Home > Project Greenlight > Season 1 > Episode 6
Producing Under Chris Moore Conditions
Line producer Patrick Peach points out that "the first day of shooting is really important in terms of Pete's confidence." Co-producer Jeff Balis explains that his job is to make sure that things are going smoothly, and to keep executive producer Chris Moore up to date. Michelle Sy says that she's on set to watch out for Miramax's interests. They all have to make sure the low-budget shoot stays on schedule. They have to "make the day" -- get all the scheduled shots done -- each day, because they don't have any flexibility. Bruce Terris, the first assistant director, explains that he's "the whip," making sure everyone on set is where they're supposed to be when they're supposed to be. The production hits a snag right away, as the first shot of the day includes the two child actors, and takes place under the El tracks in Chicago. The trains frequently pass overhead with a deafening roar. Director of photography Pete Biagi points out that the production didn't budget for a sound crew rep to be involved in location scouting, which might have averted this problem. Pete Jones does his best trying to squeeze the shots in between passing trains. Leah Gale, the children's acting coach, tries to keep Adi Stein and Mike Weinberg focused. The children are only allowed to work about five hours a day, and as the clock ticks down, Weinberg gets restless, and has trouble remembering his lines for a complicated and emotional scene. Others push Jones to cut some of the dialogue, and at first, he resists them. "Let's pay the script the respect it deserves," he says. But eventually, with time running out, he gives in. Later, Moore arrives at the production offices, and chastises Balis for not keeping him informed of the problems they encountered.
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