On to distribution!

I'm back in Bad Animals' Sound Studio today, putting the ultra finishing touches on the new cut of THE WHOLE TRUTH with sound editor Dave Howe, preparing it for two screenings we're holding for distributors and their representatives in theaters next Tuesday afternoon in Burbank and evening in Beverly Hills.

It appears at this point we'll have a good turnout. Quality distributors will be represented - and the most shocking news is how many studios are sending reps, when most studios have done away with their indie film departments or simply kissed them off.

Several of the film's stars will be on hand to chat after the film is screened. At least one surprise guest star will be there; she's not associated with the film, but she's gracing us with her presence for moral and critical support. I'll take photos.

After we finish our work in the sound studio today, "screeners" of the film will be made to show those who cannot come to the screening - or the bosses of those who are there, if they have an interest in picking up the film.

Screeners are always scary to me because they are often viewed on (smaller) TV screens and although they are made on DVD formats, they are made with a very degraded picture quality - ultra-low resolution - which is near hideous compared to the splendid look on the big screen - and the way the film will appear when its DVD is created.

Two reasons for this: the most important is that it can't be pirated, the second is that the word "screener" pops up here and there so whoever watches it will know that it's not intended for sale or normal entertainment, only to be screened by an official film festival viewer or distributor/rep.

Screeners won't be made available until the end of next week; we hope to seal the deal with a distributor within two days of the screening - before screeners will be available.

Veteran screeners know the low quality is part of the viewing package - others do not and wonder about it, which is why we're advised not to show screeners to anyone other than those for whom it's intended.

The new poster is also printed up for distributors to see as they enter the theaters at which we're screening the film so they can be prepared for what they're about to see.

As excited and proud as I am of this new cut, I'm keeping my expectations to a minimum. As much as I love and am in love with this film, I can only hope others will be, too - but it's like introducing your incredible fiancee to your friends.

You're madly in love with her - hoping, praying they love her at first sight - but in fact because she's so unique, they may need a moment or two to get to get to know her so they will love her as much as you do!

My assistant Aaron has a motto: "Ya never know."

So true.

Especially when it comes to comedy.

I'll give you the blow by blow of the distribution process after the screening next week - and explain why I asked our producer Larry Estes to invite some folks in the movie biz not ordinarily asked to attend these events. I'm really intrigued to see if/how it works out!

Wish us luck!

More EPK interviews from THE WHOLE TRUTH!

Executive producer Gary Allen Tucci talks about his passion for films - and unlike just about anyone in the industry, he goes to see films in theaters, sitting with audiences at least three times a week!



Jim Holmes talks about playing successful lawyer Brad Sanders:





Producer Larry Estes learned not to gamble on set!



I chat about working with Eric Roberts, Sean Patrick Flanery, Elisabeth Röhm and Kristina Lilley!

Producer Larry Estes speaks up!

Larry comes with *quite* the producing pedigree.

Larry was responsible for SEX, LIES AND VIDEO TAPE, among several other indie feature classics (GAS FOOD LODGING, SMOKE SIGNALS). Even with some 80 films under his belt, he says I was full of surprising "firsts" for this seasoned veteran as I made THE WHOLE TRUTH.

EPK fun with Jim, Gary, Larry, Aaron, Danyale and ... moi!

We finished our EPK (electronic press kit) interviews (backstage stuff) for THE WHOLE TRUTH Thursday!

Actor Jim Holmes ("Brad Sanders" in TWT - you may recognize him from a hundred other roles he's had in projects like 24, Boston Legal, films galore), my business partner Gary Allen Tucci, producer Larry Estes and I each chatted about our experiences making the film, working with the entire cast and crew, and our impressions of the film itself.





My assistant, Aaron Heinzen, posed the questions as we sat on the hotseat for Dave Wilson's camera.

Aaron is a pro - in addition to working for radio stations in the past, he is also the color commentator for FOX Sports Northwest (FSN) television at all the Portland Timbers professional MLS soccer games.

There's a big game coming up between the Timbers and chief rival the Seattle Sounders Wednesday, July 1 in case you'd like to catch him in action.

Deal is - Aaron is a former professional soccer player. He played for the Timbers until injuries caught up with him. But he lives in Seattle. So of course as a color commentator for the Timbers if you hear any bias ... it's only because he carries a warm spot in his heart for the team with which he played.



Anyway, he did a great job tossing thoughtful questions at us, then following up on our answers. You'll see the results of our interviews over the next several weeks - but here are some photos of the EPK session I caught as the day progressed.



