Questions w/ Dylan Jury

The Casting Director

1) Tell about yourself in exactly twenty words.

I’m a film school graduate breaking into the industry via the casting department on many studio and independent films.

2) How did you get involved in ‘A Note to Etienne’?

Well, seeing that I live with the director, he had no choice but to work with me.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on foreign produced films, but none in a foreign language. Je m'appelle Rachel.

4) What project(s) are you working on next?

I'm the casting assistant on several television series and movies in pre-production (including Nolan’s next movie about a certain black-suited superhero…). I'm also working on Eli's next short, A Boy's Life.

5) What's the strangest casting situation you've ever been involved in?

Casting an "internet sex chat girl" for an independent film I was working on.

Questions w/ PJ Gaynard

The Executive Producer

1) Tell about yourself in exactly twenty words.

I make movies. I help other people make movies. I'm obsessive, relentless, and demanding of myself. I like Eli a lot.

2) How did you get involved in ‘A Note to Etienne’?

Eli volunteered his services in the art department when I made my film Love Sick Love. It seemed only fitting that I do what I could to help him make his project. I volunteered my camera equipment.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I worked as executive producer in a similar capacity on a separate short film called Sandwich Shop directed by David Haskell which was also in French. It was a fun project to shoot because it was almost entirely one shot and included some serious dolly moves.

4) What project(s) are you working on next?

I’m currently running my production company Goat Milk Fudge Productions. Along with working on a slate of productions as a producer and DP, I’ll be directing a new short entitled My Anne Frank soon.

5) If you could have created any film past or present and claim it as your own, what would it be? And why?

Excalibur by John Boorman. Every time I watch it I learn something about myself.

Questions w/ Hamdija Ajanovic

The Composer

1) Tell about yourself in exactly twenty words.

Happily married, Tucson based, classically trained composer with a degree in film who plays multiple instruments and speaks several languages.

2) How did you get involved in ‘A Note to Etienne’?

Three years ago, I worked with the director, Eli Benavidez, on Park Bench. Needless to say, it was a great experience, and when he called me (while I was on a vacation) to see if I was available to score Un mot pour Étienne, I agreed even before knowing what the film was about.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Even though English language is not my native one, this was the first time I worked on a non-English speaking film. I could not say that it was any different then usual. All the elements of the film, from acting and directing to lighting, cinematography, editing, etc., were beautifully crafted to convey the intended emotions. The music was already in there; all I had to do is give it a life.

Voilà!

4) What project(s) are you working on next?

I am currently composing music for Grapple Buggy, a video game for Xbox 360 that is being developed by Mommy's Best Games. In addition, my wife, Jodi, and I are collaborating on a modern day opera, based on the Through the Looking-Glass, and What Alice Found There. Jodi is writting the story and lyrics, and I am composing the music. The play is scheduled to premiere next year in July.

5) What's the strangest talent you have?

Being me.

Questions w/ Frank Mohler

The Editor

1) Tell about yourself in exactly twenty words.

Frank Mohler is a self-proclaimed Beta Male who is passionate about sports, movies, tv, beer, and beautiful, yet unobtainable, women.

2) How did you get involved in ‘A Note to Etienne’?

I had cut a short film for Producer Allison Vanore and Executive Producer PJ Gaynard the year before, so when the Original Editor of ANTE had to pull out, Allison asked if I was available. I told here that as long as she didn't think it would conflict with the other 2 projects I was working on for her, I'd be happy to join the team.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

No. But it wasn't too bad as I had taken French in high school and college, so I knew just enough to feel comfortable matching up the imagery with the narration. Luckily, Caitlin had already pieced together the audio before I came onboard, so that made it even easier.

"Voulez-Vous coucher avec moi ce soir?"

4) What project(s) are you working on next?

I'm currently finishing up work on a couple of DVD bonus features, and enjoying the launch of SOLO-The Series, I web series I edited for ANTE Producer, Allison Vanore.

5) If you could watch just one movie for the rest of your life, what would it be? Why?

I refuse to answer that question. There is no fair answer.... Fine. The Princess Bride. Its got a little bit of everything in it.

Questions w/ Isabelle Giroux

The Leading Lady

1) Tell about yourself in exactly twenty words.

I am a woman with the spirit of a 16 year old but the mind of a 34 year old. :)

2) How did you get involved in ‘A Note to Etienne’?

