The Reverse Samson

With four weeks of small tented, unventilated rooms and big light units and fifteen bodies and the 95 degree heat of the East Bay ahead of us, the hair came off today. And I still feel invincible. For whatever that's worth.

Liz (DP) arrives today with JP (Key Grip) who will be sleeping on Tamar (Good Friend)'s floor. By the end of this week, we should have a locked schedule so that next week can be spent building, designing and troubleshooting. Tomorrow, we'll have the first finished piece of the film - a sound session with a voiceover specialist who will be a baseball announcer, newscaster and radio DJ. Probably the most versatile member of the cast and crew.

We decided on yesterday's movie the old-fashioned way. We waited to see how long lunch was going to take. So, it was Indy at the Castro. And speaking of the old-fashioned way - so refreshing to see someone play so adeptly with film grammar and, in the case, of Indy, juxtapose different eras of film styles on such a large and absurd canvas. Buster Keaton meets John Ford meets Steven Spielberg. That being said, it is frustrating that his credit sequence probably cost atleast 10 times what our entire film will cost. And that being said, his credit sequence looks great - perhaps the most virtuoso part of the film. Classic John Ford horizons with hot rods that ends with a beautiful recomposition to position us securely in the sci-fi 50s. And people claim that the movie doesn't mean anything. Bah!

Off to Moraga today to find a front yard to shoot in. Our last location.