Day seven, the lake. I had originally planned shooting on another part of the lake. When Rick and the rest of the crew took a look you could hear a generalized groan. I compromised on a small clearing just off the road. As always, Rick made it look good. The white cube van is Dana's. In this shot he is already setting up the jib. There was no power at this location so Rick has a sound proofed area for the generator set up to the left.
	It was actually a cool setup. The location was the Beaver Lake Development, a private estate that had just started. The day began cloudy, which was supposed to turn to sun, so Rick set up an HMI light to represent sunlight. The sun never really did come out. Pictured here (LtoR) are Dana, Johnny, Jacob, Tony, Rick and Stan.
	We came prepared. In the background is a floater, which we never used. Most of the fishing gear actually came from Kyle, my twin brother and his wife's family. Jacob does not appear in this scene. This was happening all the time, actors not in scenes showing up on set just to be involved. I guess it's sort of addictive. He was set to shoot that evening. Here Rick and Christian exchange snapshots.
	Rick's trailer not only carried all his gear, but it had an awning that also served as a place place of refuge. The road is just up a small embankment to the left where we had the motorhome parked.
	Tony gives us a thumbs up just before heading to take a seat on the cooler for the first sequence of shots.
	Lights are on and action about begin. This is the shot when "Phil" stumbles in to sit down next to his dad. It was kind of a fun shot. Chris had to walk real close to the camera as it started moving up. I'm not sure if he thought he was going to kick the camera or what, but he finally gave me just what I wanted.
	Several people hang out under the awning while we shoot.
	Kyle sits on one of the docks in background. The angle that showed him in the background ended up on the cutting room floor, but thanks anyway man! The country side around the lake was very rural and beautiful. A small two-lane road ran down through the hills from Oregon City. Rick was concerned about getting his rig down, especially through some hairpin curves. But it all worked out.
	Kyle again. That's the area where I was thinking of shooting. It had this cool little dock and and everything. Problem is the road was way up the hill with no real path or trail to the bottom. Judging from the gear we had you can see why Rick raised an eyebrow. Me, ambitious? Naaaa!
	Christian and Danny sit after helping get things set up. Stan had this cute little cart he dragged around with him (in the foreground with umbrella) but he seemed to hardly ever use it. To this day I'm not sure what was for, but if it made him feel more of a professional audio guy, then I was all for it.
	This was Tony's first real day on the set of GTD. To everyone else it was same old, same old. It didn't' take him long to get the hang of it. Here he and Jacob talk it over.
	A creative shot by Christian through the trees. I believe he was standing up on the road here. Sometimes I had specific ideas what I wanted him to get, but most of the time he just wandered around taking it all it.
	The gang stands for a picture. If you notice in the background there are several farms. This is part of the surrounding community. We had to deal with a barking dog and sounds of chain-saws. The concrete/rock dam in the background was built back in the 60's, creating the 57 acre lake, fed from a stream. The property changed hands several times and is now owned by Mark Hinton of Hinton Development. Thanks Mark.
	Another pose with parts of the crew. I often had a megaphone (parts of Rick's package) but really didn't use it a whole lot. I have a voice that carries, so it was more work to lift up the megaphone and press the button. I did use it on occasion, and yeah, it was fun.
	A 'pose' of the director. The thing in my hand is the scene-by-scene layout. If I were a cowboy it would have been my sidearm.
	Tony reflects on the moment. Actually he was waiting for "Phil" to walk in.
	Chris and Tony go over lines. Since we were a low budget and had only one day of rehearsals I had actors going over lines as we set up.
	Same. Going The Distance helped me to find my own style of directing. I did a lot of reading before principal photography began, a lot about directors. I found that there wasn't a particular system, but everyone had their own slant in how to work with actors and crew. Also, GTD was a litness test for me to see if what I'd dreamed of doing for years was all it was cracked up to be.
	Not sure what this look from Tony was. He's an expressive guy, so I can only guess. The camera swings out on the jib. We didn't use this angle as Dana feared dropping the camera into the lake for an underwater shot. Actually it was as far as he could go with the jib base. Color was key in this shot. The red vintage Colmon was a nice touch borrowed from my father-in-law. I had it in mind well before shooting started. Thanks dad!
	The motley crew poses again. Take a look at the sky, no sun, and probably no hope for it coming out. But Stan was prepared with his shades anyway.
	The night scene, take 1. This setup was the road on the 'ridge' which overlooked the lake. We used the generator again to light the set. It was a cool August night. Danny, Chris, and Stephanie pose. Chris stuck around for this scene which would be the first of three times we shot the "Jason/Kate" father conversation.
	Not sure what this is, I think something artistic. At least that's what I kept telling myself as I walked away scratching my head.
	Jacob had so many different looks. Here, and this is my opinion, he has a Brad Pitt look. That night we were trying to figure out where to place the motorcycle on the road and put the two characters. Most of the group sat around as the production heads conferred.
	Two best friends, on and off screen, ham it up. Though we have no pictures of it, because daylight was going fast, we shot the "Jason/Phil" ridge scene when "Jason" reveals that "Kate" is pregnant. We used the Stedicam and did a sort of ER camera angle thing.
	Thankfully there were no winds that night since Rick had hoisted the HMI up high to be our moonlight. Dana sits with the Stedicam armed and ready to go.
	This was a medium grade Stedicam, but it still had the on-board monitor and weighed enough that you needed breaks. Dana was such a trooper that it sometimes took Rick to whisper in my ear "Dana needs a break." Of course I'm so into the scene that don't even think about it. Thanks Rick.
	The scripted scene called for "Jason" and "Kate" to talk about their fathers, as seen in the release version. Rick was worried about the generator creating too much noise, even though it was on a hill up above. He suggested we shoot it as a montage of different angles and then add a "Phil" narration to cover. I was open to that and we shot it that way. The problem is that in post it fell flat. We went back and re-shot the scene a few months later, and then reshot it a few months after that in a completely different location.
	Here I pose with the cute couple. They were all having so much fun. That's really what makes a set work, if there is a lot of flexibility in people and they enjoy having fun.
	As we broke down Danny and Stephanie find warmth from the generator. Danny seems so quiet at times, and then others he will come out and surprise you. Incidentally he and Stephanie both went to Oregon City High School, though they never bumped into each other. Jacob also gives us an expression.
	Danny helps to break down the last C-stand. When we turned off the generator that night it went pitch black. The stars were beautiful.