Here's Gary in the hair and make-up chair. He told us that as we age, little hairs we have in our ears fall out - and cause problems with our equilibrium.

That's why we have trouble negotiating gravity as we get into our senior years.

O...K. Thank you for sharing, Gary!

Fortunately, our hair and make-up artist Danyale Cook avoided cutting his ear hairs so his interview was very balanced.

The beautiful Danyale asked that I not take her picture because she wasn't feeling photogenic. I know I have days like that. But she was kind enough to let us use her Pure Alchemy Salon (completely green, too!) for our interviews. It's a lovely shoppe with a terrific ambiance; nothing pretentious, which is what we're all about.


Danyale puts a little make-up on Gary to bring out his eyes for the camera ... this is a rough and rugged self-made man. He started working at physical labor since he was 12 and does Iron Man competitions for fun.

But he was totally at ease with all the hair and make-up fussing it takes to look good on camera so he could talk about his experience as executive producer for THE WHOLE TRUTH.


"Did you see me in 24?"

"I think everyone did, Jim"

"Did you see me in Boston Legal?"

I actually did an improv sketch on camera with him! It took a lot of nerve performing with this guy - he's the master of timing!

Jim's also a drama teacher for the theater department at Loyola Marymount University in Los Angeles! Or is that theatre department, Jim? ;-)

Producer Larry Estes gets his hair washed .. Danyale gave him a haircut.

After the taping.

In his EPK interview you'll see Lar with his old do, which is long and mega curly!


Danyale's wanted to get her hands on those curls since she first met him!

Danyale did the brilliant hair work on THE WHOLE TRUTH. She creates phenomenal wigs one hair at a time - she's one of the few hair artists who can do the work she does. She has been with the Seattle Opera for years.




Here's producer Larry with his longer locks as he and executive producer Gary chat.


OK, I won't be insulted. Photographer Dave Wilson and Aaron look at the monitor trying to figure out how to frame me in the most attractive way.


"I don't know. What do you think?"


"Gosh. I don't know. What do you think?"


Guys. I can hear you! ;-)

A fun, productive day - I'll show you the results over the next few weeks!

Creative collaborators

There are a number of ways artists can be "juiced" or inspired to create fine work.

Franz Schubert's was to be thrilled by nature. Walking or riding through a forest, taking a leisurely paddle across a lake or simply watching birds fly and sing would send his brilliant mind into action, "hearing" the music he composed.

Johann Strauss wrote phenomenal music dedicated to cities and rivers and meadows and other beautiful works created by humans and God.

The inspiration to create can take many forms: a person or a pet; a flower or a plant; a spiritual guide or a talisman; a favorite place or even a very breath of life itself.

Those specifically identified sources of artistic inspiration are generally called a muse.

Innumerable famous painters believed their lovers were their muse; in some cases they claim that a sexual component of a muse-ment is necessary because it replicates the origin of life. This, in turn, imitates the gestation and birth of art.

While there might well be a human with whom one has a sexual relationship who is the primary inspiration for an artist of any craft, too often sexual relationships fade, then disappear. The artists then feel they must continue to find more muses or, they believe, their work will suffer.

The idea of having a muse is a psychological game we all play with ourselves. It's fun and exciting. But an artist who believes that something outside himself or herself influences inspiration for work is at the mercy of a muse.

If one depends on their art/craft for a living, this can get dicey. We can't sit around hoping that someone or something will excite us enough to work - or do our very best work, exceeding all we've accomplished before.

So those who choose a constantly renewable resource as a muse can do very well for their entire working life. A forest, a river, the sky, one's own breath.

Those whose human muses who are sure to be with them forever are also blessed - a devoted spouse, a true friend.

I'm not comparing myself to any great artist, but I have more than one muse - including a person that I only recently realized *is* my human muse. I expect my anthropoid muse to be in my life for as long as we both are alive and beyond. My other muses include my pets, my home, music, drawing, painting, burning candles, live performances, singing, dinner with friends, my breath, my spirituality, the universe, a good massage, and last but not least, nature.

In short, it doesn't take much to inspire me.

I write every day and enjoy it, even when I'm having difficulty figuring out a character, plot. location or story issue. I'm very fortunate that way, and give thanks for it every day. Many writers - including some fine, gifted writers - do not enjoy the process. Some suffer mightily at the sight of a blank screen or piece of paper.