I was craving for a French part in Los Angeles so when I actually saw the breakdown online, I submitted myself for the role. Next thing I knew, I was in a play with the director's best friend, which invited him to come see the show. When I was invited to audition, I felt more relaxed since I had been introduced and I could really feel the character without being stressed out... that might be what got me the part... adding to the fact that I'm a born and raised French speaker!

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Well, indeed I have... I've worked on american movies! :) It was fun to work on a film in my own tongue because I didn't have to worry so much about the way I talked. De plus, mon partenaire dans Un mot pour Étienne était Français de France. Donc, sur le plateau, on pouvait discuter sans que personne comprenne... hahahah rien de choquant ni de personnel!

4) What project(s) are you working on next?

I'm on a revival Musical of a show called "Big Bazar" from a great French Singer, Michel Fugain. We've performed in Montreal during the Francofollies festival, in June, and we'll be touring around the province of Quebec. I've also just shot a co-star role for a new series coming up on Quebec's tv Fall 2010. I'll be in 2 episodes.

5) What's the most random thing you've ever done?

...work at a huge fast food restaurant chain... I won't say which but I'll tell you there's a big yellow letter...

Questions w/ Michaela Pentacoff

The Sound Designer

1) Tell about yourself in exactly twenty words.

I enjoy working against the elements, squishing into small spaces and listening to ambiences... I'm all about sound.

2) How did you get involved in ‘A Note to Etienne’?

I went through undergraduate with Eli, although he was a year or two ahead of me. We worked on several films together and have kept in touch ever since.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on several films where spanish was the primary language before but ANTE was my first all french film. When it comes to editing production audio, working in a language you don't primarily speak can be very tricky and requires lots of notes and a translated script (with both languages). It actually is quite fun because I begin pick up phrases in the language I would not normally use.

4) What project(s) are you working on next?

I am working on several projects at the moment, all of which are being submitted to the Sundance Film Festival this September.

5) What song describes you best? Why?

There's so much music in the world, how can I choose only one song?

Questions w/ Moira Taylor

The Makeup/Hair Artist

1) Tell about yourself in exactly twenty words.

I can do it in just one word. COLORFUL!

2) How did you get involved in ‘A Note to Etienne’?

I got involved with 'A Note to Etienne' because I had previously worked with almost the entire crew before on past projects such as 'Hopelessy In June' and 'Solo The Series'. I loved the time that I spent on those sets and would jump at the chance to work with them again!

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I had never worked on a foreign film before working on 'A Note to Etienne.' It was amazing to work with the French speaking actors because the language is so beautiful. When filming, I didn't know exactly what they were saying but the actors were so incredibly talented that I was able to understand the dialogue through their emotions and actions.

4) What project(s) are you working on next?

As a freelance makeup artist it is so hard to know what my future endeavors will be. Although I have been working less on sets and more with individual clients lately which is super sad because I love the energy of movie sets!

5) What's one talent we'd be surprised you're able to do?

I don't really know if this qualifies as a talent but I'm pretty incredible at playing Flip Cup. :D

Questions w/ Gilberto Vega

The Production Designer

1) Tell about yourself in exactly twenty words.

My name is Gilberto Vega, I am from Tucson, AZ and I have lived in LA for almost 7 years.

2) How did you get involved in ‘A Note to Etienne’?

I got involved with the film through Allison, the producer. She emailed me and asked if I would be interested.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

-Is this a foreign film? I thought the definition of a foreign film is a film that is shot in another country by local residents? Or a film shot in the crews' native language. As opposed to a film shot in another language regardless of location or the crews' native tongue. I don't know. But no, I've only worked on US films shot in English.

-Working on a French film was fun. I enjoyed my job in making the film appear "French."

-Paté

4) What project(s) are you working on next?

At this moment I am finishing up a music video.

5) What's the strangest item you own (clothing, toy, furniture, etc.)?

A sword.

Questions w/ Jorge Urbina

The Director of Photography

1) Tell about yourself in exactly twenty words.

I'm a dreamer, a wanderer with a goal to make movies. Someone strings them together, I analyze and then wonder.

2) How did you get involved in ‘A Note to Etienne’?

