In answer to a question posed in our Facebook page feature, “Ask Barry Weitz”, Barry laid out what a typical day might be like during production on Movin’ On:
Getting Up To Speed –
Let’s say the production schedule is such that we have a day shoot…12 hours… relatively easy stuff… a couple of long dialogue scenes with Sonny and Will and then a rather complicated chase scene with our trucks. The director has rehearsed the dialogue with the actors that morning and made some script changes based on what the location suggests and what the other cast members can handle. I’ve watched the rehearsal, made some suggestions, and released the script supervisor to type up the changes and get them to the various cast and crewmembers. Keep in mind that most of the crew has only read the previous version of the script. They are ready to “rock and roll”, but after the changes we need to update the crew and get them on the same page with the director and actors. As it’s an early call, the caterers have put together breakfast for the cast and crew and we go off to the truck for a delicious burrito and coffee, and to get the rest of the cast and crew up-to-speed.
Non-stop Meetings –
Once final rehearsal and blocking of the morning dialogue scenes are done, shooting begins. When I’m satisfied that all’s going well, I’ll drive to the chase scene location. I’ll meet with the stunt coordinator, drivers, and additional production crew to see if the “chase scene” is ready for the director and cast when the morning’s work is completed and it’s time to move on. As we had a flawless crew, all would naturally be in order and the conversations and decisions of our earlier production meeting would be coming together like clockwork. Satisfied with the progress, I might drive back to the office and perhaps meet some of the local casting options that our 1st. Assistant Director has assembled. I’ll make necessary casting decisions, and then meet with the location people to discuss what the next week’s locations look like and what problems they may be encountering trying to get the right look for the next episode.
Then it’s time for a meeting with the Unit Production Manger for a review on how the costs of the episode are going. Happy with that conversation, and curious to know how shooting is going…. and not having the pleasure of cell phones… I’ll drive back to the location and watch the First Unit do their thing. I’m probably driving while First Unit is taking lunch, so I hope they put aside something for me.
Company Move –
After we wrap the dialogue scenes the whole company: actors, crew, makeup, props, costumes, catering, and craft services – all move on to the chase location, joining the stunt drivers and show trucks.
I love watching the drivers move our monster trucks around like sports cars. I’m fascinated how our gaffers, grips and camera people rig camera mounts and lights on our Kenworths and chase vehicles. And I’m always surprised to see the sound guy hidden in the sleeper in order to record Will’s and Sonny’s off the cuff dialogue that’s always heard so clearly in the final print. The stunt comes off beautifully. I’m thrilled and promise to buy a round of beer when we all return to the hotel later that day.
The Finish Line –
Back at the office (again), I call the editors in LA to check how the previous days dailies looked, and was there anything additional that we need to film to make a particular scene work. If so, I would get those notes to our director and production crew and schedule a time to have that work done. Finally, the department heads and I will have conversations about the next days work.
I’ll often eat in the office while on the phone to LA or talking to the department heads. If not, I may join one or more of the crew for a bite. In any case, we’ll gather at some watering hole later where I’ll make good on my promise to buy a round. We all raise a glass and toast another day of work well done!!!!
Then I crawl into bed!!!