That's one level of creating - whether it's writing, painting, directing, composing, drawing or singing - getting started.

Another level is that of working with a creative collaborator.

This can be a coach, a teacher, a mentor, a knowledgeable spouse or friend, or someone with whom you work who has a significant and special insight into your heart, mind and work.

This person is someone who pushes you to dig deeper, research more, toil harder, reach higher and do better than you ever thought possible - while never doing the work for you. He or she does not even hint at what he or she believes you "should" write, say, do.

My creative collaborator is our literally famous producer, Larry Estes.

He has a way of asking questions about my scripts that make me do whatever it takes to figure out the answers that will make a character's motives laser clear, the character's psychological profile perfect, the character's behavior more believable and the dialogue more true to life.

Larry has never dealt with me in a way that makes me feel I've let him down or not met his expectations. Perhaps it's because he knows how very dedicated I am and how hard I work.

But he does always wonder - "why" something happens or doesn't happened and "how" this could be the outcome, given the circumstances that occurred on page 3?

A little background:

Larry has produced or been part of a production team for more than 80 independent films, many of them memorable award winners (sex, lies and videotape, gas food lodging and so many more). Over the past few decades he's worked with the likes of Steven Soderbergh and a legion of other notable writers, directors, actors - most of whom you'd know on sight or by name.

When I told him I was going to THE L-WORD wrap party? He says, "Say 'hi' to Jennifer Beals ..." as well as one of the directors on the show, and on it goes.

You'd never know it by his demeanor or his attitude. Like me, he's totally down to earth and all about the work. I think we even dress alike. Actually, this is not a good thing and our costumer Rebecca Luke is determined to change that by outfitting me in real clothes that make me look *good!*

Larry likes to find people whose stage in their craft is developed enough that he can consider producing their work, and, hopefully, artists with whom he has fun working. The two too seldom go hand in hand.

Debbie, his wife of nearly 30 years is the love of his life (as he is hers); he understands what a rare and sensational phenomenon this is, so isn't one to need or seek other sources of happiness.

I'm happy to say, however, that we have fun!

The joy of my life since I started working with him (less than a year ago) is to *blow him away!* I *live* to surprise the heck out of him by exceeding every expectation he has for me writing, directing and producing.

The look on his face, the exclamation of his voice, the blizzard blink of his eyes, the shaking of his head, the smile and the breath of disbelief is exhilarating!

Another thing - he doesn't let me "get away" with anything. I try to plug in a "sort of" scene until I can come back and do it right. Um, no. He catches the pseudo scene and, instead of asking, "what the hell is this??" Instead asks, "How would this work?" "Why is she doing this here?" "I'm having trouble following your logic, here."

Yeah, yeah. OK. Then I do it not only "right" but better than anything he thought he'd read on the page.

At least that what he says - and I'm doing the Snoopy dance! Oh, joy!

If you travel around Los Angeles with him, Larry has approximately 2,398 stories of famous people with whom he's worked HERE (as you pass a building) and had dinner at her house THERE (as you pass a lovely home) and THIS IS WHERE (some great film he green-lit or worked on) was made (as you pass what used to be a studio building or low road location).

With Larry's feedback (anyone else who has feedback now goes through him because he's got the knack for asking me just the right questions), I just finished the official white script for THE LONELY GOATHERD.

Now I'm underway, as you know, Gentle Reader, to write the best and most unusual screenplay I've ever written, SPARE CHANGE. I could be intimidated, especially because every one's expectations of it - including mine - are so high, and the lead actors are amazing.

But with Larry as my creative collaborator, and all those muses I told you about? It's just a matter of using the typical formula for writing: place butt in seat, fingers on keys, head in research and background work, keep mind open to receive whatever the universe wants to offer up, and fill up blank screens and paper pages (I tend to write on anything that's nearby).

How lucky am I?

The Whole Truth is screened!

I'll just say this: it was incredibly successful.

The response was so positive .. and of course we can actually *hear* people laugh, which is the biggest payoff for a comedy.

How difficult it is to sit through a drama you've filmed as the audience sits there tight-lipped - so you never know if they like it until they leave (or you read about it in tomorrow's newspaper).

Stephen Meyers, our editor supreme, and I locked the film today, cutting bits and scenes here and there to make it tighter, a better paced story and staying true to the characters.

I lost two of my favorite scenes. Ow. It hurt to make those decisions. But it has to be done for the sake of a better film. They were fine scenes but the created a small lull in the otherwise fast-paced story. One was just plain downright gorgeous. The other touching.

