DAY SIX I'm walking around the stage area where Mark's been kind of standing therelooking at me. I'm used to him just standing around looking like he thinks heshould be doing something, so I don't think anything of it and I walk on andhe calls me to him in a nervous sing-song voice. "We have a continuityproblem," he says really concerned. I ask, "We have an ensuing one, or I madeone?" "We made one," he answers, and I don't get it, because I just don't seewhat could have been missed. (And I don't want to talk about that stupidpurse!) "We filmed her at the mailbox with her purse, and she left it at the [CENSORED]. We're planning some re-shoots anyway, so..." I tell him Whoa, we see her with it when she and Christina are [CENSORED]. He agrees, we see it a lot after that. I say I figured she wentback for it. He agrees, but thinks it would be too big a jolt for theaudience to see it appear the next day scene after we saw her leave it. I sayit would look more like a mistake if we purposely have her without it the nextday and have it suddenly appear later in the movie. Debate, debate. I tellhim I had a problem with her leaving it, but I figured, okay, she left scared,but she got it later, the next morning. He's trying to write a scene in hishead on the spot where we could see her walking back... I'm like, no, the story at this point is about her [CENSORED], you don't want to take away from that with this purse. But, yes, I can see his concern. Maybe after, he says... I say it wouldn't be there that long, she'd have to get it first thing before somebody else took it. He agrees. He's upset with himself for missing the whole thing. I tell him it's not that huge, we assume she got it back,which we would assume anyway. It had her stuff in it. I ask if the whole[CENSORED] sequence can't go into morning and we purposely show theaudience that the purse is back on her desk, she had gotten it. She wouldspend the entire night [CENSORED], I think she would easily go intoday [CENSORED]. He starts to like that idea. I say thepurse can be on her desk, with a few broken make-up things next to it thatshe'll have to replace. So he asks D.P. Scott about it, maybe starting on thepurse and panning to her [CENSORED] - Scott says he knows our concern, but don't make a big deal of it. Have it on the desk where we can see it, but don't draw attention to it. Cool. And Mark looks at the storyboards and likes the added shot of her [CENSORED]. He's relieved and pleasedwith the creative solution. I, on the other hand, am mind-blown for hours. So we shoot a series of set-ups, then move on to another set-up. I go hangout in the wardrobe trailer (they won't shoot without notifying wardrobe, soit's one of the safer places for scripty to wait without missing a shot) withAzita and Dana, and we talk boys. Producer Julia stops by, we chat, sheleaves us to go into set, we talk more boys and stuff. After a while, Courtneyknocks on our door in a panic wanting to know where I am. I say I'm withWardrobe, everyone's seen me here, you won't shoot without us, etc. Then Iwalk into Mark, who's spilling out of the stage door with other crew lookingfor us and he smiles sheepishly and says he didn't even notice I wasn't thereuntil after the first take. I said, "You rolled without me? How could youroll without me? Or wardrobe? I hope you called it the right slate!" Completely vindicated, my head cleared right away (helped by a tasty lunch ofcheese enchiladas). I try to get some fun pictures with the crew outside during lunch (my filmprefers sunlight), but lunch is dragged into the stage area, so that's nixed. I do manage to snap a cute shot of hair & make-up Emjay taking a drag off boomGreg's cigarette which he holds for her for some kootie-prevention reason. We shoot more. The robe-clad Melody walking to her window and closing it(three dolly shots!). The bathtub scene where Mel wears a body suit which wekeep having to rework in the angle to prevent it from showing. And productiondesigner Hunter is called back to check the tub and make sure it's not goingto flood our electric-covered set and kill us all. Return to the craft service table, which features ding-dongs, a hit among theguys, and stale cheese doodles. Julia stops by for her pb&j hit, while Markand Hunter pick at the cheese doodles with me. We discuss Halloween, theperfect party and whatnot. Hunter said when he was in high school, he and hisfriends put on a haunted house and were told it was too scary. Prettyimpressive. Our day is winding down and I ask about a reverse shot on the door. Scotttells me he and Mark will grab that along with some other insert shots afterthe crew leaves tonight. After a Taco Bell 2nd meal and final crew shot of the evening, most of thecrew leaves. Scott, Mark, Julia, 1st A.C. Paul, 2nd A.C. James and I stay todo the inserts because, as it was declared, we have no lives. Scott and Paul move into the bathroom for the doorknob shot, with assistancefrom Mark. Then they move the camera back into Melody's apartment and Mark, Julia, James,Bill and I are sitting outside the set. After some fun discussion regardingthe grip department, I voice my concern about that constant camera beepingfrom inside the set, why is the camera on so much? Julia says the paranoidscript supervisor is wondering why the camera is on without her. We go in,where Scott and Paul are trying to film the computer screen without that nastyscreen rolling lines problem you get when filming another screen image. Juliastarts playing with the product placement Apple PowerBook, she and Jackgetting really involved in some form of solitaire where they're not exactlysure of the rules. That's it, Scott says, bag it, we're done. Tomorrow our first day off. Finally. Zzzzzzzz... Intro & Day 1 - Day 2 - Day 3 - Day 4 - Day 5 - Day 6 - Day 7 - Day 8 Go back to the main Marilyn's Journals page.

© Mark Tapio Kines 2011Melanie Lynskey, Wil Wheaton, Corin Nemec, Corky Nemec, Yelena Danova, Steve Valentine, Blaire Baron, Douglas Coler, Lisa Lo Cicero, James Michael Tyler, Richard Moll, Mark Tapio Kines, Mark Kines