Hollywood Money: as Stupid as Stupid Gets

Alright… this was one of those weeks you feel in your bones.

Some weeks you’re coasting.

And some weeks you’re out there building a full-blown film set that feels like it belongs inside a soundstage… except you’re doing it outside, in the elements, with machines that look like they belong in a shipyard.

This was one of those weeks... We pulled almost 70 hours!

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🌧️ Day One: Cold Rain & Reality

First day that starts with a 2 and a half hour drive?

Cold rain. All day.

The kind that soaks through everything and just stays with you. Gloves wet. Boots wet. Nothing dries.

And we’re out there building.

This is where the term rigging grip really hits. We’re the ones who come in first, build the world… and then on shoot days, we’re the last ones out.

Because every night, after everyone wraps and walks away from our “build”… someone's gotta make it safe.

We had to go back in and drop every frame flat to the ground.

Why?

Because the wind would absolutely destroy it overnight.

The frames. The rags. Everything we stretched and built all day.

So yeah… build it in the rain,
then take it halfway apart at night,
then do it all again the next day.

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🏗️ The Insane Build

We’re talking:

• 20-inch and 12-inch box truss
• ~40 foot spans
• Frames built out to 30’ x 40’
• Three telehandlers holding the structure
• And a Magni (basically the telehandler’s more evolved form 😄)

Everything gets strapped, rigged, balanced… then adjusted… then adjusted again because wind is always part of the conversation.

This wasn’t just a setup.
This was a construction project disguised as filmmaking. But it is what we do, and sometimes it's production's stupidity that makes us lots of money! This whole thing could have been done in a few hours, on a sound stage without the big machines.

But hey, it's not my money.

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🧠 The Idea

Create a full blue screen environment big enough to house:

• A helicopter 🚁
• A hearse ⚰️
• A Fiat (like the Mini Cooper… you know the one 😄)

But instead of a traditional stage…

We built a floating room using:

• Blue screen walls
• Reflective ceiling
• Bounce materials (clay coat, ultra bounce… depends who you ask)

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🛠️ The Machines Doing the Heavy Lifting

Three telehandlers holding up the walls.

Then the real beast:

The Magni with an LRX rotating head

This thing is wild. Full rotation, full control…

And we used it to fly what we call a:

🪰 “Flyswatter”

A 30’ x 40’ overhead frame, suspended above the entire setup.

Basically… we built a movable ceiling in mid-air.

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🌬️ The Reality Check

Now imagine all of this:

• Outside
• In the wind
• After working in cold rain
• Over three long days
• With a crew grinding through 12 to 14-hour shifts

This is where the difference is.

Because yeah again... this could have been done on a soundstage.

But it wasn’t.

And that changes everything. It will be a week to remember, as one of the hardest week in my 30 year film career!

Here are a few photos from the week. The sunlight came out for the rest of the week which was really awesome actually:

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🔚 Wrapping It Up

The week quickly came to an end when you really look back (as everything usually does)

They shot everything they needed, and we came back the next day

We tore it all down, in a matter of just a few hours

Which honestly…
We could probably have taken it all down before lunch, but we need that extra day to last a bit, just to make that paycheck well worth it.

Funny how that works.

Three days to build something massive and precise…

…and a few hours to make it disappear like it was never there.

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That’s the job.

That’s the life.

Alright… that’s it.

Thanks. Bye.

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