by Sam Hutchins

Shortly thereafter Darius and Kar Wai exited the hotel and hopped in the truck. I was relieved to see them both emerge sans suitcases. Clearly there were problems getting the picture off the ground. Most of my experience was working for the major studios; what I did know about independent films was that financing was often an issue. I loved Kar Wai’s work but I was not putting up the money to finance it. I can’t imagine committing large sums of money to a director who works without a script or a clearly defined story, yet Kar Wai refuses to do it any other way. I wouldn’t be surprised if this thing fell apart at any time. For now, however, it appeared that we were still moving forward.

“Everything OK guys? What happened to Stephane?”

“He went back to New York.”

Remind me never to play poker with Wong Kar Wai. We started out cruising the near West Side. It was in some ways harder to scout a town I knew so well than a strange city. Too much emotional resonance involved. As I struggled with what I ought to show him, Kar Wai pointed and told me to stop. We were at a great old dive, a 24-hour hot dog stand in a shitty neighborhood called Steve’s. I had ended many late nights of drinking in the spot but honestly never would have thought to take him there specifically. In retrospect it was a perfect location for him. We entered and sat at the counter.

“What would you usually have here?”

“A couple chili dogs with cheese, onions and mustard.”

“OK, I’ll have that.”

“Kar Wai, we don’t usually eat these at ten on a Sunday morning.”

As usual I received that blank stare in return, so I ordered up for both of us. Darius, who appreciated the finer things in life, looked at us like we were pissing on the carpet. He settled for a cup of black coffee. We sat and enjoyed our breakfast alongside a couple guys from the Coast Guard and a middle-aged heavyset woman from the adjoining housing projects. Kar Wai smiled the entire time. As we left he turned to me.

“A place that feels like this is good. This is the feeling we should look for.”

My God, I’ll never be able to figure this guy out. Directors give you many different clues when you scout. Phillip Noyce tells you what lens he’s shooting and where he wants to put the camera. Donald Petrie looks for the best place to play the comedy. Mike Nichols cares about the appropriate class level. Those are tangible, measureable things. Scouting based on the proper emotional resonance of a place is a different matter entirely. As soon as I thought I had a handle on Kar Wai he would say something that just lost me.

Leaving Steve’s we headed down to The Flats, which is the industrial area bordering the Cuyahoga River on the edge of downtown Cleveland. It was one of the rare times I knew I was showing him something he would like and I was right. The towering highway overpasses, the dirty gray factories and various detritus left behind by the steel industry framing the downtown skyline were ideally suited to his work. My only concern was that there was no actual restaurant or bar to set scenes in. After thoroughly exploring the area he chose a spot on the side of the road that he liked.

“Kar Wai, what kind of scene would we set here?”

“Those trucks that pull up and serve food, would one ever park here?”

“Sure, they park in places like this to feed the guys who work at the mill.”

“Can we get one of those?”

“Yeah, we can rent one and put it here.”

“Good. Very good.”

As we were shooting the area a local Sherriff’s Deputy pulled over and checked us out. 9/11 and the advent of homeland security really had changed things. Fortunately I carry enough PBA cards and know the right things to say. As he pulled out another car pulled in, this one driven by what seemed to be a steelworker or possibly security from the steel mill.

“What you guys doing?”

“Sorry, sir, we’re just scouting for a film…”

“I can see that. Who is the director?” Not what I expected to hear.

“You wouldn’t know him, he’s a Chinese…”

“Holy shit, is that Wong Kar Wai?” Definitely not what I expected to hear. The guy hopped out and we all had a nice chat. The world really is a small place sometimes. Standing under an overpass hard by the steel mills on a Sunday morning we meet someone conversant with Kar Wai’s work. Go figure. As we finished our chat and our photography the snow began to come down hard. Time to head back to the hotel.

….

STAY TUNED FOR THE NEXT INSTALLMENT OF THE SCOUTING LIFE.

Sam Hutchins has been working in film production for twenty years. He started as overnight security on the set of “Working Girl” while attending film school at NYU. Since 1995 he has been a location manager for some of the top names in the business. He’ll be blogging from a unique insider’s perspective on the filmmaking process, as well as speaking to his colleagues in the production community to share their experiences with you.

by John Farr

John Farr recommends three films for all you philanderers out there.

