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Posts Tagged ‘Cheetos’

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We tried to keep our crew small enough [on The Florida Project] where we weren’t a big presence that would suddenly bring artifice to the scene that we were shooting…they were ready to go and improvise behind the camera, and sometimes throw the schedule away. As long as I was proving to production and my financiers we were going to make it. [Meaning avoiding overtime or adding additional shooting days, and getting the film shot within the budget.]

…One of the scenes that kind of goes with this sometimes documentary style way of filmmaking is the scene with the cranes that a lot of people actually think might be one of the best scenes in the film. I wanted to shoot Willem interacting with the cranes and we were going to workshop a scene right there one morning. It was one of his last days I believe, and I wanted to make sure we had enough of the Bobby character before he left to go on to another show.

So these three cranes lived on the property. They would come up every morning and tap on the window of the lobby and the real clerks of The Magic Castle would come out and feed them Cheetos—they were addicted to junk food. The morning of my Steadicam artist is setting up rig and suddenly we all get emails and we look at it’s like ‘Do not shoot the cranes. They are an endangered species, if anything goes wrong this is a federal crime and this will shut us down our whole production.’ And I look over and the production offices are on the other side of the The Magic Castle—I knew it was going to take a while to get to me, so I said ‘Guys roll camera, Willem go inside the lobby, come out and do something, I don’t know what to tell ya.’

So he comes out and he has that wonderful interaction with the cranes, and he comes up with that line ‘No harm, no fowl.’ And my great Steadicam artists Mike McGowan, who worked on Moonlight, did that really nice move into him and suddenly it was like ‘Cut—alright, sorry.’ They made us move on, and that was the one take we got.”
Writer/Director Sean Baker
DGA podcast #98 The Director’s Cut

 

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