Sunday, July 31, 2005

Online Bargain Shopping for Clothes

by Christina VanGinkel

I am a bargain shopper! I will pick a clearance rack to browse any day over a rack of new clothing. Online, I am no different. Sites such as Overstock and Smart Bargains will find me browsing their sites more likely than an online venue that offers no advertising of discounts and deals. Do not get me wrong, as shopping online oftentimes goes hand in hand with discounts, yet I am still much more likely to shop the stores that are better known for their bargains and deals.

When I wondered aloud about this fact the other morning over a cup of tea with a friend, I made the statement that maybe my draw to bargain shopping is more about the find than the bargain itself. When she asked me exactly what I meant, I did my best to explain it.

Consider Smart Bargains and their Going Fast and Last Chance sections located on their front page and within their website. Similar to discovering a lone 'must have item' on a rack and getting to it before another savvy shopper in the store grabs it, the Going Fast and Last Chance sections list some hot items, oftentimes along with how many of the item are actually left available to order, usually a low number such as three or four.

On a recent visit to the Smart Bargains site, a Prada zip bag was headlined in the Going Fast section, with only five of them left available. At an advertised 44% off, it was still way out of my price range, but I was giddy with excitement as I watched how quickly they disappeared. I knew if they were offering deals like that, a deal that was perfect for me might be next, and I was not left waiting long. In the Last Chance section, I found Lucky Brand 'Spellbound' boot cut jeans marked from $92.00 down to $30.99. They were only available in one size, but that size happened to be the size a very good friend wears, a friend whose birthday was coming up and I happened to know she loved those jeans! I had been shopping not long before with her when she tried on a pair in the mall but had wistfully put them back on the shelf after looking at the price tag. Locally, they had been even higher than the $92.00, and had been priced at $109.99!

There is just something fantastic about coming across a deal, especially with clothes, as who would not want to dress and accessorize stylishly. At the same time, who other than the wealthiest among us can afford to? All of us! That is if we learn to use the Internet to our advantage by shopping sensibly and taking advantage of bargains and deals when they are available. Check the clearance or bargain sections of your favorite online clothing retailers. Also, check for any online discount codes or coupons that the stores may be offering. Unlike most brick and mortar stores that do not allow shoppers to combine discount coupons and clearance prices, most Internet stores have no such rule. If you find a coupon, chances are you can even use it on clearance and closeouts.

Project Greenlight: When It Counts

Joel worries John will wake up in a nightmare worrying his film will bear the fate of the other Project Greenlight films. The next day, they all sit down together to try and figure out what to do to increase the screenings and cuts. "I was surprised by the numbers, because the movie played better than it tested," Andrew explains. Laurie, the woman running the screening results, discusses how the monsters aren't explained and that the movie has plot holes in it. The appearance of the monsters also were an issue. "The people that didn't care about it [the origin of the monsters] rated it high," Mike says. Bob and Harvey have advised that maybe they should just make the monsters aliens, that they came there, ate and left. This way it's easier to explain rather than how to explain a whole origin of species. "We have not lost any confidence in the movie," Andrew reassures them. "Bob wants to put up more money. He also talked about releasing the movie wide. He also talked about a release date."

"Go fix the monsters," Chris tells them. They have to roll their sleeves up and get some ideas on the table to get the ball rolling. "We're still kind of going over that," John says. Marcus throws out some ideas, but most aren't taken seriously. He goes every which way with his ideas. "We still haven't addressed where they're coming from and what they are," Mike says. "They're delivering pages on the hour," Joel says of the rewriting, "Soon we'll have something for Bob."

"We wrote six openings," Patrick says, "We're just giving them options." John and Mike look through them, and John doesn't know which one even works. "I don't think we like the idea of it being an alien," Patrick sighs, "That's been done before."

They hear back from Bob on the new openings, and he has one he favors. They think a coyote will find a carcass, and he's getting ready to eat it and a monster eats him. They decide to put a budget together and get the shooting back into production over the summer to get everything done. "The real future depends on the Disney/Dimension divorce," Mike says.

In New York, Matt and John meet up to talk about everything. "I beg him to come to New York," Matt Damon, "Because I'm shooting a movie." Matt talks about how Don Cheadle, while they were shooting Oceans 12, watched all the sort films that came in and how Don really liked John's short film. "The interview was a disaster, but it's not about the interview, it was about the short film," Matt explains. "They were superior to anything I've ever seen come out of that web site. You were just clearly the guy to do it." John says, "Any movie that gets done is amazing." Matt says, "I'd definitely consider working with John again. I definitely believe in John."

"Right now we are making a movie for a studio that may not exist in the next few weeks," Mike worries, "With him [Bob] leaving, we don't find ourselves in a good position with Feast. We still have no idea what the future of the film will be." Andrew calls them to say thanks for everything and before the divorce officially happens. He talks to everyone, including John, and tells him he's "a true filmmaker." He says he wishes he was there to give him a hug for all his hard work. "Andrew was very gracious and kind," John says humbly.

Project Greenlight: This is the End

Everyone heads to Las Vegas, originally, the entire movie was supposed to premiere at the Palms Casino, but due to the divorce, it was scrapped. However, the Maloofs thought it was important to have a wrap party there anyway since the travel arrangements had already been made. They all fly out, and they're also told they will receive some important information about the future of Feast while they're in Nevada.

They indulge in a bunch of food, drinks and share time together during the party. The actors arrive, as well as most of the crew, and they're just living up the life in Las Vegas for all their hard work on the film. John and his family are there, too, and they just can't believe how well things seemed to turn out.

George and Phil, the Maloofs, talk about how proud they are to be part of the film. "Seeing the movie, I love it," George admits. "I hope you all have a good time tonight." Nick takes the floor next and he speaks on behalf of Dimension. "I'm just really proud to be a part of this," he admits. "So, that being said, Bob and Harvey had amicably settled their divorce. Out of a slew of movies, they could only choose a small handful, and Feast is one of the movies they chose to bring with them." John is in awe, speechless, as are the rest of the crew and those involved. "Feast will premiere here at the Palms Casino in December."

"I've been spending three years trying to get someone to say this about a Project Greenlight project," Chris jokes. "I think we came up with a pretty cool little movie," John takes the center stage, he applauds everyone. "He's one of the great cinematographers," Clu says of John. "Nobody knows any of this, except his family."

"Our dreams are worthy," Marcus says, "I'm just really lucky we were rewarded with a chance." Nick told John's girlfriend they would work with him again. "I think he's a hero," she says of John. "This journey feels like it's been forever," John says, "It feels like I've known these guys forever. Been through a lot. Made a movie."

At the end, as the credits roll, they did a fun little spoof on how they introduce each character in Feast, and here they are:

Name: Marcus Dunstan
Job: Writer
Occupation: Chatty Cathy
Hollywood Life Expectancy: 7 years
Fun Fact: Will run a major studio by Fall

Name: Patrick Melton
Job: Writer
Occupation: Straight man
Hollywood Life Expectancy: 6 rewrites
Fun Fact: Still looking for a place to jump in to Marcus' riffing

Name: Mike Leahy
Job: Producer
Occupation: Mr. Level Head
Hollywood Life Expectancy: 99 years
Fun Fact: eBay user name "Bluto"

Name: Joel Soisson
Job: Producer
Occupation: Philosopher
Hollywood Life Expectancy: 21 years
Fun Fact: Holds the world record for most complex metaphor

Name: Nick Phillips
Job: Vice President Dimension Films
Occupation: Snappy dresser
Hollywood Life Expectancy: 22 months
Fun Fact: When getting a haircut, he asks for the "Tom Sizemore"

Name: Chris Moore
Job: Executive Producer
Occupation: Pit bull
Hollywood Life Expectancy: 12746 days
Fun Fact: This was his first trip to Vegas

Name: John Gulager
Job: Director
Occupation: Badass Filmmaker
Hollywood Life Expectancy: 4 sequels
Fun Fact: John is negotiating to have a tub on the set of his next project

Project Greenlight: Let's Do a Test Screening

Bob finally calls them back. "This is the call," Joel says. "This is the one we live and die on." Joel begins to listen to the call and John hears the news, coming to the door to hear it, and Bob asks that the camera crews and everyone else to step out so that he can take the call privately.

Last week we left off waiting for Bob Weinstein to weigh in on the film. Joel was on the phone with him negotiating the film. "Well, you know what, I hope you like it as much as I do," he tells him. He's supposed to watch it that day as he was at the Golden Globes the night before. They're waiting for the word from Bob through Andrew.

Bob Weinstein liked the movie. "That was good," Mike says, "That was huge." Andrew says, "There's a lot of potential in the film." He admits they picked the right script and the right director. They joke about whether or not Andrew is still going to be involved with the project because of the dissolution of Dimension Films from Disney. "Now, we're no longer under the radar," Chris says. Ben comes in and sits down, and he's very ecstatic about what Bob said.

"This reaction from a studio is unprecedented," Ben says of Project Greenlight. They decide they want to do some focus groups on the film before doing screenings for the public's reaction. They're continuing to edit things through the rough cut in the rooms. "I just hope we can whip it into shape," John says.

Forty-eight hours later, they're having a bunch of big names come in to watch the film. Kevin Smith, Matt Damon, Ben Affleck, Andrew Rona and a bunch of other industry names come in to watch the next step of the rough cut. "He's like a different guy," Ben jokes. "John is getting a further grasp at the image of a director," Joel says of the changes in John going from wallflower to the spotlight.

They watch some scenes that are put together much better than they were during the last showing. At the end, they all clap, and they seem very pleased. "See, I told you he was a good director," Matt jokes. Afterwards he fielded questions from everyone to get feedback on what he has now. "He's reminding everyone that it's not perfect, yet," Joel says. They say they might want to do a few reshoots to put in. "We're saying great job, if you want to fix it, let's do it," Andrew says. "That's a unique thing for the project for the studios to want to put more money in the film," Matt explains. "I thought he did a really good job." Kevin Smith was also very impressed and said so.

They decide they want to do a test screening with a real audience. However, they want to try to get the sound and visuals put together before they do that, even if they don't have enough time to do it. "We'll get some honest feedback," John says of the next slew of screenings. "We have a huge task in front of us," Mike says, "We have to lock the cut. We have to get the picture very pretty."

