Day nine! Stan gave up his house for this afternoon and night shoot. Here sits Shelbi for a scene from the ending montage. We had rule of the house since Stan sent his family to a hotel. We had to 'broom' the set of anything that would tell of the locale, so the Blazer's poster came down, etc.
	Rick in his creative genius. In such a small room creative lighting is key. I liked the result, real moody. Stan points out something as Rick checks it out.
	Stephanie and two of Stan's kids before they take off. This was kind of Grand Central, the kitchen.
	Just off the kitchen people gather as the crew sets up. This was the same table that we set up for another scene shot later, the girls making "Murphy's Law" posters.
	The idea is that the band practices in "Phil's" basement. Stan's house served here as well. It was kind of like a big party. Stan's kids were still around early on. His son plays the drums as Danny Toman strums the guitar.
	Dana talks to Tommy as Rick just about has the lights set for the 'girls audition' scene. This was the last day for me to be hauling around the entire setup of band gear in the U-Haul trailer. Believe me, it was a happy day.
	I asked Michael Olson to take a snapshot of me on his bass. No, I can't play, but Tommy can't really play the drums either. Behind Tommy is one of the basement windows. Rick threw one of the HMI's though to create our sun.
	Even though it was a medium sized basement, when you get a crew and gear into that size of space it gets cramped. We moved the couch off to one side to get the band shots. Others seemed to make good use of it. Off to the left you can see the sound mixer on the table. We set it up, but never used it. Instead we had "Eric" come in from the side to give his reaction to the girls singing.
	I thought about using the fooseball table in a shot, but just couldn't justify the time. This is a constant battle in movie making. Your worst enemy is time.
	The band is ready. To get everything we wanted the wide angle is strapped onto the lens. It can be see just to the right of frame. Some of the microphones we used were vintage 1960's from my dad's collection. No matter when we placed the movie, they would appear classic.
	I have a question Mr. Director. Actually I don't know why Michael was raising his hand. We're just about ready to shoot. I loved this basement for it's orange carpet and wood paneled walls. It looked like a place the band would hang out.
	Another part of the 'dating' montage. Shelbi and Chris relax as we setup for the 'movie' watching scene. I don't know if I ever saw this blue shirt again, but it had a good look.
	Jacob and Stephanie. Jacob, the most intense of the four, sits back and takes it all in.
	The fearsome four, in disarray. Jacob has a great smile here. Stephanie can't put down the People magazine and Shelbi tweaks Chris's ear.
	Ahh, that's better. One of the important things here was to have the band instruments in the background, but not be prominent. Rick did a nice job in lighting them to create some depth.
	A side view. The idea is that they'd be looking into the camera, which represented the TV. To create the flicker of a TV Rick placed a "Twenie" light next to the lens and then used a "Pot" to bring the light level up and down. It was actually quite effective. Stan catches the audio in the background.