First Day of Shooting: Success!
Aug 2007 04

Our first day of shooting was a blast. We welcomed Bethany Jones, our new Makeup Artist to the set along with a number of new PAs. Notable moments included Branson Anderson (Jerry) jumping off the roof with amazing agility and panache. Many thanks to Sunshine Whitton for his spot-on stunt coordination. The Joint Command police (extras) were a force to be reckoned with. Kisa Johnson and the Cosutme Team blew everyone away with how absolutely cool their work looks. Nathan Oquist provided excellent technical expertise so that the cast handled their weapons professionally (and the weapons are crazy cool). Miss Frizzle (chicken) turned in an amazing performance being catapulted from the RS-Goose. The producers loved hearing Justin Tracy (Dominic) yell, “Jerry’s on the roof!” Cory Sandahl and Charla Grenz jumped in to help create a fabulous lunch for cast and crew. Thank you everyone! We are having fun. Lots of fun.


Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Day 02: The Day of Molten Existance
Aug 2007 05

So today we shot interior stuff at the Richard’s home. And it was also summer. And hot. Also: twenty people standing in a room. Also: All the windows have to be closed. Also: A billion watts being turned into illumination via extreme heating of a filament. Also: We had to be clothed (as I was informed).

It was the hottest day so far (a.k.a. hotter than yesterday). And it is my hope it is never this hot again. I stood in the fridge for a while, but then stopped, as I imagined somebody would tell me to “get outta thea” sooner or later.

As for filming- AMAZING. We have a totally rad cast. The footage came out great. We had a lot of dialogue stuff today, which is always difficult in that in and of themselves words are generally not all that interesting, the meanings and such behind them are. It turned out well. Eh? Yes.

I have been perpetually surrounded by amazing people. I love it. It’s continualy amazing me the ingenuity of the crew, and how they’re always able to somehow make things appear when they need to be there. We’re really pushing this project to the wire (is that a phrase? I think so). There are a TON of pieces that have to come together for this to work, and if one piece isn’t there, the entire production stops.

For example, this morning we shot a scene with a character, Jerry, frying crepes on a small single burner propane stove. Seems easy enough, but ALL of the work that had to go into that- buying a propane stove, Robert painting and scraping it to make it look aged, getting the lighter to light it (that actually caused us quite a bit of hassle) and the amazing realization that none of us actually knew how to cook crepes, forcing us to wait a while as we tried to figure it out, all went into play.

Also: the shots were amazing. Involving Jerry. And steam. And crepes.

Notably, what we’re usually waiting for the LEAST is the camera and lights stuff, those guys are quick to set up, and quick to change location.

Our sound guy is AMAZING, I never even have to worry about it. I almost feel bad about the lack of attention I pay, but if it’s not broke, don’t fix it, you know? And there are usually quite a few places my attention should probably be (It’s admittedly a bit chaotic). Not to say I know anything about audio (I really don’t).

I have been directing whilst weidling (“i” before “e” except in regard to pirates) a cutlass. It helps.

It’s going rad, and it’s only going to get radder.


Ian Hubert

Day 03: The Day Project London Went Underground
Aug 2007 06

We spent the morning and early afternoon running through the tunnels underneath the Crista Campus in North Seattle. The entire crew was energized by the performances of Geoffery Simmons (Benin), Jen Page (Xing Xing), Josh Truax (Nebraska), and Branson Anderson (Jerry). Notably, Preesa Bullington, Kisa Johnson, and Robert Polteno’s amazing blood packets, each with a spent bullet supplied by Boom Op, Ed Walker were totally stunning. I can’t wait to see the dailies. Mike McCoy had a chance to contribute some art by submitting a chord progression for our actors to use during an interlude in the London Underground bunker. Tanner Weaver operated his Cyclops flashlight during the run through the tunnels; a flashlight so big and powerful it comes with protective eyewear, a shoulder strap, and a license to operate it within city limits.

Our “riverside” location was pulled almost without warning at 11:30pm yesterday in an email to Tamara. We scratched our heads a little bit and called some friends, but Ian came through with a bit of inspiration and took the entire company on a safari to the slough. We hiked with all our gear and props through the jungle in Kenmore and arrived at water’s edge at “golden hour” Everyone worked swiftly to capture some stunning footage. Unfortunately, I have been informed by Jennifer Forbes (Production Manager/Assistant Director) on behalf of the crew that I may no longer order the pizza unless I review the order with a crew approved pizza ordering consultant. I ordered one of almost every kind of pizza Pagliacci’s sells for dinner, and now I’m being sent to pizza school. Nice.