Project Greenlight: So, What Do You Think?

"There's a part of me that actually wants us to fail at this test screening next week," Joel explains, "But fail enough to know we need to fix this movie and make it better." FotoKem Film and Video crews keep editing, and we're at two days to the screening. It's getting down to the wire, and they're working day and night to get the editing down. "We're getting dangerously close to locking this puppy and putting it to bed," Mike tells them. "I think it's good." John notes there's still more to do to get it to look like "a real screening." They go to Monkeyland Studios to record more lines for the screening. They all come in and help make the sound, words and script much better. "I guess that's it," John jokes. Then, FotoKem begins to piece everything else together to get it set for the screening. "This is stuff that usually takes weeks or nine months in big movies," John says. They recolor bits and pieces of the film to make it brighter. "We're cutting it real close," Mike worries.

They have one day left now, and they're still trying to put everything else together into the screening cut. "It's quicker than normal," Mike says, "It concerns me a bunch, because Bob Weinstein is going to be there." Mixing usually takes much longer than what they're doing, and they're worried they might not be able to mix everything together, and they have less than four hours to go before it's deadline. They're now down to 20 hours before the screening, but they're still going and trying to mix everything together. "It's a time consuming process," John says. It's now half past four in the morning, and they're still mixing. They finally finish at five in the morning. "The sound is good, to do what we did with one day is insane," Mike says.

At a Pacific Theaters screening, there's about 400 people there to see it, and everyone is nervous. Everyone is anxious. "I'm going to say I think it's going to go well tonight," Mike admits. "You're going to see something that's not completely done," John says, "Hopefully, it's not too rough."

"This film will live or die based on this screening," Joel says as they cut back and forth between the audience and the film as things happen during the screening. "People are sort of responding," John says excitedly. There are people screaming, yelling and reacting. They're showing some of the scenes that were previously shot that we saw filmed live. It's interesting to see everything on the screen as people are reacting. At the end, there's applause and yelling as the rough credits roll. "I think the screening was awesome," Mike says, "It was a validation of all the hard work."

"There were two moments during the screening when they audience started applauding," Marcus says. "Seeing our film being made was a dream come true," Patrick admits. Now, the audience is filling out questionnaires about the film, and they're getting tallied so that they can work with it. Joel explains how the questionnaires work. They need a score of higher than 60 for this to be good. A woman explains the scores, and they weren't as good as it should be for a movie of its kind. Chris is crushed by the numbers, and he can't believe how bad it seemed to do.

Project Greenlight: Feedback

"The whole future of the film rests on that first look," Joel says and sets up the screening. "I just wanted you to weigh in and do what you wanted," Kirk tells John. Joel is worried how upset Chris is going to be because of not being invited once he finds out.

They're doing more promotional shoots now that Ben is on set to do it. "This is a lot better looking that the real Chris Moore," he jokes at Moore's prosthetic head for the particular commercial. He's shooting the promos and episode introductions for him. Chris Moore shows up on the set to see what's going on with the promo and for his part on it, too.

Ben and Chris are talking about the film. "They liked it," Chris says of some of the studio seeing it. "Yeah, they're saying they want to screen the whole movie on Thursday," Ben tells him. "Apparently, Gulager was going to show the movie to some people," Chris says, "I had not explained to them that that wasn't a greenlight in screening." He calls and asks for Mike or Joel. "I want to be in the first wave of people who see the movie," he says. He talks to Aaron, getting angrier by the moment. "I want to give you a piece of advice," he tells him, "Don't ever try to schedule anything at LivePlanet that doesn't invite me."

"It made me think they were trying to exclude me from the process," Chris explains. Aaron screwed up beyond belief, and he tells him so, before asking for someone in charge. He demands to talk to somebody who made this decision. "I really wanted to see it. I have a lot riding on this movie," he calms down a tiny bit, and he hangs up to go back to talk to Ben. "Good work!" Ben jokes before going back on set to shoot their promos.

"Right now our goal is to get a good solid cut on this movie," Joel says. "He's got to stay awake and get through it." However, in the editing room, John is clearly bored by the process and he falls asleep more than once during the day. He eventually falls out of his chair because he fell asleep, breaking the chair in the process and laughing at himself.

That night they're having their producer screening. Ben comes in to see it, and Chris also comes in to see it. It started out with just four or five people supposed to be there, and unfortunately, a bunch more people showed up. John introduces it and tells them how rough the cut is nervously, which Chris notices. "I think there's a lot of potential," Chris says, "I think there's still scenes that need to be worked on, but my general feeling was excitement. Let's stay focused on making it a better movie." Nick from Dimension was happy with it, too. Ben says he wasn't expecting much either, surprised by how polished it came off even for the first screening. "I think you did a great job," Chris says. "I think Bob is really going to like the movie," Ben tells John. He also gives him some ideas on how to fix a certain section that needs to probably be cut.

"My first instinct was to reshoot the monsters at the beginning," Ben notes, eating another slice of pizza. He talks about maybe changing the way it's edited in the beginning and end in order to make it more exciting and to make the creatures scarier, which is a big problem. "This isn't going to be a walk in the park," Joel sighs. "I just feel you were really the right choice for the movie," Ben admits. "There said very positive things which made me feel really good," John smiles the biggest smile of the whole process. They all now have to get the next screening ready for Bob Weinstein, who has the power to say yes or no as to whether the film should continue being produced and put together.

Project Greenlight: It Doesn't Matter What I Think

Mike calls Andrew and finds out that Bob wants to see the movie as soon as possible. "Bob has heard through the grapevine that we've started screenings and he wants to see the movie immediately," Mike explains. "So, can we show him the movie now?" Andrew inquires. "We were really hoping to set it up Monday," he replies, trying to delay the inevitable. Andrew offers to try and delay it as long as possible until he can no longer do it. "I've realized something in light of this particular project, if you want to watch something or screen something, everyone wants to see it. People are rapid to see this movie," Mike tells Joel. "This film is on his radar now. The urgency has wracked up tenfold," Joel says.

Joel tells everyone that Bob wants the film now. They have a seven o'clock deadline with the courier, so they begin working all day up until then to do what they can to edit it. Aaron reminds them that they need to get the courier, but then he goes and calls the courier to push it back a half an hour. Joel asks if they are outputting, but they aren't, and they begin to set it up so that they can tape it over to VHS to send to Bob Weinstein. Now, the machine isn't working properly, and they can't get any audio to record. Aaron tries to fix it, but he doesn't know what is wrong, and he can't figure it out. Eventually, they get the entire thing outputted and given to the courier to take to New York. "If he doesn't like it, I don't even want to think about that," John says.

Andrew discusses how important it is for this screening of the film in a mini-theater. "There reaction is going to tell us what we're going to do with the film," he says. "A lot of films have lived and died based on screenings like that. It's really the first time people get the chance to see it." He talks to many of them and gets their input on what they saw; it's very tense, "Today unfortunately Bob couldn't be there." Mike, with distribution from Dimension, said he liked it and that was good.

Joel and Mike take Andrew's call. He says that John needs to call him. "Congratulations, job well done," he says. "You'll earn your bonuses," he jokes. "Based on the screening we had in New York, he pulled it out." Bob and Harvey are going to watch it tomorrow. John and Kirk head down and they hear the news themselves. John's beaming, relieved now that he did a great job. "I think there's some pacing issues," he tells them, but he's optimistic that they can cut it down as it's too long. "I just looked at John, I know what he's feeling, you don't put 46 years of your life into something and feel nothing when it's validated," Joel beams, too, for John's good fortune. "You try to do your best and hope somebody responds," John explains.

"It doesn't matter what I think," Andrew says knowing the Weinsteins are watching it as they speak. "The future of Feast is coming out of that screening," Mike explains. Nick wants to set up a call for them to take one from Bob about what he thought of the screening. "We're going to give Bob a call," Joel says. John calls him, he gets put on hold, and then he's told the call will be returned. "One thing that's true is that you they don't find John, John finds you," Joel jokes. Chris calls to ask if they've heard anything. They keep trying to get a hold of Bob, but it's to no avail so far, and they try to set up a schedule.

Project Greenlight: It's a Wrap!

Having wrapped the filming portion of Feast last week, John Gulager sits down to begin the editing process of his film during post-production. We start on day one of post-production. "We just finished shooting Feast," Joel says, "And we've just started editing." Mike notes that editing is just as fun as shooting a film to put everything together. Kirk has been putting together pieces in a way he thought they went together, but now, they will work together to finish the movie. "This is the time of the movie when the producer leaves the director alone," Mike explains.

John asks when it gets down. "I don't know if you're going to have that long," Joel tells him, when normally they get six to eight weeks to edit it, and because of the nature of the project they won't have that long. Dimension apparently wants to see it today, but unfortunately, that just isn't the case. However, Andrew or Bob Weinstein could walk in right now and tell them that they want to see it, which they will have to do whether they are done or not. "Usually we can put them off a week or two," Mike tells him. "There's nothing more depressing than the first assembly," Joel teases.

Kirk and John sit down for the first time to watch the film as it's put together now. "It's rough," Kirk says. "I'm kinda worried we didn't get all the shots we needed to make a good movie," John relates. They watch various scenes, John reclines and he looks bored. "How long was this?" John asks, it was only 95 minutes. "I have some issues with the film, but it's pretty good."

"What's our biggest problem?" Joel asks. "You're asking me that already?" John replies. "There's plenty to fix and we're going to start it." Joel teases it's the first Gulager movie that's ever been close to being really finished.

"I didn't think Navi was right for heroine," John reminisces, "And when she came back, I still really didn't feel it." He's watching footage of her, knowing it's too late to change that part of the film, and he looks distressed over some of her scenes and how they were shot. "I'm going to try my best [not to cut her]," John admits, telling Kirk to cut different parts relating to her. "When people aren't doing things that are working, you cut them out."

Michelle goes down to see some of the films. "Just chucking, chucking," John laughs. "I just stopped by to get some boxes," Michelle says, saying hello to everyone and talking about the film. "I'm not sure Navi ever wanted to be heroine," Mike tells her. "She came in twice, she's very nice, and I just got a sense, 'Why am I in this movie?'" They refer back to the fact that many people thought she wasn't right for the movie. "It bothers me that Mike had to say that to me," she says before she leaves, because it's too late to do anything about it.

