Rick backs his rig into the driveway of the house where Phil and his family live. I realized later when I asked my friends if we could shoot in the house that their idea of an independent film crew was 2-3 people and some lights. One thing I learned, be very specific.
	Rick checks out the back porch. Dana and Johnnie stand around waiting for instructions. This was another split day - half day, half night.
	Tony, Judy and I sit watching Rick prep. I have to credit Judy with finding Shelbi for me. I had known Judy for some time before GTD. I can't remember where we met, but when I began looking for actors, she was one of the first that I called.
	With this being a morning scene Rick did some pretty cool things with lighting. He placed one of his HMI's right outside the window to cast long shadows, as if the sun was low in the sky. It's very subtle. Dana straps on the Stedicam here for the shot. Neither Tony or Judy are coffee drinkers, so it was funny to have both of them drinking the stuff. And, Tony had to watch his coffee level to maintain continuity between shots so it didn't appear full in one and half full in the reversal.
	Tony removed himself so we could get the reversal shots of Judy.
	Dana checking the shot one last time.
	Okay, ready when you are.
	Tony waits.
	This was actually a pretty complicated lighting setup. Rick always travels with that light meter to see how even the lighting is. I wanted a warm look - a good family time contrasted with the annoying little sister. Again, as it is a different day, a change of clothes is in order - yet Chris and Shelbi have to wear the same clothes as day fifteen.
	Sara made the food for the table. It's tortelini, an Italian dish, representative of the family heritage, except for Phil. Compared to the table tip food, this was made the day before, so they could actually eat it. Here we shoot the twosome shot of Phil and Nicole.
	Rick continues to check light levels. This really was a beautiful home, with all of the old fixtures, hidden doors, etc. I've always wanted to shoot in it.
	Tailyr is missing from her chair. Actually she sits with her 'real' mother off to the side.
	Happy as a clam.
	I was always impressed with our cast and crew, no egos and bound to enjoy our time together.
	Tailyr was a bit shy at first, but Shelbi and Chris started playing and laughing with her. By the time we shot we couldn't stop her giggle.
	Tailyr sits with her mother, Jamie Dyrdhal. Jamie was great, having fun with the rest of us into the late hours.
	Oh, so cute!
	A shot from the front room toward the dinning area. Again, very cool house!
	Dana preps the Stedicam.
	Although Michael wasn't on the call sheet as an actor this day he did show up to fill in as a production assistant. I put him to work washing dishes. At first he gave me this quirky look. I don't think it's what he hand in mind when he came on set wanting to help, but he did it anyway with a servant's heart.
	A candid resting moment with Chris and Shelbi as they go over the script. At some point in the middle of shooting Shelbi asked me if she could get her belly button pierced - a new fad just starting at that time. I said no, not a good idea for continuity sake. And that was that. Don't know if she actually got one later.
	Moving to the back porch. It was getting late and my friends had come back from dinner and a movie. We had to keep pretty quiet in the neighborhood - which is hard to do with a bunch on fun loving teenagers. Most of our equipment is moved outside at this point, off to the left.
	It was late September and getting a little chilly a night. Thus the reason for Dana being bundled up.
	A waiting Dana. This is the scene that had to matched up with the treehouse scene shot a couple of weeks earlier. I was relieved in editing that they came together seamlessly. Good work guys.
	A slight breeze was blowing that night and Rick had positioned an HMI high above to simulate moonlight. Michael was stationed there to make sure it didn't tip over.