That's a good question. I got in involved through probably the best way to get involved with a project. It all started through conversations about Eli's story. Eli sent me the script, I read it and then we just talked about it. I was unaware that he was pushing to shoot it and before I knew it, we started to nail down shooting dates, etc. It's hard for me to explain but think of it like a couple of people just actively planning a trip to vegas. I hope that makes sense. My point is my involvement just happened naturally. I don't think I answered the question...

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

Yes, I have worked on a foreign film before and I prefer those types of projects over english language or domestic US films or however you would classify it. It was a personal journey and I am referring to the question on what is was like working on a french film. I find these types of projects more intimate and enduring in my opinion. Having an opportunity to work on a foreign film or the experience of it to me is like having an intimate encounter with a woman from a foreign country...its strange but yet all the famaliar aspects of being physcial are the same making it a much more intense...if you don't know what I am talking about watch The Red Ballon (Lamorisse) or La Haine (Kassovitz) or Day For Night (Truffaut)....then get back to me...something in French..."cuo meck da flue bac!!!" Lol!

4) What project(s) are you working on next?

Ooo...that is a tough one...uh...I take it back...none right now...I have some personally projects I would like to develop...I might be shooting a spanish language feature in los angeles in the fall, hopefully it doesn't fall through....

5) If you could be any person for just one day, who would it be, and why?

My father...would you like know... ;)

Questions w/ Joslyn Sifuentes

The Costume Designer

1) Tell about yourself in exactly twenty words.

I am a New Mexican and those from New Mexico are probably the only ones who will understand this term.

2) How did you get involved in ‘A Note to Etienne’?

It was by accident, Eli had asked if I could assist in casting his film since I had been managing actors for several years. While helping Eli cast his film, we were brainstorming on the style of the characters. The brainstorming developed into my involvement as the costume designer.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French (without looking it up!)

I have worked on a forgeign documentary for the BBC as a Set Dresser. I spent the whole entire time in 110 + degree heat for a couple of weeks it was torturous!

It was fun working on a French film because you could take the wardrobe to another level. The French wear clothing that fit their personality so there is a lot of thought into their look but at the same time it is very effortless and natural. Because the characters were French, I was able to play a lot more with color, textures, patterns, and accessories. It was very playful and whimsical!

As my cousin would say,"Yes I speak French... Champaign!"

4) What project(s) are you working on next?

I will be working again with Eli Benavidez on his next short tentatively entitled, A Boy's Life.

5) If you could watch one TV show for the rest of your life, what would it be? Why?

The Cosby Show hands down and do watch it quite often!

Since we’ve gotten in the groove with the festival circuit, we really wanted to create a screener label that’s not only informative, but great to look at. Designer Patrick Thomassie created this design and I can’t wait to send these DVDs out!

Questions w/ Allison Vanore

The Producer

1) Tell about yourself in exactly twenty words.

Storyteller of all types. Particular about logistics but able to toss it all to the wind and have fun. Wink.

2) How did you get involved in ‘A Note to Etienne’?

I have known and worked with the director, Eli, for quite a few years. We both attended UofA and we worked together at the campus television station, UATV. When Eli began developing scripts and getting excited about shooting again I was definitely enthusiastic about being involved. Eli is a great writer and so much fun to be around and work with that it was a given. When Eli asked me to produce I said yes right away.

3) Have you ever worked on a foreign film before? What was it like working on a french film? Write something in French.

I haven't worked on a foreign film before however I've worked on films with no dialogue and so this production was a lot like that for me. With most films and with good actors you don't even need to know what it is they are saying specifically to get the feeling and the impact of what is happening in a scene. Isabelle and Lukas were so telling in their delivery, their expressions, their pauses, their eyes, that I didn't need to understand the words.

4) What project(s) are you working on next?

I'm currently finishing production on a feature romantic comedy Hopelessly in June, I'm about to jump back into production on webseries, SOLO The Series, and I'm working with Eli on a new short film, A Boy's Life. All super exciting projects - can't wait to share them with the world!

5) What fictional character are you most like and why?

Out of all fictional characters ever, across all mediums, times and genres?! Leave it to you to ask such a difficult question! Mary Poppins. She comes in, organizes everything, pulls the things you need out of a big bag and then, when that's all in order, you can finally have fun!