Project Greenlight: A Limited Screening Experience

Matt, Chris and Wes Craven are coming in over the weekend to see what they have done so far. They reflect back that Matt Damon was the one who really jumped for him to be the director. "I never would've known from the interview," John says. "It's a little nerve-wracking, because you never want to let anyone down. I guess we're just going to do whatever we can in the next couple of days."

On the day Matt comes on set, they all get together to shoot promos for Project Greenlight. We're shown some of Matt's commercials and cut-aways for the promotions for Bravo. During the break, he came over to the editing trailer to see some of Feast. "You always have trepidation for screening scenes that aren't ready," John says. Matt's laughing at the footage. "I'm extremely excited with the footage, he's clearly the right man for the job," Matt praises. "He really had a great understanding of how to make that movie work." He jokes it might not be glory enough, and they all laugh at it. "Great, great job!" he tells John. "I'm so proud John Gulager did a great job. I really put my ass out there for him, and I'm glad he did a good job."

John and his family spend some time together. "I guess there's only a few more months of employment here," he tells his family. They discuss bringing down a lot of his family and friends to the premiere. Diane is worried about the money running out, because they're spending everything he's making while working for Feast already. "I think that would help," she says if he gets more work. Clu offers to buy his son an Armani suit for the premiere and he tells his dad not to do it. Diane is worried he's not fielding calls from agents and doing what he needs to do to continue directing others fields not that he's been given this chance, but he's not doing it, and that worries her immensely. John reflects on his mother having passed away last year, too, and how much he loves her for what he's doing.

"We thought it would be a good idea to give some feedback from him on what he had," Mike says about showing Wes the footage. "The film was great, it was exciting, interest shots. I was very, very impressed by it," he praises, too. "I think it's all a matter of early screenings, if Bob just looks at it, he'll know. He'll get a sense." Wes says that he's made films this long gives him the stamina to work on projects well until they're finished.

Joel and Mike head down to see some of the footage. Ben Affleck wants to come and watch a "first" screening of Feast that week, and they tell him to come down and see it. "We felt our hands were tired and arranged for him to see it," Mike explains. They felt bad Chris might be left out of it, but that was the hand they were dealt. They aren't really ready for a first screening, and it's a rough cut as John says. "Houston, we have a problem," he jokes.

Joel comes in and asks who invited Ben to the screening. He's angry. Joel wants to know who told LivePlanet about the screening, and Aaron is the one who told them. "Chris might be a little bent," Joel says and Mike laughs. "We have to invite Chris," Joel says without a doubt. "It's still in a rough state," Kirk is dismayed at what is cut now. On the next day, Joel wants to get Nick in to see the first screening, because he was leaving town, too, so that he could tell Bob Weinstein the film is okay. "I'm not really sure what the right politic approach is on this," Joel tells Kirk. "Andrew is hammering Nick to see the movie," Joel explains, "I'm planning on trying to keep them at bay."

Project Greenlight: Tipsy Lead Actress

"Probably my biggest concern overall with the movie right now is Balthazar's performance. Not that it's bad, just very, very different from the original conception. I'm going to bring back in some of the humor I thought we lost," Joel explains. "I felt there was a big danger that we would get half of the character we wanted in the movie." They now set up a monitor between the two sets so he can see where they're standing in order to give input when needed. "They wanted the bozo character to be this super far out whacky guy, and I never wanted it to be that far out," John says.

"John did an excellent job directing both units. He really pulled through with us," Joel says. During lunch that day, Chris comes to explain that Dimension and Miramax is breaking up. He discusses that they may not release Feast because of the divorce between Bill and Harvey Weinstein. He's afraid the movie might just sit on a shelf and never get put on the big screen.

They do a production wrap for Clu. "I'm not involved in acting anymore, this is a nostalgic move for John," Clu says. Clu was choked up as the cast and crew applauded him and gave him due credit for his hard work on the film. Clu is at the end of his career. One of the many reasons Joh wanted to cast him in his first feature film was to not only honor his father but also to give him the chance to be in his first real film that would be shown throughout the world (hopefully). It was a fitting tribute to a man who had spent his whole life giving his son the world.

They're now in Lancaster, California to shoot all the outside shots of the bar for the setting and location for the entire film. "All our shots are night shots," Joel says. "I don't know what's here or what's not here," Ben says. They didn't bring the whole set, because of the budget, and it's almost four in the morning with nothing to shoot. The day crew that was used to shoot the set didn't bring the right part, because they hadn't been onset for the last five weeks. They only have time for one shot, and they take it, because once the sun comes up it's too late.

Davis notes that Krista comes to set tired and a bit tipsy because of her early call time. "I can't even speak right now," she says. "Hopefully, she'll be walking straight in no time," Davis says. They're moving through their schedule quickly, but they're worried about the end of the day crunch. With 40 minutes late, they call a production wrap on the film.

They give John his chair back to keep and say goodbyes. "Apparently, I just finished my first film," John smiles, speechless. Stephen is happy that everyone pulled through and everything is finished as a team as opposed to the in-fighting that happened throughout the process. "We've got a pretty good movie out of it."

Project Greenlight: Make or Break This Day

This is the "all-hell-breaks-loose" scene. "This is the big scene," John says, as everybody's worried about how it will actually work out on film. "We are in the belly of the beast with the monster attacking," Mike notes. "We need to figure out how to do 183," Ben says. "We'll know before lunch if we are in trouble." This is the first day the monster comes on stage and they get to see it up close and personal live.

They began shooting the scene around nine in the morning, and things start off pretty well. They have about five departments working together at the same time. They have 19 shots in the one day, and they have to make the day or else they will be in quite a bit of trouble schedule way. Gary is trying to push a monster through a hole, but the hole is too small, and it's more than fifty pounds. He's angry that everyone seems to be having a good time except those working the monsters, because everybody else is goofing off. Joel just thinks Gary has a problem with John. "Till John sees what he doesn't like, John doesn't know what he likes," he says, "Why don't you direct me?"

Krista gets wrapped for the day and heads off. Stephen was changing the schedule and then realized they needed Krista back. He tells Colleen that, David calls her and leaves a message, but realizes they probably won't get a hold of her. "Krista was wrapped," Stephen tells Mike, "It was my fault." They keep trying to call her, but it's not working, as she's not answering her phone.

She comes back on set, angry that she was wrapped and then had to go back. They have four hours to wrap, and Krista comes on set for the sex scene. "Any time there is a sex scene, it's difficult, it doesn't matter who it's with," she explains. John shows her how he wants her. "I thought things would go smoothly," John says, "I was so wrong." She's mad because her butt is going to be in the air for the shot and how she was being portrayed in the sex scene. "It got me a little ticked off," John explains, "She doesn't want to appear in it. I think it's a thing of separating herself from the past." They shoot the sex scene with Boss Man and Tuffie and it was an easy shot. "It wasn't that big of a deal," he says of the scene, "It's just when a person says no."

They're now down to half an hour before they wrap for the day. They're no on overtime trying to get everything finished on their last shot for the day. "Our days start to spiral out of control; we're spending money everyday we're there. There's no more money coming from the studio," Ben explains why this is a problem. They're now one hour into overtime still shooting a scene, eventually they wrap shortly after, but it's still an hour over.

Project Greenlight: Rough Showing

Around 10 o'clock they decide to show some footage from Feast so everyone can see it and see what they're working towards finishing. "The objective was to let everybody to see to bring everybody together a bit more," John notes. They show some random scenes that everyone is quite happy with, applauding and cheering afterwards. "It's absolutely perfect," Marcus beams, laughing. "I was jumping out of my skin! That was the goal to deliver something like that!" Balthazar was very pleased with the work, "The end product is going to be funny and scary." Tom praises the cut, too. "Do you think we have a movie?" Joel asks. "Yeah," John nods. Gary praises the footage, too, the next day. "If the whole film is going to be like that, it's going to kick ass."

"I think watching the movie last night made everyone excited," Mike said. "You could see it in everybody's actions." They finish shooting some scenes during the day. "It seems everybody is working well together," Krista observes, "Everybody's kind of getting the language." Even John is optimistic and upbeat about making the day. "John's coming into his own," Balthazar says.

They sent the scenes to Dimension in New York to see what they thought. "You only get one chance to impress the studio," Mike explains, "The first time they see the film is when they will embrace you or reject you." Andrew's on the phone with Nick, Mike, Patrick and Ben. "I think we made the right choice. I thought he's doing the right job. Good energy. It'll get better as he works on it," he praises. "I'm glad you liked it," Mike replies. "I think this is the little movie that can," he ends the conversation. "It's really nice to see that all of this work for John is paying off where it should," Mike says. He comes out to tell everyone what Dimensions said about the film. "I don't think anybody expected this little film directed by John Gulager to look the way it did." John beams, "We might actually have something. It's kinda creepy."

The Maloof brothers come to the set to see what's going on. They're happy with helping them out as partners. "This is the first time they've had a chance to be here in person," Mike explains. Ben welcomes them and thanks them. One of the things the Maloofs say attracted them was that they were invited to be a part of the entire process, not just writing checks. "Thanks for helping us out," Chris meets them, too. Joel gets Chris to throw a cup of blood on Jenny in a scene. He's laughing about it afterwards as the Maloofs watch on.

They're down to the last day of shooting. They have to make the day no matter what happens. "We're shooting with two crews today," Joel says. "We just have to make sure nothing falls through the cracks," Stephen explains. "It's going to be really different for John to run from both sets." They have to Directors of Photography on the set that day to help coordinate everything between the sets. Joel will be working on the second unit's set to make sure that works out well, basically directing the scenes there, too, after getting John's input.

Project Greenlight: Cut Your Hair or Get Off My Set

We're on day 25 of shooting; this is their last week of filming, because they're out of money. "I'm ready to direct the film," John says, "I just have to push for it." Krista had asked for some time off, and she wasn't even in, yet, on the set. "I'm putting things into place to make this week as smooth as possible," Stephen admits. "We need the actors to show up on time," Mike explains. They talk about what they could do, but it's too late to do anything.

