Thursday, July 24th to Sunday, July 27th, 2008

I don’t know why I included Thursday in here. I don’t think much happened on Thursday other than I edited a little bit. Alicia also came over with her new revised schedule on a calendar she made. I like the calendar, and I think it’s the shit, but I warn her that she’ll have to redo it. She doesn’t think so, and even if she does, she seems to be on top of the scheduling mess that is Episode 4.

If we’re having this much trouble scheduling Episode 4, I can only imagine how hard our planned Episode 5 will be, which will be our biggest episode to date. The majority of it will all be shot on location at night. The cast involved will rival our features. It will be a huge episode.

When I first started Lot B, it was just supposed to be something we did for fun. If we wanted to try something new, we would test the waters in a Lot B episode. Well, this shit has grown huge now. It’s no longer something we do in between projects, they are projects now. I have no problem with how big it’s gotten, it’s just kind of eye opening looking back at what the original concept was, and what it is now. It was something to pass the time, and now it consumes our time.

In fact, I always envisioned myself stepping into more of an executive producer role on some of these episodes, and not writing/ directing/ producing all of them. Maybe once Episode 5 gets going, someone will want to take the reins for Episode 6.

I guess I’m in a reflective mood, so I’m going to go on.

These past few days, and with all the scheduling conflicts we’ve gotten regarding this episode has caused me to think. Hey, I don’t like it as much as anyone else. Basically, Bill and I brought on Steve and Alicia, and they are fantastic additions to the Backlot Rebels team. Bob has more or less stepped down, so that definitely hurt. Before Bill and I asked Steve and Alicia to become Rebels, we were talking about doing our shit more professionally, and being taken more seriously and running our shit in a more professional manner.

Now, when I say professional, I don’t mean like, Canadian Film Industry professional. I mean, are you kidding me? Have you seen the crap that comes out of this country? Hell, our own people don’t even support it, how can it be taken seriously? Anyways, I don’t mean professional as in how the “pros” do it, because lets face it, that machine is fucking broken. It’s highly inefficient, incredibly expensive, stupidly run, has a chugging pace, and is a time wasting balloon of lead that couldn’t get off the ground if it fell off a cliff.

I’ve always worked with small crews. If I have the money, I’m going to put that green on screen rather than hire 50 more people when five more can do the job. Anyways, there’re plenty of other reasons why Canadian films suck and why we don’t support them, but this isn’t the place I’m going to rant on about that.
Yeah, so basically it comes down to Bill and I talking about treating our work more professionally. But we were talking about treating this shit like a job; the greatest job in the world mind you, but still a job. We’ll laugh and joke around, but when shit’s got to get done, shit’s going to get done, you dig?

So Alicia and Steve joined our team, and we thought this was a perfect time as any to start employing this new method. We already got rid of a couple of actors that, in essence, broke down the on-set hierarchy by getting too comfortable and too relaxed and acted like they were doing us a favor by being in our flicks. Well, I’ll take part of the blame for that, as I’m really grateful to people that agree to be in our flicks and make the sacrifice to do so. Maybe that shit went to their head.

Well, we’re not doing that anymore.

We’re taking this company in another direction. If you don’t like it, take the fucking bus.

So our first project as a unified team was, and still is, Desolation Row. The two actors that are returning to this project that I’ve used before are Harry and Keith. These two are dedicated mofo’s. They respect the process and are excited to be in any project we’re throwing down. They believe in us, our work, and the shit we do. In fact, when we had to re-shoot, Keith came down on really short notice, and Harry gave up a days worth of work to come and shoot. In fact, I think Harry gave up a job to come and shoot one of our projects before. Why? Because this is what he wants to do.

These people don’t act like they’re doing us a favor. We’re all helping each other out to reach our goals. End game. In fact, Bill has pointed out many times that the actors get more out of these films than we do. They get to put this shit on a demo reel, put it on their resume, and the more shit on your demo reel and resume, the more respected you’ll be when you put your ass on the line for another project. As directors and producers, especially at this level, you have to make your own work. Sure yeah, I can throw down this shit on a demo reel too, but how many people are hiring directors as opposed to actors?

We bring these projects to festivals, which are occupied by a grossly overwhelming number of other filmmakers, who are also looking at actors to hire. We bring these things to a festival, and if it doesn’t get sold, or no interest is shown to the behind the scenes guys, it’s back to square one for us. Create new project, make new project, the cycle continues.

