winning USA website is located at http://www.usanetwork.com. Characters Welcome.
USA Network is a program service of NBC Universal Cable a division of NBC Universal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience.
Some items of interest with the new fall TV season…
Dexter is back on Showtime Sept 28. Along with the devilishly funny Californication starring David Duchovny as sex-addicted writer Hank Moody (cruel irony? Duchovny recently came out as a sex addict himself). Love both shows, especially Dexter. Never before did I think I’d love a serial killer and think he was a swell guy. If you’re not familiar with the premise, it’s based on a series of books (the first book, which I have read, is terrible when compared to the television series) about Dexter Morgan, a blood spatter analyst for Miami, Dade County who also happens to be a serial killer. The catch is- he only kills bad guys…other serial killers, rapists, those sorts of people. Michael C. Hall (Six Feet Under), plays Dexter, and he does so brilliantly. You can’t help but love the character and root for him constantly. It’s a weird feeling watching a guy kill someone, and then find yourself on the edge of your seat praying the cop driving by doesn’t find him. I saw the sneak peek of the premiere episode, and it’s decent. Not much happens, but they introduce some new characters and what seems to be the basic storyline for the season…Jimmy Smits is involved as a local district attorney.
CBS premiered the US version of the British series Worst Week of My Life. The US version is simply titled Worst Week, and it’s nearly as hilarious as the original UK version. I saw the British version on BBC America a couple of years ago, and I laughed out loud throughout every episode. A rare treat, no doubt. The American version changes it up a bit, in the opener the female lead is pregnant and about to get married to her boyfriend. In the UK version, series one dealt with their upcoming wedding and the disasters involved with it and series 2 tackled the pregnancy. Basic premise is- the guy wants his girl’s parents to like him, but he is a complete disaster in nearly everything he seems to do- if he’s not flooding her parent’s basement and destroying the electrical system, he’s busy peeing into a large pot of food thinking it’s the bathroom. There were a number big laughs in the first episode, and I’m pleasently surprised after reading a bunch of bad reviews from fans of the original.
Not sure how they will turn a 16 episode 2 series British series into 22 episodes per season into the forseeable future. But, I don’t even understand how anyone could write one episode of TV and get anyone to watch, let alone 22 every year.
It airs Monday nights on CBS.
Mark-Paul Gosselaar stars in TNT’s new record-breaking series Raising The Bar. He plays an atty in the public defendant’s office who is all about making the law work and it working fair no matter what. He spars with clueless judges and unethical attorneys in the DA. Saw two episodes of this, and it’s actually really good. I didn’t think I’d like it, but I’m actually very much looking forward to the other 2 episodes I have on the DVR.
Gosselaar is wonderful as is the rest of the cast…nearly all of them I’ve never seen before, but it’s well rounded so far, and the numerous characters add their own dimension to the plotlines which works well. I’d recommend checking this one out as soon as you can.
It’s Always Sunny in Philadelphia’s new season started last week on FX, and it’s crazier than ever. Two eps per week, same as last year…last week we found the gang hunting humans for man meat and hunting former friends for sport. When Charlie asked if it was racist not to kill and eat the black guy, I was cracking up. When Dee pecked like a bird at her burger because the taste of human flesh demanded she eat more and do it now- wow. Great stuff. It seems the stories and gags juet keep getting more insane each time. The show is often hit and miss for me, but if last week is any indication of what we have to look forward to this season- watch this show now! You’ll be glad (and probably a little disturbed) you did.
Finally- Do Not Disturb on Fox. Jerry O’Connell headlines this series about a bunch of idiots in a hotel who…well, they don’t do much. O’Connell is a ladies man who manages the joint, and he can’t stop having sex with all the girls whose uniforms consist of black miniskirts and black hooker boots…there’s a gay guy thrown in for the comedy of it, Reno 911′s Niecy Nash is here as well, but I personally don’t find her one bit funny or even remotely charming. The rest of the cast are throw-aways who could be replaced with monkeys who could perform the mechanical roles just as well. The show might last 6 episodes before being canned, but canned it shall be…the sooner, the better.