We'll include them as extras when we create the DVD.

Some of the comments:

"Elisabeth Röhm is phenomenal. She carries the story from the first frame of the film to the last."

"Eric Roberts was unbelievable. I had no idea he could be so f**king funny!"

"I loved Sean Patrick Flanery. He gave the film a real warmth."

"The film is hilarious - and the characters are still believable."

"Loved the music. It was perfect - in the parts where there was music." (The rest of the music is on its way from composer, who will finish scoring the locked film.)

"The film was actually logical. I liked that. Lots of comedies leave logic behind."

"The actors all felt like they were having a great time - like they were having so much fun performing their roles." ('tis true! We all had a wonderful time and want to work together again!)

There were many comments on the excellent acting - straight across the board, from beginning to end - not a weak link in the group.

The most wonderful comments revolved around how entertaining the whole film is - and how it felt like they were seeing a "real movie" - the first they've seen in a long, long time. Our budget may have been limited, but our imaginations and resourcefulness were not. It has the look of a film with a much greater budget - thanks to the whole cast and crew.

Folks left feeling like they were genuinely entertained by a film that didn't take shortcuts or "write down" to its audience or stupid-up the script to get a cheap laugh, even though there are many "over the top" moments.

Producer and hyper critic Larry Estes was in the audience and was *heard* laughing! Executive producer Gary Allen Tucci laughed all the way through the feature. That was *good* news!

Other things viewers loved:

The wardrobe! Rebecca Luke is the general of our clothing batallion in our "aesthetic army!"

The look of the film! Rachel Thomson is our production designer; Ted Barnes the gaffer (lights!)Paul Mailman the DP (camera!), and Greg Smith our grip (action! Moving and coordinating all the electrical cords and stuff).

We can only hope the audience we invite to the January screening feels the same with all the cuts and improvements we've made. We'll also have an elementary sound mix, the proper opening, color correction and special effects included. After that, we have one more go at the edit, proper sound mixing and the film is ready for you to see!

Whew.

Now back to work on pre-production for our next feature, The Lonely Goatherd!

Confessions ...

Now that the film shooting part is completed for THE WHOLE TRUTH production, I have to tell you some behind the scenes stuff that doesn't necessarily make me the world's greatest comedy writer/director.

It has to do with uncontrollable laughter.

Namely, mine.

I had to bar myself from my own set *twice* for two scenes in which Elisabeth Röhm was performing what was in the script ... and I could not stop laughing. Everyone else was remarkably controlled, wearing muffler scarves in which to guffaw silently, looking at the ceiling as the scene played out, letting tears flow without making a sound.

I tried all those things, and even desperately attempted to "hold it in." I swear at one point I burst a very vital organ because I was in excessive merriment constricting pain the rest of the day. It was like suffering from unexpressed laughter constipation - one just can't back one's self up like that without hurting one's self.

I had to yell "action" and "cut" from a distant location holding a small monitor.

OK, in the name of full disclosure: one of those scenes was performed in a room next to where I was located. Elisabeth had a direct eye line to me and at one point got up from her chair, walked to the door staring at me, and closed it because watching me laugh sent her regaling - preventing her from saying her lines as pathetically as her character was supposed to be feeling.

It wasn't enough. She could still hear me stifling myself through the closed door, so as I say, I moved farther away and fortunately have a very loud voice so the cast and crew could hear "action" and "cut."

Seriously, do Christopher Guest and Frank Oz have these problems?

Elisabeth has a stealth laugh mode. You know she's laughing but she doesn't make a sound. My producer Larry Estes can do the same thing. Larry, his wife Debbie and I went to see Rick Overton and John Fugelsang perform stand-up at a local comedy club. There I was, falling apart at the seams, tears streaming, in genuine pain from laughing so hard, pounding the table with one hand, shielding my head from physical injury by putting my other arm on the table so it would hit only flesh.

Debbie laughed heartily, aloud.

Larry? Seriously, his body was shaking, tears were flowing, the mouth was open .. but not a sound. It was like flying owl laughter. You can't hear owls fly, you know. They're totally silent when their wings "flap." Eeery.

Now, Elisabeth can also make sound, but apparently when it's "appropriate" (whatever the hell that means), she's a stealth laugher.

Eric Roberts is an expressive, audible laugher. I'm proud to say we share that in common.

A few evenings after a long day of shooting a couple of us would get together and plan the next day of production. I would be tired and giddy and suddenly seized with fits of laughter as my colleagues would wait patiently, shaking their heads.

