34 TYBEE BEACHCOMBER | SEPT 2017 By Alaina Loughridge I am always on the search for ideas that can kick start an article to entertain and educate my devoted followers (all one of them - thanks, Mom) and I am always willing to do something outside of my comfort zone to further my endeavors towards the fur covered shackle on my ankle called the Tybee Beachcomber. This adventure is one that I am absolutely delighted to write about and am so grateful that I answered the call. So, here is what happened: Tony and Kerry Marchetti-Knarr (TMK and KMK), also known as Dapper Dog Films, put out a casting call to any willing participants to sign up for the movie they were making for The 48 Hour Film Project, a yearly international event. I had no clue who they were or what the film project was. Naturally, I had to sign up. On a dark and stormy night, I went to the MK’s house (I left a notarized Last Will and Testament for Margie and directions for where I was going and as to what time I expected to leave). I walked in knowing nothing. I am so glad I did!!15 people showed up. I knew two - Renee DeRossett and Kim Trammell from the Tybee Art’s Association! Yeah for friends I know and love! Here was the deal… All participants met at McDonough’s (love love already), where we were assigned a genre, a prop, a line of dialogue, and a character that must be included. Our genre was “horror or a period piece,” our prop was a measuring cup, our line of dialogue was “Who died and made you king?” and our character was a traveling salesman named Luke Beardsley. With that information in hand, TMK ran home to write the script. The film schedule was this - write the script Friday night, shoot the movie Saturday and edit Sunday, with the entire film due (with editing, music and entirely wrapped up) on Sunday night at McDonough’s by 7:30pm. No late entries accepted. We met at the MK’s house Saturday morning. All players were on board so off we went to Inferno (thank you Donnie Gordon) at Tybee Oaks, for our first scene of the day (thank God for the Tybean! Espresso baby!!) I had signed up to be a Production Assistant. That meant I would get coffee and run errands for the crew and actors. I was just kind of hanging out when the Director came up to me and said, “Hey, I know you signed up to be a P.A., but would you mind being an assistant to the Continuity Director?” I do love bossing people around so this sounded like something I could handle. “Sure,” I said, as nonchalantly as my espresso raddled brain could handle. Now I got to get coffee and tell people what to do (via someone else ... sweet). It happened to be the hottest day of the year - 95 degrees with a heat index of a billion. Ugh. I put on my bossy face and started taking pics. The movie was not shot in sequence so I had to keep track of what the actors were wearing in each scene and their makeup, etc. It turned out to be harder than I thought. Kim Trammell was doing the makeup and she told all the actors not to rub their face or sweat. Ha-ha! We left Inferno and moved to Frannie Galloway’s house on Lewis Ave. for the next scene, a flashback of two young girls, Hannah Kimball, the young Angelica, and Brittany Matthews, the young Izzy. Those girls, 13 and 15 years old respectively, were total pros. Sally Cameron was the deranged mother, Doris, and I do not believe she was acting when she attacked her daughter, Izzy (I think the heat was the catalyst for that raging moment). Throughout the hurry up and wait motions of a motion picture, everyone maintained their sense of humor. I was expecting some bitch slapping, some drama, a little bit of high maintenance. Nope. All of these people were set on making a great picture. Five hours later we moved back to the MK’s house (and air conditioned interior scenes - yeah!!). We had 14 scenes left to shoot and KMK was running around like a firecracker, shouting commands like a drill sergeant, and cracking his whip. It was time to film the older versions of Angelica, Kim Trammell, and of Izzy, Valerie Hartz. We all just stood in awe of these two ladies. It was epic to watch. It was past 10pm when the scary, horror scenes began. While most of the cast and crew were in the living room shooting the ax murder scene, Doug MacKay (also our medic), went downstairs and started digging a grave... We filmed screams, blood and a door to door salesman (Thomas Paris). It was time for the dragging of the carcass. We went outside where Doug had a shallow grave prepped. The crew grabbed the end of the sheet “Angelica” was on and began to drag her head first into the shallows … deep breath ... then … Breezy Riders Bus pulled up!! I didn’t see who was driving, but they opened the door, took one look at what was going on, shut the door, backed up quietly, and left. We all lost it. Scene 14 Take 20!! There were still three scenes left, but they would have to wait until 7am ... 4.5 hours away. The main peeps showed up the next morning and banged out those three scenes in two hours. Now it was time to edit and add the music score. Only seven hours left for an epic four to seven minute Cannes Award winning masterpiece. With literally no time to spare, The Sweet One film was dropped at McDonough’s and became a contender. One group missed it by four minutes. FOUR MINUTES! I am telling you these people were serious and
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