Posters and Progress

Yes, I know. Two months have gone by without an inkling of a progress update. Sure, I could blame it on the 12-hour job I’ve been so fervently working at, or I could just own up to my epic failure and apologize. Sorry for my momentary absence.

That being said, I just wanted to fill you in on all of the juicy progress. We’re entirely wrapped with post-production on the short, and we’ve even screened it to quite a few audiences, and the film has been welcomed enthusiastically!

As far as festivals are going, we’ve submitted to the first eight, and we have ten more festivals looming just around the corner. By the end of the year, we should have 30 festival screeners submitted and, with hope, many acceptances.

For those of you on the ‘Etienne’ team, I haven’t forgot about you at all. We’re in the process of creating DVDs just for you, and I’d like to have a private screening once the dust has settled.

In the meantime, I’d love your opinion on which poster design you like best. If there’s anything about the poster that you think needs altering, I’d love to hear from you. Poster designer, Geo Herrera, would love feedback as well!

POSTER DESIGNS

Poster Design #1: Pink cursive font

Poster Design #2: Maroon/Mustard Yellow papyrus font

Poster Design #3: Maroon/turqoise papyrus font

Status Update

I just wanted to give you a heads-up on where we're at with 'A Note to Etienne' - that little French short that could. We're finally at the finish line and we're just making very small adjustments before getting the film ready for the festival circuit. We're hitting all the major festivals this coming 4 months and could not be more excited!

It looks fantastic and I could not be more pleased with how it turned out. Again, thank you so much for your hard work, help, donations, and support! This was definitely a collaborative project and can't wait to get this short out there.

Watch for upcoming posts where we'll be discussing festival strategy, post design, and the future of 'A Note to Etienne'!

Cheers!

Eli

The Finish Line's Ahead

Quick Update: Last week we sent a screener to its first festival! Our first festival being Cannes in France - which was our ultimate goal. It was such a great relief to get it done in time. However, it's not officially completed. Still need to finish up sound design, sound mixing, music, graphic design, and color correction.

That being said, it's been such a great, collaborative team effort within the Post-Production team. Even if we don't get into Cannes, the amount of work we did just to prepare something worth sending was victory enough.

Next stop, we're pulling together a list of Festivals we'd like to submit to. The rest of the year, Etienne will be sent to many Festivals to be screened and hopefully enjoyed. We're unable to show anything on the internet yet, but we're very excited to eventually show you what we've all created.

Stay Tuned.

Production Photos

Meet the Post Crew - Volume 4

Meet the Editor

Frank Mohler is a Los Angeles based video editor. He graduated from Appalachian State University with a degree in Theatre, but has been making movies for over 10 years. He currently works freelance; cutting trailers, short films, and DVD special features. His most recent work includes the award winning short film, Rooftop, as well as the DVD bonus features for Transformers and GI Joe the original animated series, and It’s Garry Shandling’s Show. He is currently working on the pilots for two web series.

Meet the Assistant Editor

Born and raised in Manhattan Beach, CA, Caitlin Rafferty attended Loyola Marymount University, in Los Angeles, CA, where she earned her BA in film production. Caitlin also did a semester at Trinity College in Dublin, Ireland, studying on location documentary film production. Throughout college, Caitlin worked as a videographer and founded her own production company, Two Irish Brats Productions, specializing in event and promotional video production. Upon graduation, Caitlin began working on a variety of reality television shows, and currently works as both an associate producer and editor.

Recent credits: Field editor on season 1 of VH1’s “Tough Love”, associate producer on seasons 3 & 4 of HGTV’s “Secrets That Sell”, associate producer for the HGTV holiday specials “Home for the Holidays” and “Carter Comes Home”, post associate producer on seasons 5-7 of HGTV’s “Carter Can”, and post associate producer for DIY Network’s “Stud Finder.”

Other television credits include: Deal or No Deal, Oprah’s Big Give, Age of Love, The Root of All Evil, The Battle of Gettysburg, Lingo, AKC National Championship Dog Show, and Grease You’re The One That I Want.

For samples of work, visit www.caitlinrafferty.com, or www.twoirishbrats.com.

Meet the Composer

Hamdija Ajanovic was born in year 1973 in Derventa, small town in northern Bosnia and Herzegovina (former Yugoslavia). Most of his childhood was spent in music school, where he studied music theory and received a classical music education with guitar as the major instrument. By his 16th birthday, he was well immersed in the local music scene, playing electric guitar and performing with various bands.

