Richard Hatch

Francois Truffaut famously said that whenever you make a film, there are actually three films: The film you plan to make, the film you think you’re making, and the film you discover you’ve made. I’m one week into the second film, and I’m ecstatic.

Sure, we had some issues. The first day on any set is always something of a clusterfuck. It takes time for a crew to gel. Usually we spend the first two days stumbling over each other, getting in the way, arguing and figuring out who is worth fucking.

I apologize. That’s an inside joke.

Once we got our gears all synchro-meshed like a three-speed Pontiac, everything moved pretty smoothly. That’s not to say we had no issues. We did, in fact, fire an entire department, and have replaced them (much to the film’s benefit), but this shit happens. I like to joke that it isn’t a day on an indie film if there isn’t at least one existential threat. Things like this are why I haven’t had a day off from Diminuendo since mid-July, and why I haven’t slept more than six hours in weeks.

And I don’t care. I love it. I love this job. I pace and I bark and I joke and I smile and I tease and cajole and push on set, and I love every minute of it. I also think I’m pretty good at it. Not only have we made our day every day this week, we’ve captured some absolutely amazing moments. Instead of forcing the film to fit my vision, the film has been telling me how it wants to be shot, and I have been listening. It works.

On Thursday, Richard Hatch made room full of grown men cry when he showed me layers to a scene that I didn’t even know existed. This is when what we do feels like sorcery.

The week ahead is a tough one. Three of our days ahead are huge, with a lot of extras and really complex scenes. And I’m nothing but excited.

Here are some great shots from week one:
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