Thu, Nov 26 2009
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Behind the scene: "Lucky Cucumber" begins local shoot “This is a really young crew, and they all seem really creative,” said Davis. “My son is in Iraq and my grandkids are in school today, otherwise they’d all be out here this morning. They were all excited about it.”
One of those young crew members is Joe Hill, who is serving as key grip for the production — the first feature film for the Indiana native who recently moved to Los Angeles. “The gaffer sets the lights up, and the grips manipulate them,” Hill said, standing near a large pile of lighting equipment that is about to be set up inside. “This is a mockumentary, so thankfully there’s no dollies. This should be fairly easy.” Also on hand is Robby Stambler, who is editing “The Life of Lucky Cucumber.” A freelance film and video editor from Los Angeles, Stambler said the advent of digital photography has had a huge effect on how movies are made. “Filming in digital, the editor can cut scenes and show them to the director almost immediately,” he says. “He has the potential to see finished scenes while the movie is still in production.” After the principal production ends, Stambler estimates he’ll likely spend up to two months editing an estimated 250 hours of footage for a film that will clock in around the 90-minute mark. “The sheer amount of footage you have to watch is amazing,” he says. And ... action! At 10:30 a.m., director Sam Maccarone and the actors arrive on set to begin blocking and rehearsing the scene, which begins with Lucky getting an off-color pep talk from his grandfather (Patrick O’Hagan, whose credits include episodes of “Little House on the Prairie” and “Falcon Crest”), after a flirtatious encounter with a waitress played by Stella Keitel. Maccarone, who co-wrote the script with Lacy, sits on his knees in the booth behind them as the actors run through their lines. “That’s great, guys,” he says, then huddles with Guttentag and Chapin to discuss how many times he wants to film the scene and where the cameras need to be. A few minutes later, the scene is ready to go. “Ladies and gentlemen, make sure your cell phones are turned off or on vibrate,” first assistant director Tristain Nathaniel announces, signaling that the shoot will begin in five minutes. Stambler arrives on set again to work the clapboard, and Maccarone looks on as makeup is touched up and cameras are put in position. And, moments later, Scene 47, Take 1, begins. 
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