I’m also reminded of the money hose that I referred to a long time ago in this diary, and how Rodriguez doesn’t like to open it because once it’s open you can’t stop it. Well, no shit. I found out the hard way. I lost count, and it would be too painful to gather up all my receipts or look back at this diary to put together the total cost for this project.

Why do I bring this up? Because I find it really fucking funny when actors talk about the sacrifices they’re making to be in a show. To me, it’s a team effort, so it’s all of our project. It’s not mine, it’s not Bills, and it’s not a vehicle for any actor. It’s a team effort to steer the train into the station. Don’t start bitching about money, because to make the project happen, money gets spent, and most likely it ain’t from an actor. If you don’t want to be part of a project, don’t sign on. And maybe you don’t become an actor. If you want something, you’re going to have to sacrifice something for it.

So we had the read through for Desolation Row. We were up front with everyone there. We told them what we expected of them, and what they could expect from us. Straight up, no bullshit. We said here’s the schedule right now, if there’s conflicts let us know right now. If there’s any other days you can’t make it, let us know right now. It was as smooth as a strippers ass, and we have not had any problems scheduling Desolation Row. The re-shoots were a bit of a struggle, but it was more a matter of logistics than any fault on any actor.

In fact, because of Desolation Row, I now love actors again. Then came scheduling for Lot B.

I don’t know if it’s because some of the actors are coming from the old method we used to use, which was basically, we’d bend over for the actors and not get a reach around in return, or if they’re just not taking it like they should. That shit ain’t going to fly anymore. You don’t like the sport we’re playing, you’re out of the game. You don’t take this seriously, step aside for your replacement. There’s plenty of ballers out there, and not enough games for everyone to take a jump shot. If we put you on the floor, be prepared and happy that you’re playing, or ride the fucking bench.

End rant.

Bill has been trying to orchestrate an elaborate plan for a bunch of people to go see The Dark Knight. The party of eight or nine dwindled down to four: Bill, myself, Leanne, and Sue. We go Friday at noon, thinking there’d be a lot less people as I generally don’t like people, and I really don’t like people in a movie theatre.

To my surprise, the theatre is about half full. We park our asses in the second row from the back. There’re a couple of teenage girls a couple of rows in front of us, and a dude in the row right in front of us that’s texting. I’m thinking these are going to be the problem people. Turns out I couldn’t be more wrong.

Behind us and to the left is a father out with his two kids, who are about nine years old. Like kids, they ask a lot of questions throughout the whole movie. Not like the father I hoped he would be, he didn’t smack his kids silly and then cover their mouths when they tried to cry. Note to parents: if you take your kids out to a theatre, either beat their ass when they talk, or move them to a corner when their questions aren’t going to annoy the other people who paid money to see the flick.

Behind us to the right were a couple out on a date. The broad is too busy texting the whole time to watch the movie, so she would have to turn and ask her boyfriend what was going on. He’d tell her, and then I guess her hearing is bad, because he would have to repeat himself. Not that he was the pearl in the oyster either.

Boy: That’s Two-Face.
Girl: What?
Boy: That’s Two-Face.
Girl: How do you know?
Boy: Because his name is Harvey Dent.
Girl: What?
Boy: It’s Harvey Dent. That’s Two-Face.
Girl: Who’s Two-Face?

And on, and on. I love narrators. You know, just in case I couldn’t follow a movie as complex as a superhero flick, it’s nice to have these people behind me just to make sure I’m on the right track. Thank you. I wouldn’t know it was Batman if I didn’t have your insight.

Sue finally had enough and turned around and said something sarcastic to the guy, along the lines of “Thanks, I wouldn’t have seen that on the giant screen if it wasn’t for your pearls of wisdom. I paid 10 bucks to see this movie and decided not to pay attention so I’m glad you’re here so I can follow this.”

The guy said “That’s good but I wasn’t talking to you so shut the fuck up.”

Them be fightin’ words. The only person that can tell Sue to shut the fuck up is me, and I didn’t even do it yet that day, so I’ll be damned if I’m going to let some douche bag steal my thunder.

