Okay guys, seriously. They gave me my own trailer. Let me repeat that: I HAD MY OWN TRAILER. Had my name on the door and everything. Did it have furniture? No. Did the electricity work? Sometimes. But by JOVE you'd better believe I strutted around set yacking off the phrase "I'll be in my trailer" to any unfortunate soul who happened to be within earshot.
I couldn't help but appreciate the power that big budget studios have over the city of Los Angeles. They shot our scenes on the driveway of some house, SO THEY SHUT DOWN THE ENTIRE BLOCK. I don't know what horrible labor camp they sent the residents of those houses to, but I never saw anybody who wasn't a part of the shoot.
Blake Griffin needs you to surrender your home... NOW
The shooting process itself was pretty easy. I met Blake Griffin, who had actually heard of my small state school ("Oh yeah, we played against them.") and then we got to it. Blake was pretty much the star of the spot, whereas I only reacted to what was going on in the scene. (Blake got his own umbrella guy to shield his beautiful complexion from the sun. I didn't. What a ripoff.) That being said, it was pretty amazing how subtle they wanted my reactions to be. Take a look at the next two pictures and see if you can tell a difference.
If you think they're pretty similar, than sorry. You don't have the chops to be a commercial director, because one of those suckers is right and the other is WRONG!
Another interesting thing I noticed was how it took a good four and a half hours to shoot a thirty second commercial spot. I understand setting up for shots and whatnot, but I'll bet we took forty takes for each shot. Many of them were pretty much the same direction as the one before. I'm by no means bashing the director, cuz I've obviously never directed anything that big. But my primitive, idiot actor brain didn't understand why we needed so many takes. I just did what I was told like a good boy. I mean... when somebody gives you free Hawaiian style BBQ baby back ribs... you behave.
It was a great experience, and they had to drag me off of that set kicking and screaming. Because now that I've had this success, I have work to do. Time to make a reel, find a theatrical agent (maybe a manager too) and shmooze with the casting directors I've already met. Any time you move forward, you make sure you wring as much momentum from that blessing as you can. Forward motion is what it's all about out here. Cuz trust me, the pond is littered with other little fishies who are dead in the water. Gulp! Gotta keep moving!