1st Assistant Director Megan Griffiths told passer-by Larry Estes they had no idea how to stop me.

Said Larry, "Watch this."

Tears streaming down my giggling face, I listened closely.

"Vice president Palin," he said, stone faced.

I immediately returned to work, completely focused, not a sound out of this mouth other than the business at hand.

We were all mighty impressed. As was Larry with himself.

Because of course, the election is not funny. It's urgently important that we all participate.

Hundreds of thousands of Americans have fought and died over the centuries to achieve our precious right to choose our leaders and decide our future. Women have had the right to vote in the United States only less than one hundred years. Before that, we were not considered "full" citizens and were excluded from taking part in "mainstream" politics.

I mailed my ballot last week.

Vote.

Beginning of shoot day #5

Yesterday's shoot went *very* well. Elisabeth and Sean are at the top of their game, Kristina Lilley kicked butt and Pisay Pao came through like a champ. Little pup TinTin was FABulous.

The crew cannot be praised highly enough. Today Megan Griffiths gets a special shout-out. She's the 1st AD (Assistant Director), who keeps the whole team glued together. She's calm, cool, collected; extremely knowledgeable and professional.

We had a later call yesterday and a call today (start time) at noon, so I'm getting a couple things done today before going in and starting a long day that will go late into the night.

Stephen Myers, our editor in LA, started to receive our dailies (the film already shot and developed - we're shooting 35mm), and says they look fantastic! He should finish editing the first two days of shooting today, and we'll keep progressing daily for the editing from now on.

That means we'll have a rough cut of our film shortly after we finish shooting. I'm taking a week off after the shoot to put my brain back together, then I'll be sitting with Stephen every day as we finish the editing process.

I've already been working with Ragnar Rosinkranz, our composer - he'll be looking at the rough cut as it is built and coming back with more themes and scoring music that we'll finesse along the way and at the end.

Following that is sound perfection and "sweetening." That's where I add all the birds and other ambient sounds that we've been careful to avoid during the filming so I can put them in just the right place.

I'm not posting pictures until the film is finished so you'll want to see it and get a kick out of the "behind the scenes" snapshots that were taken.

Two seniors from the University of Arizona arrived yesterday to begin the process of doing a documentary on the making of THE WHOLE TRUTH. A total of six students will be "covering" us without getting in the way. One of our producers, Larry Estes, teaches a film producing class there - in his "spare time."

They get credit for working on THE WHOLE TRUTH.

Me, too.

writer-director and some sort of producer ... ;-)

Back to work!

THE WHOLE TRUTH's first signed cast member

Fresh from his role as mafioso kingpin Salvatore Maroni in The Dark Knight, I'm proud - and thrilled - to announce that Academy Award and Golden Globe-nominated Eric Roberts is the first actor officially cast in our Heart Break Productionz' The Whole Truth.

Creatively and personally, Eric is at the top of his game, and will surprise everyone with his performance in our screwball comedy - with a twist!

In fact, you may not even recognize him at first - but his acting will blow you away.

He'll be happy to hear he's a star with audiences of all ages! A teenager we know said she could hardly wait to see Eric in our film! Why? "He's got to be a great actor! He's Emma Roberts' (Nancy Drew) dad!"

OK, OK.

But Emma comes by her talent and work ethic honestly. Believe me when I say that never before -- and probably after -- has he, or will he, portray anyone like the role he's tackling in The Whole Truth.

The Whole Truth executive producer Gary Tucci and producer Larry Estes are equally excited about Eric joining our cast. I can hardly wait to collaborate with this enthusiastic, accomplished artist.

The camera rolls September 22.

Stay tuned for more news as deals are signed, sealed and great actors delivered!

Casting in LA ...

Was a supreme pleasure and a completely wonderful experience.

I had the time of my life.

Casting director Rick Pagano, who is well respected in Hollywood, and his assistant Russell Boast, could not have worked harder or more dilligently - speaking with agents and managers and actors and others involved with the actors' careers. Noted producer Toni Wells-Roth helped us out with camerawork (wow!).

One observation I must mention: there is an extremely serious problem with agents who don't really do their jobs or do them well, and I'm including folks working with "top" agencies.

Several had *no* idea how to contact their clients (wrong emails, phone numbers), or that their clients were currently working, or in some cases made no effort to send the script or even contact their clients requested by Rick for this project. In some cases they made an appointment for their client and then cancelled it because they did not contact the client.