According to TV Guide’s new season guide, there are over 200 new shows…lots more to come…
God, this guy is a massive tool.
He’s horrified by the thought of a woman who has been governor of Alasa for nearly two years being VP, but he’s not at all horrified that a man who was senator for a mere 143 days and a lowly state senator before that for a few years could be preident?
What do we know about Obama? He spent 20 years with a racist anti-American pastor and church, he hosted his first political gathering at the home of a pair of unrepentant terrorists, he bought a home in a shady deal with a convicted felon, he spent a few years before his tiny 143 day job in the senate supporting thugs deep into machine politics in Chicago, he voted against a bill that would have called babies born alive in botched abortions human beings with full rights that all human beings (except yet-to-be-born babies) get. He’s not at all horrified by any of that, I assume?
Liberal Hollywood. Gotta love their logic.
Got my newest DVDs from Netflix today after work…The Dog Problem and The Final Season. ThinkFilm, this movie’s distributor knows how to pick them. Just in the last couple of months I’ve seen (and loved) Life Of the Party, Off The Black, and now The Dog Problem (all distributed by ThinkFilm).
The Dog Problem
Anyway, I watched The Dog Problem tonight, and my main description would just be “charming”. Charming throughout in every way, shape, and form. Giovanni Ribisi is charming, his female lead is gorgeous and over the top charming (you just want to protect her for some reason), the dog is beyond cute and charming. The look of the film is even charming. It’s just a charming flippin’ movie all around.
A fairly simple story of a man filled with loneliness who gets a dog. A few background characters to fill his life with, some comical drama in the subplot having to do with owing money to various not-so-scary ‘thugs’, it’s all very lighthearted, nothing too serious, funny to the point of a few good chuckles. Ribisi really does a wonderful job here, as do the other actors including Don Cheadle as Ribisi’s therapist (though he has a very small role). Great photography, a very nice looking Los Angeles to go with the quirky plotlines.
Highly recommend this one.
My first day at my first real job was September 29, 1995. I was 16 years old, and I was going to bag groceries at the biggest grocery store in Boonville, Indiana. I hated that job so much. I hated it for many reasons, but that’s neither here nor there at the moment. I called in “sick” my very first day on the job…and for good reason (a good reason at the time). Of course, I had to go to the theatre to see the brand new Halloween movie- Halloween 6: The Curse of Michael Myers. No brainer, of course. I remember I called in and told them I was feeling really sick and wasn’t going to be able to make it in. I’d never do that now- I always get paranoid when I’m truly sick and need to call in (I don’t do it often, or take vacation days for that matter).
It’s odd as a major fan of Halloween, because most fans don’t like part 6. I think it’s one of the best of the series personally. I loved Paul Rudd in the role (even tho I read quotes from him years after where he attacked the movie and his role in it)…I like the look of the film, and there are some really scary visuals. 6 stands apart in my mind simply because of the way it looks. It looks truly like it was shot in and takes place in the midwest somewhere. (It was actually shot in and around Salt Lake City, Utah). I think it might even be superior to Halloween 2. Or maybe it reminds me of my high school years and the good times I had in 95.
It’s the only Halloween I have the soundtrack to- I actually kind of like the rock version of Carpenter’s original Halloween and the weird synth background music the soundtrack is filled with. I absolutely love the song “And Fools Shine On” by Brother Caine which wasn’t on the soundtrack, but was in the film itself. I have H6 on laserdisc as well…odd thing- I don’t have the DVD yet, and I’ve never even owned a laserdisc player. I like the disc tho, and it’s still here with me now.
