PRODUCTION (Cont'd)
The crew used real locations, including an actual therapist's
office and two hospitals. "It was more economical to use the
'real thing' rather than shoot on a soundstage," explains
producer Elizabeth Kraus, "although it took a lot of phone calls
and scouting to find the right locations." The production
brought the cast and crew to the cities of Los Angeles,
Arcadia, North Hollywood, Burbank, Beverly Hills, Glendale, Lake
Balboa, and Tarzana. Production designer Esther Watanabe
had a variety of responsibilities, ranging from set dressing to
designing web pages for a computer scene.
Kargman made the unusual choice to also act as his own
director of photography. "Originally, someone else was serving
as the DP. But at the last minute it didn't work out, and I was
office and two hospitals. "It was more economical to use the
'real thing' rather than shoot on a soundstage," explains
producer Elizabeth Kraus, "although it took a lot of phone calls
and scouting to find the right locations." The production
brought the cast and crew to the cities of Los Angeles,
Arcadia, North Hollywood, Burbank, Beverly Hills, Glendale, Lake
Balboa, and Tarzana. Production designer Esther Watanabe
had a variety of responsibilities, ranging from set dressing to
designing web pages for a computer scene.
Kargman made the unusual choice to also act as his own
director of photography. "Originally, someone else was serving
as the DP. But at the last minute it didn't work out, and I was
| Crew member Megan Silverstein positions the boom while Debra Hopkins and Sharon Case get into character. |
stuck with having to decide between delaying production and finding another DP, or just shooting it
myself. I had shot most of my other films myself. I had help. My gaffer [Mike Schock] and grip [Megan
Silverstein] were great." Kargman also consulted with an experienced Hollywood cinematographer.
myself. I had shot most of my other films myself. I had help. My gaffer [Mike Schock] and grip [Megan
Silverstein] were great." Kargman also consulted with an experienced Hollywood cinematographer.
Both Case and Hopkins were challenged by their roles. "I
shot Repressions around The Young and the Restless," says
Case, "where I was working almost every single day. Then I
put in 15 hours in the weekends. The movie has been
hard. It's very dramatic, so it's a lot of work and effort."
Hopkins says: "I loved the writing and the concept.
Flowers is the complete opposite of me. I saw her many
times spinning her web, creating doubt and confusion...
The shoot was very intimate, focused, and intense. It
literally took me a few hours to come down off my
disturbing emotions in playing my character."
shot Repressions around The Young and the Restless," says
Case, "where I was working almost every single day. Then I
put in 15 hours in the weekends. The movie has been
hard. It's very dramatic, so it's a lot of work and effort."
Hopkins says: "I loved the writing and the concept.
Flowers is the complete opposite of me. I saw her many
times spinning her web, creating doubt and confusion...
The shoot was very intimate, focused, and intense. It
literally took me a few hours to come down off my
disturbing emotions in playing my character."
Shooting the hypnosis scene
Photo credits:
Bradley Laurent Spannbauer
Moni Boyce
Bradley Laurent Spannbauer
Moni Boyce
