This is the sixth in a series of articles about the making of And Then I Woke Up from writer-director Christopher J. Aran, covering the last day of filming with an intimate cast and crew at locations throughout Connecticut, New York and New Jersey…
With most of the crew from previous days gone, we spent our final full day around the city with Prentiss Thompson back at Ahmet Sesigurgil‘s apartment in Brooklyn to finish off some of the smaller moments we hadn’t gotten chance to shoot during the other days.
And Then I Woke Up Comes to a Close
We put Prentiss in and out of makeup because some of the driving scenes, whether it be in the rear of a Taxi as a passenger circa 1972 or driving at night in his SUV which took place in the present. I wasn’t too worried about the change over time because we had pretty much the whole day on a somewhat relaxed schedule.
We were getting what we needed but it also felt like a group of friends spending the day together. This is the kind of intimate filmmaking that I enjoy. As much as the large set pieces and really big expensive toys are fun, sometimes just getting down to the basics of human interactions is what does it for me.
And so after a day of driving and hanging out in an apartment doing simple tasks like washing hands and brushing teeth, we put the gear down and called it a wrap on principal photography.
It was a small celebration between a few people but inside it felt like a massive accomplishment.
And Then I Woke Up was finished but for the post production!
And Then I Woke Up | Last Take in a Lake
But we ultimately did five and a half days, the half day being myself and Prentiss with some snorkel gear and a GoPro Hero 2 camera at a lake. I actually needed Prentiss in the water. Fully dressed. And the weather still hadn’t quite warmed up yet…
When we arrived, I had the pleasure of explaining briefly to some life guards that looked under 18, how I would be getting my fully dressed (in a suit mind you) actor friend to submerge himself in the lake. It wasn’t so much asking if we could do it. I just told them, and observed their very confused faces while I proceeded to put on my snorkel mask and jump into the water.
It was cold and it ended up being more challenging than I had expected. Prentiss was having some trouble fully submerging without getting water up his nose. There was certainly a level of discomfort for him in the water. After several attempts, and a few breaks to stay calm, I got the bits I needed to make the stuff work.
Prentiss was a trooper and never complained although I could see it wasn’t his favorite experience. In the end we laughed about it, dried up and finally, officially, called it a wrap on shooting.
Since And Then I Woke Up was now crunched numbers on hard drives, I moved straight into Post Production, with more on the process and my Post Production buddies who came out to lend a hand at: Making And Then I Woke Up: Post Production