I make films. I'm also a nerd.

Archive for 2010:

Quick continuity check with K. Paige Burns




Eponymous location shoot.


Comical Chinese Food Order Call

Me: “I’d like to place a delivery order.”

Lady: “OK, give me telephone number.”

Me: “(423) 331…”

Lady: “What? Wood?”

Me: “331…”

Lady: “Wood?”

Me: “1.”

Lady: “Wood?”

Me: “1.”

Lady: “I’m sorry, wood?”

Me: “1!”

Lady: “I’m sorry, we only take number, not wood.”

Me: “I am giving you a number! 1!!!

Lady: “I no understand. We only take number. You want scare me, or you want give me number?”

Me: Sigh. “(423) 331…”

Lady: “33 Wood?”

VIDEO: Vahe pep-talks Paige

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VIDEO: Directing Ira and Vahe in a Menlo Park parking lot

(Video by Ginger Carden)

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VIDEO: Directing Vahe at Pigeon Point Lighthouse

(Video by Ginger Carden)

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VIDEO: K. Paige Burns Dances (Unawares) [THE GLASS SLIPPER]

On the set of The Glass Slipper (at Pigeon Point Lighthouse on the California coast), K-Paige keeps the party going while Whaley (boringly) prepares to shoot some footage of Vahe Katros. Video by Ginger Carden.

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Now THAT’s compact.


Q&A: Easing In

Alejandro Adams: I have certain techniques for getting myself and my cast and crew into a given production–like doing logistically daunting (impossible?) scenes right out of the gate. You seem to “go easy” on your people, pace yourself. What are the advantages of this?

My response: It’s not really a matter of “going easy” on people (though I’m not a big fan of torturing the talent for my own artistic gain, à la von Trier or Lynch). I just find that neither I nor my cast has gotten acquainted enough with the characters to do the complicated, tricky scenes right off the bat. I like to start with simple little First-Act scenes which are meant to introduce the characters to the audience. I want the cast to “get to know” their characters in more or less the same way the audience will.