Page 104 of Forbidden
Also, that a lead actor has been demanding, and even expecting late script adjustments.
Lorenzo mentions a rumor, that the director is some kind of hotshot. But to make the movie his style, he is often slow in getting the scenes perfect.
Lorenzo walks on set between shots, and he subtly asks crew members, like the cinematographer, and art director, what they think the schedule issues are.
He is gentle, and I’m amazed how much he seems to know, about making movies. I just thought he read screenplays and met with bankers.
The guy is actually a film maker who has done well. Really well.
Finally, Lorenzo heads off to meet some of the production team that are now fully available.
I stretch, and walk to the next set, where they are filming outside a colonial style house and barn. As I sit quietly in one of the director’s chairs lined up, I watch another scene being filmed. This scene is grand, with carts, horses and extras. The lighting is stunning, and they are imitating a sunrise feel.
I watch the crew and cast set up and shoot, and they move with flow and speed. I now understand, bad weather, problematic actresses partying, or complex sets with water can mess things up, but watching now, something seems off.
I don’t know what else is causing the movie to shoot slow, but as I sit and watch, I start to see some of the crew move lethargically.
They look down, and some even look exhausted. Moral looks at a low, and that is kind of weird. The big movie they’re shooting sounds kind of cool, and I love the idea of the storyline.
The two stars look great together, and the huge sets and locations are stunning. It should work as a movie, but at what cost, and how much risk to Lorenzo?
I notice a couple of older angry-looking production crew members walking around and handing out call sheets.
They seem to boss some of the onset crew around, and kind of without respect. They are two tough old timers, and they look totally over it.
I watch carefully, and finally they leave. Some of the onset crew visibly sigh and relax. I think little of it, but I then overhear comments. From the onset gaffer and camera team.
They sound pissed, and I try to listen more closely.
No one on this set, has any idea I’m with Lorenzo, and I stretch and try to stand closer. As the crew work, many of them seem pissed with the two ‘old bastards’ running the shoot, and creating such negative energy.
I walk on, head down, but my eyes are peeled, and I listen, and watch. An hour later, Lorenzo and I pass in a studio, and I pull him aside. I ask him to step outside the studio, and he looks stressed.
Finally, he comes out, and I look at him, as I cross my arms. “Did you find much out?”
Lorenzo shakes his head, “I have a fair idea of the technical problems, but I do not know why the crew is shooting so slow. I’m pissed, and something is off. Most crews, shoot more script pages per day, and even on a drama like this. Something is wrong.”
“Well, I have an idea.”
Lorenzo raises a rare grumpy brow. “Speak.”
32
STORM
“Okay, so get this,” I say. “I’m guessing the Heads of Departments, would not tell you this information. Why? Because some of the production team, or the crew bosses, would give them hell for it. Basically, I heard this, and I saw it happen. Clearly.”
Lorenzo rubs his jaw. “And?”
“Look, I heard half a dozen crew members talk on a couple of sets. I’m no pro, but I’ve seen several hours of shooting.”
“Get to the point, baby.”
“Look closely, and you will see crew morale is low. Many of the crew seem broken, and downtrodden. Few seem positive and into it. It’s weird. They are moving slow, and many seem exhausted. I get that they do long hours, but the energy on set, looks toxic, Lorenzo. There are also two scowling old production guys who look like burnt out, old… ”
“Bastards?”
“Bastards,” I agree. “They are handing out paper.”
