Director’s Journal: Day 16

mo-cry-sami-dam-wide

Tuesday, Day 16.

The sixteenth day of shooting Triumph67 is a dream.  We pull into the parking lot of the Lock and Dam under the Ford Bridge, and the breeze and air feel great.  It’s an easy enough scene.  Sami takes photos of Mohannad.  We’ve been here before for B Roll, but today is cooler, and the air pressure feels comfortably high.  The shots look great, and nobody bothers us.  Actor Kareem Aal’s 4 year-old son gets a cameo, and the shot is rather touching.  Soon a barge approaches, and we get an epic shot of the vessel moving past Mohannad as he stares off into the distance.

With time to spare, I decide to take the small crew to one of my favorite local breakfast joints, Victor’s 1959 Café.  I order the Dia y Noche, and a cup of coffee.  I also get a side of Yuca fries, which I dunk into catsup with Tabasco sauce.   We laugh and talk about the shoot, and Jeremy tells stories about lucrative photo shoots with models who make $10,000 a session.  I wash down a twinge of jealousy with a large swig of scalding hot coffee, and leave a respectable tip.

The rest of the afternoon is spent in the producer’s brother’s apartment in South Minneapolis, which doubles as the Aziz family flat in London.  It is filled with antique furniture, and I watch on pins and needles as Guy Harrison, Gaffer, backs into a priceless vase.  It wobbles, but doesn’t fall.  Esam Aal and Nadia Phelps play the Aziz parents, and we shoot a handful of scenes on what is left of our supply of Super8 Kodak film.  The store had completely run out, so we had to be very economical with our real film, which we shot with for the memory sequences.  Esam and Nadia do a wonderful job, and with the last 30 seconds of film, we grab the biggest scene of the day, Sami Aziz return home from Palestine to a surprise party.  Nadia’s little daughter get’s a cameo, and charms everyone on set.

After filming, Mohannad’s mom makes the cast and crew a feast, and we eat in the back yard.  We break out some perfumed Vodka, and I spend some time talking with our wonderful PA, Rami Azzazi.  We talk about Socialism, as the sun slips lower.  For the first time since we began shooting, I drive home before it is completely dark.

avatarBy Dan on
Posted in Journal, Production