They begin shooting some intense scenes with choreography and special effects. They don't have a lot of time to shoot, so, they're trying to do what they can and so far it's working well. Joel explains that Balthazar's hair is growing out like insane, and now he doesn't want to cut it, because he has another movie that he needs to have long hair for the role. They discuss it with him. He wants to see if it really makes a difference on set. They basically threaten to go to his agent if he doesn't cut his hair, as Joel explained, because they need everything to go right from now on.

Krista missed her flight the day before, which is why she is late, and now she comes on from the set as if nothing has happened. "I missed my flight last night," she says, trying to convince people she shouldn't feel guilty. She's being a diva on set, telling her not to get the blood in her eye, because it burns and it happened before. She's asking for kneepads and all these other demands, as if she owns the set, and they're just sitting there shaking their heads at her. They shoot various instances of the scene until the move on with John's approval.

"I'm taking a lot of heat," John says. Krista goes back to get her hair and makeup down for the next scene. They can't make up their minds as to what she should do. "Everyone up there is saying don't take a shower," one of her makeup guys says. "The blood stains the face," she says. Stephen contradicts this and tells them that. They're over 35 minutes over and now she's wearing a different bra that is causing problems with continuity. John brings it up with her, because in some scenes they can see her nipples and they didn't really want that, but she blows it off and says she didn't change her bra. "That was really embarrassing," John laughs.

Colleen talks about how Krista didn't want to stick around, so, she changed her clothes and prepared to leave. "If they're unorganized, things can unravel pretty quickly," Mike says. Davis and Colleen headed to catch up with Krista, because they think she "wrapped" herself for the day, and tried to leave. They come up with a game plan to prevent this, because actors never wrap themselves, and they have to be wrapped by Ben on this set. Davis refuses to be her babysitter and threatens to leave. "They've made some bad mistakes," Ben says. "The primary mistakes are managing call times. We can't take those kind of hits."

Balthazar refuses to cut his hair, so, the crew all begin getting the hair shaved the same way he does to motivate him to get it cut. Even Chris Moore ended up getting his hair cut. He sees them come out of the trailer. "Once he saw all the people that got that hair cut, got in the chair, and said, 'Cut me,'" Mike explained. "He's going to follow through with that, and I was very happy with that."

They're on the set for the last shot that day, and it wraps easily. "We'll just do everything else but the glass," John notes. "Tomorrow we need to shoot scene 183, well will be the real acid test," Joel explains. "That's where we need to make it happen."

Project Greenlight: Daddy to the Rescue

They start their fourteenth day of shooting bright and early at 5:30 A.M. with John's dead meeting him on set for the day. He thought he was suppose to be there an hour earlier, so, they get to talk for awhile before everyone else comes in. "Today is day 14, and it's a pretty ambitious day," John notes. The new Scrip Supervisor, Arthur, comes in and introduces himself to John.

John's dad was upset that people were being loud and doing their business. Stephen gets everyone to be quiet so that his dad can rehearse. "They want everyone to act in their little square," he explains, "I don't come from that at all. In fact, I hate that." John's dad thinks the director and actor are the only ones that count. He gets upset that someone tries to interrupt him for advice on the shot, and he tells him it's a horrible thing to see happening to him. They both get very upset at one another. Clu, John's dad, tells Stephen to stop interfering. He begins cursing at him, and he's so angry at Stephen for "disrespecting" John even though he's just doing his job.

Clu goes to explain to Stephen how everything should run. "It can be very upsetting if you take it personally," Stephen explains, listening to his dad and nodding along with it. "I'm just trying to help him," Clu says, "John's entire crew is based on Stephen's attitude. His attitude is one of interference." John wants to change a shot, so, it's taking even longer to get the entire shot set up correctly now that he changed how the lighting works. They begin to work on it and Stephen tries to get in a few words, but he's ignored and calls Tom "Mr. Smarty Pants" for his attitude.

"We kind of start pushing through," Stephen tells Joel about trying to make the day, even though they aren't going to do it. "They're still trying to find a working relationship," Joel says. "We need to find a way to simplify this scene to make our day," Stephen tells John on he set, but he ignores him. They have six hours to wrap, and they are far behind in their day. Ben and Joel came in to ask about the day. They have four more shots to go. John begins to change things again, and he's whispering it now, because he doesn't want everyone to get upset about it. "We have to keep this simple," Tom tells him, "Or else we aren't going to make the day."

"This is the furthest back we've been on a shooting day," Joel says, knowing they aren't going to make their day. "Everybody's scared we aren't going to make it," Tom notes the mood of the set. "Evidently everybody's pretty ticked off at me," John rolls his eyes. "How are we going to make our day?" Tom asks at a small meeting. "We just need to shoot this scene the way it's going to be any good," John tells them. "I think everybody's job should be to help the director to get what he needs, but I understand it's their job to help the producers get what he needs."

"It didn't matter what I wanted to do," he gave in, "I'll just sit this one out." He tells them, "Three directors, that's fine. Just handle it. Just do whatever you want to do," he tells them for the scene and how they want to simplify it. They try to get him to give input, but he refuses to actually care about the scene. "I'm not in this to have everybody else direct the movie, even if it's a better movie. I'm in it for myself, even if it sinks the ship."

Everyone else begins to try and set up the shot, they try to get John into the scene, but he just sits there and sips his drink. He confronts Stephen about the way that he shot the scene, because they shot it John's way after telling him they couldn't, and so he gets even more recluse. He watches, his head to the side, just drinking his drink as everybody else directs his movie. "Day 14, mutiny. Day 15, who knows?" John says.

John and his girlfriend drive home that night. "I was pretty much wiped out," he tells her. "You had a battle and you lost," she responds, angrily. "It's a job, John. That's what it is. It's not your film, it's a job." He continues to beat himself up during the drive home, and she gets more upset, and tells him otherwise. "Sometimes you're going to fight, and sometimes you're going to lose," she adds.

At dinner at the diner, Clu asks if he was fired on set today. He says, "Sorta." They talk about the "offensive" against him. "I do not like the way they are treating my son. He's a hired hand. He's not a filmmaker," Clu says. "I'm just embarrassed he sees some of the stuff on the set with me," John replies. "I think I can make a good movie. I just need people to trust me."

Project Greenlight: Let's Talk, Again

"It's the first day, John has actually begun the work with rehearsal," Joel says. They begin to block and also seek direction from John. It seems everyone is working together to make things great.

They're working on Scene 33, where Beer Guy gets thrown up on by the monster. "He wants it to be organize," Mike tells some of the crew, when it comes to why John doesn't rehearsal.

Some crew are making the "vomit" from scratch for the scene, which is shot on him after the heroine and bartender jump out of the way. "Help me out, man, I can't see!" he yells during the scene for part of it as he's trying to deal with being thrown up on by the monster. "I have no hope for those movie," Mike laughs. "It worked really well," Judah, Beer Guy's actor, said about the scene.

Chris Moore comes to visit the set to watch. "Nobody's in trouble," he jokes, coming to watch the footage in the HP trailer with no music or sound effects, yet. "I was into it, it moved fast, it was kinda cool. I got lost in a couple of places in the geography of the bar," he notes. "We've got ourselves a movie here, boy," Stephen admits, excited. "I think the casting is great, I think the set is great," Chris beams.

They move to Scene 74, where Beer Guy freaks out from the vomit. "You tell me to leave it alone!" he yells. He's freaking out by the after-effects of the throw up. The script adviser is there and needs to make some changes as it happens. Apparently, she's a friend of John's family, so he feels comfortable working with her and trusting her on the set. They shoot the scene again, as Beer Guy says "alien" instead of "monster," and they need to fix that. They laugh at the scene, because it's so hilarious how he freaks out, and the set is very jolly today with John's opening up and input. "I think it became clearer to John that these people are looking for him to guide him," Nike notes.

They shoot a lot more scenes, and John and his Photography Director, Tom, appear to be doing much better. "Hopefully, people will be more secure with John as director of this film," Mike says. The page counts on the script in regards to what is being filmed isn't being followed and now they've changed how the process works to do it opposite the way it normally is done. "There are differently very professional issues underlining this conflict," Joel says of the argument going on. "I just think they don't like each other."

They're on day nine of shooting and working on getting another scene done. "We need to start shooting something right away," the Director of Photography says. "There's always going to be a battle," Mike says of putting John and Tom together. "I was guessing. It was almost trial by error." Mike comes to talk to them about the previous day, "Today feels like we're back to the old grind." Joel says, "It's seems almost frothy." Nike understands how John works, but unfortunately, nobody else knows how to work with him properly through communications. "The trailer's already crashed, it's just happening in slow motion," he explains. "We should have this worked out."

That night they have a meeting in the HP trailer about what happened. Tom notes that there's too much going on by the time the shot is set up, and it ends up confusing John to the point that things slow down, which can't keep happening. "It's very strange scenario to have a Script Supervisor have that much influence over a Director," Stephen brings up. "I think we have bigger problems with Script Supervisor," Mike admits, "If it continues to be a problem, we'll take care of it."

Project Greenlight: Goodbye Harri

That day during makeup Beer Guy is getting all done up for his scene where he eventually gets his eyeball plucked out. John gives him a bit of direction for it. They go to shoot it, and the first time it happens, he gets poked in the eye which defuses the scene with laughter. They go for it again, pulling out the fake eyeball slowly while Beer Guy reacts by shaking. Then, they go to shoot after the eyeball gets plucked out when the blood begins shooting out and sprays one of the girls. "She demonstrated this really neat scream," John says, "It was great." They shoot the scene, but she thought there was more blood than she thought, and she froze. "She just kept taking it in the face," Gary, the monster maker, jokes. "Obviously, there was a little miscommunication there," John laughs.

The actress gets really angry, and she heads off to her trailer, because she thinks John set her up with the blood. "So, we're not going to do it again?" Jenny asks. "Well, I want to do it the right way." She's very upset about it. "I wasn't even acting." John explains the scene. "It's just so unrealistic." John says he wanted to use that one, and he called the set to see if they had moved on, knowing they probably did. He sighs, apologizes, and says he might want to recreate the scream elsewhere to put in later.

They move on to the next scene in the bar when a character drops a glass. Stephen was hit in the head with a peanut by Jim, and some of them keep throwing them around the scene. Harri flipped out about it when she was hit with a peanut. "Stop throwing peanuts at me!" she had yelled. "Nobody was [trying to throw peanuts at her]," Stephen noted.

