Cinematic Arias

That sorta says it all. But before I crawl into bed and slumber for a month all the while dreaming of foley sessions, color correction and final mastering, allow me to indulge my sentimentality for a moment.

Thanks to my entire company. Without you, this film wouldn’t have made it into the “digital” can.

Thanks to everyone that opened their home or business to us.

Thanks to my family for their constant support and understanding.

Last but not least, thanks to all my friends. Of the many goals I wanted to accomplish with this endeavor, I wanted a work that bore all of our marks, a work made by those closest to my heart.

But enough of my schmaltz. Time for bed.

(And check out my beard!)

I’m shooting a half day pick up for my film this Saturday night and I need a gaffer. The set up is simple, the shoot spartan, which is all the more reason why I need a good hand in this position.

Anyone?

Film LA just bumped me from my location. Apparently some bigger shoot (one with more money) wanted the spot I reserved over a month ago.

(insert long string of expletives here)

Time to find another day to shoot.

Apologies . I’ve been remiss in posting. Life has been a bit complicated since the shoot (kinda) ended. It didn’t help that I took on a big teaching gig.

Wait, why did I say that the shoot “kinda” ended? Because I never called it “a wrap.”

Why? Because we hadn’t shot the whole script yet.

BUT WE’RE FINALLY GONNA FINISH THIS SHOOT!

I’m finally shooting the last 4 scenes. As it’s been a while since our original principal photography, there have been some difficulties in reassembling the team. First, most of the crew has moved on. Second, due to some budget miscalculations, we’re forced to beg and plead for assistance (or at least beg and plead more than we did the first time around). Therefore, I’m taking on a lot more responsibilities, things that fall outside of the typical directorial job description. Whatever it takes to get it done, right?

Also, we need to borrow someone’s laptop and Pro Tools systems so we can record 24-bit / 48 kHz audio. And we could use a PA for both days. And… well, drop me a line if you’d like to help.

At the very least, wish me luck.

Dear Keira,

So you’re in a movie called LAST NIGHT? Really? That’s intersting. Why? Because the film I’m making, the one I’m almost done shooting, is also called LAST NIGHT.

Well now, this is awkward. How shall we differentiate our two projects? Obviously my movie is the one that doesn’t star you or Eva Mendes–I don’t think I’ll ever forget her first scene from WE OWN THE NIGHT. Eva, you are a nasty, nasty girl. That’s not to say that you don’t have a naughty side, Keira. I did love that peek-a-boo photo of you from Esquire. You know, this one:

But back to the matter at hand. How will an audience know that my LAST NIGHT film isn’t your movie? Well, I could refer to my movie as “the LAST NIGHT movie without Keira” but I’m not too keen on that. It’s kinda unwieldy, a mouthful.

How about we call my movie “the first LAST NIGHT movie”? No, that’s not much better. Yes, I know, I started shooting my movie before yours but I need a short and snappy way to distinguish my film from your motion picture. I’m cool with calling mine “the better one” or “the good one”.

Now, you know I’m kidding. We both know that’s up to the audience and the critics. And since you can’t copyright a title, it looks like we’re destined to cause a little bit of confusion a la THE PARENT TRAP.

Since we won’t be settling this any time soon, let me just say “break a leg”. I look forward to seeing your movie and I’ll be sure to send you a DVD of mine.

Warmest regards and best wishes,

-Tony Arias.
Director & Writer of “the good one”