|
| | | | | | | | | | | | | Pat Peach - Line Producer
What has become clear to all of us who worked on "Stolen Summer," is that the television series is a version of the production that none of us recognize. So, if that is the case. Then there surely must be more to the portrayal of the relationship between Chris, Jeff and myself, beyond what the producers of PGL have chosen to show you.
When I was hired, Jeff Balis was not yet involved with the project. I met with Chris and Stefan Frank. Chris told me I was hired because he wasn't going to be available much for the production. Stefan was introduced as the creative executive who would be working with me. When that changed to Jeff around a week or so later, unceremoniously and, one could assume the same title and relationship. We worked together from that point on. I learned of Jeff's title change 2 weeks before we left for Chicago (I found out by reading it on the crew list). Nothing was said to me regarding a change in Jeff's responsibilities and duties.
I liked Jeff and felt we were working relatively well together, although he would frequently involve himself in areas of the process that were clearly under my jurisdiction, and where he had no experience to be involved. It did come to a head in pre-production when hiring the production designer and I had words with Jeff about being out of line and over stepping his boundaries. It was on camera and dramatic. It is a shame it was not put in the show, because it might have shown how we got to the episode 7. There were a few more instances during the first week of production as well.
Chris Moore's link to Jeff, was constant and intense. Chris was guiding Jeff in his actions. Chris was not consulting with me, however. Chris was using Jeff to get all of his information, which would then inspire Jeff to move on a quest to collect information and answers and make decisions before his next report to Chris. Therefore the image Chris had of the production, was through the eyes of Jeff, who was trying to find his way as a co-producer for the first time. When Chris showed up on Day 1, and instead of calling a meeting with Pat, the UPM and the first A.D., there was a meeting with Jeff, Pete, and Michelle. I would never have let that happen if I were Jeff. We would have defended our choices on Day 1 and they would have been logical and reasonable. Instead, Pete and Jeff were defenseless and Chris nailed them. Jeff was put in a position to doubt me as well as Christina and Bruce.
When Chris comes to set he schools Jeff about minor production problems (i.e. additional bathrooms) where there are at least 3 competent people who's job it is to oversee them. The message is Pat, the UPM and staff can't be trusted to do their jobs. You could understand why Jeff would then try to satisfy Chris regardless how it might affect others. We were all working hard and solving our problems. I figured Chris knew this since he never discussed any of those things with me.
On Day 2 when Chris critiqued us all at lunch. In response to something I said, Chris told me, "Pat, no one can question you..." (Not in the episode). That startled me since, although, I had believed that, I assumed he had been empowering Jeff to do just that. I then pulled him aside after the meeting to discuss Jeff. I wanted to know that if no one could question me, why was Jeff doing it. What you also do not see is my asking Chris why he does not communicate with me. His answer was basically that he was extremely busy. That answer tells it all.
For me, it was a frustrating and confusing way of producing: not dealing directly with the producer you hired to make the film and instead, dealing with the producer in training. We had made our first three days, and Pete was doing well. I needed more clarification on where things stood but got nowhere with my boss and co-worker. I had spoken to Jim Glander, a VP of production at Miramax L.A., at length about this dilemma. I had a few conversations with him about how baffled I was with the dynamic and my concern about where it was heading. It was distracting to the director, the assistant director, the DP and myself. When he called me on our day off, my frustration was extreme.
The inference that I was trying to get Jeff fired is a complete and utter fabrication. My intentions had nothing to do with Jeff being removed. If you read the subtitles, you can see that. I never said Jeff should be fired. I never said he should be taken off the set. I said I wanted Jim to call Michelle, who also might not have the experience to be aware of the unique dynamic between Chris, Jeff and myself. I wanted it explained to her by a colleague what Jeff's role was from the studio's perspective, which, since we were making a film financed by her employer, I felt she would better understand my dilemma and help me to solve it.
I had no desire for that conversation to make the documentary, not because of myself, but because of Jeff. I was hoping to get support elsewhere, so I could then speak to Jeff without him being embarrassed on camera. I was complaining to a co-worker about another co-worker, something everyone has done. What I said about Jeff at the time was true, he was sarcastic, and he was not interested in backing off even after being asked to. The language sounded rude and harsh but it was frank expression. It was a private conversation (I now know I was foolish to believe that was possible), I was speaking with a friend, on my day off, without a microphone on and I was deeply troubled that Jeff obviously had little respect or care for my position on the film. I will say, I understand why Jeff felt that way; he was taking his boss's lead.
It seemed strange that a company on schedule with no budget problems, good dailies and a pleased Studio, would be chastised. Especially with 4 weeks of prep and a first time director. Needless to say, it was hard to do your job with Chris standing over you making decisions and with Jeff trying to please him. Note all of the conversations between Jeff and Chris and no interest in involving me.