Double Indemnity (1944)

WHAT IT’S ABOUT:

Gorgeous schemer Phyllis Dietrichson (Barbara Stanwyck) enlists a besotted insurance salesman, Walter Neff (Fred MacMurray), to draw up a life-insurance policy on her husband without his knowledge - and then kill him. The murder goes as planned, but the two lovers lose faith in each other’s motives when they face suspicious claims investigator Barton Keyes (Edward G. Robinson), whose queries trigger a fatal game of cat and mouse.

WHY I LOVE IT:

One of the quintessential noir films, Billy Wilder’s “Double Indemnity” is a masterpiece of stark atmosphere and carefully stylized suspense. The talented Barbara Stanwyck, a familiar face in the 1940s noir universe, assumes her role with feline deviousness, while “My Three Sons” TV dad Fred MacMurray - narrating the film via flashback - brilliantly plays against type. Raymond Chandler’s screenplay sizzles with hard-boiled repartee and the great Edward G. Robinson is aces as always as the dogged investigator hot on the lovers’ trail. Sinister, tense, and cynical, Wilder’s “Indemnity” is riveting film suspense.

The World of Henry Orient (1964)

WHAT IT’S ABOUT:

Two New York City schoolgirls develop a crush on the title character, a second-rate concert pianist and frustrated ladies’ man (Peter Sellers). They then decide to stalk the poor fellow, foiling his meticulously planned assignations.

WHY I LOVE IT:

Sellers is in rare form as the perpetually striving, but eternally mediocre fraud, Henry Orient. The two girls who pursue him (Merrie Spaeth and Tippy Walker) give refreshingly natural performances. Paula Prentiss is screamingly funny as one of Orient’s nervous paramours, while Angela Lansbury injects a cold note of evil as one girl’s mother. Beautiful on-location scenery of Manhattan’s Upper East Side.

Fatal Attraction (1987)

WHAT IT’S ABOUT:

Manhattan lawyer Dan Gallagher (Michael Douglas) is happily married to his gorgeous wife Beth (Anne Archer), with whom he has a 6-year-old daughter. After a chance meeting with the sexy, intriguing Alex (Glenn Close) leads to a passionate two-night affair in her apartment, Dan says goodbye and means it. But Alex has no intention of giving up Dan - ever - and proceeds to turn the Gallaghers’ lives into an escalating nightmare.

WHY I LOVE IT:

Adrian Lyne’s disturbing “Fatal Attraction” remains the ultimate cautionary tale for extra-marital thrill seekers. What begins as an entirely plausible drama about a one-night stand quickly morphs into a shocking psychological thriller in Lyne’s hands, with Douglas turning in one of the iconic performances of the 80s. But it’s Glenn Close’s bestial, unhinged villainess that made this film a box-office smash. Despite a tacked-on, slasher-movie-style ending, “Attraction” picked up six Oscar nominations, including one for Best Picture.

Visit Best Movies by Farr for more great DVD recommendations.

by Sam Hutchins

We finished the day in Detroit seeing the rest of what it had to offer us. I had hoped to spend another night there and spend the next day scouting the countryside as we headed east, but I was overridden on that. Kar Wai had no interest in anything rural, but a great deal of it in looking at more of the gray, industrial cities of the upper Midwest. So on we pressed to my hometown of Cleveland, Ohio. Once more Stephane deserves credit for getting us there. I was exhausted but wouldn’t say so. He picked up on it anyway and took the wheel, guiding us through the night and increasingly heavy snow to get us home.

As he drove I set us up in one of my favorite hotels, the Renaissance. It is part of the Terminal Tower, built in the 1920’s and the tallest building in North America outside of New York City until the early 1960’s. It sits atop the old Union Terminal train station and features some magnificent interior spaces. The Hotel itself was a grand old dame, with a massive sitting area in the lobby where you can drink cocktails under the vaulted ceiling. It also has one of the best bars in Cleveland just off the lobby. The place was just slightly tattered and dowdy now but retained enough of its original glamour to be perfect for us.

With Kar Wai’s blessing I arranged to have my parents meet us for a drink at the hotel. Pulling up to the valet station around ten pm we saw them arriving at the same time. Whoever said you cannot go home again was simply wrong. When you are as worn-out and road weary I was, getting a few minutes with your loved ones can make all the difference in the world. We checked in, quickly washed up, and reconvened in the lobby.