I remember when the movie came out at the rental stores- I grew up next to a movie store called American Video, which has since been closed and turned into something else which also closed. There was a guy that worked there named Mike- really cool guy with a massive beard and he always worse sunglasses…always had something over his head like a bandana. I basically grew up walking next door to rent a movie everyday. He got the poster for Halloween 6 and gave it to me when I came in one day. He was watching a screener copy and proved it was the real thing by showing me the credits where it honored Donald Pleasance who had just passed away (I think this was his last film.)
At one point, I borrowed one of the mass media classes camcorders and shot my own “Halloween” scenes in the basement and our backyard- I had the Don Post Michael Myers mask along with a set of coveralls I wore…lit candles in the basement as if Myers was taking part in a ritual of sorts…then I taped a friend in the costume ‘chasing’ the camera, tho it was winter and there was 2 feet of snow on the ground and the backyard was only a half an acre, so we had to loop it over and over to make it look like he was chasing someone. Good times…
Anyhow, that’s enough of my venture 13 years into the past (that scares the crap of out me that I was in high school 13 years ago.
Enjoy the kick-ass Halloween 6 TV spot:
I left work last night and went to see Cloverfield. I wasn’t going to see it- I heard some negative things about it in the week before the release (which was yesterday), but while driving home, I heard one of the actors on Opie and Anthony and he made it sound exciting, so I went…
Good thing too. The movie was fantastic. Special effects that were seamless with the rest of the film- I have no idea what was CG and what was live action- you just could not tell in any of the scenes where the real stopped and the post-production effects started.
The story is pretty basic, but it worked really well. The handheld camera idea was brilliant. It was solely that the whole way through. There were some jump cuts as you’d expect with someone recording an event they were living through, but there were no different camera angles every now and then- it was all strictly Hud’s camera as he saw the events unfold around him.
The ending you sort of expected- it’s one of those endings some will love and others will hate. I doubt there will be too many people in the middle when it comes to that. Overall, just a brilliant movie. Scary as hell in parts, full of suspense, wonderful visuals, beautiful young people showing their more-than-adequate acting abilities. I’d highly recommend it. I saw it straight from film, I didn’t want to drive to the digital theatre across town, but I wish I had. Not sure there would have been a massive difference, but with this visually-stunning stuff who knows?
8.5/10 if I had to give it a rating.
Did I mention that I simply adore Jessica Lucas? http://www.videography.com/articles/article_15469.shtml
I haven’t been following this writer’s strike crap too closely. Mainly because, like most Americans, I couldn’t care less about what happens to a bunch of writers living in Hollywood while we’re all out here in the real world making a living.
You can argue that the writers (or some of them) don’t make their “fair share”, but they still live and work in an area that has no idea what the real world is like. I don’t buy the line that the majority of these writers don’t make much dough and they just want a “fair share” of the money coming in. Many of them have families and children they need to take care or, and most of them spend a lot of time in between jobs- basically unemployed waiting for the next big break.
Here’s an idea- if you’re making too little to live on and you find yourself often out of work waiting for work to pop up…maybe you should do what the rest of us do- return to the real world outside of Hollywood and get, oh you know, a REAL job like the rest of us. Is that such an amazingly crazy idea?
I mean, I know most of these people can’t be living lives like we do. Can ANY of you afford to say to heck with making any money and spend your days in a picket line? I assure you, I couldn’t afford to do that for a few days, let alone weeks and months at a time. So, that makes me think most of these writers probably aren’t hurting too badly.
I just see pictures of writers carrying their kids in a picket line with blog entries declaring “they have kids and families too!” Hello! Most of us, if we didn’t make enough money to make ends meet, we’d do what any sane person would do. We’d find a new job that pays enough. We’d cut back in our discretionary spending. We’d find new cheaper ways to do the things we usually do. We’d make it work. We wouldn’t demand more money then spend a month in a picket line in sunny California.
Do writers deserve more of the share? That’s all very subjective and it goes to the heart of the argument in my book- I have a feeling that many writers compare themselves not to the average American but to the average Hollywood actor or producer. Sure, when it’s all said and done- the writers, on average, make less than the top-name actors and big producers. Is that fair? Again- that’s very subjective. I’d say that a big name actor is more important in some cases than the writers who often times make far less. The opposite can also be said of many shows- a big name actor means nothing with a terrible script.
