Production Diary – QUIET GAME

Rest assured that it isn’t an optical illusion or some trick of the light – there are definitely more commercials in the TV Spots section of the site than there were the last time you checked. Yet the reason for this population explosion isn’t something as predictable as some spilled water or a feeding after midnight. Instead, it’s because QUIET GAME – my new spec for Southwest Airlines – has found a permanent home here at the site! Created as an entry for the airline’s “Wanna Get Away?” contest, which challenged travelers to tell an embarrassing story in exactly twenty seconds of footage, the spot serves as a rare, typically forbidden glimpse into the family history of über-producer Christina Ferguson.

Having been accidentally left at the grocery store more than once during my childhood, quietly leafing through the pages of movie magazines as I waited for a tap on the shoulder that never came (I still love you, undisclosed parent), it was easy for me to relate to the unfortunate story of her uncle Tommy, who very nearly became a gas station’s sole permanent resident when he was left behind on a family road trip. In co-opting this particularly scarring chapter of his adolescence, the task of coming up with a relatable story was now behind us. Unfortunately, so too was the call for entries. Finding out about the contest seven full weeks since it had started, we came to the grim realization that our competition had benefitted from nearly two months of public voting while we were only just starting to get into production.

Luckily, a fantastic creative team swiftly fell into place. While Andy Waruszewski reviewed storyboards and shot lists, Christina put the “pro” in producer by lining up auditions for the cast. Although we ultimately awarded parts to a couple of the “Land Elsewhere Players” – Curt Roland from SHOOT FOR THE MOON and Sean Dryke from…well…pretty much everything else – we had a great find in platinum dancer/acting phenom Jenna Pack, who blew us away with her energy, enthusiasm and talent.

Easily trumped in all three categories was the spot’s final cast member: Hercules. While I can’t say exactly when, why or how it seemed like a good idea to get a turtle involved in the shoot, all I know is that one minute I didn’t own a turtle and the next minute I did. It all started with our concept for a shot that would start on my tiny reptilian friend as he inched along an abandoned mile of sun-baked highway, then boom up to our characters’ car as it raced past. Well, after spending an entire day scouting the abandoned roads of southern California and finding the perfect one – no small feat in itself, given that pretty much all of them look as freaky as that stretch of road in TEXAS CHAINSAW MASSACRE – we rapidly assembled our equipment, destroyed my car’s brakes in a wide shot and then went to position Hercules for his close-up.

Hercules – somewhat predictably, in hindsight – had other plans. Assailed by a crippling bout of stage fright, he locked himself in his tiny little trailer and refused to come out. With precious seconds of the twenty minutes of twilight beauty teasingly known as “Magic Hour” ticking away, I was finally forced to make the call to proceed without our shell-shocked companion. And while the shot we captured was great, I still can’t help but wish that Hercules had been able to enjoy at least one brief, shining moment of Hollywood stardom.

Production continued as the cast assembled at Land Elsewhere International Headquarters (a.k.a. my apartment) for the brief car ride to our set: my 2003 Ford Escape, sitting in the center of a public park and completely covered with film equipment. While setting up shop in the center of a wide open space that’s regularly patrolled by law enforcement might fall in the realm of tempting fate, we were doing so out of necessity – the park was the only location we could find that provided a view of pure sky through the windows. If trees, buildings and the like showed up anywhere outside, it would immediately be clear that we captured the footage while the car was standing still.

Luckily, the Culver City Police Force maintained their film-friendly stance and let us proceed with little more than an evil eye. The car rocked (courtesy of Jenna’s mom Kelli, who was more than happy to add a little realism to the scene), cameras rolled and punches flew as Curt and Jenna took method acting to a whole new level. Racing a storm front that woud’ve made Noah nervous, we still managed to wrap in record time. Celebrating with some Boston Market, we grabbed some wild lines and called it a day.

Given our time constraints, we were immediately into post production. Editing started and ended the next day, with Avi Youabian unexpectedly swooping in to masterfully craft the final cut. Bear McCreary loaned one of his PERIPHERY, TEXAS tracks to the effort, enhancing our sound design and taking the spot to the next level of quality and realism. And then, after an epic battle with levels in my home-brewed mix, the spot was online!

Here we are a week later, with the polls set to close in just over an hour. QUIET GAME stands as one of only five entries out of one hundred and thirty-three to earn a four star rating, and hopefully the Southwest Airlines judges will agree with the public when they review our entry over the coming weeks. In the meantime, you can check out the spot for yourself by clicking here. Special thanks to all those involved, and to the rest…what are you waiting for? Play a round of the QUIET GAME!