Project Greenlight

Season 3 Episode 7

One Week to Rap

Aired Sunday 10:00 PM Apr 28, 2005 on HBO

Episode Recap

It's the last week of production, and Gulager knows he'll need to make the most of the time he has left. Anything that doesn't get shot simply won't be in the film.

The Assistant Directors are supposed to be accountable for the actors, but they appear to have their hands full — especially with Krista Allen. On Sunday night, she misses her flight back to LA but fails notify 1st A.D. Stephen, who could have changed the shooting schedule accordingly. She arrives in the afternoon, but sets the schedule back even further when she takes a shower to wash off the fake blood. When she returns to set, and Stephen notices that she has changed her bra — a continuity issue for a movie that's supposed to take place over the span of a few hours.

Krista, however, is not the only source of continuity problems. Balthazar Getty is keen to grow out his close-cropped hair for his next, post-Feast role, but doing so causes noticeable problems as his buzz cut clearly varies in length from scene to scene. In order to motivate him, Gulager, producer Mike Leahey, writers Patrick and Marcus and executive producer Chris Moore all get matching buzz cuts. Faced with that kind of commitment from the filmmakers, Balthazar relents.

The AD department continues to struggle. On one day, Krista tells Davis, the 2nd 2nd AD, that she's wrapped (finished for the day) when in fact she's still needed on set. Unfortunately, by the time he realizes his mistake, she's long gone. On other days, Krista and Judah are mistakenly sent home early.

After a particularly busy day — one which includes the all-important Scene 183, in which the monster attack, as well as a sex scene with Krista (in which she flat-out refuses to wear a g-string) — the producers arrange to show the cast and crew a rough assembly of some of the footage. The screening delivers a big boost to morale, as everyone can see that Gulager's unorthodox style is yielding great results. "It's really good," notes DP Tom, "actually better than I expected." Everyone is still talking about it the next day, re-energized by what they've seen.

Since the screening went over so well, the producers elect to overnight the assembly to Dimension in New York. The studio is pleased. On the speakerphone, Andrew Rona tells them, "I think we made the right choice...Tell John I'm really, really excited."

Unfortunately, not everything is so upbeat at Dimension. On a visit to the set, Chris explains that Miramax and parent company Disney are in the midst of a corporate break-up, and a lot of films — including Feast — are getting caught in the middle. As a result, it may be a long time before their film arrives in theaters.

On the final day on set, Gulager has to do double duty supervising two units at once. While he is busy with first unit, producer Joel assists on second, taking the opportunity to encourage Balthazar to work a little more humor into his performance...until Gulager comes running, and offers different direction to his star.

Day 25, the last day of production, begins on location in the wee hours of the night, to shoot exteriors before the sun rises. Unfortunately, the crew realizes that they have an incomplete set, with portions sitting in storage 40 miles away. To make matters worse, Krista arrives for her 4am call seemingly under the influence of a few cocktails. Yet somehow, they get everything they need on film, ending production just as the sun rises over the California desert.

Next stop... the editing room.