Hats off to Tamara Valjean (Location Manager) for securing difficult and hard to find locations in a very short amount of time. Just today she secured a stretch of road in Bothell for our car chase–yes, it has street lights!–the Bothell Police Department will be closing it down for us on the day we shoot.

Last but not least, Nathan and I would like to thank the cast and crew for their art and commitment working with energy and enthusiasm through each day and rolling with us as we adapt our schedule and deal with the daily challenges. We are working to improve our scheduling in an effort to shorten our days.

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Day 04: Ahoy Mate!
Aug 2007 07

Cast and crew arrived at the Pacific Maritime Institute in the late afternoon to shoot scenes for Icarias floating restaurant bridge (control room). We had a blast as Captain Doug Pine, Geoffery Simmons (Benin) and Branson Anderson (Jerry) performed in front of the crew. The first ever production stills to be posted (see my photo album for “Production: Day 4″) were shot by Lauren Gregg. And I believe it is appropriate to note that dinner was outstanding and there were several positive comments from cast and crew. Way to go Nathan!


Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Day 05: The El Camino Tunnel Dance
Aug 2007 08

Fantastic locations are becoming a hallmark of the production. We started the day at a radio station transmitter site and finished inside an old train tunnel (two miles long) on Snoqualmie Summit. The vistas at both locations were remarkable, but we felt we were truly sitting on top of the world when we drove out the west entrance to the Ironhorse trail tunnel. We collected some stunning footage there and overcame some formidable challenges with the El Camino that our cast, in the guise of the London Underground, was using as a getaway vehicle. Barry Gregg (DP) applied some kind of special mojo to what was discovered to be a dry battery in the El Camino. A little TLC and some jumper cables and we were able to get it restarted and finish the shoot. All for now.

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Day 06: Police Story
Aug 2007 11

Cast and crew descended on Pioneer Square first thing in the morning to shoot a Nalardian District scene. Your intrepid producers were recruited to appear as street merchants while bus loads of Seattle tourists looked on. Later, in a Joint Command Detention Center stairwell, extra Jim Lee turned in a hilarious performance with his call to the London Underground, “Hey wait!” and whimpering as he ran upstairs. Several other extras (see our Cast + Crew page) helped create atmosphere and made us laugh at our Joint Command Station set. Notably, the Urban brothers are appearing together for the first time in a feature length motion picture. Both Anton and Joel Urban played Joint Command Officers; Joel flew in from the midwest to join the production only the day before. The producers would like to thank Heidi Anderson and John Keane for allowing our actors and crew to abuse them through numerous takes. Our Script Supervisor, Heather Canik and PA’s, Tifani VanDenBerg, Mike McCoy, and Kevin McCoy also made their cameo appearances in the film. Barry Gregg our DP, Anthony Tomes our Gaffer, and Mike Roe, Key Grip did a great job of making the set look like night time (during the day). Much later at Allenmore Hospital (see the Day 07 post) they did a wonderful job of making daylight in the middle of the night.

Thank you everyone for all your hard work.

Phil McCoy, Executive Producer
on behalf of Nathan McCoy (left), Producer and Phil McCoy (right)

Day 07: Allenmore Hospital
Aug 2007 12

Saturday evening and into Sunday morning we shot at Allenmore Hospital in Tacoma. Special thanks to Bobbie Roshau for getting us access to the ER overflow wing. Having this wing gave us the ability to shoot all of our interior hospital scenes with complete authenticity. It was fantastic.

One of the most memorable scenes of the night was Conrad Lihilihi, PA appearing as

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Day 08: Dusty Rust is a Must
Aug 2007 13

Today was our first of three epic days shooting at the “17-RS Goose” location, otherwise known as the Paine Field Hangar location, a facility generously opened to us by Tim Adams. We had a lot of ground to cover, and we got most of it done. Jared Segebartt was a huge help in the morning when he moved all of the planes that normally rested in the hangar out into the sun, so we could have access to the whole hangar (and thus avoid a dent possibly costing 10′s of thousands of dollars; an expense not in the budget). We filmed in an old helicopter, decked out to look like our “Lifter” vehicle.

