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

Daily shooting diary - Day 13. UNIVERSITIES: DIFFERENT LOOKS

Before filming began, Giuseppe and I visited several University campuses in Barcelona. When a Spaniard thinks of a University, one thinks of lush lawns, cement buildings, long corridors, back packs zooming by strapped to people coming and going at all hours of the day, a little traffic, and mostly, a full cafeteria.

When an Italian thinks of a University, he thinks of a gothic cloister where all the students are in uniform.  We soon realized we weren’t on the same page about this location scouting, when he was fascinated by the Pedralbes monastery.

As a cinematographer, no building or university plaza in Barcelona was going to remind  him of a university. In the end we settled on a modern building that was appealing to the eye, and very filmable: The communications campus of the UPF in Poble Nou. Getting permits to film there also proved to be quite effortless. So that’s where we filmed LLUÍS not going to college.

We took advantage of all the students walking around to make it seem like we were there during exams. Gerard Valdivia came along to help out with anything that we might need, and Andrea made his debut in front of the camera without the safety net of a clapper board, or lifting his pinky when calling out the scene.

Right next to the campus there’s a park perfect for LLUÍS’ trip, with its wide open spaces, and we love our wide open spaces.

We finished early and had the rest of the day off, which coincided with a production free weekend where we’d be taking some studio shots of the technical team shot by Israel.

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

GAYXAMPLE - BTV

GAYXAMPLE - XTVL

Daily shooting diary - Day 12: WHATEVER COMES OF IT

It was supposed to be the most difficult day of the shoot. It was the most difficult day of the shoot. We had to shoot all of the Café Teatro Picasso scenes in a single day, and with limited time to do so, having vertigo seemed like the least of our problems.

Giuseppe was pretty nervous and more demanding than ever. And since we all had a tendency to absorb osmotically the emotions and feeling of the people around us, the whole crew ended up nervous. I would walk down the hallway and find Babeth humming Mozart or some chamber music. I think I even saw her position her hands like she was chanting, at some point.

Our make-up department had their work cut out for them. They had to turn Manuel Tello and Joseph into drag queens, while having just finished doing their make-up as men. Oh, and aside from retouching Jasp’s make-up along with all the other extras that had been called in to serve as the audience members in the bar. Gerard Valdivia being one of them (who never failed), and Adamo (whom I kept imagining filming a scene of our own back at his place), along with a few students from the Nancy Tuñon Academy.

Turning Josep into Coco Champagne was no easy task (do you remember the pump incident a few nights back?) Only this time the make-up department had the honor of applying make-up to just about every part of his body, even catching a glimpse of his own brush. They were also under strict orders from Giuseppe to find a foundation color that complimented his skin tone perfectly, and dulled down any trace of masculinity, but not too well, because he was supposed to still be new to this drag queen business. They also needed to get some wax to cover up his eyebrows, (because plucking was completely out of the question) so they could then turn him into a star.

Josep also had a little problem with his bosom; it seemed to be sagging a bit for his taste, but Iván quickly put his mind at ease when he mentioned that Ana Obregón had the same problem. Ruth and Xenia worked on Joseph’s face while Ivan worked on all the extras (I keep trying to tell you that boy has skills).

Marcus showed up for a visit. I guess it’s only natural he’d want to watch his fictional son perform (On stage, people. On stage.)

Manuel Tello paced back and forth on stage going over his monologue. Matias, the theatre owner,  kept trekking back and forth between the stage and the make-up station, making sure that everything was ok, that nobody needed anything, and most importantly, that we were on schedule.

We began the shoot at the bar with Jasp, where Ruth served as an extra. Matias, served her a drink when she hadn’t asked for one (movie magic, I suppose).  Once we’d finished the bar scene, we had a bite to eat. The next scene was in the theatre where we were going to shoot Manuel’s monologue. I could tell he was nervous because he kept forgetting a few of his lines, even though he was in character.  He was so in character, in fact, that when he came on stage he just started improvising and, well, bravo for the best adapted screen play, and whatever comes of it. Because while it was certainly well within character, it wasn’t necessarily on par with what was going on. I’m not the one doing the editing, so I don’t really sweat it. But I’d love to see how they’re going to put this one together from what they’ve shot.

While we waited for Coco to appear (the real Coco -- the choreographer) Giuseppe decided to capture a little audience reaction shots as if Manuel were still on stage. I’d never seen people so dedicated to a scene.  They’d just hear Giuseppe yell “action” , or “maricón”, or  “what I just said” and they’d start laughing their asses off as if someone had literally just told a gut splitting joke. It was fabulous.

Roberto Picasso, who’d been in hair and make-up for a few minutes, served as our MC for the evening’s show. All of our hard work and nervous energy was well rewarded when we finally saw Josep/LLUÍS/Coco Champagne take the stage and perform. Still wobbling a little on those heels, we took out a few scenes where he’d need to come down some stairs, and then cheated the height of a few things to accommodate him. The end result; however, was pretty spectacular. Definitely one of the scenes I’m looking forward to the most in the final product.

We raced against the clock to finish the last scene in the dressing room, and this time it was Matias himself serving as his own extra.

I’d never been more glad to hear the words “ that’s a wrap for the night.” , than I did that evening. Tomorrow is supposed to be another difficult shoot. We’re shooting TONI in the bar O.M.  Juan will be our DP for that. It’s a good start for the series, I must say. In such a dark time, we’ll see where it ends up shining.

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