Then Go Do Carts!

Below is a google map of all the places we shot Phudie Mart. The system was complex, yet very simple. We knew we couldn’t be in the Jewel for too long, because the managers and employees would notice and kick us out. So we decided to do the shoot late at night. Why? Cause flourescant lights are flourescant lights…all the time. We actually did the shooting in 2 separate days. Once really early in the morning for all the exteriors and once really late at night for all the interiors. The rationale on overnights was simple: The third shift is not that smart. Seriously, it took them longer to realize what was going on. Here’s how it would work: We would send the actors in first. They would go by themselves to the designated aisle. They would just be customers. Then, the spotter would go in. He would make sure we didn’t have any management problems. Last, Adam would come in with his camera. The camera would be smuggled in and when we got to the aisle, like clockwork, our scene would come alive. We would do as many takes as we could. Usually, we would get spotted. It was most likely a nosey cashier. Then you would hear “TIM, DIAL 13. TIM DIAL 13”. Then Tim would come around the corner after mustering up the courage to have to engage us. By the time he timidly came over and asked what was up, we had already shot off 3-5 scenes. We told him we were doing a college film for Columbia College and we didn’t know you couldn’t shoot. We would leave. We’d pile into our caravan and go to the next Jewel down the road…and then the next and then the next. Before you know it, we had a movie.

Below is a google map of all the places we shot Phudie Mart. The system was complex, yet very simple. We knew we couldn’t be in the Jewel for too long, because the managers and employees would notice and kick us out. So we decided to do the shoot late at night. Why? Cause flourescant lights are flourescant lights…all the time. We actually did the shooting in 2 separate days. Once really early in the morning for all the exteriors and once really late at night for all the interiors. The rationale on overnights was simple: The third shift is not that smart. Seriously, it took them longer to realize what was going on. Here’s how it would work: We would send the actors in first. They would go by themselves to the designated aisle. They would just be customers. Then, the spotter would go in. He would make sure we didn’t have any management problems. Last, Adam would come in with his camera. The camera would be smuggled in and when we got to the aisle, like clockwork, our scene would come alive. We would do as many takes as we could. Usually, we would get spotted. It was most likely a nosey cashier. Then you would hear “TIM, DIAL 13. TIM DIAL 13”. Then Tim would come around the corner after mustering up the courage to have to engage us. By the time he timidly came over and asked what was up, we had already shot off 3-5 scenes. We told him we were doing a college film for Columbia College and we didn’t know you couldn’t shoot. We would leave. We’d pile into our caravan and go to the next Jewel down the road…and then the next and then the next. Before you know it, we had a movie.

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