Want more of the story behind the making of Bad People? Lucky for you, director Doug Wicker had shared more of his production diaries with us, and we’re happy to share them with you. If you haven’t read the Day One entry, make sure you do that first.

 Bad People – Day 2

14081232_10154007974041731_1875861819_nI knew this one would be a logistical nightmare. We were approved to shoot on Main Street in the city I live in by the mayor and police chief under the condition that we are respectful and mindful of any potential traffic. Translated, that means no road cones, taped off areas, or anything like that. So we moved from a more visible area to a location a block over that I stumbled on when I was checking the location the first time. It’s a lot more secluded than the original and more vibrant altogether. This was a happy accident if there ever was one. Also substantially less traffic, however it was impossible to prevent people from coming to see what we were doing and share some really fun and occasionally grim stories with us. Everyone we spoke with during this scene were incredibly supportive and wonderful.
 The flip side to that experience however is how we lost nearly two hours of our day due to lack of preparation. We had a jib crane shot planned as Jim and Ray entered the alleyway. Whenever we got to the setup, several bolts and nuts were missing from the crane. A trip to the hardware store killed around an hour of our schedule and fighting to get the crane function killed another 45 minutes with the before and the after of the trip. Let this be a lesson to first time filmmakers, one you are doomed to repeat: Check EVERY piece of gear before you even remotely decide to use it. Then check it again.
 Due to the setback and the on again off again overcast, we had to fight with the image capture all morning. We broke for lunch.14054610_10154007973991731_386341456_n

The hard drive for backing up the cards didn’t work. So I tempted it to the laptop Leslie loaned me for this shoot, I’ll pull them off when I get home. We reviewed some of the takes together. This movie is really taking shape. And again, more solid performances to use. It seems like once the adrenaline hits and the moment that camera rolls the intensity is ratcheted up. Next up, to finish our day was the first car scene with Ray and Jim, where they nag at each other.

The interior s14088810_10154007974006731_650331688_nhots were fairly stable and we had the actors mic’d with wireless mics and a boom mic mounted in the center council to capture the ‘room tone.’ The audio setup we’ve been using has been interesting. We generally wirelessly mic the actors, running that into a recorder which only has two inputs for microphones then we run a boom mic into the camera. The camera doesn’t have a headphone out, but it has levels. So we’ve had to try and watch the levels on camera without headphones to use the boom for these setups.


 During a take of Ray’s close ups he knocked the boom over and it spent the rest of the take vibrating and that squashed using anything from that for him and Jim’s close ups. It happens. Their wireless mics were still working and we have all the footage from the two shot of them. Like I keep telling myself, and the crew; Murphy’s Law is in session, and we are the lawyers. Worse case scenario you have to take a different route to get where you’re needing to be.
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