Page 106 of Forbidden
Lorenzo is calm, sharp, and cool. Seated, he outlines what they all know are past scheduling issues. He next explains his concerns about the overall shooting speed, but he does not target the director, or his shooting style.
In fact, he complements the director, for trying to make a great movie. He also explains he loves the rushes he has seen in NYC, and from the edit team.
Lorenzo stands and paces, and he carefully outlines what we have both clearly witnessed. He explains he wants production staff looked into, and fast. The young director, and Lorenzo seem to have a shared energy, and I can tell they are on the same page.
They both want to make a great picture, and they both want problems out of the way. The young director stands, and he paces anxiously, and animatedly.
I can tell he is fried, but finally he comes clean.
He agrees production staff are problematic. And he explains some of the other crew members, have wanted to say something for weeks.
He agrees enough is enough. “I just want to shoot on a happy productive set.”
The director looks exhausted. Even emotional.
Lorenzo puts his hand on the director’s shoulder, forcing him to see him, and calm. “Thanks, buddy, and we’re only here because of you. This is your show, not mine. We’ve got this, no more obstacles.”
Lorenzo and the director hug, and my heart surges. It’s nice to see Lorenzo protect another.
It’s a side of him, I’ve only seen a few times. A human side, and a caring side.
After Lorenzo pulls the director’s chair out, he tells him to sit. The director does, and Lorenzo rests his protective hand back on his shoulder. In effect, showing the producer, and entire team, who he cares about, and who is actually making the darned movie.
Lorenzo paces slowly, and he makes his demands.
He demands the producer finds the line producers straight after the meeting. That he then hits them hard, and gives them a final warning. If they do not change their attitude, and stoppoisoning the set and crew’s energy, there will be immediate changes.
“And I’ll fly back, fire them on the spot, and any others,” Lorenzo says eyeing everyone in the room.
The producer is silent, and he looks terrified. I want to curl up and die.
“I can take over the entire shoot, as you all know. I can bring in a fresh team, as per clause 30A. of the production company agreement. I do not want to do it, but I will if I have to.”
I look over, and Lorenzo is cold, hard and in control.
He is firmly looking at the producer, and the head of production. The two people in control of the movie.
“We are here for two things only. To assist the director, and his chosen creative team on set. And to make a great movie. End of story.”
The producer, head of production, and others look shaken. Finally, heads nod, and crew mumble.
Lorenzo clears the energy like a seasoned pro, and he thanks them all. As they stand to leave, he shakes their hands, and rebuilds energy. The last to leave is the exhausted director, and just before he exits, Lorenzo steps close to him. “Are you okay?”
The director nods, and Lorenzo can sense his frustrations. Even I can.
“You’ll be okay, and call me if you have any problems.” The exhausted director looks full of emotion. Lorenzo already told me, directors have to operate on four hours of sleep, per night, and for months.
As Lorenzo hands the director his private card, he speaks sincerely, and low. “Call me. Anytime you want to talk, alright? Especially, if anyone gets in your way.”
The director nods, and walks out of the door.
“One last thing.”
The director turns with his tattered script folder, and mud splattered jacket.
“You’re doing a great job. I love the footage, and I love your work. Don’t ever forget we’re only here for you. Just knock it out of the park, buddy.”
The director nods, and he looks recharged, and encouraged. I feel proud of my man, our eyes meet and hold.