Everyone has a different relationship with their parents. Mine happens to be excellent. Not only do I love them, I’m proud of them. Not everyone could hold their own with the accomplished crew I brought with me but my folks certainly can. Dad is an accomplished photographer and quickly fell into deep conversation with Darius about related subjects. My stepmother is an incredibly sophisticated Korean woman and easily matched wits with Kar Wai. She is very direct and pulls no punches. In an hour together she got more out of him than the rest of us had in a month. For his part Kar Wai was incredibly complimentary towards me, which greatly pleased her. Simply a lovely evening and one I’ll always treasure.

We said our goodbyes eventually and headed out for a late-night sushi feast. The Cleveland I grew up in shut down at night and on the weekends but things had changed. The streets of the warehouse district were crowded and we got one of the few remaining tables. Turns out that Kar Wai had a masterful knowledge of Japanese cuisine as well. While generally impressed by the meal we had he pointed out subtle things I never would have noticed, such as a certain piece of fish was cut incorrectly, slightly against the grain. A great deal of sake was consumed and good times were had by all.

Waking early the next morning I went through the usual routine of plotting out our day’s scouting, getting the cameras ready and working on the vehicle. Retrieving it from the valet I took it to get gassed up and washed then returned to wait for the guys outside of the hotel. It was a beautiful, crisp winter morning. The snow had stopped and a weak sun cast its light on me.

It did feel like a magical morning. Sitting in the truck, I could look across at the bus stop where I used to transfer to get home from high school. I also saw the Old Stone Church, where my sister married her husband Ben, and the 55 building, which is where my dad first worked as a photographer. I busied myself for a while taking pictures as I waited. And waited and waited. The minutes turned into an hour and more. The snow started falling again while I sat there. I was nearly ready to go in and check up on the guys when Stephane exited the hotel, toting his suitcase. That confused me, as we hadn’t planned on checking out.

“Stephane, should I pack up my stuff?” I asked as I hopped out of the car.

“No, you stay here, we just had a bad phone call and I have to go back to New York. The guys will be down in a minute.”

And with that he hopped in a cab and was gone. I was left to sit and wonder if we were still scouting or packing up and heading home to sift through the remains of a failed attempt at a film.

….

STAY TUNED FOR THE NEXT INSTALLMENT OF THE SCOUTING LIFE.

Sam Hutchins has been working in film production for twenty years. He started as overnight security on the set of “Working Girl” while attending film school at NYU. Since 1995 he has been a location manager for some of the top names in the business. He’ll be blogging from a unique insider’s perspective on the filmmaking process, as well as speaking to his colleagues in the production community to share their experiences with you.

by John Farr

This week, Reel 13 airs An Affair to Remember, but don’t forget to watch these classic Deborah Kerr films.

Black Narcissus (1947)

WHAT IT’S ABOUT:

When young Sister Clodagh (Deborah Kerr) is asked to open a convent-hospital in a former brothel perched high above a small village in India, she readily agrees, despite knowing hardships lie ahead. Once there, she’s greeted by a sardonic Englishman, Mr. Dean (David Farrar), who takes great delight in ruffling Sister Clodagh’s habit. But it’s jealous, unstable Sister Ruth (Kathleen Byron) who eventually succumbs to the dark allure of the exotic, windswept setting.

WHY I LOVE IT:

Another great success for “Red Shoes” helmers Powell-Pressburger, “Narcissus” is an absorbing, finely acted British melodrama about the secular problems facing a new mother superior in an unfamiliar, potentially hostile new environment. The directors even stirred controversy by developing a subtle yet credible sexual tension between the luminous Kerr and hunky Farrar. Jack Cardiff’s Oscar-winning Technicolor photography and Alfred Junge’s hand-crafted art design give this film exceptional production values to boot. And Kathleen Byron’s celebrated turn as the unhinged Sister Ruth climaxes in a suspenseful sequence that’s hard to forget.

King Solomon’s Mines (1950)

WHAT IT’S ABOUT:

When a hunter disappears in wild, uncharted parts while searching for the fabled mines of King Solomon, rugged adventurer Allan Quartermain (Stewart Granger) is hired by the man’s wife, Elizabeth (Deborah Kerr), to lead an expedition to find him. Of course, both Elizabeth and her brother John (Richard Carlson) insist on accompanying the group into the jungle, and despite misgivings, Quartermain reluctantly agrees.

