Secrets & Lies

We got a lot of great pictures from this past week's shoot with Judith O'Dea (Senator Hamlin). However, I realized while going through them that I can't post most of them without giving away some major plot points of Women's Studies. Hopefully, you'll get some sense of how the three days with her went.

They were emotionally charged scenes, but Judith and Cindy Marie Martin (Mary) were up the the task. The crew fed off of the actors emotional intensity, and the actors seemed to draw energy from the crew's enthusiasm for the scene. Again, I can't really talk about it in detail, but trust me . . . it'll be something worth waiting for.

We're also officially halfway through principle photography at this point which is pretty awesome. Granted,we have a lot of film to shoot, but it's nice to look in my script and see as many pages marked out as not. We're on target to finish up sometime in September though I imagine we'll be shooting pick-ups through the autumn months. Still, the end of the tunnel, while not quite visible is there. I celebrated the milestone by sleeping at least eight hours a night for multiple nights.

The next blog could likely be short as Tuesday falls right in the middle of a major shoot. I'll try to have something though. Until Then . . .




Left to Right: Greg Pass, Director Lonnie Martin, Unit Production Manager Kurt Gustafson




Judith O'Dea (Senator Hamlin) poses for a publicity photo.



Lonnie Martin works through a scene.



L to R: Boom Operator Kevin Nowak, Lonnie Martin, Camera Operator Thomas Fant, Cindy Marie Martin (Mary), 1st AC Laurel Keller



Joey Cabrera applies make-up to James A. Radack (Zack).




Lonnie Martin rehearses a scene with Judith O'Dea and Cindy Marie Martin as the cast and crew look on.




Martha Huggins grabs a quick snack in betwen shots.




The green room just gets stranger and stranger.




Cindy Marie Martin and Judith O'Dea relax for a moment.




Art Director Stephanie Petagno and Assistant Joey Cabrera prepare a scene with Judith O'Dea.

AND THEN GOD MADE THE CHILD TO WORSHIP ALL THINGS METAL

Helter Skelter

The shoot at Iris's Parents House was the longest, most intense,and most difficult Women's Studies shoot so far. Yet even with only two weeks hindsight, I flash more on how much fun we had than anything else. We had the honor of working with Emmy nominated FX Make-Up artist Jim Choate and his awesome assistant, Buddy "Captain Dammit" Garrett. They turned out some effects which are just bang-up. In addition Fight Choreographer Shanna Beauchamp outdid herself. I don't want to give too much away, but this scene should definitely be exciting to behold.

Women's Studies is at the halfway point in it's shooting schedule and we have almost two weeks of relative downtime with only one small shoot before gearing up for August's BIG shoots. I'll be using the time to get the second half of production organized and start pre-planning for autumn and winter's long post-production process. In addition, Producer Cindy Marie Martin will be getting everything ready for the Women's Studies teaser trailer premiere at Horrorfind Weekend 8 on August 10 - 12.

So, enjoy the ton of pictures. I have to get back to work.


Director Lonnie Martin makes some announcements at the beginning of the shoot.




Laura Bloechl (Iris) getting ready for a scene.




FX Make-Up Artist Jim Choate consults with Art Director Stephanie Petagno.




Shooting an exterior scene.




DP Aaron Shirley catches a catnap during fight rehearsal.




Lonnie Martin talks to Camera Operator Thomas Fant.




Tiffany James (Melissa) works with Fight Choreographer Shanna Beauchamp while Bruce Allen Dawson (Chair Man) looks on.




Phil Piruzzi Filsoof (Iris's Father) and Kelley Slagle (Diane) prep for a combat scene.





Lonnie Martin gives direction to Laura Bloechl (Iris) and Tara Garwood (Judith).




Jim Choate applies FX make-up for a blood effect.




DP Aaron Shirley checking the monitor.




The "Iris's Parents House" set.




Keith Haller (Bathroom Man), you've never looked better!




Things are looking up for the Lady Killers.




Art Director Stephanie Petagno helps Tiffany James (Melissa) get her face on.




Sound Engineer Sean Russell looks so serene, doesn't he?




Clockwise from Left: Tiffany James (Melissa), Kelley Slagle (Diane), Tara Garwood (Judith), Laura Bloechl (Iris)




The final minutes before rolling.




Lunchtime.




1st AC Jim Housell slates a scene.




Who ordered the bloody knife?




Lonnie Martin and Jim Housell look on while Stephanie Petagno takes the shine off Bruce Allen Dawson (Chair Man).




Shanna Beauchamp rehearses with Bruce Allen Dawson (Chair Man) and Tiffany James (Melissa).




Boom Op Kevin Nowak enjoys a moment of down time.




Tiffany James (Melissa) channeling Anne Bonny. (And if you get that reference, I'll give you a cookie.)




FX Make-Up Assistant Buddy "Captain Dammit" Garrett checks out David Crosby (Couch Man).




Tiffany James (Melissa) is far too happy and must be eliminated.




Sean Russell ensures that a scene with Tara Garwood ( Judith), Phil Piruzzi Filsoof (Iris' Father), and David Crosby (Couch Man) will be properly heard.




Tiffany James (Melissa) and Boom Op Kevin Nowak take direction.




From Left to Right: Sound Engineer Sean Russell, Camera Operator Thomas Fant, DP Aaron Shirley. (Shanna Beauchamp is obscured by Sean's shoulder. Jared Lidd is in the background stealing the script.)




Lonnie Martin is far too happy and must be eliminated.




Keith Haller (Bathroom Man), Jim Choate, and Captain Dammit in Make-Up Central.




Kelley Slagle pleads with producer Cindy Marie Martin, "Laura and Tara are eating all the olives!"




Even heartless killers must eat.




The Avon visit from Hell.




"It's okay David. This won't hurt. Trust us."




Laura Bloechl (Iris) and Tara Garwood (Judith) caught in the act of hoarding olives.




A brief moment of calm.




Bruce Allen Dawson rehearses some more with Shanna Beauchamp.




"I just can't figure out why boys don't like me."