Geoffery Simmons expressed his usual good nature and above-and-beyond energy during his performances. He hung off the side of the helicopter like a pro. Anthony Tomes was amazing, doing an average of 3 tasks at once, and completing them all with a grin. Kyle Born was an awesome addition to the crew today being, amidst dozens of other things, an expert “wind machine operator” (or “Fan Guy” or “blower”) during scenes we filmed whilst flying through the air (or giving the impression thereof). Ian Hubert ran around the set yelling ambiguous things and overall being pretty darn pleased with the way things were going. Also: He was an hour and a half late to set. Also: nobody really noticed. Also: It will not happen again. Seriously.

Robert Polteno took a completely stripped helicopter cockpit, and over the course of jumping in and working on it between takes, and with the keen aid of the incomparable Claudia Baker transformed it into an amazing sci-fi ship cockpit. We’ll be shooting in it tomorrow, and I’m more than a little excited.

I just have to go back to Barry Gregg, Dion LaBlue, and Anthony Tomes. We changed scenes numerous times, and they were able to whip out a good half dozen or more moods and atmospheres with their lights, very quickly, and in a very awkward and cramped situation. I’m excited to work with them again and see what they do tomorrow.

Diana Westall and Mark Renstrom were also spot on, dealing with TONS of odd background noises (we WERE shooting in an operational hangar). Diana was always able to make it into a good audio-snagging spot, and Mark was always spot on the ball with mixing and rolling audio.

It was great stuff. The imagery was great. It’s gonna be a heck of a ride.

Ian Hubert
Writer Director

Day 09: Perpetual Pandemonium
Aug 2007 14

Having not completely finished all the scenes we wanted to yesterday, we actually started today off behind schedule. And then we started working on the stuff we were behind schedule on behind schedule. Jen Forbes was epic in her persuading us that we needed to go faster. And her epic handling of basically everything.

It was more of the same of filming on the “Goose Set” at Paine Field, except today was centered on filming things in the cockpit (for the most part).

The first scene we filmed was a scene with Wayne Bastrup and Josh Truax, as they rip a huge tarp off of the “Goose” (an old rusted ship). It was a glorious scene. Let’s just say chickens were involved. We had two chicken wranglers today, Nathan McCoy’s daughters Kyri and Kali. Kyri was our “chicken lobber” and Kali helped wrangle it up after each take. It pooped. Numerous times.

Barry Greg brought in a large HMI lamp to simulate THE POWER OF THE SUN, and Anthony Tomes moved it expertly around the set on it’s 30 foot (or pretty darn tall) stand with the aid of Mike Roe. Barry also brought a giant jib and track thing, which he placed atop the scaffold. About 4 times today he stood up and held down all his equipment as a mass of crewfolk rolled our scaffold rig over to another location for filming.

It was a glorious event.

We filmed a few scenes in the cockpit which will later be combined with other scenes filmed outside. This complicates things in that we hadn’t yet filmed the exterior footage, meaning we had to film everything twice. One with the “sun” lamp and again without it. Personally, I’m hoping it’s sunny.

For looking in the cockpit windows we rented out a scaffold, which I stood on. Also: almost fall off of. Also: about 20 times. Also: It’d be a good way to die.

Hugest shout-out of the day to Robert Polteno, who finished decking out this previous stripped-clean cockpit and filled it with electronic pieces and such to complete our sci-fi cockpit. It was amazing. He was also able to transform these smeared and insanely opaque pieces of glass into clean clear almost invisible panes, which greatly helped as we filmed through them. Tomorrow he’s bringing in some dead fish and a live lobster.

Tamara Valjean has almost finished hunting down our locations, finding an amazing one in West Seattle for the final battle. Big shout out to her. It will be a glorious final location for a battle.

We went a bit later than expected, so we got dinner. Nathan McCoy ordered the pizza. I got to take home a whole box of pepperoni.

Ian Hubert
Writer, Director, Scaffold Monkey

Day 10: Fish Head Smoothie & a Lobster Buddy
Aug 2007 15

We are halfway through shooting. Everyone has been doing a marvelous job. Photos, frame grabs and daily’s look amazing. It is very exciting to see this thing come together!

It’s lobster and crêpes day on the set of the Goose. Jerry has a pet lobster so Robert and Claudia procured one at a local grocery store and now it’s waiting on the set, ready for its moment of glory. The crêpes, you ask? They’re in a groovy scene with Xing Xing, Nebraska and Jerry. What would this movie

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