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CINEMA

 

Cinema Day Recap

By Brian Doubleday of Greenworks Video

When I first heard about the Cinema Day event, I w as told that the idea was to give the legislators an idea of what a typical production scene might look like. But what would the crew be doing? Well, a few years ago when we had first started our Greenworks green screen studio in downtown Denver, we had a client that asked us to place several of their people in well-known movie scenes from Mission: Impossible for an in-house event. I brought that up to the CFVA committee charged with creating the event, and everyone agreed that it could work. We would set up a fully-crewed movie production set and shoot legislators as actors in a short iconic movie scene and give it to them later that day---their own personal copy of their performance.

It sounds simple but it was anything but. First of all, we on the committee had to come up with relatively easy to shoot characters and scenes that legislators would want to perform in. One of the things discovered right away is that—for whatever reason--- there are plenty of memorable scenes with iconic lines featuring male performers, there just aren’t that many ‘legislator appropriate’ lines for females.(Can you imagine a female politico wanting to intone Mae West’s “Why don’t you come up and see me sometime?” or “I’ll have what she’s having...” from Director Rob Reiner’s mother in the fake orgasm scene in “When Harry Met Sally”). After several weeks of intense searching and a flurry ofemail suggestions flying back and forth we decided upon:

“Frankly my dear, I don’t give a damn”
“Bond.....James Bond.”
“I am Frau Blucher”
“I have a feeling we’re not in Kansas anymore, Toto”

Another challenge was choosing the right set up for the scene. It couldn’t be the character in a wide shot with other people---well, technically it could have been done, but we only had 4 hours of editing time from when we shot them against green screen to delivery of the 28 performances. No, what would work are scenes where the ‘talent’ could be easily isolated from others in the scene. The exception was the Rhett Butler scene from Gone with the Wind where we took the time to build a layer shooting over Scarlett’s shoulder to place our performers in. Lighting is always an issue in green screen, but the crew Ken Seagren of LSI put together did a masterful job of matching each of the chosen scenes. In the end, we had a great time that day, and I think everyone involved would say it was a success on every level. Let’s do it again!