In 1994, Ajanovic moved to Germany and settled in Kassell where he lived and worked as a performing and recording musician, guitar instructor and vocal coach for the next 6 years. Upon his move to Tucson, Arizona in 2000, he enrolled at the University of Arizona and earned a degree in film with highest honors. With extensive music knowledge, musical versatility, ability to play multiple instruments and a university education in film, Ajanovic stirred his career towards a realization of a long lasting dream: creating musical scores for motion pictures. Over the course of the next eight years, he scored several award winning films that had both national and international success.

Nowadays, Ajanovic composes music for films, media and video games, produces own songs and writes scripts… and no one knows if he just may show up on a stage somewhere and sing and play some good blues.

Additional Music

Rob Gokee studied under seasoned composer Christopher Young (Spider-Man 3 , The Grudge, Ghost Rider), where he sharpened his orchestration, mixing, and marketing skills. Rob’s score for the period film Until Next Time won him a Silver Medal of Excellence at the 2007 Park City Music Festival. In 2008, Rob put the finishing touches on his scores for the horror feature “Eyes of the Woods,” comedy “Outrighteous” , and the Lifeline Entertainment thriller "Amhurst" with director Rocky Costanzo, which was also released as a soundtrack on iTunes. Along with “SOLO the Series,” Rob’s latest projects include the features “K-Town” & “11:11”, and the short films “Ties That Bind” & “Thank You Mr. Patterson.”

Meet the Sound Designer

With a bachelor of arts degree in the Aesthetics and Criticism of Media Arts and a minor in Music from the University of Arizona, Michaela Pentacoff strives for unique and solid sound designs for film and video. Her work is a hybrid of electroacoustic music and sound design, most recently present in BICAS WORKS. The question what is sound/noise/music and how can it be used to tell a story?sits in the front of her mind, pushing her innovative use of sound.

As a sound recordist, Michaela enjoys working against the elements, squishing into small spaces and listening to ambiences. And like most sound designers and supervisors, she also enjoys the uncontrollable smile of a director who has finally heard their desired sound design and score.

The Pick-Ups

Just last weekend, Jorge, the cast, and I had a fun-filled pick-up day in Griffith Park. We're talking limited crew, hardly any equipment, and a vibrant and playful carousel. Suffice to say, it was tons of fun. In fact, we had a mini photo-shoot that created a few memorable images.

Priceless.

Meet the Crew - Volume 3

Meet the Camera Operator

Raphe Wolfgang graduated with a BFA in Media Arts in 2004 and has since lived in Los Angeles, where he works as a freelance videographer and various crew positions. In 2010 Raphe will be furthering his career in the entertainment industry by directing his own projects. Raphe was raised in Arizona where he developed an eye for photography at an early age, he has been practicing his craft ever since.

Meet the 1^st AC

Jonathan Helms began his career as a photographer and cameraman while in community college in St. Louis, Missouri. Having worked often in narrative series with his still images, he chose to enroll in the film program at Southern Illinois University when it came time to pursue his Bachelor's. He worked as both a director and a cinematographer on his films at SIUC before graduating in May of 2009. After graduation he moved to Los Angeles where he works as a First Camera Assistant and a Director of Photography.

Meet the Gaffer

Brian Patrick Carroll was born into the royal family of San Diego which proved to be quite the privileged childhood. Growing tired of such a lifestyle Brian decided to become a farmer in Humboldt County where he also earned a BA in Theatre Arts. However; all goods things must come to end, and he left the great high north to find himself in the middle of the drama ridden OC where he attended Chapman University. Spending a quick three years there Brian left Orange county after earning an MFA in film production. Now living in LA, Brian has long forgotten his noble upbringing and finds himself just above the starving artist status in the social ladder, being only a hungry artist.

The Film Shoot

Let's just recap for a moment. We've been finished with principal photography for nearly two weeks now. The film's in the can, being processed, and soon to be transfered as a file to our editor. However, I've yet to disclose much information about the production itself. Therefore, I thought it'd be beneficial to write a lengthy blog about the trials and tribulations of the film shoot. Then I thought to myself, this is a film. A visual medium. If you wanted to read lengthy descriptions and paragraphs of my thoughts, a book would be much more appropriate. But it's not a book.

