Jamie Klotz’s Diary II – The Director’s Cut

 

Okay, I’ll own it. Jamie Klotz’s Diary II isn’t a particularly good movie. It always lacked the sort of freewheeling spirit of the first one. It’s more downbeat and feels smaller in scale, it has some pretty glaring technical issues, and the plot is neither funny or interesting enough to offset the other shortcomings.

Rather than break down the whole making-of day-by-day in the vein of past “Jamie Klotz’s Origins,” I’d just like to reflect briefly (briefly – ha!) overall on those shortcomings and why I decided to create a “Director’s Cut” that no one asked for.

A) Tone & Scope

Top: Actual shot from original JKD2. Bottom: From the Director’s Cut.

Of all the things to talk about, this is probably… well if not necessarily the most obvious, at least the easiest for me to talk about. From the moment JKD2 starts, it just looks visually dissimilar to the first one. The colors are flat, almost desaturated – forget color grading, there’s hardly any color at all. The entire film looks like the life was sucked out of it.

Well, I’ll be honest, that’s because I didn’t bother to grade it in the first place. After a bumpy production in which I struggled just to get people together to shoot (not a new problem, if you look into past blogs), post-production was practically non-existent. No fingers need to be pointed, I’ll take the fall on all of this – I failed as a director and as a leader. I failed to coordinate and I failed to inspire. I failed to set the proper tone in the script, on the set and on the production overall.

We began filming in earnest in April 2014, a little over 6 months from the premiere of the first Jamie Klotz movie, which was shot essentially in four days. We didn’t finish shooting JKD2 until August. We shot nothing in June and almost nothing between July and August.

Not in the original script, but Aspen still did a great job with this.

The entire scope of the film shifted as a result of scheduling, the weather, and my own limitations as a director. A “post-apocalyptic future” scene was hastily written the morning of a rainy shoot day. That “future” section took place in an unconvincing – but indoors! – civic center (complete with modern cars rolling by outside). The preceding scene, where Jamie and PJ first meet each other, was originally part of a subplot involving Jamie’s mom. That was scrapped and ultimately replaced with a scene at Cascade Springs – again, written mere days before the shoot for said scene. An entire cast member was replaced (the girl who played Rachel originally moved away mid-shoot).

Surprise extras!

The final scene involving The Man (in centrally located Centennial Park) despite being written as jokingly anti-climactic, looked visually uninteresting, and was still marred by passersby (one hilarious outtake has a group of school kids walking into the public restrooms behind Aspen and Yona’s clashed swords) and rapidly changing summer weather, with looming, dark cumulus clouds in the background of several shots which also contributed to horrible visual inconsistency in natural lighting.

 

Literally shot minutes apart

Even in early editing, something about the film felt “off.” Despite a plot that spanned across dimensions and time, the story felt small and constrained. My direction on set had been constrained as well – “stick to the script, this is a complex film” and “Let’s not move the camera so much, let’s keep it on the tripod.” Every smaller decision, whether a reaction to an uncontrolled variable like weather or a deliberate choice like camera movement, led to an overall sense of shrinking scope. JKD was a rollicking carefree adventure sprawled all over Hot Springs. JKD2 was a muted, precise sci-fi story, with specific plot points, locations and serviceable but not necessarily inspired visuals.

Jamie Klotz’s Diary II felt very unlike Jamie Klotz’s Diary, and at the time I couldn’t place my finger on why.

B) Technical Issues

Like I said, by the end of shooting, we were happy to be done… except that we weren’t.

Every project I work on is an experiment of some sort. Some experiments are better suited to disposable shorts that are low-stakes. JKD1 had a lot of experimental elements for me, particularly with special effects, to a varying degree of success. Some, like Sahera’s attack on Dorn, turned out great. Others, like Dr. Lawrence’s 2D transition effect, fell flat (pun absolutely intended!) But in all of those cases, I was never working with anything more than what I had throughout the whole film. I was never introducing something new each time we shot.

The audio in this whole scene sounds muffled because I was trying to mitigate the sound of rain on the metal roof

The first two days of filming JKD2 in April, I had a boom mic that we had plugged directly into our camera. To my dismay, I later learned it was only capturing mono audio, on the left channel. The rain on the metal roof on the civic center led to incomprehensible dialogue inside, and an entire animated sequence (similar to The Man’s Sahera story from JKD1) was scrapped due to incomplete narration that was missed on set. Dialogue replacement recordings did not happen at all due to my failure to properly coordinate and lead.

By our May shoots, I had brought in another camera to use, but one camera was shooting at 30fps and another at 24fps – a horror during editing that would leave some of the footage looking crisp and the rest jagged, or some looking smooth and the rest blurry.

In indoor locations, we had lights rigged up, but often the two lights we had wasn’t enough, so people’s faces were filled in on several shots with flashlights on iPhones. In July, I added a dedicated audio recorder for the boom mic – a recorder that was often set at levels way too low, which led to a need to boost the audio in post, which in turn would require extra clean-up to remove high level hiss or low level buzz. By our last day of filming, one light had stopped working and the other occasionally flickered (as seen in one shot of Isaiah in Jamie’s house.)

I kept adding new elements and equipment all throughout the shoot, not only to experiment with them, but also to continually improve the film – if the audio in one part of the film was in mono and muffled, at least it wouldn’t be in the rest of it! The end result, however, was nothing but inconsistency, across the board.

Actual shot from original JKD2. Note Brandon’s cut off shoe.

