GAYXAMPLE - LA SEXTA NOTICIAS

Daily shooting diary - EPILOGUE

By beginning of March 2010, we had a working draft of our script and we’d even begun principle casting. Within those first two weeks of casting we actually finished writing the script, and we started working out the scenes. It was also back then when I first met Iván Codón. I’d met him through Giuseppe.  Up until that point I wasn’t sure if he even existed or if he was just Giuseppe’s alter ego or pen name, because I’d never even had a Facebook chat with the man. But there he was in the flesh; a walking, talking, smoking, heck of a screenwriter.

Time has just kind of flown by from the first night of casting and our first draft, to where we are now. As I sit here writing this and enjoying my vacation on this quiet August morning, we are very much in postproduction.

While our production schedule was set, Gayxample as a production itself was never some rigid entity that was strictly dictated by it. It was open to any and all creative input, and allowed to find its own voice as we rolled camera; never compromising creativity or quality to any time or economic restrictions that usually come with the territory. It was a work in progress, if you will, and we all willingly and willfully jumped on board. It let us discover new ways of making film, and showed us that there really is no “one way” to create cinema (although a few guidelines do come in handy).

The production was very centered in reality: organic from the word go. It was influenced by the pace and rhythm of our daily lives and we adjusted to it accordingly, instead of the other way around. We took full advantage of any new technology that could help us not only during production, but also serve as a means for distribution and promotion.

In just a matter of three months, we’ve managed to roll out a full-length project that is over two hours long. We’d just finished casting a month prior to that, and our script was registered shortly there after. If one stops to think about it, you’d think we’ve all lost our minds. And maybe we did a little. One crazy guy in particular named Giuseppe, who would talk about his idea to anyone who would listen, friend and stranger alike. It was an ambitious and contagious project, and as so, it attracted a group of people that would’ve never thought of ever working together. Everyone seemed to have a clear vision of the project in whatever capacity their role in the film would be. And this seemed to snowball into something that anyone who even heard about the project wanted to be a part of it, on either a personal or professional level, or both. People just wanted in, and they were excited about the possibilities.

Very few times did we sit and analyze what we were trying to do. I don’t mean from the actual production of it, or from any creative standpoint during production. I’m talking about the project itself. We didn’t sit there and analyze the scope of our madness. 

I’ve come to two conclusions about our experience. The first one being that the actual audiovisual production and artistic and creative direction were subconsciously influenced by everything around us at the time of production, because our production was very present, and grounded in the “now.”

The second being that when you give in freely to the madness like we all did; giving our hearts and souls without limitations, with almost a blind faith as to the outcome, and opening ourselves up to the possibilities, there was really no limit to what we could accomplish. We can dream of best-case scenarios, and take on the worst, but our reality is that a dream we had last November has come true.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 16: AND SCENE!

Today, dear friends, is our last day of shooting, and that last entry into this blog journal.

It’s been 4 weeks and we’ve once again met up with team A (ÁLEX, IVÁN and XAVI). Eider and Candy (our fabulous extra) are also here.

We began our first exterior shot early, just outside of ALEX’s house, which is really from the first episode (amongst others).

OK, and not to worry, because Rafa is definitely back and he’s in his now signature look: silk robe, black undies, and our collective smiles.

Our location couldn’t have been more perfect, as it turns out there’s a sky bar just next door. So we’d naturally have to go check it out.

Xavi, Kikko, Eider and I were debating life outside of Gayxample. We weren’t completely convinced such a thing really existed.

Our make-up department unloaded their arsenal out on the terrace and set to the task at hand. We had our fair share of looky-loos, but it had become par for the course at this point, and we’d all learned how to avoid and ignore them. Well, most of us anyway, because Kikko seemed to have befriended one of the neighbour ladies, and she looked like the type to start a Facebook fan page for him (if she hadn’t already).

Rafa flaunted his chest down the streets of Barcelona, and Babeth, from even behind the camera, could give Candy precise direction as to what her character needed to be doing.

Oh, and Kikko arrived, shot his scene, and off to the beach he went.

Eider was thrilled to once again dress up as a legalese/not a slut, but Laia was none too pleased someone had made off with her Louis Vitton.

While we did have a few interruptions, like the ambulance that stopped right in front of the doorway we were shooting at, and a few people that stopped right in front of camera to see what was going on, and a couple ladies we asked to walk on the other side of the street for us; it was all and all a pretty smooth and fast shoot. Oh, and it was all shot on a dolly.

We moved to our very last location: Adamo’s attic. It would serve as ALICIA’s home with her as yet unnamed husband (we may not know what his name is, but we know Jose Luis is playing him). The first thing we did upon arrival was take over the terrace and set up the ashtrays and coffee maker. Priorities, people. Priorities.

While they set up the lights and Giuseppe went over the shooting script, Ivan Bertran gave Xavi, Eider and I, massages (it was a stressful day after all).

We cleared the attic of all of Adamo’s personal belongings, or that were too “him”, if you will. We needed to transform the space into something…different.

