It’s the little things – the timing that could be a wee bit better, the fill-in radio chatter that needs to be written, the F-117 keychain hanging on my wall that’s needed for a shot. The way they are afraid to push the music forward when atmosphere is more important than realism. Not to mention, Charles the Second needs his Becherovka.
I spent two months on the production of Pirates of the White Sand, and it would be difficult to point to any one thing and say, “Dang! Jerry kicked ass right there.” (Aside from my part of the writing, of course, but that happened long before.) I was (so I tell myself), a general lift to the entire production, leaving very small marks everywhere. There was the general good feeling on the set. I provided pure pie-in-the-sky American Dream. Pirates was not a goal but a vehicle, a stepping stone to something grander. The film was itself theCrusader, a pirate ship ready to storm pop culture. I painted a vision so grand that no one else could be embarrassed for dreaming big. I did that. And honestly, I’m a little bummed that that didn’t show up more in the raw footage. There was sloppiness there that didn’t echo the belief that we were building a new pop-culture franchise.
The last day when, after my incessant whining, we set things up so the pirates could do some serious shouting, it was golden. (Credit must also be given to a crew who gave us a day to go back and do stuff like that.)
Also, I brought an enormous number of breakfast burritos for the crew. And a machine gun.
The part where Moab says “lay a course for the Sierra Madres”? I happened to be paying attention just then, made a comment, and then C-2 used that to change the cut by a fraction of a second, and it was better. So most of the credit goes to Chuck II, because he had the skill and immediately knew what I was talking about. Dude knows his shit. Not to take away from fuego, he was there too, and it was actually a pretty tough cut. They worked together on it for quite a while. I really came to appreciate how many hours of post production go into each second of film you see.
But I made the comment. They probably don’t need me for that so much now that they have time to be picky, but I bet there are places in the flow of things that they are just used to, places where they understand more than the audience, that could be better. I know that’s the way with my writing.
And there are the relationships. I was on the ground for the Duke City Shootout longer than they were, and I just got comfortable with people. It doesn’t sound like they are having any trouble in that regard, but they are dealing with people I would like to see again, whether or not my participation would be helpful. If you’ve been paying attention, you know who I’m talking about.
When it comes right down to it, while intellectually I have surrendered the vision of the story to people with the skills to make it happen, emotionally I am still wrapped up in the thing. I hear reports from far away, encouraging noises, and I know things are in good hands. Skilled hands. Passionate hands.
Just not my hands.