Instead, I wanted to show you several pictures from the set. Both on set and off, because the bulk of the fun was when the camera wasn't rolling. I'm incredibly lucky to have been a part of such a fun and professional team. So, without further ado...

Screen Shot 1: We had this shot where we film Etienne (Lukas Delcourt) from behind a bookshelf as he plays with his toys. At one point, the action figure wasn't tall enough so I had to call for a "mini apple box" to give him a few centimeters.

Screen shot 2: Etienne, always the couch potato, was shot yet again watching television. Our camera operator, Raphe Wolfgang, frames the shot diligently.

Screen Shot 3: Before we shoot our actors, I needed to peer through the viewfinder to frame the shot as I envisioned. Fortunately, the Director of Photography (Jorge Urbina) and I share a very mutual vision.

Screen Shot 4: With any shoot, there's always bonding during lunch. The cast and crew take a load off on our living room set. Note how everybody's seated exactly the same (with their legs crossed). That's what happens when we're working together for hours on end.

Screen Shot 5: One of our super PAs/Art Assistants (Stephanie Coogan), stands in for one of our actors. Don't let her innocent smile fool you. She's actually a phenomenal producer.

Screen Shot 6: One of my favorite shots. Our actors, Isabelle Giroux and Lukas Delcourt, film a scene of intimacy. Incidentally, they both became very close friends throughout the filming process.

Screen Shot 7: One of our Second ACs, Eric Patton, inserts the slate before we shoot one of the film's beginning scenes. Our Gaffer (Brian Carroll) did an amazing job lighting the set.

Screen Shot 8: Our Amorette, played by Isabelle Giroux, gets into character as we prepare for a very emotional scene. Not only is she our leading lady, she's also our narrator.

Screen Shot 9: Check out a great photograph of our Production Designer (Gilberto Vega) and his beautiful restaurant. The ambience was perfect for this particular scene.

Screen Shot 10: Our Script Supervisor, Maura Concannon, was my right-hand lady throughout the entire production. In fact, we'd have our own little pow-wows off set just to figure out a few shots.

Screen Shot 11: The Queen of the entire production (i.e. our Producer, Allison Vanore) poses for the camera between putting together the entire film. She and I have a lot more work to do...

Screen Shot 12: Love this shot of Lukas. He keeps himself occupied between lighting set-ups by posing with the production slate. Or... we're making him work double time...

Screen Shot 13: This is a prime example of how the entire crew came together to create something magnificent. This exemplifies the work of our Costume Designer (Joslyn Sifuentes), Hair/Makeup Artist (Moira Taylor), Gaffer (Brian Carroll), Director of Photography (Jorge Urbina), and Production Designer (Gilberto Vega) -- and several key people from the camera team. Not to mention Allison Vanore and Isabelle Giroux, prime factors in this entire film.

Screen Shot 14: This is a screen shot of the scene. Amorette tunes out while Etienne continues on and on with his story, oblivious of the his girlfriend's heartache. Pretty shot.

Screen Shot 15: Our last day of principle photography... and a very fun one. Our Crane Operator, Ryan Elliot, showed up and did some fantastic work for our exterior shot.

Screen Shot 16: Jorge and Ryan working hand-in-hand to get this shot as perfect as possible. Well, not literally hand-in-hand. This isn't 'Park Bench' (one of my other shorts).

Screen Shot 17: Unfortunately, the sun decided to work against us this day. We had to figure out a way to make the crane's shadow as inconspicuous as possible. We worked it out.

Screen Shot 18: Our Camera Operator, Raphe Wolfgang, sneaks in with the slate. He looks rather confused. He probably was...

Screen Shot 19: Moira Taylor, our makeup and hair artist, entertains herself (and the rest of us) between takes. This is a fun set!

Screen Shot 20: Since we were unable to get her a desk at this particular moment, Scripty Maura Concannon is roughing it while timing several shots.

Screen Shot 21: We're getting one of our last shots of principle photography. In all actuality, this would be 2nd unit, but we're fully capable of doing everything ourselves with an unbridled level of enthusiasm!

All in all, it was a fantastic shoot, and I'm looking forward to closing up production with a few more pick-ups this weekend and the confessional scene next week. I'm confident our post-production team will be just as fantastic.