WHY I LOVE IT:

Shot on location in Africa, and featuring the winning team of Granger and Kerr, “Mines” is a handsome, pounding adventure film with plenty of thrills and romance. Thanks to spectacular camerawork by Oscar winner Robert Surtees, the movie is indispensable purely on a visual level, but Granger and Kerr emit powerful screen chemistry too, which makes the epic journey- including snakes, spiders, lions, rhinos, and assorted African tribes-that much more exhilarating.

Separate Tables (1958)

WHAT IT’S ABOUT:

This brilliant drama, adapted by Terrence Rattigan from his own play, portrays a group of mostly lonely lost souls-including boastful war hero Maj. Pollock (David Niven), mousy spinster Sibyl (Deborah Kerr) and her overbearing mother (Gladys Cooper), and alcoholic American writer John Malcolm (Burt Lancaster)–staying at the same English seaside resort. When Malcolm’s ex-wife Ann (Rita Hayworth), a faded beauty, appears unexpectedly, the group’s collective secrets and dreary emotional baggage come tumbling out into the open.

WHY I LOVE IT:

What in lesser hands could have been a mucky soap-fest becomes instead a subtle, sensitive, intelligent film thanks to director Mann’s deft handling of Rattigan’s Oscar-nominated script. The first-rate group of ensemble players include Niven, Kerr, Lancaster, Hayworth, and the fabulous Wendy Hiller–who (like Niven) won an Oscar for her performance as Pat Cooper, the innkeeper having an affair with Lancaster. “Tables” remains a multi-layered human drama of the highest order.

Visit Best Movies by Farr for more great DVD recommendations.

by Sam Hutchins

After we finished at the pizzeria we pushed a little further out of downtown Detroit. We really were in some impoverished areas. I felt a great sense of responsibility for my companions. Everywhere they went was someplace I took them and they were the farthest thing from safety-conscious. Typically I would pull the truck over and Kar Wai would spring out of it and start rapidly striding off. He could go in any direction and easily get lost. As he was the real artist and the reason we were there I felt most responsible for him.

While he moved quickly, however, Stephane and Darius took forever getting in motion. Kar Wai could be damn near a mile away before they found their hats and gloves, stretched, checked their cameras, chatted a bit, grabbed a piece of fruit, and finally left the vehicle. I was constantly trailing Kar Wai but holding back, waiting for them to leave the vehicle so I could lock it. God forbid either of them ever pay the slightest bit of attention to practical matters. Were I not on top of it those two would wander off with the car doors ajar in even the worst neighborhood. It may seem petty but when you spend months travelling with people and are the only responsible party the resentments do build up.

I trailed Kar Wai down a side street but it turned out to be a dead end. As we returned to the truck we saw Darius shooting an extremely run-down restaurant. It was a pretty ghetto Chinese joint. As we approached he called out to me.

“Sam, can you see if I can take pictures inside?”

I had just started to move when Kar Wai placed a hand on my shoulder to stop me. I can’t say he looked angry but it’s the closest I’ve ever seen him to being so.

“No Chinese. Not in this movie.”

Darius and I made eye contact and held it for a moment. We wordlessly agreed to discuss that one privately.

Moving on, we saw a fairly interesting spot called the Hygrade Deli. In addition to being a potential location it had neon signs advertising hot corned beef. Even though Kar Wai didn’t want Chinese in his film every possible meal we ate was Chinese food. If I had a shot at a nice corned beef sandwich I was taking it.

Inexplicably the doors were locked. Odd, as it was around lunchtime and the place was lit up like it was Christmas. After knocking for a while an older fellow came to the door. He was convinced we were there to rob him. Who knows, perhaps there had been a string of burglaries committed by an American, a Chinese, a Frenchman and an Iranian guy recently. It took a good ten minutes of speaking through a locked door to convince him to open up and let us in. Even when we did he would only let us just inside the door. Clearly I wasn’t getting that sandwich. Things must really be rough in Detroit.

In another of those wildly frustrating moments, Kar Wai took a few steps inside, looked around, shook his head no and strode wordlessly out the door. It’s understandable that a Director needs to have a look at a place before knowing if it is of interest to them. Of course they do. The thing is, the façade of the Hygrade was all glass. There was not a thing about the place that couldn’t be seen from outside. Yet Kar Wai had been rather insistent that I get him in. So I tapdanced for ten minutes, finally convincing some scared old fellow to open up and let us inside, only to have Kar Wai bail immediately. Now my director was legging it quickly down the block and I was stuck making our excuses. How do you quickly and politely explain why you are leaving so quickly after badgering the guy so hard and so long to open up for us.? Harder still when I don’t actually know why.

