Blood Relative production meeting






























































It takes a lot of people to make a movie.  Here we are at our first all-department production meeting, at our primary location.

1. Dan Scruggs, our special-effects guy, who will be in charge of figuring out how to murder people safely and realistically in the digital realm.  Next to him is James Logan, our stunt coordinator, who will be in charge of figuring out how to murder people safely and realistically, in the physical realm.

2. Next to James the stunt coordinator is our stylist Megan Hofferth, who will be in charge of making sure the people who are to be murdered look appropriately spooked before they are brutally murdered.  Next to her is Reuben Saunders, our associate producer, who assists the producers in making sure people get murdered on time and in an orderly fashion.

3. Will Potter, our Art Department head, who will be in charge of making sure that our empty house is no longer an empty house, but rather a house where a married couple with a baby has lived for a number of months.  This he will do on a budget of about six dollars.  Next to Art is our producer Holly Golden, who organizes everything and makes sure everyone is talking to everyone else, so that we’re all working on the same movie.  Holly also happens to be co-writer of the screenplay.  Behind Holly are two production assistants, AJ Havrilla and Greg Matthew, who are in charge of anything that needs to be done that no one else has the time to do, since we’re shooting in a few days and everyone is very over-extended.

4. Our production manager Luca DeSando-Grassi, who is in charge of making sure the trains run on time.  Next to him is our producer Ilan Arboleda.  Now, keen eyes will note that I’ve already listed a producer.  This producer is not that producer.  Ilan works alongside Holly to organize the approximately thirty-two billion things that need to happen before cameras roll on Monday.  For those curious, that is what a producer does: makes sure thirty-two billion things happen by Monday.  Next to the producer is (wait for it) our producer Chris Lauer.  Chris is a “line producer,” who’s in charge of running the set, making sure that this gets connected to that.  (Not pictured is the executive producer, Gary Auerbach, whose job it is to provide funds and encourage the writer-director).  On the computer, attending the meeting via Skype (we are living in the 21st century) is Tara Lang, our special-effects makeup woman, whose job it is to make people look appropriately murdered, once they’ve actually been murdered.  Next to her is Roger Melvin, our First Assistant Director, whose job it is to run the set on a daily basis, to make sure that one thing follows another in an orderly fashion, to crack the whip with regard to schedule and to keep crew members from crunching chips during takes.  Next to Roger is the hand of George Su, our director of photography, whose job it is to make sure everything looks beautiful while people are murdered.

I notice that we all use Macs.  Because we are hip.