A first-time filmmaker chronicling his experience for The Atlantic finishes principal photography.
We wrapped principal photography on Big Words shortly before midnight this past Wednesday. We finished out the shoot in a cute, little Brooklyn wine store and there was much toasting and rejoicing. My first feature was done and I thought I might cry in that moment. But I didn't; I was probably just too tired. It's Friday now and I still don't feel fully recuperated from the exhausting 18-day schedule. Nevertheless, I've already begun to miss the voices, like Lenny's calm baritone, constantly in my ear and in my head asking my opinion, lending advice, and helping me refine my vision.
MORE ON FILMING 'BIG WORDS'
- Wait, Why I Am I Directing a Movie?
- Getting Thrown Out of a Bar, Hollywood Style
- The Shoot Must Go On, But Not While a House Is Burning
- On Location, Arguing With Cops and Hip-Hop Heads
- Bye Bye, Yaya: A Star Departs the Set
- Directing a Film Isn't All Terrible
- Rapper Wraps Up Role in Film About Rapping
- The End Is Near, and My Crew Is Sleepy
Filmmaking is such a collaborative process that it is dizzying. I thought I was making a tiny movie, but it all got weird and massive for me over a month ago when I started receiving emails from a prop master whom I had not personally hired containing images of nuggets of sticky, green mock-pot in various stages of congealing. Some woman who I had never even met or spoken with had apparently been up all night experimenting with different combinations of honey, eggs and oregano—all because, like so many lazy storytellers before me, I'd off-handedly written a weed cipher into my movie.