The prop master didn't know they needed a glass, then, when they had a glass that didn't match. "I'll just make a note," Harri says, "That it wasn't right." Stephen chastises her, because apparently she wasn't aware of what was going on, with the continuity. "You should've known it was a different glass." She brings up the peanut throwing as a way to get back at him during the argument. Stephen then ignores her when they're getting ready to shoot the next scene, and he asks, "Are you sure of this?"

Mike confronts John about Harri. "The dynamic's not working, and I think Harri will be the first one to tell you it's not been working the last ten days," Mike explains. "We just felt we'd like to try somebody different." John talks about feeling upset by being told this. "I just wanted to let you know." He thinks finding a new Script Supervisor would be better than changing other aspects of the crew.

Harris is brought outside by Mike, and he fires her. "It's just a personality dynamic that isn't working," he tells her. "There's nobody. Damned if I do, damned if I don't," she says, "I feel set-up. I keep thinking what could I have done differently." Mike relates that firing someone is a hard thing to do. She blames Stephen for her being fired, and she feels he probably was the one that nudged for her to be fired, even though that wasn't the case at all.

She goes to talk to John after talking to Mike. "I really felt I needed to talk to John." John and her hold hands, and she's on his side, which is typical. "I wish we would've talked it out first," he says, "The whole level of consultation with me just doesn't go on." Harri patronizes him, telling him everything should be his way, even though it can't be his way. "There's always this side of me that none of this would ever come up," John says, "So I just wouldn't have to deal with. I think I wish I would've never gotten anyone else involved." They say goodbye and part ways for the evening.

Project Greenlight: Let's Talk

At eight in the morning the following day, Joel sets forth the goals of keeping John focused and getting through his schedule. "We can't do all the wide shots this way," Tom explains, "We don't have the time." Mike says John has to shoot much faster than he is doing now. They're about half an hour for a setup. "We have people asking questions they should be asking at the beginning of a shot," Ben says, "Not the middle of it." They begin to fight amongst each other, they push one another and they're just trying to get through the day even if that means not shooting the best of every shot, regardless of John's so-called incomplete vision.

Krista is complaining that it took her nine hours to shoot her last scene, the day before, and she won't deal with that again. Some of the other cast members talk about being "non-important extras" as well as just talking about getting up so early and not doing anything all day. "You can't just leave actors sitting around," Mike says. "It's very expensive," Joel says, "They get paid for every second they are sitting on set, even if they don't work." Stephen brings them out and talks to the cast and gives them a pep talk. "We're not dealing with something straight forward." The cast talks about the mood on the set. "A lot of times we're coming in and we're literally not sure what scenes we're getting done," Beer Guy notes. Stephen advises them to just ask questions as specifically as they can as soon as they come in that way they can get to work.

Jim, Joel, Tom and Mike all sit down to discuss the problems. "Look, guys, we have to get control of this," Tom says. "This is really pathetic," Joel notes. "It's almost chaos there," Jim notes. They note that Eileen has been there all day, and this is the second day she hasn't been shot, yet, again. "Only John knows how he's putting this movie together in his head, and this causes problems during the day," Tom explains. "We've still got half of our days work ahead of us. We'll finish three to four hours after we should've finished for the day." John thought he would have more time for the day, but unfortunately, he still doesn't understand how the process of filming works, and he doesn't want to work with anybody.

Tom and Mike take a walk. "I'm already tired of the drama," Tom says angrily. "It's up to Joel and Mike to lay down the law," he says. They are still shooting a scene with Diane, and they have until 8:15 P.M. to finish for the day, even though they are still way behind for the day's tasks. The shot just wasn't working, they shoot it again, and now they have the wrap for the day. "I was frustrated as well. I want a team in sync," Mike scratches his head. "I don't know why we don't have it."

They all sit down in the trailer and talk about the project. "The big thing was we didn't make our day," Stephen notes. "It looks like a basic lack of communication between all the departments," Tom says. "There's no set up for where it fits," Joel explains, "We don't have any storyboards." John says, "It's a sad day in Gulagerville." He doesn't say much at all, he just floats around in his own world. "Without a rehearsal, nobody knows what's going on," Joel says. "Everything needs to be blocked and rehearsed with department heads," Tom explains. "I do think John can get this done and get this done fast," Stephen has the confidence in it. He has to change in days though if he wants to accomplish all this.

Kirk, the editor, comes down to show some scenes that have been put together. This is the first time John has every scene something like this, and he looks very unhappy by the work that's been done. "I thought the pacing was very slow," he says, just laying his head on the sofa. Kirk asks him his thoughts, "We need to make it a little more exciting," John responds. "I just fell into a funk." He decides to go home, "I just felt I set everything in a bad direction. I'm going to have to find a way to fix it."

Diane and John head to their car. "John is not enjoying this opportunity. He feels humiliated and embarrassed," she notes. "Nobody wants you to shut down," she tells him outside their car on the set before they head home. "You can do it." He says he gets scared that he's going to fail, and that he's going to let everyone down. "I just feel my style is not cohesive right now. I'm full of self-doubt."

Project Greenlight: Laying Down the Law

Later that day, around 3:30 P.M., Tom and John begin to argue about the next shot. John tries to work with John, but unfortunately, he keeps changing the shots which is frustrating for everybody involved. "People think you just move the camera, but it doesn't work that way," Tom explains. There's a lot more involved to setting up the shot, and as such, when changes are made it takes a lot of time. "When the director comes in, you have to direct your photographer," Ben says. "When changing the shots, everyone gets really upset at me," John notes, he just doesn't get that they are eating time away from the day's goals. "When he trusts somebody, he can communicate," Ben says. "You can see it as, this guy doesn't know what he wants. That's not John. John knows exactly what he wants, he just can't get it out." John talks about getting his feelings hurt, because nobody wants to trust him on set, because he just doesn't get that they are working on the schedule.

Krista Allen, who's playing Tuffy, doesn't know her direction, because John isn't talking to her about it properly. "It was a different process than I'm used to," she says. "We're also seeing he's having difficulty conveying his vision to the actors," Joel notes, which is worrying him, because they already see the break down between him and the crew. "I'm not comfortable with any human interaction," John says.

"That never happens," Joel says when Navi has to ask what's going on while something is being shot. John begins to tell her what to do, and the shot breaks down unlike anything anybody has ever seen on a movie set. However, Mike's getting worried that the other actors who have to be in the background of many of the shots, and they get bored standing around. One actor who had to take hours of makeup complains that he had to go through the whole process, and they might not get to his shot, because they are behind for the day.

With seven minutes left for the day's filming, they're still shooting a seen with Navi in the bar, and they manage to get through it and they wrap for the day. "People are starting to resent when they come in and don't get to work," Ben says. "It was apparent to talk about the gross inefficiencies. We did a great job and we also did a piss poor job." He lists his concerns that they didn't use half their cast for the day and wasted five grand for the day when they don't shoot that many cast members. "That's incredibly poor management. We shouldn't be leaving the set not knowing what we're shooting in the morning," he continues. John merely nods his head. "I had to kind of lay down the law."

"We're becoming very frustrated," Joel notes. He talks to Diane about the situation and how John is doing. She tells him that he feels that he's being artistically shunned and that it's become very personal. "I don't think they really trust him, yet," she says. "I don't think they like his way of shooting." Joel says, "Diane confirmed my worst fears. This could become an issue that compromises the movie."

Project Greenlight: Let's Get Technical, Technical

The day wraps, and they make it through their schedule for the day. "We inked Eric Dane to be hero," Mike says. "We're all just a little bit nervous," Joel notes. "We made our day, where we lost time was getting all the way out to the camera set," Ben explains. He also explains how to speak up better in order to fix camera shots after the fact. "I think it's good, and I'm glad we made the day," John notes. "I don't know what everybody's problem is," he continues, not quite sure why everyone is so concerned, but he just doesn't know better.

"John made it through his first day," Joel says, "But today will be his hardest task." Today is a technical day, dealing with blood and other special effects, as well as dealing with Eric Dane as hero. "After all the back and forth that went on yesterday, we are very lucky to have Eric Dane as hero," Mike relates. Dane was previously on Gideon's Crossing, and this is the real first feature film he's starred in during his career. "We're making a monster movie here," Eric says.

They shoot a scene where hero inspires confidence in the rest of the characters, and he talks directly to the cast. Meanwhile, Chris comes to visit the set of Feast. "He can really direct," Joel tells him. "My first vibe is that everyone is having a great time. John's really confident," Chris observes. "You had to come today, I was doing good yesterday," John jokes with Chris. "It was good that he came and that he was feeling cheery."

Next comes the first technical shot, it has to work on its first try, in order to get Honey Pie cleaned up for another shot. She will have blood poured all over her during the shot. Gary is very important for the process Joel explains and then they begin the shot. Honey Pie gets blood sprayed all over her while trying to deflect it, and now she's covered in a whole vat of blood. However, the blood's begun to burn her eyes, and she has to have them flushed with water, but she's a trooper and heads back to wardrobe to get cleaned up. She hugs John before she leaves. "We finally got into the messy stuff," John jokes.

"I wanted to go very fun, very commercial, over the top," Chris jokes, blood on his face, too, as they pose for pictures and other promotional shots, "I think in general, John has made a good director. He's taken all the hard parts in stride." John says, "I just hope it all comes together." Chris heads off for the day, praising John's work.

Jules Sylvester brings maggots to the set for a scene. He discusses how to take care of the maggots and what it takes to deal with them. Beer Guy comes out to see them and he slowly decomposes through the whole movie, so, eventually the maggots begin to consume him. Today, they are shooting some of the decomposing scenes for throughout the movie. First and foremost, the scene today is being shot so that Beer Guy would shoot a maggot out of his nose to hit the camera lens and startle the audience. However, many are very skeptical, because John never plans these things; he just announces them and expects them to work. This shot could take away. "Anything John brings up that's new to the team, it slows down the day," Mike says, "Whatever he announces, it slows down Tom, the D.P." Joel notes they don't connect at all and it's going to cause tension on the set, because they don't work well together, and neither trusts the other to do a great job. "The maggot scene really screws up today," Mike says as they call for lunch. Mike discusses Tom to John and the relationship between the two. "It's just not [working]," he says.