Peaks and valleys, peaks and valleys. Just when they knock you down they build you back up. In the car again Kar Wai addressed me.

“Sam, if you were not doing this, what would you do?”

“I don’t know. I like to write.”

“No, you would be a detective. You would make a great detective.”

“Why do you say that?”

“You talk to people, all kinds of people, and find out what you want to. And you can handle yourself in any situation. This is very good.”

What a wonderful compliment to receive; especially from someone I admired as much as him. Peaks and valleys, peaks and valleys.

….

STAY TUNED FOR THE NEXT INSTALLMENT OF THE SCOUTING LIFE.

Sam Hutchins has been working in film production for twenty years. He started as overnight security on the set of “Working Girl” while attending film school at NYU. Since 1995 he has been a location manager for some of the top names in the business. He’ll be blogging from a unique insider’s perspective on the filmmaking process, as well as speaking to his colleagues in the production community to share their experiences with you.

by John Farr

One of John Farr’s favorite actresses in three British films.

Grown Ups (1980)

WHAT IT’S ABOUT:

Working-class newlyweds Dick (Philip Davis) and Mandy (Lesley Manville) move into their threadbare new row house in Canterbury with humble plans to perk it up but little motivation to do anything but smoke fags and have a pint at the local pub. Next door live stern, callous schoolteacher Mr. Butcher (Sam Kelly) and his good-natured but unhappy wife, Christine (Lindsay Duncan). Both couples’ lives are turned inside out with the arrival of Mandy’s desperately needy sister, Gloria (Brenda Blethyn), a fussy frump who longs to make herself indispensable to everyone.

WHY I LOVE IT:

This superbly acted film by English director Mike Leigh (”Naked”) is a bleakly funny slice-of-life tale about two couples mired in somewhat depressing routines. Manville and Davis are delightfully dour as a bickering couple trying to decide whether or not to have a baby, while Kelly and Duncan’s moribund, dysfunctional relationship is alternately hilarious and gut-wrenching to observe. But the film’s greatest asset is Blethyn, whose showstopping meltdown on the Butchers’ staircase is the work of a champion actress - one fully in touch with the depths of despair. “Grown Ups” is a sweetly madcap gem for the feeble-minded fussbudget in all of us.

Secrets and Lies (1996)

WHAT IT’S ABOUT:

After the death of her adoptive parents, soft-spoken West Indian optometrist Hortense (Marianne Jean-Baptiste) sets out to find her birth motherwho shes surprised to learn is a white woman named Cynthia Purley (Brenda Blethyn), a sad-sack factory worker with an embittered, street-sweeper daughter (Claire Rishbrook). After meeting for tea, the two eventually develop a bond, with Hortense guiding Cynthia onto a path to reconciliation with her estranged family.

WHY I LOVE IT:

Leigh’s bittersweet family drama “Secrets and Lies” showcases the superb acting talents of British veteran Blethyn, who picked up a Best Actress nomination for her (mostly improvised) work alongside co-star Jean-Baptiste. Leigh’s long, static shots-especially of the first confused meeting between Cynthia and Hortense at a London teashop-are admirable feats that give you the sense you’ve known these characters for years. Kudos also to Timothy Spall, playing the bearish brother Cynthia longs to reconnect with. For an emotionally enriching film that deals intelligently with class, race, and family conflict, check out “Secrets and Lies.”

Little Voice (1998)

WHAT IT’S ABOUT:

Little Voice (Jane Horrocks) is a shy young woman with an extraordinary singing voice, though no one knows it except her mother, Mari (Brenda Blethyn). One night, Mari meets smarmy talent agent Ray (Caine) at a bar, and brings him home, where he hears LV warble a perfect rendition of “Over the Rainbow.” Smelling a sensation in the making, Ray sets out to arrange for her public debut, but the road to stardom is pockmarked with jealousy, anger, and more than a few complications.

WHY I LOVE IT:

Mark Herman’s utterly winning “Little Voice” was an indie sensation in Britain, where it charmed the socks off audiences. Blethyn’s hilariously histrionic turn as LV’s overbearing mum won her an Oscar nod for best supporting actress, and Caine’s own performance as a venal manager with a thing for Roy Orbison has a humorous bite. But the star is Horrocks herself, who gives a tour de force performance as the introvert with golden pipes (just wait for her showstopping debut). “Little Voice” might be a modest film, but it has a whole lot of heart.

