We got a lot of great pictures from this past week's shoot with Judith O'Dea (Senator Hamlin). However, I realized while going through them that I can't post most of them without giving away some major plot points of Women's Studies. Hopefully, you'll get some sense of how the three days with her went.
They were emotionally charged scenes, but Judith and Cindy Marie Martin (Mary) were up the the task. The crew fed off of the actors emotional intensity, and the actors seemed to draw energy from the crew's enthusiasm for the scene. Again, I can't really talk about it in detail, but trust me . . . it'll be something worth waiting for.
We're also officially halfway through principle photography at this point which is pretty awesome. Granted,we have a lot of film to shoot, but it's nice to look in my script and see as many pages marked out as not. We're on target to finish up sometime in September though I imagine we'll be shooting pick-ups through the autumn months. Still, the end of the tunnel, while not quite visible is there. I celebrated the milestone by sleeping at least eight hours a night for multiple nights.
The next blog could likely be short as Tuesday falls right in the middle of a major shoot. I'll try to have something though. Until Then . . .
Left to Right: Greg Pass, Director Lonnie Martin, Unit Production Manager Kurt Gustafson
Judith O'Dea (Senator Hamlin) poses for a publicity photo.
Lonnie Martin works through a scene.
L to R: Boom Operator Kevin Nowak, Lonnie Martin, Camera Operator Thomas Fant, Cindy Marie Martin (Mary), 1st AC Laurel Keller
Joey Cabrera applies make-up to James A. Radack (Zack).
Lonnie Martin rehearses a scene with Judith O'Dea and Cindy Marie Martin as the cast and crew look on.
Martha Huggins grabs a quick snack in betwen shots.
The green room just gets stranger and stranger.
Cindy Marie Martin and Judith O'Dea relax for a moment.
Art Director Stephanie Petagno and Assistant Joey Cabrera prepare a scene with Judith O'Dea.