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The H. P. Lovecraft Historical Society. In the Beginning. Our first weekend of shooting was in a lovely Victorian house in Pasadena.
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It was brutally hot and a very challenging weekend of shooting. We were able to use the house for four location though, and no one actually passed out from heat exhaustion. Ah California in summertime.
Without air conditioning.. The third day of shooting we moved to our pal (and fellow Lovecraftian filmmaker) Bryan Moore's Arkham Studios. Bryan's hospitality combined with air conditioning made for a much more pleasant shoot. The Studio and Beyond.
Our second weekend of shooting involved a return to Arkham Studios and shooting at two public beaches in the Los Angeles area. Our first night we converted two other parts of the studio into Legrasse's office and the Sydney Museum. Again, innovative lighting by Dave Robertson created very distinct looks for the different scenes shot at the same location. An early start and cooperative fog got us off to a good start. Unfortunately an actor forgot to bring a key hat from home. Our amazing costumer, Laura Brody actually managed to cut fabric from the hem of an actor's pants and fashion it into a completely suitable hat, all in the back seat of a car at the beach.
Laura is amazing. Our first location, on the cliffs by the beach had been tagged with graffiti since our scouting trip and we were forced to improvise. With some Spider- Man- like moves, our Director of Photography, David Robertson managed to setup some excellent shots. Our streak of excellent luck in not getting arrested continued as we moved to another busy beach location for another shot. The police, street mimes and fishermen left us alone and we were able to get our footage and run.
We wrapped the day by shooting in the bedroom of Hollywood apartment owned by another obliging friend. Once again David's ability to get a shot while hanging his body precariously proved of great use.
Again, no air conditioning, but a smaller crew and shorter scene made for a pleasant shoot. Our friends at the Celtic Arts Center in Studio City were most kind to let us use The Snug, their clandestine back- room pub as our New Zealand tavern. With some imaginative lighting we were able to capture the feeling of a dingy Wellington watering hole. A key part of low- budget filmmaking is to get your friends to let you shoot at their locations. You have perhaps noticed by now that we have many kindly friends who have helped us in this film. Our next location was provided to us by Joe and Laura of Eros Archives: one of the leading dealers of vintage erotica. Yes, we filmed in warehouse filled with vintage smut, right in the heart of the San Fernando Valley.
Yet with the miracle of film (and Andrew Leman's relentless dedication to vintage office supplies), the erotica warehouse transformed itself very neatly into an Australian government records office. The Big One. Our previous weeks of shooting were preparations for the big shoot of mid- August. We needed to get footage of Legrasse his men in the swamp, the crazed dancing cultists, and The Man in the sunroom. We came to the conclusion that the swamp sequences needed to be shot on a set rather than in a real swamp. Swamps are hard to come by in Los Angeles in the summer, and the shots we needed would be hard to setup and light in a real swamp. So, after doing some scouting, we settled on renting a sound stage.
Visualiner is a huge facility in Culver City, with a theatre, big empty spaces, and built- in strip club set (complete with stripper poles). The plan was we would build a swamp, take it to Visualiner, assemble it, shoot the swamp sequences, then shoot the green- screen sequences with the cultists, shoot the Sun Room scenes and finally shoot some more green screen footage. It's hard to build a swamp from scratch, but with some help from our friends, lots of fabric, yarn and paper maché, we managed to assemble a swamp complete with ten massive trees. It looked pretty absurd in person, but with light, fog and actors, we were happy with the final results. The swamp was used for just one day of shooting with the cops and the cultists before it was struck and stuff into dumpsters. The green- screen we'd planned to borrow didn't materialize, so we quickly built one with masonite and chroma- key green paint. Then our squad of crazed cultists caked in dirt and wearing a few tattered rags (some wearing nothing at all) performed their hideous ritual on the green- screen.
It was exceptionally weird, even by our standards. But our cast was a bunch of pros and they danced, undulated, flopped and brayed as they summoned their dark god. The following morning we setup the Sun Room and with the help of some lovely natural light, captured some great footage of Matt Foyer as The Man. After a half- day in the Sun Room, our crew of eight sailors came onto the green- screen set and we filmed shots in which the sailors will eventually be composited into the R'lyeh set. Norway. After scouting numerous location to use as the Johansen house in Norway, we eventually settled on the so- called Snow White cottages in Silver Lake (a neighborhood in Los Angeles).
These apartments look as if they were built to be part of Disneyland and they provided an old- world quaintness that's hard to find in this part of the world. We brought in our very agreeable actors and quickly shot some terrific footage of The Man's visit to Johansen's widow in Norway. Effects Shots. We cracked out the camera again to get some needed coverage for the trailer for The Call of Cthulhu which is scheduled to be released at the HP Lovecraft film festival the first weekend of October. Using a theatre where Sean currently has a play running, we setup four different shots.
The studio logo shots with the globe and zeppelin were shot here. We also shot R'lyeh sinking and Cthulhu himself for the trailer. Swamps Are Wet. We set in for the final push to finish all the live action shots. Among these are a shot of Legrasse and his men in the paddy wagon and the Swamp Family telling Legrasse about the terrible things happening in the swamp. After much searching we managed to get permission to borrow a real 1.
We were all set to shoot when we got word that the mechanic who was prepping the car for us left it in gear and it crashed into a tree. It's being fixed.. As for the Swamp Family shot, we found a swamp shack and lined up and 9 actors for the scene. The song says, "It never rains in Southern California". It hasn't rained here in about 6 months. So, you can all guess what happened out at the swamp shack. Fortunately, only the crew got incredibly soaked, no equipment was permanently ruined, our host's house only blew some fuses, and no one was injured or arrested.
We wrapped the evening by changing locations to somewhere warm and dry and getting some great footage of The Man working on geologic specimens in the museum. R'lyeh in the Back Yard. The Plan. As the movie heads towards completion, we knew we'd have to film in R'lyeh. Not some namby- pamby model or digital effects shot; we need to build a real 3. D R'lyeh set to complete the movie. Andrew Leman, knew it would drive him to insanity to try and draw a blueprint of R'lyeh, so he opted to build a scale model.
It came out very nice, was suitably bizarre and I liked it a lot. Until I asked him what the scale was.
His model meant we would have to build a set 3. Something the size of a small house. It had to be structurally sound enough for 8 actors plus filming crew to climb around on it. Watch Izzie`S Way Home Online Free 2016 more. Oh yes, and its geometry is so weird that part of the set needed to be capable of eating an actor. Our incredibly obliging friends Noah and Brad said we could use their backyard for shooting. Had they known how big this thing would be and what we'd do to their yard, I'm sure they never would have agreed. But they did and soon we were grappling with the incredible cost of the amount of lumber needed to build this thing.
In a flash of brilliance, scaffolding came to mind.