Visit Best Movies by Farr for more great DVD recommendations.

by John Farr

Three early 60s gems from director Tony Richardson.

The Entertainer (1960)

WHAT IT’S ABOUT:

Fading vaudeville comic Archie Rice (Laurence Olivier) plays to virtually empty music halls in Britain’s seaside provinces, limping through the same stale routines in garish make-up, but side-steps his failure through pathetic flings with younger women. Selfish, arrogant, and insensitive to those around him, especially alcoholic wife Phoebe (Brenda De Banzie), Archie ultimately damages the lives of everyone in his family, including doting daughter Jean (Joan Plowright).

WHY I LOVE IT:

Ironically the foremost symbol of traditional English theatre, Olivier showed off his astounding range with an anti-heroic, tour-de-force turn in Tony Richardson’s 1960 drama, adapted from John Osborne’s play. Reprising his celebrated stage role, Sir Larry has a field-day playing Rice, a somewhat ghoulish has-been who personifies his own nation’s decay, and the effort earned him an Oscar nomination. De Banzie and newcomer Plowright (who’d go on to marry Olivier) excel in supporting roles.

The Loneliness of the Long Distance Runner (1962)

WHAT IT’S ABOUT:

Sentenced to a boys reformatory for robbing a bakery, rebellious English punk Colin Smith (Tom Courtenay) soon attracts the interest of the schools Governor (Michael Redgrave) for his athletic prowess. Hoping to groom Colin for a cross-country race against a public school, the Governor endows him with special privileges. But is the embittered Colin willing to be house-trained?

WHY I LOVE IT:

One of the best of Britain’s Angry Young Man films, Richardson’s expressive drama hinges on the complex psychology of Colin, an uneducated but cunning youth still smarting from the recent death of his father. Richardson builds tension by cutting between the restrictions and tensions of reform-school life and Colin’s recollection of events leading up to his arrest and detention. Courtenay (”of “Billy Liar” fame) gives a haunting performance in the title role, and Redgrave is masterful playing a cold rehabilitator obsessed with winning a trophy. For a powerful expression of working-class disaffection, go the distance with “Runner.”

Tom Jones (1963)

WHAT IT’S ABOUT:

Based on Henry Fielding’s book, Tom (Albert Finney) is a fortunate orphan adopted by a wealthy squire in eighteenth century Britain. In young adulthood, Tom’s good looks and lusty nature fuel an irresistible attraction to the opposite sex . With various parties set against him due to his humble birth and shaky morality, our hero can’t win the approval of Squire Western (Hugh Griffith) to marry beautiful daughter Sophie (Susannah York). Soon Tom must leave home to seek his fortune, and a host of bawdy adventures ensue. Will Tom ever be found worthy of his beloved Sophie?

WHY I LOVE IT:

Winner of the Best Picture Oscar, Tony Richardson’s rousing film has all vital elements in proper alignment: a brilliant screenplay by playwright John Osborne, swift pacing fueled by John Addison’s zippy harpsichord score, and colorful performances from a powerhouse cast including Griffith, Joan Greenwood, Diane Cilento, Edith Evans, and a young David Warner as the priggish Mr. Blifil. York is the epitome of fair English beauty, and Finney carries off the central role with gusto. Sumptuous color photography is another bonus. Don’t miss the famous Finney/Cilento eating scene.

Visit Best Movies by Farr for more great DVD recommendations.

Earlier this year, four New York filmmakers embarked on the ultimate summer challenge: make 12 short films in 12 weeks. Creator/Producers Keith Boynton and Mike Lavoie assembled a core crew and company of actors, and went to work.  We’ve selected three of our favorites for this week’s Reel 13 Shorts contest.

Vote for your favorite - the winner will be broadcast Saturday, November 21st.

by Sam Hutchins

Any proper journey will leave you a different person than the one you were when it began. That was certainly the case with this trip. And as the hippies liked to say, what a long, strange trip it had been. I had left New York on short notice with two rather odd, foreign strangers and spent weeks on end working long hours with them as we saw every bit of the country we could. Every morning I awoke in a new bed in a new place. I had gotten in the habit of writing down exactly where we were on a pad and leaving it on the bedside table. That helped me re-orient in the morning. Now we had left an extremely odd hotel and set out in the late morning light to explore downtown Detroit. Perhaps it was the journey or else the ongoing sleep deprivation but life was feeling pretty surreal.

