Production Week 1

by Andrew

Our first week of production was, by most accounts, a great success. Our main character, Erik, is a priest, and we started the shooting schedule in his church. We were shooting at a very small, very welcoming church in Thomaston, Maine, with a lovely pipe organ and an all-wood interior that suited our story well. It’s the same one featured in the location photos that have been posted here and elsewhere.

We had originally scheduled our first day of production as a particularly light one, I think because we weren’t sure we would be able to get our act together in what could have been extreme weather in a new location, but a week before shooting, our new Assistant Director, Kit, decided that we should treat it just like any other day on the schedule and expect the professionals we were working with to do their jobs. He was right, and we made the first day just a hair under schedule.

I have to say that that first day was a real catharsis for me. Seeing Veronica in the church basement supervising the meals and organizing the production drove home how far the production had actually come, and knowing that the camera was finally turning over in a location I was happy with, behind performances I was satisfied with, gave me a lot of confidence.

Our efforts to execute our plan to its best, though, had only begun. Shooting in the church was fraught with a lot of stress (not least of which came from watching dolly grips sling eight foot pieces of steel track over their shoulders, less than a foot or two from enormous, irreplaceable stain glass windows).

The material we shot on those first days was, luckily, expected to be the most straightforward and square, as I tended to call it. So being a little tentative felt all right. But by day three we were itching to get more adventurous with our compositions.