After taking a couple of weeks to decompress from a different kind of
MARCH MADNESS, I've finally had time to fully evaluate the experience
that is CHRONIC TOWN. I am grateful to have had the chance to work
with some phenomenal people...cast, crew, and, especially, my fellow
P.A.s. Over the course of the internship, I have learned many of the
minute details that most people never really get to see or even think
about in regards to the making of a motion picture (or in this case, a
"low, low-budget, independent film"). From the preparation to the
final day of shooting in Alaska, I've been "schooled" in film and,
even, life (most importantly, life outside of the educational
institution). It was here that the techniques and topics discussed in
classes, moved from the realm of the theoretical to the practical
application and actual use. Everything I've learned prior to this
movie, from Make-Up Design and Lighting to Stage Management and
Directing, was taken to a higher level of instruction...and,
ultimately, led to more than just a "great experience." Maybe, it
would be best to break it all down a little further to understand.

An average person wouldn't think that something a "little" as
make-up design could have a major impact on a film, but he or she
would be wrong. Working with Jackie Perez (make-up), I saw how it was
important to make sure that the appearance of the actor/actress or
even that of a certain effect "worked" with everything else in the
film. For instance, the script called for the main character, Michael
(changed to "Truman" for filming), had to slit his wrist for a suicide
attempt. We basically had to decide on how Truman would slit his
wrist (whether straight across, which would suggest merely "a cry for
help" or up the forearm, which basically says, "goodbye"). The result
was to "cut" at an angle, making the statement," I'm serious but maybe
not quite as committed as I originally thought." But the 'slit wrist'
was just one thing. Take into consideration that the film was shot
with a high-definition digital camera; the camera could pick up the
slightest "flaw" in an appearance, including the inappropriate
reflection/deflection of light from the skin of an actor/actress.

Of course, lighting the shoot (in general) had its own issues to
deal with. Night exterior shots aside, it was interesting to learn
what was involved just to shoot a 'simple' exterior day shot. For one
thing, as the time passed, lighting conditions/availability changed.
Greg Kern had to use such instruments as a bounce board or shiny board
(to reflect the available natural light on the desired subject) or a
flag (to mask light). Also, for night shots (exterior or interior) I
got to help assemble/disassemble set-ups using large lights, c-stands,
stingers (power chords), and like, which of course was necessary when
natural light was no longer available. For instance, there were
several nights of shooting at the Boatel. For most of the interior
night shots, it was necessary to use the exterior lights to provide
even more light for the rather dark interior of the bar. Then, certain
gels were used to soften/diffuse the light, so it would not create any
stark contrasts or create any serious 'lighting issues' while
shooting. Of course, there was the challenge of readjusting mirrors
and pictures inside to avoid reflections of the light sources, which
brings up the problems of lighting for interior shots, in general. It
was necessary to know where the three basic set-ups (the key light,
the fill light and back light) would be placed, as well as knowing
what the potential problems would be and how to handle/correct them.

There was never a question as to how Make-up and Lighting Design fit
into the film process, but what about Stage Management? Well, I
worked a good deal with Angela Mixan (2nd Assistant Director) and
Harry Fortuna (2nd 2nd Assist. Dir) and, in the process, learned that
these people, along with the 1st assistant director, function to the
same capacity as a Stage Manager and his/her assistants. Their main
job was to keep the director on task. It was necessary for time and
pacing that they shot the scenes in the order planned (depending on
the day's schedule). With a tight shooting schedule and a
director/cinematographer who want to get as much into the film as
possible, it was easy to see the importance of these positions. They
were the "task masters," the stage managers of the film.

The greatest lessons learned showed how everything hinges on the
director. In class, we learned that the director is pretty much the
middle man in the whole echelon, dealing with/managing/catering to the
actors, the producers, the audience, the designers, etc. CHRONIC TOWN
was my chance to see it all play out first hand. Tom Hines (El
Director) was an amazing person to watch and to work with. The
rapport between Tommy and the actors was just fantastic; he had a
knack for getting what he wanted out of the actors and, at the same
time, received feedback that was helpful to sustain the momentum of
the filming. It didn't just stop with the actors either. When certain
situations arose (technical problems) or changes of opinion/views were
expressed, he seemed an expert at reaching some kind of compromise or
solution. One example that comes to mind involves a particular night
when Tom and Yiannis (the D.P.) were looking at a gas station chosen
for a specific shot. Tom was asking Yiannis for his opinion on the
locale, when he noticed that Yiannis was looking the other direction
at a rather isolated/'lonely looking' site across the road, to which
Yiannis suggested using instead. And that is where the scene was
shot. He took others suggestions and ideas into consideration.
Furthermore, Tommy wasn't one of those directors who "was above" every
other person on the crew. He was approachable and treated everyone,
including us 'former-interns'/Production Assistants, as equals during
this entire process. He not only cared about the film, but about the
well-being of the people involved, which I've been told can seem quite
rare, especially in the film industry.

It must be said that this entire experience did more for me that
just enhance my education in these 'classes.' The filming itself was
just one piece of the overall process. The preparation for the film
crew's arrival was a learning experience of a different sort. Working
with Maya and my fellow interns presented quite a few "life lessons"
as well. Consider taking a diversified group of people composed of
different ages, sexes, ethnical/cultural backgrounds and getting them
to work together as "a team," and it worked out quite well. We didn't
always see eye-to-eye on certain things, just as it would be in
everyday society, but we put aside petty differences and came together
in a way that not only benefited us as a group, but benefited the
entire production here in Fairbanks. Overall, it was a sort of 'life
changing' experience for me. I learned how to do various jobs and
about working with different types of people (attitudes/professions),
but, more importantly, where I want to go once I leave this fine
establishment that is UAF.