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We received a note from Mark Constance about a project he did with several Crooked Lane alums:
Hey all,
Just a note that the latest music video (“The Bookstore” by Chatham) that I directed will be part of the youtube featured music video section starting Tuesday (May 25, 2010) through Monday (May 31, 2010).We shot the video in and around the seacoast area. Thanks to our incredible crew including the DP (Patrick Ruth), Editor (Marc Dole) Production Designer (Shawn Carroll) and Costume Designer (Virginia Johnson)!Here is a note I received from Chatham’s dad regarding the video…. If you have time could you forward the link. Tuesday we go live in the featured section. Out of all the video’s we made it to the featured section.Thanks Bill
Here is a link to the video. Please take a look and send it to a thousand of your closest friends!!!Thanks,Mark
And so it was that I was scheduled to be an extra for Crooked Lane on a sunny Monday morning on the 6th of July 2009. I was to be a waiter, so the role called for me to wear a black button-up shirt and a pair of black slacks. So there I was, with about twenty other souls on Commercial Alley in downtown Portsmouth; ready for my close-up or, if you will, my fifteen seconds of fame. The scene was to be shot in CAVA, a nice tapas restaurant that was closed especially for the cast and crew. Lights, equipment, cables, boxes and what-have-you filled the interior of the establishment where, just last night, diners sat and ate mouth-watering dishes with tasty cocktails.
Lest this turn into an advertisement for CAVA’s wares, I need to stress how much time, work, care, and detail goes into the making of a motion picture (no matter how short said film is). I feel that the vast majority of people who go to the cinema are completely unaware as to how much sweat goes into the process!
And it was a sunny Monday morning. One thing prospective extras need to keep in mind is the fact that, true to the job title, one is an extra. One shows up at the time specified. One either wears what they’re told they need to wear, or they bring a series of clothing that might be called for during the shoot by the coordinator. One signs in. And, inevitably, one waits. That is, in essence, what an extra does. They wait.
“Extras. They’re so patient. They sit, and they wait. That’s what these people are: Extras. Extra people,” noted Peter Falk in Wim Wenders’ seminal film Wings of Desire.
Patience is a virtue. But – but! – sooner or later during the shooting, a coordinator will glance in your direction, give you the much-sought-after thumbs-up, and you will receive your instructions from the assistant director, in this case, one Scott Kirkley. This is one of the aspects of filmmaking that a lot of (actually, most) movie viewers take for granted. Sometimes, in a dark theatre, watching the action unfold in front of you on the big screen gives one a sense that it was just put there, and that something akin to magic had put together all the action, acting, lighting, editing, music, dubbing, and sound-mixing. Being an extra on the set of even a short film will disabuse you of that notion, once and for all!
Alas, my fifteen seconds of fame were not to be – such is the fickle nature of being an extra. HOWEVER, as I sat in the hot July sun (getting a little sunburn on the side as well), I had the opportunity to witness an amazing scene unfold before me in the middle of the packed and quite busy alleyway.
The scene in question featured Jessica Webb and Ann Cusack, who play sisters who find themselves in the midst of a supernatural kidnapping. The sun had started its wayward dip over the lip of the alleyway, and the breeze kicked up a little, cooling us down. Director Chase Bailey had set down a large flat piece of wood, and delivered a beautiful, emotional scene where, after Ms Cusack’s character thinks she’s seen her long-lost daughter outside a restaurant, she has a breakdown and collapses into the arms of her sister, played by Ms Webb.
A dolly was set up to circle the actors in a 180-degree arc and was manually controlled by D.P. Patrick Ruth.
This scene was filmed at least three times, each take ratcheting up the emotions the scene called for from its talented actors.
It was breathtaking to witness – the magic of movie-making encapsulated in this one particular moment in time. Hell, I’d even forgotten about my missing fifteen seconds of fame, I was so impressed. Even better, when I got a chance to watch a rough cut of the film, I was able to see the scene in question. I thought to myself, I witnessed that scene being filmed, and it looks bloody awesome.
So anyway, if you ever do get a chance to be an extra on a production, I would recommend that you jump at the opportunity. You might not end up being able to see yourself on the big screen for your fifteen seconds, but something more important than that will be realized.
Keep your eyes and ears open, and you too can witness the awesome power and magic of the movie-making process. And that, my friends, is fun!
The Director of Photography, Patrick Ryan, answers the questions from the Crooked Lane blog about using the RED Camera for the film:
“The Red has the same depth of field as Super 35mm which is a huge plus. We didn’t have playback to help keep us moving. The workflow is great when you are not waiting for the camera to initialize (boot up) and it is prone to shut itself down from time to time. It is nice to be able to put 160 mInutes on a drive and view it at the end of the day.
The camera is an ergonomic disaster. Accessories come off the block at all angles. I am not fond of doing handheld with it.
No plans to add grain later. If you want a film look, shoot film. I hope to see it through a quality color session and learn what is at the limits of the raw footage.”

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