Mireia once again donned the prosthetic belly, practiced her accent, and we started rolling. Turn the a/c on, please. Thanks.

While Adamo prepared our meal, he shared with us a few stories about a younger (than he already is, of course) Giuseppe. It was quite interesting, I must say.

The food was excellent, as always, and all we needed to do now was film a scene between Xavi and Eider, and we needed to do it before Spain won the world cup and madness ensued, or we’d never be able to shoot the damn thing.

We were so set on finishing the scene that we didn’t even notice when it was all over. We began packing all the equipment up like it was just any other day.  Everyone said their goodbyes like we would see each other again tomorrow or next week, and home we went. We left as if tomorrow we’d once again have to shoot all our different angles and reverse angles; as if we’d have all our usual anecdotes waiting for us to bring them to life; or that we’d keep learning about Iván Bertrán  (Ivan the Great) and his crazy adventures, and all the crazy stories we’d endured together while on this filming odyssey.

A good friend of mine told me when we started shooting, that for the next few weeks after the shoot, I’d feel a little empty. That I’d miss everyone and long for the camaraderie that one develops when you share all the creativity, time, sweat and tears that come with making a film together. But it seems he was wrong, because I’m not really feeling like that at all. Maybe it hasn’t ended. Maybe we really will see each other again.

I’m certain that we will.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

Daily shooting diary - Day 15: IVÁN’S TEARS

Today would be our last day shooting at Juan Carlos’ place. We set up the make-up station in TONI’s room, but ran into a little lighting problem, to which Babeth (naturally) came to the rescue. She set up a few lamps, and voila we were back in business. 

Today was going to be Milca’s day. Not only was she going to get to show off her belly (having little Jan make a cameo before he’s born) but she’d also have to endure watching her wife make out with Mireia…and shoot a full on love scene. Because apparently that’s what two women do when they’re in love. Or so I’ve been told.

Before that torture (for Milca, of course) we went back into the kitchen, where the image of Toni Duque making that glorious pot of coffee yesterday,  was still emblazoned in our minds. Today; however, we had TONI (IvánYáñez) making us breakfast in his bathrobe.  We’d already shot TONI’s morning scene -- Where he’s woken up by his alarms, and we had to set the alarm clock to sync up perfectly to go off with his cell phone. Ugh - and it went swimmingly. We could tell he’d be practicing. Even his breakfast scene with ALICIA had gone well; except for forgetting which side of the screen he kept putting the fuit juice bottle. Luckily we caught it in time and it was no biggie.

We then moved on to the kissing scene between Mireia and Babeth (Milca raged), but Mireia was pretty excited because she’d specifically signed up for the project because she’d be able to play a lesbian character, and this was her maiden voyage into kissing a girl; and like Katy Perry: she liked it. The scene was hot, I must say. They really pulled it off, and then Babeth took care of Milca with more than a kiss. Then Alberto, the extra in the afternoon, came in to kiss TONI, so everyone was happy and we made our way out into the terrace where Juan Carlos had once again prepared something delectable.

Luis and Akiras were checking the lighting, and Mireia was practicing how to get into bed with her prosthetic on. It was time for Milca and Jan to shine. With a bit of hesitation, Milca undressed and let us see little Jan in front of the cameras, before climbing into bed.

The ladies needed a little privacy, so we cleared the room of anyone that wasn’t essential to the scene. Ivan Yañez made a few jokes as he parted, to which Babeth told him to shove it where the sun don’t shine, and instantly retracted the statement because she realized he’d probably like that. There were a few other exchanges, but I won’t get into it here. Sufficed to say that part of it was in the script, so you’ll see it on screen.

Apparently the screenwriter isn’t essential to the scene, and I wasn’t privy to it, if only to script supervise. Just outside of camera range, Milca paced back and forth checking to see where the hands were at all times, while the rest of us took the time to have a snack and chain-smoke.  Alberto and Iván took a moment to get better acquainted (or was it reacquainted) for their up coming kissing scene.  The scene after that; however, was an emotional and bad encounter between TONI and MONTSE. Ivan Yañez had prepared this scene for months. He knew it inside out. But today he’d blanked.

All that accumulated tension, and the stress of full on production weren’t helping any. Plus, this would be his last scene of the series, and he’d have to square off with his acting coach, Babeth, with whom he’d been rehearsing all of his scenes.

We went over the script, and Giuseppe went over the choreography with them. We started rolling, but Iván couldn’t get it together; at least not at first. Then, almost as if a light had gone off in his head, it all came rushing back to him like a Celine Dion song: “It’s all coming back to me, back to me now…” you could practically hear coming out of his ears, and then the flood gates opened and he laid it all out on the table for the world to marvel. All the pent up emotion and anger, rage, and nerves exploded into an unrepeatable performance that left us all holding our breath. It was magnificent; A true Tour de Force. When the scene was over the room erupted in cheers and applause. Andrea and I couldn’t even look at each other we were so worked up. It was as intense, if not more so, than the scene between ÁLEX and IVÁN (Rafa).