I turned around and scolded him, then stared him down until he slunk down on his seat and watched the screen again. He was quiet the rest of the movie. But I’m really surprised that the girl could walk upright she was so dumb. I actually turned around and asked her if it was possible she could really be that fucking dumb.

The last barrage came towards the end of the flick, when this exchange took place. I won’t include any spoilers.
Girl: Did she die?
Guy no response.
Girl: Did she die?
Guy no response
Girl: Did she die? Did they kill her? Did she die?
Me: Yes, she died. She died. And you would know that if you actually watched the movie instead of talking to him the whole time.

Then I stared the both of them down until they slunk in their seats further and watched the rest of the movie in silence.

So, I’m not sure how much I actually enjoyed The Dark Knight.

Later on, I get an email from that old friend in LA who said that the producers are going to give me a shot at writing the script for them. The budget is 2.5 million, and I won’t see any money up front, but I can get back end points. Apparently, they passed on all the other writers and are going to go with me. The director will call me if he hasn’t already. Sweet deal, but I feel ill prepared.

At the end of the night Friday, Sue and I are craving coffee but don’t have the money to buy it. Alicia calls to discuss more things with the schedule and Sue and I, great people that we are, call Alicia back and see if she’d like to watch a movie with us tonight, for the low admission price of two coffees. She agrees.

We pick her up, then head over to the video store to initiate her film education with Bloodsport. We also grab In Bruges, and The Gate, which I haven’t seen since I was pretty damn young. After Alicia pays for that, we skip over to 7-11, forgoing the coffees for some slurpees. Sue and I manage to pay for a good chunk of it with lots of change, while Alicia finishes off the balance.

Man I feel like scum.

We get back to my place, and we watch one of the best movies of all time: Bloodsport. I already knew it was awesome, and Alicia learned the awesomeness of Frank Dux, Chong Li, and Jackson. The surprise hit of the night was In Bruges though. Definitely check it out if you get the chance. A criminally overlooked film.

The next night, Sue and I are sitting around bored, as is Alicia, so she comes by again to check out one of the best films of all time: Robocop. I’m not even going to start going on about the full on awesomeness of this movie, because if I will, I won’t stop. If you haven’t seen it, then your life isn’t complete.

Alicia and I also talk about the concert coming up. I remember the band name now, and I believe it’s “Quest for the Past.” Apparently there was some miscommunication between Alicia and myself, and I’m still not sure, but I don’t think she wants to handle the show. She just wants to handle the one aspect that would fall under the directors job, and she was unaware that that part was the directors job. We’re going to have to talk some more to see who’s handling this gig and make it certain.

The director also called, but I missed it. He left a number to call him back with but he’s going to Santa Barbara and will return tomorrow, so if I don’t hit him back, he’ll get me.

I start wondering if now’s the time to get an agent. I’ve tried to get agents before, but it’s always more or less turned out the same. “We only accept new clients when you have a deal about to go through.” Well, that’s great and everything, but how am I supposed to get a deal when people will only take scripts from agents? I was always stuck between a rock and a hard place with a 747 on my head before, but it looks like a deal is about to go through now. I’m wondering if I should take full advantage of the situation and try to rope myself a representative.

I throw up the teaser trailer link on a few sites and do some more editing to end the night.

On Sunday, I phone the director and get his machine and leave a message for him, and also my email address as I can see this turning into a game of phone tag pretty quick. I’m going to be in Toronto tomorrow so I’m probably going to miss his return call, then on Tuesday, we have our final shoot on Desolation Row, so I won’t be available then either.

I’m not saying too much or giving away any names and shit regarding this whole writing gig, because I’m not sure how much I can say, and even though it seems pretty close, I don’t like to say anything outright until it’s finally a concrete deal.

I also end up buying more server space because the server is in Bobs name now, and he doesn’t want any part of it anymore. I’m told it would be easier to just buy the space myself, and transfer it from there. It ends up being a lot more money than I thought it would, and thus, a lot more than I can afford. What can you do though? We need the website up and Bill, Steve, and Alicia have been great with footing the bill for various things for this production, so I can’t complain about dropping some coin on this.

I’m toying with the idea of adding a shopping cart to our site so people can use that to buy our swag. I’m going to have to talk to the rest of the guys to see if that’s something they want to pursue.

I'm off to Toronto in about five hours and I'm looking forward to catching up with Logan while I'm there. I haven't seen that cat in awhile.