Downtown Detroit was deserted. I mean, emptier than empty. Every store was closed and not another car was in sight. You could lie down in the middle of the street and watch the clouds go by if you cared to. The snow was coming down a little harder and the streets were wearing a light dusting of it. The four of us sat in the truck idling in front of the Fox Theatre, waiting for Mark to arrive. Mark was the younger brother of a good friend who lives in Detroit and works for GM. I had enlisted his assistance, as I had no knowledge of the city whatsoever. Also, I knew he could hook me up with some good pot.

Honestly, I smoke on occasion, but would easily go without for the length of the journey. One of my companions had a big appetite for the stuff, though, and sought out my assistance. Though by no means a part of my job I admit to getting a perverse pleasure from the ease with which I scored for him. This was the fifth pickup I had made in a different city on our journey. Mark did not disappoint when he arrived shortly thereafter. He was also helpful in easing my mind about the empty city when he pointed out that it was Saturday morning.

That may be a strange concept to New Yorkers, where the city is always hopping. On the weekends we simply trade out the office workers for tourists and the streets are just as busy. Having grown up in Cleveland, however, I got it. Things shut down on the weekends as everyone was comfortably home in the suburbs. Even The Cleve isn’t this bad, though. This place was dead. Mark explained to me that during the just-concluded All-Star Game festivities the NBA and the City of Detroit had teamed up to create temporary nightclubs out of vacant properties. Otherwise there simply wasn’t enough to do after dark.

Desolate and gray, but also somehow beautiful in a way that struck Kar Wai’s fancy. He and Darius looked truly excited. I suspect that it was partially due to circumstance. The grand old buildings, the empty streets, the gunmetal sky and the fat snowflakes did add up to something special. There was nothing if not atmosphere to spare. The two men wandered off, getting deep into conversation as they shot pictures. I trailed behind, only getting involved to usher them out of the street to safety when the odd car did come along. Part of the job is just putting people in the right circumstances and letting the magic happen. This was the first time I had seen Kar Wai really engage anyone in conversation, so I was staying out of the way.

It was apparent that we were in love with the general aesthetic of the city. We reloaded the truck and began cruising as the snowfall increased. With a little prodding Kar Wai indicated that we needed a cheap motel and a restaurant for Norah’s character to work in. And so we looked.

The restaurant was the first priority, and the heart of downtown Detroit was clearly not the place to find it. With Mark’s assistance we explored the neighborhood around Wayne State University. We talked our way into a combination bowling alley/music venue that had some potential. Whether it was right for us or not it was close enough to be considered. Whenever you can broaden the spectrum of choices and give the director some different ways of looking at a location you are doing the job well. We also saw some great flophouse hotels in the area. These were pretty scary looking places, and we were rebuffed each and every time we approached one. I tried to explain to Kar Wai that we weren’t getting into any of these places as a group but that I knew I could come back alone and work my way into them. In return I got that long blank stare that told me everything and nothing at all.

We also had some success in the area immediately adjacent to the old Tiger Stadium (now gone). There were still a few operating businesses in the area as well as the bones of some defunct ones that showed promise. Much to my surprise, Kar Wai fell in love with a place called Espzz’s Pizzeria. I didn’t get it at first, as it seemed pretty nondescript. Later I crossed the street to get a wide shot and realized that it sat on a corner with an abandoned factory in the background. I see what he saw, but even so I don’t think I’ve ever seen a wide establishing shot in one of his movies so I was still wrapping my head around it.

Old man Espzz was a character. He was into the idea and had such a great look we could well wind up casting him in the film. Isn’t every pizzeria proprietor a short man with wild tufts of hair and a big brushy moustache? Guy looked like he was straight from Central Casting. He even let us come behind the counter and make our own pizza pie. Standing back there I had one of those purely transcendent moments. The realization struck me that my two generations back my family fought their way out of the coal mines and into the steel mills, now here I am helping shape a movie with one of my heroes. Plus, we get pizza! Life is good.

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STAY TUNED FOR THE NEXT INSTALLMENT OF THE SCOUTING LIFE.

Sam Hutchins has been working in film production for twenty years. He started as overnight security on the set of “Working Girl” while attending film school at NYU. Since 1995 he has been a location manager for some of the top names in the business. He’ll be blogging from a unique insider’s perspective on the filmmaking process, as well as speaking to his colleagues in the production community to share their experiences with you.