We took a minute to compose ourselves before we could shoot a few pick up shots, and Iván excused himself to the terrace where he could let out the last of his tears.

The day ended completely on schedule, and performances worthy of any acting prize one can imagine. Even though there’s a week left on the shoot, it could’ve ended tonight and it would’ve been fitting. Still, we know that we’ve only just begun.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya

GAYXAMPLE - Trailer 4 English

Daily shooting diary - Day 14: OH, DEAR GOD (this place is in ruins)

The second to last weekend of production. We’re going to condense the apartment scenes with TONI and MONTSE. We’re in Juan Jose’s apartment, and while it was a bit tricky finding the place, it took no time at all to turn his place upside down. All I know is that I’d periodically watch Juan Carlos disappear for a few seconds while he stepped outside and took a deep breath, counted to ten, and then came right back in smiling and refreshed. At least I’m pretty sure that’s all he was doing.

Let me set up the scenario: ALICIA had just jumped out of the shower, hair still wet and with a towel wrapped around her, leaving wet foot prints all over the house. And just to make sure that the water was completely visible to the camera, we decided to add a little extra. The only problem was that we forgot where exactly we’d added the extra water, and as we looked for it, it wasn’t just Mireia’s foot prints on the floor anymore.

The bedroom had been littered with female paraphernalia: panties, bras, dresses, socks, handkerchiefs…some of this stuff was even hanging on the bathroom faucet, and thrown on the floor. The kitchen was besieged, the dining area was littered with gelatin that Luis and Akira (the lighting department) had to use, and the terrace was, of course, turned into our craft service area. I’m not sure how he didn’t end the day screaming “this place is in ruins!”

Mireia walked around making sure her towel didn’t fall off. But really, why all the modesty? If ever there were a place where she could feel safe about her dropping the towel, it was here. She was amongst “girls”. The worst thing that could happen was that she’d drop the towel and we’d all run around the house yelling that she’d cut herself down there... (I have to admit that, that sounded much funnier in  my head. )

We shot the scene in the messy room, and Mireia’s line was supposed to be (in a perfect Argentinian accent) “Oh, dear God.” Well, dear God indeed, because first we shot it and she kept saying it before she was even in the room. Then she was saying it a bit too late. Then we couldn’t understand what she was saying at all. And finally,  it just wasn’t coming out with enough of an accent. Which in the end didn’t really matter, because we soon found out that the microphone wasn’t plugged in correctly and we’d have to reshoot everything anyway. Say it with me now: Oh, dear God!

We figured it was as good a time as any to take five, so we all decided to make our way over to the kitchen and find something to nibble on to help ease the tension.  While there, Juan Carlos showed up from one of his endless runs to the store and started putting groceries away. Looking around as he did, he asked “What are you  all doing in here? Are you shooting something in the dinning room? Do you have everything you need?” To which Giuseppe replied “We’re shooting a scene in the kitchen, baby, and you’re in our shot!” Laughter really is the best medicine.

We needed a coffee pot and we sent someone to get it at the strip mall down the street. Juan Carlos prepared a fabulous and finger licking lunch, so we decided to make him our own personal chef. He hasn’t accepted, yet, but we’re working on it.

After lunch we made our way over to TONI’s room where we were shooting the next scene, and where he’d be chatting and cruising profiles online (from a previously selected set, of course). The camera was set up outside and the mic was inside the room, with TONI at his desk. We also needed a few off-screen voices, so like Babeth did for Lola’s scene, we all hit the floor.  Babeth and Mireia were hidden behind the door, which really made them sound off screen. I was stretched out on the floor and holding the mic. Just then, Babeth asked “Should I close the door all the way?”,  and Giuseppe answered “no,  leave it open all the way.” All the way open and right smack into my head! Ouch.

When Toni Duque arrived (aka Mr. Ed), Iván Bertrán was out getting something to eat because of his whole gluten free diet, so he missed out on his highly anticipated arrival. When he got back, we informed him that he had a special guest waiting for him in the bathroom who needed his expert hands for full body make-up. When he saw who it was, and completely in the nude – I might add,  he was left with little recourse other than to bow in reverence and offer a genuine “It’s a pleasure to meet you” as he extended his hand and shook Mr. Ed’s disco stick. We expected nothing less, of course.

Toni Duque spent most of the afternoon with a hand towel draped over said disco stick , while waiting for his scene. I don’t think I’ve ever heard of anyone receiving so much applause, being so closely followed, or needing that many takes to make a pot of coffee. But I will say that I was a bit parched after all of that, and could’ve really used a sip.

The evening crept up on us as we filmed the last scene of the day. TONI was at his desk chatting, and the girls flirting on the couch at the start of what could be a beautiful friendship, as Claude Rains would say. We’ll see how this all ends tomorrow.

Cenzo Álvarez De Haro - Translated and adapted by: Norman Giovanni Zelaya