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Day 25 of 29 - Tuesday, February 13, 2001 - Jimi Woods replaces Sholto Roeg as 1st Assistant Director - Holly Goline joins the production as 2nd 2nd Assistant Director. As I drive into the street where the Love Liza movie set is located and park my car behind a long line of vehicles my cell phone rings. It's Scot Broadus, the Props Master, the man I have been hanging out with since day one. My "boss", so to speak. "Where are you, Frits?" he asks. "Traveling - heading your way." I decide not to tell him that I just pulled up... "What's up?" I ask, as I start walking up the street toward the set. "We need some office supplies that will play in a scene later. Thought you could swing by an Office Depot or something and pick us up some." "Like what?" I ask. "You know - folders, paper, large Manila envelopes. Stuff..." By this time I have reached the honey wagon and the power generator, and I'm about to walk by the props truck. I don't see Scot. He must be on the set. "Sure, no problem. How soon will you need it?" I ask. "I see you!" he says. He's walking out of the back of the truck just as I pass by. "Good! Now you can tell me exactly what you need." We both walk to the residence where the set is located. More interior scenes will be filmed involving Wilson (Philip Seymour Hoffman) and Denny (played by Jack Kehler.) As we almost reach the house, I run into Andrea Sweet (Wardrobe Supervisor). I ask her if I can take her picture. I'm getting braver with my camera and I have been taken many pictures during the last few days. I want pictures of everyone that I have met on the set. I'm shooting a partial to a full roll per day now! A few minutes later I take a picture of Tim Cohen (Art Director.) I see someone who I met a couple of weeks ago at the Park. It's Holly Goline and she is the new assistant director. Her title is 2nd 2nd Assistant Director (yes - there are TWO 2nds there...) "Hi, Frits!" she says. "Hi, Holly, how are you?" We shake hands. Holly is very attractive and has a beautiful profile, I think. Caroline Higgs has come back to the set today. Good, I'm thinking. She certainly brightens up the place! She's just hanging out and sits in a director's chair most of the day talking to whoever stops by. Every now and then she takes pictures. One of the interior scenes is a follow-up to the scene filmed the previous day where Denny comes to the front door and gives the rc stuff to Wilson. This scene picks up from there. The camera is now set up inside. They will film Wilson walking in from the hallway into the kitchen. He'll be holding the box and the rc race car on top. Denny will show up a few seconds later in the same shot with a rc boat and a couple of plastic bags containing model engines. Minutes before the start of this scene Scot had asked me to make and fasten a little bright pink flag to the antenna of the boat. I had to rush and was not quite satisfied with the result, but... "Get ready!" It has to do! I worry that the little flag will fall off during the filming... The box of rc stuff and the brightly painted race car that play in the scene were provided by me. The engines are also mine. The model race boat was loaned to the movie by local rc boat modeler David Lanzo, who also flies radio controlled airplanes and has recently joined our flying club, Azalea City Model Aeronautics. Scot and I have this handing over and retrieving props down-pat! In the living room, before each take, Scot hands Philip his box and car. I'm right behind him and hand Jack his boat and engines. After "CUT!" we walk into the kitchen and retrieve the props and get ready for the next take. They do five or six takes. There are no problems and every take goes smoothly. Lunch time! It's always something I look forward to. For lunch I get Bar-B-que ribs, Cajun Jambalaya, Panned Grouper, Steamed Broccoli, and a spicy dish that's called Shrimp, Crawfish and Hearts of Palm Remoulade. Absolutely wonderful, all of it! I always make it a point to compliment the cooks, Gary Miller and Steve Zeiger, who routinely put on a great feast each and every day. During some of the scenes that are filmed in the small rooms and hallway of the house I hang around outside and try to take pictures of those I have missed. I take one of Trey Bosworth (Lighting/Electrician) and Ben Williams (Sound Boom Operator). Later in the day, Caroline shows me a picture that someone had taken of her and Philip Seymour Hoffman at Sholto's party. Unfortunately it's a bit out of focus. "Will you take it again for me if I can get Philip out here?" she asks. "Sure," I say, "but YOU go in there and ask him. I'm not sticking my head into his trailer!" "Okay, wait here," she says. She gives me her camera, walks over to Philip's trailer and sticks her head in the open door. A few seconds later I hear Philip say: "Yeah, sure." "Frits will take our picture," Caroline tells him. Philip steps out, stands next to Caroline and puts his arm around her shoulder. They both smile (hers is much more pleasant...) and I snap the picture. "Thanks!" she tells him. Philips gives her a hug and a kiss on the cheek and goes back into his trailer. Caroline is beaming... "Caroline, I did this on one condition," I tell her. "If it turns out, I want a copy of that picture." "Sure," she says. "I'll send it to you by e-mail or I'll mail it to you. Give me your address." As I write down my address I am a bit worried that there may not have been enough light. I hope the picture turns out... Later in the evening, after the wrap, I help Scot move his props and equipment into the garage and the truck. On the way home I realize that tomorrow is Valentine's Day! I stop by a store and buy my wife, Carol, a Valentine's card. Tomorrow is also her birthday! She knows I have had a lot on my mind these weeks while spending from 6 to 12 hours a day with the movie crew. And the countless hours I have spent on the computer pecking out my diary... She knows how forgetful I am - she'll probably expect nothing... |