Project Greenlight: Shooting Begins

"We're at that very critical point," Joel says, where the table read begins with everyone involved. "It's a very important part of the movie." Then, a green package has been found on the set and everyone is evacuated with the bomb squad comes in to check it out. He jokes that he's being Punk'd by Ashton Kutcher. "I don't know how long we're going to stand out here," John is bummed. Joel is very concerned, because now he has no time to rehearse with the cast, because the day is lost and shooting begins, even without the role of hero.

They are still working on casting hero, and they think Mark Wahlberg will take on the role as he dug the script. "It's just so overwhelming," John says, "That you stop being nervous." He's taken home video of the set as well as the process for his own records. "It feels like it's been so long since the contest. Here I am on the set, and it's pretty exciting. It's actually taken a long time for this to actually sink in."

It's 1 A.M., and he's still not asleep. "I think we've done everything to support John's vision of Feast," Mike says, "Will he survive the first week [of shooting]? I don't know." Joel explains that many things could go wrong and the movie could bomb if all the circumstances go the way of Murphy's Law. "We could have meltdowns on several different fronts," Joel points out.

Last week, after casting arguments and other pitfalls, we found John staying up late into the night the day before his first official filming of Feast. Against the advise of all those involved, he roamed the set with his girlfriend, anticipating the next day's events and looking forward to showing his skills behind the camera to those waiting to see whether or not he can do it or not. If you'll keep in mind from last week, John hasn't had the chance to rehearse with his cast, because a bomb scare cleared the set during their only opportunity to get together.

On the first day of production, John wakes up early. "Everything's been leading to this day," he says. "I'm going to learn everything the first day. Kind of like the first day of school." He contemplates whether or not the script can be shot in twenty-five days. "All eyes turn to John Gulager," Mike explains.

It's close to 15 minutes to the first shot of the day. "I did feel the weight of how much work it's going to be," John says. Joel comes to shake John's hand. "We're up against this unreasonable schedule," Chris explains, "My fear is he isn't use to working on deadlines." Ben, the Line Producer, is the one who keeps track of what work needs to be done each day. "One of the things that is nerve-wracking for the first day is knowing you are the guy they [cast] is looking to as a leader," Joel continues.

Project Greenlight: First Day Blues

Stephen, the Assistant Director, makes sure the cast arrives and the day's work gets finished. Diane, John's girlfriend, is in the first shot. They are shooting a scene where Harley Mom is going to rob the bar. John is talking about wanting to shoot a scene involving drugs, but unfortunately, they don't have time to put a crack pipe into the scene. "It's not something you want to drop on production on day one," Joel says, "Make sure we can just swap it in." Joel warns John not to mess up any shots on purpose just to get his way. He's very worried that John won't want to change scenes, and he won't listen to direction and assistance.

Right now, they still don't have a hero character, and they're still pursuing Mark Wahlberg. They have a backup choice, Eric Dane, but Joel isn't behind him at all. They have to shoot the part in less than 24 hours. Mike says, "We needed a hero four days ago." They are making costumes on a dummy body, because they need to have everything ready to go when they find someone. They begin shooting the scene with John's girlfriend dropping a gun on the bathroom floor; it's perfect, and they move on. "Diane, good!" he hollers.

Back to finding a hero, Michelle relates that Eric is upset that he found out that Mark Wahlberg is being sought after and now he doesn't want to be in the role. Michelle screwed up and thought she was supposed to offer the role to Eric, which she wasn't supposed to do, yet. He was their backup, and now they don't even have that. "We have no one," Mike sighs.

Now, shooting again in the bar, various scenes and they cut for lunch. They go back and forth on whether or not they are ahead or behind. "It's surreal," Marcus smiles. "It's his vision now," Patrick says. "Things change every time," Joel explains, "If you don't have the writers on hand, you could be shooting yourself into a big, big disaster." Mike calls Michelle back and confirms that Mark Wahlberg will not do Feast. Mike looks dejected and defeated. He says he'll call her back once they get a game plan.

"Once the D.P. sets up a shot, even the tiniest of change the entire shot," Joel tells the cameras as he notes that John wants to continue to change shots after they are set up. Josh Duhamel, from Las Vegas is pursued depending on his schedule, as to whether or not he will star in the movie; his people said if he does do it, he will be on set tomorrow no matter what, so, now it's just a waiting game. "Josh is worth the wait," Mike says, but he finds out that he can't do it because of his commitment to the NBC show. "This is a business, people are busy." Mike is now going back to Eric Dane. "We want to officially honor our offer to Eric and get him out tomorrow," Mike tells his manager. They are still worried he might not join the cast, because they waited too long to officially ask him.

Project Greenlight: Casting Director Outcast

The next day, Michelle comes in to take to Mike and asks, "Are you going to talk to me today?" "She didn't consider my desires," Mike admits, "You made Navi." They get into a discussion about Navi. "I think you guys felt a little backdoored by it. I am friendly with some actors," Michelle explains, "I know she can do it." She talks about being proud of the cast, because they're with her name, and says that people will judge her in the future based on who her name is associated with in this film. "I feel like I've got what I wanted," she smirks, and that's the end of it. "Besides me pushing, she totally earned it," she tells a friend over the phone. She told Navi, "I can't wait until you prove me right and everyone else wrong."

John and Michelle discuss the role of hero, and they both are short with one another. "I'm just stewing about everything that'd happen over the week," John says. "It's so unfair," Michelle whines. "You undermined me," John rebukes. Michelle begins defending herself. "I, for not one minute, misrepresented myself or you," she argues. "She's supposed to fight for my opinions," John explains where he's coming from to the cameras. "If you want to believe I was malicious, I'm really sorry for that," she continues to whine about how he was upset about it and how he handled it. "I'm sorry it's different than what you thought it was going to be." She whines more, "I shouldn't have to deal with people's moods and attitudes. How old are we? It's just ridiculous."

A few days later, they go through the script to discuss his vision for specific parts of the film. There cast has really come together and John's girlfriend and father will be playing two roles in Feast, Harley Mom and the Bartender, respectively. They show his dad in the bar learning his role to "make it his own," John notes. "I think a lot of people can learn something from that." They cut to his father and the camera, "He wants his father to be in his first film had he wanted his mother in his first film," Clu – his father – says. "It lightens the load of this crummy life."

They still don't have the hero role cast, and they want to talk to Jean-Claude van Damme, but some aren't that convinced he will work. Since they have nothing to go on right now, they're strapped for time. Mark Wahlberg's name is thrown around as well.

They go to Panavision to do a monster screen test and see what they will look like on camera. "I have to say I felt a wave of relief. It just looked really good. Gary did a really good job," John is relieved. He gives some feedback on what he wants to see and what he wants to see more of as well.

One week to go and the sets are almost done as is the script; they are now moving their offices to the set. "We saw the next script and there were changes made that we didn't make," Marcus says, angrily. They want to work on one important scene, scene 74, which is an ensemble scene with the entire cast. "These are the scenes they [audience] get bored with," John admits, "We kind of decided to cut it." However, before they cut it, John and the writers sit down to try and fix it.

Project Greenlight: The Cast is Set

The Maloofs have decided to sign on and become partners for Feast which means they will now get the additional funding to be able to pull off the full spectrum of the film. "Thank goodness for the Maloofs, we think we have a fighting chance to make this film," Mike says. "We got an extra week for the show," Joel says. "Starting Monday we're a real movie."

They take a trip to the actual set, where it's being built, and three weeks prior to filming. "I walked in, and I got goosebumps," John says. "It was pretty bitching." Mike discusses how amazing it was to watch John on his first real set. "First time I've been on my set, ever," John smiles as he walks around and talks with the workers to evaluate their work. Wes Craven joins them and talks about the script. Craven invites him over to his set to watch him work on a scene for his upcoming film. "I just don't be able to take the time and care that they're taking on Wes' set," he says about his own film.

Next, they take a trip to see the monsters and how they've progressed. "This is kind of a case to get the producers and directors to go with what I want," Gary says. Now, they see this "monster genitalia," as Mike calls it, about the monster sex scene that occurs in the film. They are all silent, and to be honest, it's not impressive. Then, they all burst out laughing. "It's just a giant monster package," John laughs, showing you have big it is with his hands. "You're always worried about the rating of your film," Mike says, "I don't think that [genitalia] is going to end up in our movie."

With two weeks to go, Dimension gave the thumbs up for the cast. Michelle admits she's taken more liberty than she normally would on a film. "For me, it's good news," Michelle smiles about Navi being approved. "I had no idea she [Navi] was still on the list," Mike admitted. Mike is definitely not happy. "We didn't even know Michelle had submitted it to Dimension," Joel says. "We felt like we were casting a movie that didn't please the producers or the director," Mike sighs. "I felt Michelle was gaming the system a bit, I think she might have gone through some back channels to get that done," Joel explains. They go to watch her second audition tape, and they're still unimpressed. "If she ramped it up 20 percent," Joel sighs. "She's gets there with a good director," Michelle tells her. Now, they head off to tell John.

Chris comes in to visit in the middle of the casting debacle. Michelle explains the history and casting to Chris when he has questions about Krista Allen. "I was pretty shocked," John can't believe. "I'm a little perturbed," Mike says, "I feel like I've lost. Even though I don't want Navi in the movie, the studio's behind her, so, she's going to be in the movie."

So, the casting is set with the exception of Hero:
Navi Rawat, Heroine
Henry Rollins, Coach
Duane Whitaker, Boss Man
Balthazar Getty, Bozo
Jenny Wade, Honey Pie
Krista Allen, Tuffy
Anthony Criss, Vet
Judah Friedlander, Beer Guy
Diane Goldner, Harley Mama
Clu Gulager, Bartender
Somah Haaland, Charlie Tyler
Patrick Jones, Cody
Jason Mewes, Edgy Cat
Eileen Ryan, Grandma
Josh Zuckerman, Hot Wheels

Project Greenlight: More Casting Woes

Last time, we saw the debacle of Jon wanting to cast his entire family in Feast which caused Chris Moore to threaten to fire him if it was ever brought up again by his fellow producers. "It just sort of encapsulated all my fears from when John won the contest," Moore said, "I just want to fire him and get a director who won't be insane." He comes back and talks to John about the situation; John tries to justify this by citing other directors that did what he wants to do, but unfortunately he's unknown, and these comparisons don't work for him. "You are putting the desire of putting your people in above [the film]," Chris tells him; John tries to rebuttal, but he can't. "If I really wanted to fire you, I can fire you." He promised not use the "f" word anymore when talking to John, it's just he was very angry. Chris explains that many directors want to hire people they know, because it will help them feel comfortable. "I really didn't think he was going to fire me," John smiles, and they leave on good terms, with the director feeling a bit overwhelmed.

