Archive | August, 2017

First Day On Set

27 Aug

Today we meet our set. Always an exciting time, but I’ve been freaking out about it for days.

…Because not only is it angles and staircases and platforms and sofas and multiple tables…kitchen and laundry appliances…with things like live flame and giant death fights, and practical light sources, which eventually will go down to 2% blues and black…

…I’m doing it all blind. Because my character is.

…So, take you out of the rehearsal room, where touch as marker, how many steps, at what angle, and what texture and size has been accruing in your mind across nearly two months, on a single surface…and put in totally different measure in depth and width, with added levels and stairs, ever revolving new props as they are subbed in from rehearsal to show versions…and keep in mind, you cannot visually mark a damn thing to help you, and know you have nine days on this set to pull it all off by Preview.

Soft-focus is the landed perspective I’m working in. (Like if you spaced out and tried to focus closer while doing it…a kind of duplicate out-of-focusing.) It removes all sharpness to your visuals, and heavily handicaps your peripheral. On top of which you don’t look toward the action or person…your ears are the primary focus, so they can pick up echoes, bounce-back off surfaces that can relate information like a bat uses sonar…explaining room layout, depth, where people are standing, how close another object is, the configuration of a hallways width, a doorway versus as wall, and general movement…etc. 

…Doing all this means that the usual safety standards for actors on set, in blackout, or partial light, aren’t going to help me. Glowtape on the lip of the stairs means fuck-all. Spike tape is meaningless, unless it is in an area I can physically feel with my fingertips. If I place a prop in the scene and it falls, I have to take the time to search it out on hands and knees and restore it, even if mid-fight, mid task of something else, and not depend on someone nearest to cover, or there is no way the character would know where it is for later. It means bruises I’ve already accrued will magnify greatly, as I have to relearn every new angle and movement pattern, forwards and backwards, all over again. The configuration of her movement, in subtly using the furniture in her home to get her from “A” to “B” to “C,” now changes in angle and needs to be relearned and adjusted. It used to take five steps in the rehearsal room to get from here to there, and eight to that place, but now will it take seven, eight, and ten? How do I redistribute my line delivery time to cover that, or do we need to start two lines earlier because now I have an entire staircase to climb?

…How can I be safe? And when they add stage lights to my already halo-like, duplicate-vision, what the hell is that gonna do to impare me even further?

The role has always been on the bucket list…and it’s great work because of how many challenges it throws at you. But this is the moment I have always been most scared of. There is very little anyone can do to help me, and I have a very short learning curve to get a whole hell of a lot dialed in. And it all completely affects the pacing, tension, and presentation of the entire show if I can’t figure it out. 

…So: no pressure or anything.

It’s 10am. I already need a drink.


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