I wasn't the only person bothered by this. Bruce Terris had spoken to me several times over the first 7 days regarding Jeff's increasing conversations with him. Bruce may have said in his interview (which was edited and incomplete) that I didn't like Jeff talking to Bruce, but he had also complained to me that it was a distraction to him and the director and asked me for relief. I take my A.D.'s needs very seriously. It is my job to work with the A.D. and the UPM with regard to the logistics of making the day, the schedule and how our Director and DP and other departments are doing along the way. On any other set, Jeff would not be pulling the Assistant Director and other department heads aside for meetings and conversations all of the time. By Day 7, when the conversation in the documentary between Bruce and myself takes place, my frustration with Jeff's ignorance of set protocol and his role and job description, was at its peak. Bruce had complained to me over the course of the week regarding negative energy on the set and confusion at the top. He was right. It was painfully obvious we needed to do something. You see only this one conversation and only what I am saying in this one instance. I am, once again, not trying to get Jeff fired. I am trying to remind my general what the chain of command is.
That rainy day was the seminal day in film for any number of reasons but as far as Jeff and I, it was Gettysburg. Throughout that very rainy day, both Jeff and I made the mistake of complaining about each other to Pete. He didn't need that, however, it was probably the best thing we could have done. On the next day, May 28, Pete had expressed his concerns about Jeff and myself to both of us. He had called Chris to discuss them. Chris reacted and wanted to get involved, but Pete pulled him back and told him we'd work it out together. Pete then organized a dinner meeting between the three of us. In that meeting, with Pete mediating, Jeff and I cleared the air and agreed to work together and make the movie as a team.
The following day was as though there had never been any problems between the two of us. It was immediately obvious to the entire crew. I was extremely pleased and told Jeff how well I thought things were working between the two of us, and he agreed. I called Jim Glander and reported that we had solved our differences and things were on track and Jeff was a perfect co-producer. As a shooting company we had hit our stride. We were getting cut scenes back from the editor that worked well and everyone from Chris to Jon Gordon was feeling excited about the movie we were making. The harmony on the set was great. It was the best week of production on the film. Pete Jones had pulled the team together.
Two days later, in the early evening on our second day off, someone knocked on my door. It was Pete, followed by the obligatory video cameraman. It was four hours after a meeting regarding a controversial difference of opinion between the documentary and the film. Pete informed me about Chris's sending Jeff home and asked if I knew anything. I was stunned. Things could not have been going any better. What the hell was going on? Could it be about the earlier meeting? Why hadn't Chris called to discuss if it was necessary and any impact it might have on Pete, the crew and the Film?
I paused long time thinking about this. "No", I answered. I didn't really understand it, but as I have related, there was a lot not understand on this film. I had never had any complete discussion with Chris about Jeff and had not spoken to him about Jeff since Day 2. I again was suspicious. I couldn't figure out if it was for real. Chris and Jeff had their own unique relationship and this was either part of that or about the documentary. Pete looked so upset that I told him to concentrate on the next day. Not to do anything. I knew he'd get emotional and try and argue with Chris about it. He was shooting his first special effects scene of his directing life the next morning, the Burning House. We needed him to be prepared and rested. He left my room with that advice. In this week's episode, I am portrayed as though I knew about Chris firing Jeff. It looks like I am telling Pete to forget about Jeff and not to help him. Both false and manipulated inferences. Pete, Jeff and I met a half hour later and came to the conclusion his going home was baseless and might not be permanent or might be rescinded the next day.
In last week's episode, Chris says I was selling out Jeff every chance I could, referring to our only conversation regarding the problem. That was completely untrue. I am sure they would have shown that footage if it existed. He also said the dynamic was not working between us. How could he possibly say that? His conversation with Pete was over a week ago. No one was complaining.
He also said he would fire me if he could. That is a bizarre statement considering how well production was going. He could read the production reports and see how well we were doing. There was absolutely no budget crisis. We were in high gear. Seeing the conversation now, I can only conclude that Chris got his information from just viewed documentary footage from the first week. He was way behind the times and hadn't checked in with his producers and director.
As far as Chris not getting his information, the scene shown in the documentary of Jeff and I discussing telling Chris about moving the beach is from Day 14, the day after Jeff is rehired. Jeff believed he had to further inform Chris of every breath we all took and that is why Jeff tells me that all he is doing is wasting his time.
On Day 13, the Burning House day, Jeff is told he can stay and Chris finally talks to me about it. He asks for double information from Jeff and I, and I let him know "I welcome the responsibility" of communicating regularly with him (at last).
If Chris had asked me, I would have disagreed with his decision to send Jeff home. There is some very clever editing of out of sequence shots, the omission of critical events, out of context dialogue and music, slow motion and subtitles to lead you to a variety of sensational conclusions. It is unfortunately misleading.
You can take what you will from this. For whatever it is worth, things like this happen on some level on nearly every film. We all could have acted more professionally and more openly. Our situation is unique in that there were 4 video camera crews watching us. I believe all of us in this experience were affected by the documentary. I could have been more assertive in trying to confront Chris, although I considered that exceptionally risky. Perhaps I could also have been stronger with Jeff.
If I had had the opportunity to understand what Chris's intentions were with Jeff from the very beginning, I might not have been so frustrated. If Chris had explained my role to Jeff more thoroughly, Jeff and I might have worked together as we eventually did, from the beginning. Chris had his hands full with Project Greenlight and its tentacles, The Runner, American Pie 2, running a growing corporation and a pregnant Jenno, on top of dealing with "Stolen Summer." Things did work out and proved to be quite rewarding. The actual production was filled with many great examples of low budget film making at it's best. It is a shame that the documentary found it too boring to portray it as it really was. | | | |
|
|
|