I think this NY Times article brings up an important point:
Under the previous contract, which expired Wednesday night, the six major studios must pay a minimum of $106,000 for an original screenplay, while networks must pay at least $20,956 for a teleplay for a prime-time comedy and $30,823 for a prime-time drama.
Many working writers earn much more. The writer of a major studio release can expect a paycheck of at least $1 million, according to union members, while “name” screenwriters might earn in the $4 million range per picture. The average working writer in Hollywood takes home about $200,000 a year, according to the studios and networks, which are represented by the Alliance of Motion Picture and Television Producers.
That is a lot of money compared with the average earnings of people in Los Angeles County and typical Americans. The average worker in Los Angeles County earned $52,572 last year, according to government statistics, while the per capita income of the overall population is about $25,000.
But everything is relative. Writers compare their paychecks with those of many actors, directors and studio executives and see a need for a major re-alignment. According to the Writers Guild, guild-covered writer earnings have risen at less than half the rate of entertainment industry profits.
So, the argument might come down to- who gets more? The writers or the executives. Well, breaking news writers, when I go to work I often wonder how on earth some of my co-workers make so much when they often do less work than I do and work fewer hours and aren’t constantly on call as I am. Do I complain about it? No. Do I demand more money? No. I realize that the world and life itself isn’t always fair. I just do what most Americans do. I make the best of the situation as it actually exists.
I do know that most of us don’t receive our fair share for the work we do on a daily basis, but most of us don’t spend a lot of time complaining and whining, let alone turning it into an international incident complete with international news coverage. We move on, we find better jobs and better opportunities, or we live with what we already have and make the best of it. Can you imagine if we all followed the lead of the writers’ guild? This country would come to a halt in a hurry, and we’d all be screwed…fortunately very few of us have the same mindset that too many in Hollywood have. Most of us live in a completely different universe. I say- strike. Strike forever if you choose…at the end of the day, in the whole scope of things- your job isn’t important anyhow. Maybe we’ll all take up bake sales and neighborhood parties again. I assure you, we’ll get along just fine without your ever-so-important work.
This is funny:
Christmas presents are hardly a concern when “people are going to start losing their homes and their businesses,” she said.
“Gifts are almost frivolous ideas at this point. This is about survival.”
Most writers and below-the-line workers earn middle-class incomes. The average writers-guild member’s salary is $62,000 a year, according to the WGA. IATSE salaries are similar. Strike or no, employment is inconsistent for both groups, with nearly half of writers-guild members and 10 to 15 percent of IATSE members without work during the year.
“As a writer, you have to develop the instinct of squirreling money away,” Rakhe said. “You’re just used to a lot of uncertainty in the first place.”
The WGA prepared its members for the possibility of a strike a year in advance, so many writers saved money and started buying Christmas presents early.
“Wisely, I did all my holiday shopping throughout the year,” said Sally Nemeth, a writer for “Law & Order” who described herself as “truly a middle-class member of the guild.” “My shopping was very modest, but I got it done months ago.”
Welcome to the real world, guild members.
More: From the same NY Times article:
Moreover, guild writers at all levels are angry about the increasing use of nonunion labor in Hollywood. In the mid-1980s, according to the guild, about 95 percent of industry writing jobs in both television and feature films were covered by the guild. That share, the guild maintains, has dropped to about 55 percent as entertainment companies use divisions outside the guild to produce an array of animated, reality and other shows.
Wah wah. What does that fact tell you? If Hollywood’s use of union writers is down 40% in a decade or so- that means that the producers think that the non-union work is just as good as the union work. Why on earth should a producer pay the big bucks with the absurd union rules for a union writer when the quality could easily be the same with a non-union writer and without the added hassle, cost, and threats from a union?! Wake up, people. You’re fighting a losing battle if the big guys are saying bye bye to union writers and hello to non-union scribes. It makes you sound like crybabies.
