by Sean Donnelly
School is about to start soon as we enter the third week of August. My wife keeps telling me I need to be shopping for school supplies and clothes for Justin, my son, but I can’t shake my insatiable curiosity --- or maybe it has developed into an obsession with this Little BIG film. The Londinium cast and crew have moved to exteriors today and have been blessed with amazing dry, clear weather. Whit shows up with Rebecca dressed in their Victorian finery. He looks dapper and sleepy as usual. Rebecca has to prompt him in his semi-somnambulistic state as the production sets up and they run lines.
“I’ll get it, I’ll get it. I just need a cup of coffee.” I hear him say to Rebecca.
“Sandy was helping me with my lines and we ended up having too much red wine. I’ll be fine. Can someone get me a cup of coffee, Please!” Whit adds.
Eddie Joe hands him a single packet of Advil and Thom retrieves a bottle of water.
“I swear to God you better not puke on her Victorian dress. I’ll kill you.” Thom warns.
Whit gives him a twisted look. “I can hold my liquor, thank you very much.”
The smell of horseshit wafts over and Whit starts to turn a little green.
Thom warns him again. “I swear ---as God is my witness----“
“----I heard you the first time, Scarlett!” Whit replies. He pops the Advil with a bottle of water just as Stephanie walks up with the coveted cup o’ joe.
“Nectar of the Gods.” Whit whispers to himself. Rebecca just shakes her head and chuckles.
The point of meeting is at the Prospect Park horse stables over on Caton Place.
Two stable hands roll out a beautiful carriage and get it ready for a ride through the park. Walker, the owner and driver, has his own morning coat and driver’s top hat. People walking thru that part of Brooklyn stop, stare and take pictures on their cell phones. Patrick and Rebecca answer questions about the project. Whit starts to come to life and the chemistry between the two actors begins to blossom. As the draft horse is harnessed into the carriage the coachman helps the lady into her seat. I watch as they disappear across the Prospect Parkway and into the woods.
I meet up with them about an hour or so later at a tunnel located inside the park not far from the boathouse. I am ‘exposed’ to Stewart Walker, the actor playing Jules Whitby. I first catch his shadowy silhouette backlit by the tunnel and he is creepy as all hell.
Jules has been apprenticed to Edward Muybridge. Mr. Muybridge was an English photographer, known primarily for his important pioneering work, with use of multiple cameras to capture motion, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the celluloid film strip that is still used today. (Thank you Wikipedia). Jules has a prototype of this first motion picture camera and is being paid by an upper class doctor to collect images. These images range from voyeuristic to macabre. Upon my formal introduction to Mr. Walker I am stunned by what a nice guy he is. I know that sounds terrible---never judge a book by its cover but he is dressed in a shabby Victorian suit, stains and dirt covering his trousers and coat, sporting whiskers---a crumpled, dusty bowler and looking like, well, like a murderer. Patrick tells me he is quite an accomplished Shakespearean actor. I ask how the hell did you guys snag him? Stewart chimes in and replies, “They made me an offer I couldn’t refuse”.
“Yeah, it has to do with Foxy Brown.” Eddie pipes up enigmatically….Hmmmm.
Whit shows up with Rebecca fresh from their romantic carriage ride. Whit is not a big guy. Stewart is an averaged sized man. Apparently there is a severe beating about to take place and the bigger guy loses. I ask Pat how it’s going to work? And be…believable? “We’re using the Tom Cruise Effect.” He says. “If the camera angle is at eye level with Whit or lower then he doesn’t look as small. It’s all perspective.”
