Site Updates
News in Short
Contacts
   
 
   
Soap Box Poets
Viewers Views
Chatroom
Message Board
   
  
   
Starfish
Autographed Items
Events
Fundraisers
   
 
   
Terms of Use
Disclaimer
 
 
   
Day out of Days


Baltimore, August 6, 2005

The almost three hours left in the early morning yesterday were very interesting- a few small conflicts and misunderstandings but at the same time smooth anyway. I feel that the movie now really starts dictating itself. I had bought a dvd & cd player to possibly show my colleagues David's (the director) only short film. It is very quiet and silent and every time I watch it the silence is what makes the film word. It is like walking on nerves. So, while in this nice hotel I had set it up and I got to show some small things anyway and David's short to Dag (Julia) between the wicked and wacko scenes we were shooting.

People just had no time until now. She adorted it. I so love David's short because it is his signature right there and it is what sold me instantly to do 'Mentor'. The second fun part is that it seems so in line whit my own short that it is almost scary. Lol. And you may know by now what a scary person I am. Really. I eat lions for breakfast.
As I was listening to music and thinking about the next few scenes I picked up an odd vibe. I know this frequency. I walked over to see how things were going. And found out they had shot an extra little scene where Susan (Marilyn) just weeps tragically in the bathroom. A bonus so to speak.

I must tell you two things. One is that we try finding things on the run and we always do. And two, especially the "wrongs" end up being interesting flavours of which things will still be "right". Marilyn, being an outcast always and almost like a embodiment of this, went of the board weeping her heart out. Omg. All the way. I still had a small scene with her which was hopefully going to land her character somehow.
Scene is between her and Pollard after he has had some fun with her kissing some and dancing a lot and now the drugs and party and the new morning are coming in. They sit on the couch as they watch the terrible interview Sanford gave earlier that day. As they sit close she keeps kissing more but he stops her and just tells her he won't sleep with her because he needs her to know. Although this may sound hard to do I was hoping to somehow get her to accept her fate after trying to get to both these men and rest her head in my lap and since I had a red rose in my lap (O damn what can you do ever after American Beauty) and lace her face with some of its petals as a light celebration.
Now I was face with a great actress and a dear collegue who went down the toilet and drain in her own tears. As she was in make-up trying to get restored I felt very doubtful if I would be able to get her there. I mean, there are many things in play here. Since she was lost so sad and deep I figured we could probably use the sound if her bathrooming was over the top. So we decided to see what we could do and she would leave and although Sanford makes a tiny phonecall to his PR man to congratulate him with their mutual TV disaster, I would hear the weepings through the bathroom wall and feel terrible for her. At the same time knowing that some honesty is just really hard to take.
We did the scene and yes, she was gone very quickly and no I could not do the rosepetals and was left playing with the damn rose myself doing a little damn loves me yes loves me not. And she was great. But I felt sad for her character. And for us in a way. I was so ready to make piece with her lostness but it just wasn't in the cards. I am sure you understand this is not a negative comment. It is about how certain events are of major influence while proceeding and doing the work. It is also part of the strange animal called talent.
The other small but also major thing was that we had another scene where the two young lovers, influenced by all kinds of odd substances and the moment, just go at each other. In the backroom I listen to the scene to see how it went. Lovescenes are a bit like carstunts. Lol. Hardhard. And not that way either. It was fine and sweet and delicate. I looked at the visuals. Shadows, profiles, lips, hands, movement and skin. Just perfect. A good concert. At the end of that Pollard sort of walks in the door.In the script he says, "O,wasn't that just perfect". Then he just sits on one side of the bed and says, "I'm ready for a little nap". It's naughty, I know. I loved the idea. In my mind he was really crossing the border but at the same time saying to them. Oh fuckers, good for you, long time cummming and JC why don't you just accept your fate and get on with it. I'm not in your way. At the same time it is insensitive and maybe even gives too much away. As I walked into the set to rehearse, I just felt that it was wrong and too much. I mentioned it as we tried to make it work. And smiles came to David, Matt & Dag's faces. There you go. Who needs a better answer. It also meant that the scene became so much easier. We just had Sanford watch them lie there while his face does not reveal anything. It creates a tension which will be straightened out later anyway and it made us wrap at 2:45am. It was our first day of shooting of less than 12hrs. This is also very good for the crew. I was a proud rider on the blue HD as I rode back to my hotel room.

Rutger

Day out of Days List


 
Visitors since October 29, 1999

 
   
I've Seen Films
Festival
 
   
 
 
   
Rutger Hauer Film Factory
   
   
 
  
   
Photo Galleries
Hot Shots
 
   
 
 
   
TV Interviews,
Documentaries
   
   
 
  ©Rutger Hauer
 1999-2018