I've been in Hawaii for two days but it seems like much longer because of the time difference. I'm surprised that I've been doing work on the film. I was up early yesterday so I previsualized the "hyperfoley" scene in Cinema 4d. It only took about an hour and a half. I'm also following up on some photo props with Sara at mantofev.com and was able to check on the arrival date of the camera crane. Plus I've been corresponding with Dan about the final red room exposition. Actually, a lot of work on the project was done in Hawaii. I wrote the script here a year and a half--and three different endings--ago.
Telecommuting seems so mundane these days. Here's an "I remember the days" story. Back when I was at UCLA, my sculpture instructor Gary Lloyd (Google him) had to be in New York so he decided to hold class "long-distance." That meant talking to us on the phone and sending us some images (an anime-style drawing of a woman saying "Gary I love you") via a Qwip system. A Qwip system was a prototypical FAX machine that was available before the term "FAX" was coined. Yes, this was back when FAXES were hi-tech. Yikes. Let's move on before I start talking about how I used to walk three miles to school every day (actually I didn't, but I did have to take a bus home).
Ben arrives this am and I'm going to pick him up at the airport and spend the day with him before Kris arrives. BTW, the end result of the "Hawaii shoot" idea is that we're not going to shoot anything here. We just couldn't think of anything to do that made sense. Ben was also afraid we'd get a review like "the scenes shot in Hawaii look like the producers were trying to parlay a tropical vacation, Roger Corman-style, into a film" (see She Gods of Shark Reef for an example).
Notes to myself on our current production process:
1. Check out/build location and take photos.
2. Previs in 3D
3. Rehearse with Ben and camera, look at footage and improvise/critique
4. Create shot list
4. Shoot down the shot list
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