Richard and Victoria stroll through an isolated part of the park as Jules, hidden in the shadow of a tunnel records their stolen kiss on his camera. Did someone say blackmail? Richard notices that someone is watching and dashes off to defend Victoria’s reputation and safety. Living on the streets of the East End, Richard fights dirty. He downs Jules quickly with a blow to the knees. Once on the ground Richard pummels the poor guy’s face taking a few hits himself. Blood starts flying. Victoria tries to persuade Richard to stop. As I’m watching a small crowd starts to gather and someone goes to get the police. Richard pulls a dagger and threatens to cut Jules’ throat. Eddie, a retired cop, heads off the police before they get to the tunnel. I think to myself what idiot can’t tell that we’re making a movie and fetches the police. We look like a roving band of Tim Burton actors, for Chrissakes. The actors keep acting. Eddie keeps talking---stalling the cops. Pat keeps rolling. Lannie keeps recording. All the while the possibility of being shut down and run off is looming. God! I want a cigarette. As the take ends we all watch as the cops saunter away and Eddie escorts them to their cruiser. That was close! The Park people show up just behind the cops and I think this is it. We’re gonna get thrown out of here. Eddie tells them we have a permit. He calls over to Thom. Thom tells them we have a permit but it is in the production truck. When the park people tell him to go fetch it he wanders off like Prissy going to fetch the doctor for Miss Melanie. It’s all about biding time. We get thru another take as Thom slowly disappears from the park in search of the Holy Mayor’s Office Permit. Pat tells me we’re just about done, we almost have the scene covered. The foot traffic picks up. Rebecca jumps in and turns on the charm for the pedestrians. So does the director. In between takes/set-ups they engage with the crowd to keep them from tattling on us. Whit tries to be invisible. Stewart has the hardest job since he has to fall again and again into the dirt and take the punches and burst the blood capsules. When we’re ready to roll Rebecca kindly asks the crowd to hold until they hear “cut”. Everyone seems amiable enough. Eddie continues to sweet talk the park people. As I watch them do the scene again and again, I instantly become a Stewart Walker fan. He is the consummate professional---an incomparable actor. He is specific in his choices. His intentions are laser clear. I absolutely, wholeheartedly believe this guy. He gives me the Conway Twitties not in an overt way but in the way that makes you uncomfortable and you’re not quite sure why. Someone needs to give this guy a break! He is an undiscovered movie villain. A celluloid gem. I can’t wait to see what he does in his other scenes. We wrap up our little production and break for lunch in the park. I find out that Stewart also choreographed the fight scene. It looked quick and vicious from my perspective. Kudos to the actors.
Thom wanders back wheeling a large cooler filled with chicken cutlet and turkey sandwiches. He also carries an official looking clipboard. We all find a shady area and begin to knosh. Whit sits under a tree looking over a different script. Eddie Joe picks it up. There is a lull in conversation since everyone is ravenous from our close call with the authorities.
“Who’s Afraid of Virginia Woolf….a reading”. Eddie Joe announces. He begins to act out both the George AND Martha parts in a particularly acerbic scene.
“Jesus Christ! Can’t I eat my lunch without an alcoholic rant!” Thom interrupts.
“Clam up, Bette Davis.” Pat says. Everyone is stunned and terrifically entertained by Eddie’s impromptu performance. After he finishes the scene Eddie turns and stares at Thom for minute. “Ya know, Thom. I think I’ve been bitten by the acting bug…you think you could give me a few pointers?”
“I hate you, Eddie” Thom says as he stomps off to smoke a cigarette in another part of the park.
Lunch ends. The actors go back to the house for a quick costume change. The crew hangs out in the park on an elongated break. I am supposed to run to Office Max as per a text my wife sent me. It can wait. We have to remain inconspicuous or the park people might run us off again. The location guy, Mark, escorts us to a field in the center of the park behind the ballfields. He’s assured the Director, Patrick and Thom that upon three different scouting trips that the field is almost empty. We walk down a woody trail that opens up to a meadow clearing and there before us are a few hundred people playing Frisbee and sunbathing. It is late summer, afterall. If I didn’t know better I’d think we were in Central Park. Thom flips out. “IDIOT! You picked the field of a thousand people to shoot this friggin’ scene!” Mark defends his job as does the Director. He did everything that was required. Rule #1---Expect the unexpected. Eddie just laughs and Patrick instructs the crew to try and nicely ask people to move their blankets and clear a swath across one end of the field. Most people cooperate, others grumble and reluctantly move their stuff. This scene is supposed to be like the end of Pride and Prejudice when Mr. Darcy crosses that beautiful English field at dawn to collect Ms. Bennett. In Londinium, Victoria has accepted an invitation from her friend, Mrs. Potter Webb to holiday at the Webb estate away from the public. Victoria sends Richard a note telling him that she is in the country. Richard procures a horse and makes the hours long ride through the night to reach her by the next afternoon. The lovers are reunited and free from public scrutiny. As Richard makes his way across the field the timing couldn’t be more impeccable. The sunlight hit that magic angle when everything is bathed in golden amber. Stunning and brilliant! Ms. Damon is shot out for the day.