John and the writers head over to Live Planet for a meeting. They are given three new cars so that they can be ensured to get to the set during production. They're hybrid cars that run on electric and gas, and they all hop in and drive off. "Due, you can't tell when the car is on, it's so quiet," John's amazement is shown.

With six weeks until shooting begins, sets are being built and casting is still a problem. Ricki Lake auditions for the movie and sits down to read. Michelle believes that John understands the casting process a bit more and praises him for changing his attitude. He gives feedback to the actors as well as to Michelle. They discuss the importance of finding the hero of the movie, that it has to be someone with a name, and it's the most important role. They're looking to read Ben Affleck, Sean Penn and Matthew McConaughey for the role. They bring Navi back in to read for the heroine, because Michelle really feels she is the actress for the role; she gives Navi some tips for the reading as well as telling her to ask for direction and guidance from both her and John.

John, however, feels that she came to the second audition with the same attitude as the first one, which doesn't impress him. (In all honesty, she sucks, she shouldn't do horror. Stick to the O.C., lady.) "I just really wasn't sold by her... on the Navi thing," John admits to Michelle, who disagrees. "I have a different view of heroine," she says, "I could see her doing it." She decided to go behind John's back to get the tape to be seen by Andrew, without telling anybody involved with the project, this way she can not only cast the roles in the best way possible, but also get Dimension's approval for the cast quicker.

Project Greenlight: Now Make Me Her Heroine

Now, they're auditioning the roll of the heroine, which is the central role of the Feast. John wants a strong woman who can kick some butt, as he says, but so far he doesn't seem to really like anybody. One of the girls from the O.C., Navi Rawat, comes in to audition for the role and blows everyone away, except John, who is still skeptical.

In a final budget meeting, Rona confirms that only three million dollars plus all the fees, is the final number. "We aren't going to tell you what to do," Rona says, but he refuses to give more money. Leahy makes a pitch to go to another studio and get one to come in as a partner, and Rona gives the thumbs up for the attempt, saying that's what makes him a good producer. We see Gulager was listening in on the meeting, unbeknownst to anybody by hiding outside the room. Soisson believes by dropping a week out of the film will make it horrible, but unfortunately, it's the only thing they can do to make the entire film be it good, bad or ugly.

They begin to cut down the cost of the movie. They first decided to make grandma the bartender. Then, they approach Tunnicliffe about the monsters, which have lost much money. "We want to salvage what we can of the two major parts of the movie, the set and the monsters," Soisson says.

Leahy called a radio station and heard that the owners of the Sacramento Kings were on and wanted to get into the movie industry. So, he calls the radio station and gets through to talk to them, and tries to get them to sign on to finance the film. Then, they just hung up on them and made fun of the fact that people ask them for money. He doesn’t think they realized who they were talking to and calls them for real from the studio again.

Wes Craven and John go out to dinner one night, at a private table. Craven wants to give him all his experience in one night, if possible, to help him out to make the best film he can for his first film. "John's really going to have his hands full," Craven says.

That night, Gulager's girlfriend reads a script with him, because he wants to cast her as the role of Tuffy. She was in his submission for Project Greenlight and did a great job, but the casting director isn't going to be happy about this, nor will anybody else involved in the project. John and Michelle joke about casting their family members, but they seem to be getting along a bit. "I really want this role as Tuffy," Diane, his girlfriend, muses. Nobody seems to be that impressed at first, but when she does the angry scene shot, Michelle is actually really impressed. "She was actually very good," Michelle notes. "Do I still think they're going to fight it? Yes."

Krista Allen came in to audition for Tuffy, too. They are really excited about her being there, as she's highly desirable for the role. She's very much into the process, asking for feedback, and direction. John seemed impressed, but they are worried he will still want to cast his girlfriend, even if she isn't the best actress. "I still like Diane," he says.

Project Greenlight: This Doesn't Look Good

Rona comes into a conference over the phone and talks about the casting. Soisson said, "It should be whoever is best for the role." However, "I want these guys in the film. When I like someone, it doesn't matter, is that the deal?" he asks. He keeps debating this nepotism ideal, because he believes in it, even though it'll look horrible for the studio. "Your credibility is shot," Soisson explains. "Rona looked at all the tapes." Then, tells him he didn't like any of his family and that he wouldn't approve any of them. "Why did they pick me?" John asks. "If they don't think the director should be involved in casting, that's just asinine." John continues to defend himself, but he's clearly outnumbered. He just doesn't get how casting works and Soisson gets very angry about it. He feels he is serving his own interests, which he shouldn't be as a first-time director, instead of serving the movie. As a temper tantrum, he begins to rip down his family's pictures from his wall. "The Gulagers don't have to do this, and I can do this alone. If they think it'll make it easier for me, if they think it'll make the project better, they're probably wrong," he whines.

John goes out with his family for dinner. He claims those working with him don't respect him. His father tells him that that's just the way it is in the industry. They discuss nepotism, his father even taking notes, and they overall don't get it. John won't back down though, and he thinks it's personal, but it isn't. He comes back to the studio, and tells Leahy that he wants to file to Los Angeles to meet Bob and Harvey Weinstein "owners of Dimension" to plea for his family to be in the movie. "I want you to direct this movie if those people aren't in it," Leahy says.

Rona is called and told about the plan. Soisson can barely get it out, it's ridiculous. "There's just no way this is happening," Rona laughs. Gulager comes in, the producers are laughing. Rona says if Gulager leaves New York, Dimension will shut down the production permanently.

Leahy goes to meet the Maloof brothers to see if they will become partners for Feast. They sit down with them and pitch the movie for real this time. Sean Bailet, who works for Live Planet, has an established relationship with the brothers and introduced Chris Moore and the rest of the team to the project. They all work hard to pitch the film. "We're trying to shoot a forty day project in twenty days," Leahy notes. "I was very encouraged by the meeting. If we can get Maloof Motion Pictures involved with Feast, it could be huge."

Chris Moore, Joel Soisson and Mike Leahy go out to lunch and joke about how they finally sat down with the Maloof brothers. They then discussed the casting issue with John's family and flying out to meet the studio executives. Moore can't believe that John wants to do that, and tells them that if they ever repeat the conversation or bring it up again, he will fire Gulager on the spot.

Project Greenlight: Casting, We Have a Problem

Nine weeks until production begins, and they're still working on getting a budget. Rona comes to visit them in New York for a face-to-face meeting and unfortunately, he's just not ready to commit more than three million dollars. Leahy thinks it's impossible. "We aren't going to spend five million dollars on this movie," Rona tells them how it is for this film. Dimension is not ready to commit to the project for many factors. Gulager is up for the challenge, even if nobody has the confidence in him to do it. "In the past, Dimension has stepped up," Leahy explains, keeping his hopes up.

Chris Moore and Gulager go out to lunch for the day. "I was taking him to lunch to really try to convince him to share his vision with the rest of the people in the movie," Moore advises him. "Figuring how to talk in a group is a skill," he says, and he offers to help Gulager learn the skills to talk in a group. He wants to help him in any way he can, and he lets John knows this. "That is not good for the marketing of the movie," Moore says of the nepotism involved. "I'm still the contest guy," Gulager laughs. "I want to be the first guy who makes movie on Project Greenlight."

With eight weeks to go, and another draft of the script, Rona calls in to discuss it. "The more he knows the vision, the more money we'll get," Leahy notes. Rona was advised to watch some movies by Melton and Dunstan, and he did, which gave him more of vision of what the film will be. Gulager even takes part, gaining some confidence, and talking to Rona about the film. "I got my balls busted in the last meeting," John says. This meeting, however, he steps up to the plate and shows he can lead. All the producers are smiling, and it's a much better view of them and their confidence in him as a director, a contrast to the last meeting with Rona on the speakerphone. "Right now, John Gulager isn't the concern of Andrew Rona," Leahy says.

Now, we're done to seven weeks until shooting begins, and they're still working on casting. They are working on picking a Director of Photography and Production Designer, along with a First Assistant Director. He has to go around and interview a bunch of people to find the best people to work with him on his vision for Feast. Casting is still up in the air, though.

"I'm not sure John and Michelle are clicking. They have very different approaches," Leahy explains. John believes Michelle has already casted the film behind his back, without his approval, and he's a bit upset about it. He still wants his family in it, despite the misgivings of the entire cast. "They should just run everything by me before contacting someone," he says, "They just don't do that."

"I sort of get John," Michelle explains, "I'm giving him as much information as he can take." She tells her assistant to give him anything he wants, to inundate him as much as possible so that he possibly gets it.

Project Greenlight: Don't Give Me Feedback

Dunstan and Melton go meet with some agents at ICM. "I've never seen two first time screenwriters step into the process with more confidence," Soisson jokes. They have the biggest egos, and Soisson notes that. Gulager hasn't had anything change, even though the screenwriter's lives have changed significantly. He picks up his paycheck and ends up using most of it to go pay his bills and pay back debts. Gulager takes his family out to eat and gives them the rest of his three thousand dollar paycheck.

"The anti-Gulagers," as Soisson dubs the screenwriters, are having lunch at Le Dome with their lawyers. They're eating up the Hollywood spotlight, as opposed to their director, who is now showing off his cashed check. Michelle Gertz, the Casting Director for the film, meets with the screenwriters and Gulager to discuss casting. The writers were displaced for casting, and they had to go and share offices with others for the pre-production portion of Feast. "They just want name recognition," Ben Affleck explains about the casting.

They had people come in and read for them, to see what they can find in the way of casting. Gertz and Gulager weren't impressed at all by who showed up and what they showed in front of the camera. Gertz is frustrated by the lack of knowledge and feedback Gulager had when dealing with the potential actors and actresses. "They really crave direction and feedback from you," she tells him. She flips when he tells her he wants his family in the film; she tells him that he can't necessarily do that. "The director usually gets to cast people he wants in there," he says. "Ideally, I don't want to bring anybody in for any of the roles." Gertz holds her ground to tell him how the casting actually works. She's very frustrated with him. "I think he still has his plan, there is some friction," she says.