If anyone has any links to pages on Hollywood union rules, please comment and link them here.
I did find this:
9. Grip (Stage Hand) (IA) – primarily responsible for moving and erecting scenery, flats and props on the set. Since
union regulations are very strict in regard to these matters, only grips are allowed to touch these particular items.
If anyone else handles or moves these items on the set, a union grievance or possible walkout could occur. As
such, if a polite cameraman helps a grip move a heavy prop, it could cause big problems for both of them as well
as the production.
10. Gaffer (Electrician) (IBEW) – primarily responsible for handling lighting instruments, dimmers, cables, generators,
and other electrical equipment. Just
Unfortunately- this is serious!
Apparently, and I didn’t know this until a co-worker mentioned it to me tonight, in Hollywood there are a gazillion silly union rules. I’m no fan of unions in general. They’re a racket- extortionists that band together for the most part, if you ask me. I also found this from Eli Roth:
Getting into the actual filming of “Cabin Fever,” the Union shut you down during the process. Can you talk about what happened?
It was horrible. These c**ksuckers are the worst f**king scumbags on the planet because you know what they do is they just extort you for money. They don’t look at the fact that you have no money, that you’re making it with Aunt Gladys writing you a check for $5,000. They just see a movie camera and assume you are a billionaire.
After 9/11, there were no movies shooting on the East Coast, none, except for one, and that was us. And here we are saying, “F**k you.” People were afraid to fly and we said, “F**k you. We’re shooting anyways. We are not going to let these terrorists threats or anthrax threats stop us.” So here we are creating jobs for people and pumping money back into the economy, trying to do something, and these guys come in and they f**king threaten the crewmembers, and they say you have to jack up the pay and pay Union rates. They are extortionists; they are Mafia extortionists. I have no problem paying the Union but when you are making a movie for almost nothing, you can’t afford Union rates. It’s like, “Why don’t you guys let me finish this so I can get a bigger budget and come back and make the Union movies? You’re essentially ruining me now.” They are like, “No. F**k you, we don’t care.”
We had the crew working 11 hour days. Most indie movies – I worked 10 years in independent films – you work 18-20 hour days and that’s not unusual. And they had picket signs saying “Unfair Labor Practices.” These f**king pussies wouldn’t even look me in the eye or talk to me. It was disgusting. My producers and I, we got through it but it was horrible. My dad, he’s a doctor, he had to take money out of his retirement to pay them off. It was horrible. He’s not rich but it’s just like that’s what he did so we could keep going.
We had to come back to LA, owing the crew a $100,000 and needing another $600,000 to finish. My producers and I would go around with this little 10 minute clip of different scenes, showing it to different people, trying to raise the money. It was horrible. The Unions were disgusting, even the Screen Actors Guild. They were such a**holes. We showed up in North Carolina and this d**khead Brad from SAG goes, “You’re on my turf now.” I’m like, “Look a**hole, this is the first movie in this area of North Carolina in a year, and the last movie was made by my producers. So don’t f**king be mean to us because we’re bringing jobs to the area. Don’t give me this ‘You’re on my turf now.’” I’m like, “You should f**king thank us for creating f**king jobs.” Nope, they don’t see it that way. If they see a little money, all they want is more.
How did that affect the morale of the cast?
Here’s what happened: none of them knew. They knew we had money problems, but then when the Union shut us down, they felt so bad… The crew didn’t want to turn Union, they just got bullied into it. And they were all great. They stuck by us. Jordan Ladd said, “I’ll take out money from my bank account to help pay for this.”
Yep. I’m like, “Jordan, I love you, but don’t do that.” This is the kind of movie where our [director of photography] was buying film stock and putting it on his credit card and not telling me because he didn’t want me to get upset. The only way you can make a movie like “Cabin Fever” is with everyone sacrificing. The crew was incredible.
Sweet. I’m all for people telling it like it is.