Meanwhile back at the Fort Greene brownstone Stewart is in make-up for his scene scheduled at dusk. The location is Fort Green Park. We wander in just before dark. Picnic-ers are still spread out on their blankets staring at the cast as they wander through to a less populated area in the park. The Arabic dagger quickly slices through Jules’ throat and fake blood starts to spray and run down his neck and clothes. It actually looks pretty real. Everyone is on edge. If a cop walking by sees us, and the fake blood we could be in a lot of trouble. Eddie assures us that we’ll be fine. If anything happens he’ll talk us out of it. These are old school mechanical effects. No CGI here. To some that might be a flaw but to me the old editing techniques seem much more real than computer generated effects. Patrick and his SFX guy have rigged a small exterminator can with clear fishtank hoses applied underneath a latex gash with tiny holes affixed to Stewarts neck by good old fashioned spirit gum. From where I am standing it looks authentic. The pressure from the exterminator can forces the fake blood through the hose and holes simulating a severed jugular. AWESOME! As per the director the camera moves according to the Tom Cruise Effect and what I see on playback is exciting! We finish and Stewart is covered from his neck down in blood, dirt, leaves, etc. looking like a victim of the French Revolution. Our picnic-ers give us a rousing round of applause. Rule number 1 – expect the unexpected. Who knows what kind of crowd tomorrow will bring…after all…tomorrow is another day…(so sayeth Scarlett). I guess I'll move like Prissy and stop at Office Max.
“I’ll get it, I’ll get it. I just need a cup of coffee.” I hear him say to Rebecca.
“Sandy was helping me with my lines and we ended up having too much red wine. I’ll be fine. Can someone get me a cup of coffee, Please!” Whit adds.
Eddie Joe hands him a single packet of Advil and Thom retrieves a bottle of water.
“I swear to God you better not puke on her Victorian dress. I’ll kill you.” Thom warns.
Whit gives him a twisted look. “I can hold my liquor, thank you very much.”
The smell of horseshit wafts over and Whit starts to turn a little green.
Thom warns him again. “I swear ---as God is my witness----“
“----I heard you the first time, Scarlett!” Whit replies. He pops the Advil with a bottle of water just as Stephanie walks up with the coveted cup o’ joe.
“Nectar of the Gods.” Whit whispers to himself. Rebecca just shakes her head and chuckles.
The point of meeting is at the Prospect Park horse stables over on Caton Place.
Two stable hands roll out a beautiful carriage and get it ready for a ride through the park. Walker, the owner and driver, has his own morning coat and driver’s top hat. People walking thru that part of Brooklyn stop, stare and take pictures on their cell phones. Patrick and Rebecca answer questions about the project. Whit starts to come to life and the chemistry between the two actors begins to blossom. As the draft horse is harnessed into the carriage the coachman helps the lady into her seat. I watch as they disappear across the Prospect Parkway and into the woods.
I meet up with them about an hour or so later at a tunnel located inside the park not far from the boathouse. I am ‘exposed’ to Stewart Walker, the actor playing Jules Whitby. I first catch his shadowy silhouette backlit by the tunnel and he is creepy as all hell.