Rona makes a call and tells everyone the creatures look horrible. He doesn't want them to be aliens; he wants them to be better than that. Tunnicliffe is floored, and he doesn't know what to do, and he wants to make whoever he can happy. "I'm not designing them for John Gulager," he muses. He comes back with better drawings, and everyone sits around, not sure what to make of the picture. Ten weeks closer to production, and they don't have a budget or creatures.

"I'm not getting great feedback from their meetings with them," Gertz talks to Leahy about the casting process. So far, nobody wants to come in and audition, because of his lack of confidence. "It's with everyone," she says, nobody has confidence in his ability behind the camera and because of that nobody wants to come in and audition for Feast. Later that day, Gulager's family comes in and reads for various parts. Basically, he wants to get his family into the spotlight and break into the big time, too. As Gertz tries to work with his family, she gets them to do things that Gulager doesn't necessarily want them to do, because he is close to them. She gives him the benefit of the doubt, but it doesn't hold much wait. "What do you feel about nepotism?" Soisson asks. Gulager tries to use other director's as example as to why he should be allowed to hire his family members, but Soisson tells him he's going to have to deal with hiring people who aren't his family.

Ben Ormand, the line producer, comes in to discuss the budget. Rona was going to give them range. Even though reductions to the script, for five million dollars, was too much for a film of this caliber. Out of a $5.3 million budget, it still has to be slashed down by one-third, as said by Soisson. He advises a one week major restructure, he's coming to Los Angeles the next day and have a conversation face-to-face to discuss the project.

At another casting meeting, Gulager gives little feedback. Gertz confronts him about his brother for the "beer guy character." "Usually, you submit a number of actors to a studio for a role," Leahy says, "That's going to be problem with the studio." Gulager sticks to his guns, but nobody is happy about it. He then confronts her based on her audition skills, and she goes back at him for bringing it up three days later. "So, if you don't get your brother where are we going to be with beer guy?" she asks. "I don't know," he shrugs. They tell him he can't do this, but he doesn't want to listen to anybody.

Project Greenlight: Art Collides

Back at Neo Art and Logic, with thirteen weeks until production, Mike Leahy (one of the producers come in). They have budget meeting to sit down and discuss the realities of the film. "This is the most important part of the producer's project," Joel Soisson says. They have a script that's worth $20 million, and they have to whittle it down to two million dollars "If we go and do the three million dollar Feast, let's not make line cuts, let's use a machete," Soisson jokes. "It's going to be gutted."

They want to get the script in shape, first, before being able to go in and try to get all the money needed to make it a great film. It's a better way to go about it to get the money than to do it the opposite way demanding money.

At the first script meeting, Soisson went in with an agenda from the budget side and creative side. They want to decrease the amount of creatures to decrease the price. Gulager's asked a question, and he flounders, with his creative vision. "John by no means inspires confidence," Soisson sighs. There's three weeks to do script rewrites and not a minute more, because they have to convince the studio to still back it.

Melton and Dunstan work twenty-four hours a day on their script in shifts. Where one of them will work for 12 to 14 hours, then pass it on to the other for another 12 to 14 hours shift; this is a consistent 24 hours of scriptwriting, which can be a bit confusing but is most effective if they want to get their script done in the three weeks allowed for pre-production.

Gary Tunnicliffe is going to create the monsters for Feast and has visions of what will be in the movie. However, when Gulager had another vision and saw Tunnicliffe's vision as alien-based. "Less of the alien-thing," Dunstan jokes to him. "Everybody has a different take on it," Gulager explains. "Today's meeting was good," Tunnicliffe says, planning to get it to look like what he wants rather than what they are trying to do, because they merely think it'll look good on screen.

Another meeting is discussed about the rewrite. Rona and Moore were on hand. "Without Andrew, it'll be hard to get the money for the film," Moore says. "Every step of this line we're walking a thin line between comedy and horror," Rona bursts there bubble, "This is a scary movie with comedy in it. You're making a horror film." Gulager compares Feast to Jurassic Park, but he isn't giving anybody a clear vision of where the film is going. Thus, everybody is waiting for Gulager to step up and give a vision of what the point of this film will be. Again, he flounders, "You want me to say something?" Rona ends up hanging up, angered by the lack of an actual meeting or Gulager's input.

Melton and Dunstan talk about how Gulager isn't being a leader. They find it frustrating, because they feel they had the answers Rona wanted, and it makes them all look bad. He talks to Gulager, who didn't really understand what the big fuss is, and again, makes excuses for his lack of leadership. He also tries to pin the blame on his fear of "suits" and people who don’t understand him.

Two hours later, Gulager is advised to call Rona and talk to him. Gulager tries to get someone else to call him; he's given Rona's number, but decides not to call today. He says he'll call tomorrow but doesn't seem so confident and we watch as the days go by and he doesn't call him. "I still have the phone number in front of me, and I'll probably call him Monday," he deflects.

Project Greenlight: Script Therapy

Last week, John Gulager was picked as the Director of Feast, much to the dissatisfaction of many involved. Feast also wasn't a thrill among Dimension studio executives who are weary of the budget constrictions involved.

We start off at the celebration where Gulager was picked as Director. "We're going to have to make a funny as hell scary ass movie," he muses. Chris Moore believes they are going to ruin the Project Greenlight, even though Ben Affleck and Matt Damon think he's going to save it. Affleck confronts Moore about it, angered. Craven listens and stands by without adding anything. "We're going out in a blazing of glory," Moore says.

"Filmmaker is basically the only thing I know how to do," Gulager explains. "It's taking me 35 years to get here. It's the biggest opportunity I have." He goes on to explain his family background in television and movies; his mother passed away last year, while his father still helps him produce films. He's done a lot of B-rated movie and on the side, he shoots wedding videos to make a living when not directing.

"There's so many e-mails and phone calls," Marcus Dunstan laughs. He puts some of the calls of speakerphone for the cameras. "This is an uncommon opportunity," he says. "Finally, the weird boy gets to do something that people can see."

We're then cut to Gulager and his girlfriend, who have been together for twenty years, in a bathtub going over the script. "As a director, I'd like all the help I can get," he says about getting his family to act in the movie. "I've never really had a boss. I do everything myself, and this is completely new to me."

At Neo Art and Logic, home to the Feast production, everyone gathers for their first meeting of the project. Patrick Melton and Dunstan join him. They get new laptops and other tools to help them out with production.

Later that day at Dimension Films, they met with Andrew Rona. He's Head of Dimension in New York. "A lot of what I say will be influencing your lives for the next year," he jokes. He notes the concerns of Gulager, such as not being able to speak up and speak his mind. "That's what the director does." Gulager was upset a bit by it. "We're making a movie, and we'll do what we can to protect our interests." Then, he looks to the scriptwriters, and tells them they need $20 million to make it; it looks like a marketable idea, which is why it was picked. "It's going to be difficult for you guys. You're going to have to make major changes."

They threaten to have the script rewritten because it's so horrible. If they can't do it themselves, Dimension will bring in the people that can make them look good. "Can you fire us?" Gulager asks. "Yes," Rona says in all seriousness. "Is it over?" Gulager looks around, laughing. Rona threatens to bring in someone else to do it if they can't do it.

Project Greenlight: Picking a Director

The screenwriter's come down to meet with everyone and are met with a pep talk. Feast is chosen as what will be made. The others call their families and friends to let on to the disappointment, while Dunstan and Melton are ecstatic. Soisson notes, "This is going to make our lives a living hell," on the movie.

Scott Smith, from Chicago, believes he's the perfect directing candidate because he knows he can make a successful " not necessarily good " movie. James Ryan, from Los Angeles, has a hilarious video making fun of Project Greenlight.

John Gulager is weird. He grew up surrounded by film, he's older " 46 years old " and things just don't really go right for him. "It would just be freaking crazy," he says of possibly winning the position.

Now, the interviews for director candidates begin, starting with James Ryan. Moore really liked his individual scene. Ryan thinks they need to create amazing sound techniques with the monsters from Feast. Affleck says he "sold it." Ryan is very into sound aspects, going so far as to even act out the onomatopoeia.

Smith is ushered in to the room. His scene was funny, entertaining and Moore believes comedy would suit him. Phillips sees his background as an advertiser would help with vision. Smith focuses on the tone of the movie, believing it should be a "horoedy" combining horror and comedy. He definitely didn't seem to have much of his own vision for the film. Damon believed he had ideas that would make the movie better than what it is with his ideas.

Gulager is the last to come in, but Moore still feels Ryan is the best choice with Scott lacking vision. However, Moore believes Gulager is the one to take on this project. Damon believes so, too. John starts out by noting he picked at the script he wanted to do, notes he is a horrible salesman and it shows. "I just wanted to make a monster movie," he says, smiling. "I dig that kind of stuff." He shares a painting, thinking it's an inspiration for Feast. Affleck notes he has idiosyncrancies, is quiet and isn't much for selling himself to Dimension. "I'm worried about communication and getting across what movie he wants to make," Moore. Damon says he knows director's that may not be able to sell themselves but they are still great filmmakers. Dimension's studio executives don't like him much at all because of that.

Damon and Affleck made effort to try to get their director picks in since they didn't get their screenwriter pick. Dimension doesn't like Gulager, they like Ryan. Craven doesn't think Gulager would be a good director because of his quarks, it's a big risk to take.

That night they have a big premiere and party to announce the winner of the director search. The candidates and their wives join them and wait out the night for the announcement.

Ben Affleck explains the process and shares time with Matt Damon to read the script while bits of the scenes shot were shown to the audience.

Wes Craven announces the director of Feast to be John Gulager. Gulager just sits there, stunned, while the others do their best "damn-it-I-lost-the-Oscar" smile. Gulager jokes that he called everyone last night to tell them he had lost. "If John does a good job on the film, it's going to be the biggest opportunity in his career," Damon explains. The other candidates still want to be directors and they are still going to truck on.

Leahy and Soisson were approached by Gulager's friend who warned them of his temper tantrums and other on-set troubles. They both believe this choice will backfire in the end and ruin Project Greenlight.