One very well known actor who is a good friend of my producer (actually our casting director and producer know a lot of great actors) said he was never contacted by his agent. When his agent was contacted (who made an "appointment" for his client to meet with us), the agent had *no* idea his client is currently working on a mini-series at an out-of-LA location. He's coming to Seattle to meet with us soon.

In the case of most actors we auditioned or met with (at a certain level of fame/work, meetings are held in lieu of script readings or auditions - though certain very top professionals still ask to read), they are at the top of their game and crazy about our project.

Some sensational actors dropped by to meet even though they knew they weren't right for this project, but know we have several more slated so wanted to get together with us in person. And believe me, we kept careful notes on everyone we saw.

One well known actor with whom we had a meeting said the industry is now run by "second rate" agents who don't do their jobs, don't know how to do their jobs or can't do them very well - and the people suffering are actors - at all levels.

S/he added that the situation is cyclical -- that their incompetence will only be tolerated for so long before there's a big shakeup, when the system will change again.

In some cases, the agents only want big paying deals for their clients so they can make big fees, regardless of the quality of the work.

There are obviously some agents who take their work seriously and do a good job -- they were spoken of just as positively as the others regarded so negatively.

Enough about that.

The very up side is that the actors with whom we interacted were amazing, terrific and top professionals. They worked so hard on the material to bring their characters to life - screwball comedies are the most work of any genre by all concerned.

Each brought something that only they could bring to their character.

They're making my work of selecting the right person for each role incredibly difficult - which means they did a splendid job. The harder my job, the better the cast.

Some of my choices are going to surprise audiences, and quite honestly a couple people (very well known) came in to speak about doing extremely "against type" characters (unlike anything they've ever played before, unlike the persona they appear to be normally or the characters they've played in the past).

One well known actress from a very popular dramatic TV series did her very first comedic performance in her audition for the lead and absolutely WOW'ed us. She did a brilliant job, looked fantastic, and what's so exciting for me is that she loves the script and the role. Very impressive.

I can't tell you how rewarding it was to hear so many of these top pro's tell me how much they loved the script! Most importantly, I couldn't hear a wasted word in the dialogue. Whew.

A good sign is that everyone who read it felt very strongly about the script - they were either head over heels in love with it, or they absolutely hated it! I think those who didn't like it will feel very differently when they see it up on the screen.

Even our producer was pleasantly surprised when actors who understood the script and characters breathed hilarious life into their scenes.

I enjoyed most audition performances so much - extraordinarily talented, skilled artists did such magnifienent interpretations - that the experience was downright heavenly for me. And I let them know it. I'm not one of those directors who holds back her enthusiasm or appreciation.

After all, these are artists who have shared a part of themselves they'll never get back; they worked hard on their audition scenes and deserve credit and praise where it's due.

It's easy to see why these actors are employed as much as they are. They deserve it. I was proud to be in their company.

Mind you, if anyone shows up unprepared or without doing their homework? I also let them know how I feel. But that was not the case, so I was able to shower actors I met with appreciation and affection.

Our producer, Larry Estes, is a former studio executive and lengendary producer in the field of indie films. He is well known and highly regarded by many working actors who came in to say hello - he now lives in the Pacific Northwest. I was proud to be in his company - I could see the admiration and fondness these artists held for him as they hugged and spoke to him warmly about families, kids, the past, pets, work and life in general.

I was treated to some fantastic stories of show biz past and present by Larry along the way. Another highlight of the trip.

Larry and I met over dinner with our estimable editor Stephen Myers (he just found out the Pixar documentary he edited is nominated for an Emmy!), who has worked with classic comedic filmmakers like Carl Reiner. I showed him my shot sheets along with overhead drawings -- floor plans -- of camera placement, character and camera movement.

After scouring my work, Stephen sent me suggestions for insert shots and editing sounds. The very things that make the difference between work well done and excellence.

Thank you to every actor who came by to meet and perform for The Whole Truth (Gabe, I owe you a little stuffed skunk); decisions will be made soon because cameras roll the third week in September.

Interestingly, we set out to cast three lead roles in LA and came back considering actors to fill 6 roles. We'll be meeting with a few more actors here and in Vancouver, B.C. as well.

Next big step after that: local casting in Seattle for another lead role and several supporting roles with Stephen Salamunavich at Complete Casting, which I know will be just as much fun. Every role is written with a scene to steal included.

We'll also be opening a production office, then bringing production folks in the next few weeks.