Jules has been apprenticed to Edward Muybridge. Mr. Muybridge was an English photographer, known primarily for his important pioneering work, with use of multiple cameras to capture motion, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the celluloid film strip that is still used today. (Thank you Wikipedia). Jules has a prototype of this first motion picture camera and is being paid by an upper class doctor to collect images. These images range from voyeuristic to macabre. Upon my formal introduction to Mr. Walker I am stunned by what a nice guy he is. I know that sounds terrible---never judge a book by its cover but he is dressed in a shabby Victorian suit, stains and dirt covering his trousers and coat, sporting whiskers---a crumpled, dusty bowler and looking like, well, like a murderer. Patrick tells me he is quite an accomplished Shakespearean actor. I ask how the hell did you guys snag him? Stewart chimes in and replies, “They made me an offer I couldn’t refuse”.
“Yeah, it has to do with Foxy Brown.” Eddie pipes up enigmatically….Hmmmm.
Whit shows up with Rebecca fresh from their romantic carriage ride. Whit is not a big guy. Stewart is an averaged sized man. Apparently there is a severe beating about to take place and the bigger guy loses. I ask Pat how it’s going to work? And be…believable? “We’re using the Tom Cruise Effect.” He says. “If the camera angle is at eye level with Whit or lower then he doesn’t look as small. It’s all perspective.”
Richard and Victoria stroll through an isolated part of the park as Jules, hidden in the shadow of a tunnel records their stolen kiss on his camera. Did someone say blackmail? Richard notices that someone is watching and dashes off to defend Victoria’s reputation and safety. Living on the streets of the East End, Richard fights dirty. He downs Jules quickly with a blow to the knees. Once on the ground Richard pummels the poor guy’s face taking a few hits himself. Blood starts flying. Victoria tries to persuade Richard to stop. As I’m watching a small crowd starts to gather and someone goes to get the police. Richard pulls a dagger and threatens to cut Jules’ throat. Eddie, a retired cop, heads off the police before they get to the tunnel. I think to myself what idiot can’t tell that we’re making a movie and fetches the police. We look like a roving band of Tim Burton actors, for Chrissakes. The actors keep acting. Eddie keeps talking---stalling the cops. Pat keeps rolling. Lannie keeps recording. All the while the possibility of being shut down and run off is looming. God! I want a cigarette. As the take ends we all watch as the cops saunter away and Eddie escorts them to their cruiser. That was close! The Park people show up just behind the cops and I think this is it. We’re gonna get thrown out of here. Eddie tells them we have a permit. He calls over to Thom. Thom tells them we have a permit but it is in the production truck. When the park people tell him to go fetch it he wanders off like Prissy going to fetch the doctor for Miss Melanie. It’s all about biding time. We get thru another take as Thom slowly disappears from the park in search of the Holy Mayor’s Office Permit. Pat tells me we’re just about done, we almost have the scene covered. The foot traffic picks up. Rebecca jumps in and turns on the charm for the pedestrians. So does the director. In between takes/set-ups they engage with the crowd to keep them from tattling on us. Whit tries to be invisible. Stewart has the hardest job since he has to fall again and again into the dirt and take the punches and burst the blood capsules. When we’re ready to roll Rebecca kindly asks the crowd to hold until they hear “cut”. Everyone seems amiable enough. Eddie continues to sweet talk the park people. As I watch them do the scene again and again, I instantly become a Stewart Walker fan. He is the consummate professional---an incomparable actor. He is specific in his choices. His intentions are laser clear. I absolutely, wholeheartedly believe this guy. He gives me the Conway Twitties not in an overt way but in the way that makes you uncomfortable and you’re not quite sure why. Someone needs to give this guy a break! He is an undiscovered movie villain. A celluloid gem. I can’t wait to see what he does in his other scenes. We wrap up our little production and break for lunch in the park. I find out that Stewart also choreographed the fight scene. It looked quick and vicious from my perspective. Kudos to the actors.
