Annette's immense talent will bring any director to his knees. Here we're on the set of the "Restaurant in Mexico" which was actually built amongst the twisted rubble of an abandoned beach near San Pedro, California (designed by genius production designer Jeanine Oppewall).
Producers Bonnie Curtis and Julie Lynn in the mobile production office.
Simply the best producing team in the business. I call them BonJu, because they're like a two-headed hydra, sharing the same sensibilities and speaking in one voice, while perfectly complementing each other's singular intelligence and sensitivity. Nothing will stop them from reaching the finish line.
With Producer Julie Lynn.
Making independent movies can be tough. Money falls through. Favors have to be called in. Sometimes favors fall through too. I don't remember what we're suffering through in this particular moment, but only because these kinds of moments happen every day. You learn to scramble, think on the fly, be flexible, never lose your sense of humor, and remember that you can wish upon a star all you want, but producers build the thing that gets you over the rainbow,
With Robin Williams on the set of the Farmer's Market.
Robin was the most emotionally vulnerable and available person I've ever met. A true artist, a born performer. What can I say about him that hasn't been said a thousand times before. He insisted on calling me "Boss", and was a fountain of great ideas. When he suggested a line change (which was invariably better that what we had) he would press to first play the line as written, then his alternative, so that we had a choice in the editing room if we needed it. Heartbreaking to think of all the incredible performances we'll never get to see.
My "Hitchcock cameo" with Ed Harris.
I make the briefest of cameos, on the wall of photographs in Tom's loft - blink and you'll miss it! This is the silly picture Ed and I took to make that happen. Besides his prodigious talent and passionate love for the craft, personally Ed always had my back on set. Having been a director of independent films himself, he was all too familiar with the time pressures a director is constantly working under. He would always check in with me just before we move on from imporant scenes: Do you have what you need? Do you want to try anything different? Both he and Annette were always up for another take -- eager to try something different, to try it again. No matter the hour. No matter the difficulty. Their generosity -- with each other and with me -- was just sheer bliss. I should only be so lucky on every project.
Theatrical release poster for Korea. My favorite international poster.
Q&A at the DGA
Video and stills from the "making of" Q&A (moderated by director Karyn Kusama) after a screening of "Face of Love" at the Director Guild of America headquarters in Los Angeles.