Thom wanders back wheeling a large cooler filled with chicken cutlet and turkey sandwiches. He also carries an official looking clipboard. We all find a shady area and begin to knosh. Whit sits under a tree looking over a different script. Eddie Joe picks it up. There is a lull in conversation since everyone is ravenous from our close call with the authorities.
“Who’s Afraid of Virginia Woolf….a reading”. Eddie Joe announces. He begins to act out both the George AND Martha parts in a particularly acerbic scene.
“Jesus Christ! Can’t I eat my lunch without an alcoholic rant!” Thom interrupts.
“Clam up, Bette Davis.” Pat says. Everyone is stunned and terrifically entertained by Eddie’s impromptu performance. After he finishes the scene Eddie turns and stares at Thom for minute. “Ya know, Thom. I think I’ve been bitten by the acting bug…you think you could give me a few pointers?”
“I hate you, Eddie” Thom says as he stomps off to smoke a cigarette in another part of the park.
Lunch ends. The actors go back to the house for a quick costume change. The crew hangs out in the park on an elongated break. I am supposed to run to Office Max as per a text my wife sent me. It can wait. We have to remain inconspicuous or the park people might run us off again. The location guy, Mark, escorts us to a field in the center of the park behind the ballfields. He’s assured the Director, Patrick and Thom that upon three different scouting trips that the field is almost empty. We walk down a woody trail that opens up to a meadow clearing and there before us are a few hundred people playing Frisbee and sunbathing. It is late summer, afterall. If I didn’t know better I’d think we were in Central Park. Thom flips out. “IDIOT! You picked the field of a thousand people to shoot this friggin’ scene!” Mark defends his job as does the Director. He did everything that was required. Rule #1---Expect the unexpected. Eddie just laughs and Patrick instructs the crew to try and nicely ask people to move their blankets and clear a swath across one end of the field. Most people cooperate, others grumble and reluctantly move their stuff. This scene is supposed to be like the end of Pride and Prejudice when Mr. Darcy crosses that beautiful English field at dawn to collect Ms. Bennett. In Londinium, Victoria has accepted an invitation from her friend, Mrs. Potter Webb to holiday at the Webb estate away from the public. Victoria sends Richard a note telling him that she is in the country. Richard procures a horse and makes the hours long ride through the night to reach her by the next afternoon. The lovers are reunited and free from public scrutiny. As Richard makes his way across the field the timing couldn’t be more impeccable. The sunlight hit that magic angle when everything is bathed in golden amber. Stunning and brilliant! Ms. Damon is shot out for the day.
Meanwhile back at the Fort Greene brownstone Stewart is in make-up for his scene scheduled at dusk. The location is Fort Green Park. We wander in just before dark. Picnic-ers are still spread out on their blankets staring at the cast as they wander through to a less populated area in the park. The Arabic dagger quickly slices through Jules’ throat and fake blood starts to spray and run down his neck and clothes. It actually looks pretty real. Everyone is on edge. If a cop walking by sees us, and the fake blood we could be in a lot of trouble. Eddie assures us that we’ll be fine. If anything happens he’ll talk us out of it. These are old school mechanical effects. No CGI here. To some that might be a flaw but to me the old editing techniques seem much more real than computer generated effects. Patrick and his SFX guy have rigged a small exterminator can with clear fishtank hoses applied underneath a latex gash with tiny holes affixed to Stewarts neck by good old fashioned spirit gum. From where I am standing it looks authentic. The pressure from the exterminator can forces the fake blood through the hose and holes simulating a severed jugular. AWESOME! As per the director the camera moves according to the Tom Cruise Effect and what I see on playback is exciting! We finish and Stewart is covered from his neck down in blood, dirt, leaves, etc. looking like a victim of the French Revolution. Our picnic-ers give us a rousing round of applause. Rule number 1 – expect the unexpected. Who knows what kind of crowd tomorrow will bring…after all…tomorrow is another day…(so sayeth Scarlett). I guess I'll move like Prissy and stop at Office Max.
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