The film was left untouched on my hard drive from August until mid-December. There was just too much work to do to fix everything. Finally the weekend before Christmas I sat down and just worked at the film until it was in a “complete” state, at least watchable from beginning to end. I kept trying to work on pieces of it throughout the winter, even asking for Ryan Brewer’s guidance on how best to go about fixing a missing shot (ultimately I just cut around it to leave it out). When I finally rendered it out in March 2015 there were still incomplete visual effects (see Brandon’s disappearing toes when Jamie begins fading from existence the first time), the sound mix was rough, I had dropped the composer I had had lined up when my aspirations for the project were still high, and I could not be bothered to color grade it. I was just ready to premiere it to get the weight of the project off.

C) A Second Chance

After we premiered the film in May 2015, I directed all of my attention toward Never Been to Graceland, ready to put Jamie Klotz’s Diary behind me. I had announced it at the JKD1 premiere in 2013 and had been putting it off to try to get the script right. Graceland would be a feature length film and we did a Kickstarter that summer. Two problems. The Kickstarter flopped, and the script for Graceland at that time sucked. Thankfully some writer friends didn’t mince their words toward that end, but between that and JKD… talk about having my tail tucked between my legs. I sort of resolved that maybe I just had one movie in me, and that JKD1 was a lucky fluke – I couldn’t even argue that JKD2 was at least technically a “movie” in that that ran at 24fps and had sound – after all, the mixed frame rates left the movie looking choppy and the sound wasn’t particularly well-mixed!

I spent summer and autumn 2015 finally revisiting the teen heist movie idea from winter 2013 as “The Christmas Heist.”

I don’t know what it was about The Christmas Heist, but it flicked this switch in me. I suddenly felt like filming again, and I hadn’t even necessarily known up till then that I had sort of subconsciously put myself into a mindset of being “done” with movies.

The missing line “Kaitlyn? I am having some serious deja vu.” from this shot is barely audible in the original cut, which used the camera’s audio. In the Director’s Cut, I was thankfully about to find the boom mic’s track.

In the aftermath of the show, I found myself in a situation a lot like the one I’m in now, sort of unsure about where I want to go creatively, but very much energized. I found myself watching the Jamie Klotz Duology one evening, and after they were done, I realized the film wasn’t finished. The DVDs had all gone out to everyone in the cast, their families, my friends, it was up online… but it wasn’t done. It wasn’t as good as it could have been and no matter how good or bad the film was in the end, I wouldn’t be content with myself if I didn’t fix it, even if I was the only one who ever saw the final cut of the film.

I re-edited the film, not entirely from scratch, but several sequences were. I color graded the whole film and did as much as I could to at visually align it with the first JKD film. I adjusted settings to mitigate the frame rate issues, reworked the sound, including adding score to some scenes which had not had any before, as well as rescuing a line of dialogue that I had thought was lost, and I even added two new sequences, one “rewind” of the film when Jamie travels back into the past the first time and an audio hallucination that Jamie has toward the start of the third act that more explicitly ties story elements hinted at in JKD2 to the plot of the first film and the potential plot of JKD3 (which I still had not entirely ruled out but was admittedly increasingly less likely).

FINAL THOUGHTS

Despite no one else knowing about it or asking for it, I had to give JKD2 a second chance, for my own sake. At the Mini Film Fest that April, I did the first and only screening of the Director’s Cut, alongside the short “The Black Owl,” which had also been left unedited in the aftermath of JKD2. For over a year, no one else has seen this cut of the film. I toyed with putting it online a few times over the past year, but always decided against it. I don’t know what changed my mind now. Maybe that since Graceland and I Sent My Grandma Into The Past have gone well so far, I am comfortable with what this movie is.

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Yes, it’s not a particularly good movie. I can recognize that. But it’s also not an awful movie now, either. It’s not like this is going to be the next viral movie for YouTubers to riff on. There are still moments and shots that I’m proud of, too many flashes of something promising underneath it, despite a flawed technical presentation and weak character development. And despite what this blog might read like, it’s not like we didn’t have fun making this film. In fact, I was able to put together almost an entire half hour (half the length of the movie!) of outtakes – not including the ones during the credit sequences! If you didn’t know any better watching that, you’d think it was the most fun shoot we ever did.

Don’t get me wrong, it was fun, in retrospect. And I absolutely did enjoy working with the cast and crew. Aspen certainly turned in a more nuanced performance of Jamie and Aryona owned the character of PJ. Daniel delivered in spades as The Man (as usual) and everyone else did the very best they could with the direction and script they were given, especially those who were not actors and did not originally intend on even being in the film (like Dustin and Jassmine).

Jamie Klotz’s Diary II is, if nothing else, a complex film. There was a lot I was trying to do and I think I may have overstretched my limitations at the time, narratively, technically and creatively. In many respects Jamie Klotz’s Diary II is merely a stepping stone in my creative progression as a filmmaker and storyteller. And knowing where the lessons its production taught me have led, I’m okay with that.

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Jamie Klotz’s Origins 9: Post-Production

THE 5TH DAY/RESHOOTS

After a fast and fun four day shoot, editing was immediately begun on The Incredible Search for Jamie Klotz’s Diary. Spurred on by the creative energy generated from the shoot, a rough edit was assembled by the end of the week. Almost immediately it was clear that there were major holes in the film. Dorn’s half of phone conversations with “the boys” were still missing and were thus filled in with stand-in shots for timing purposes (with me as Dorn), several scenes had serious audio problems (the library scene behind the glass was unintelligible), and worst of all, the last third of the movie’s pacing was choppy and rushed, jumping straight from Jamie asking Brandon for help to the final confrontation.

It was jarring and felt like there was something missing. So on the next Wednesday, June 5, 2013, Aspen, Garett and I went out to not only patch in a few holes in the opening and closing narration scenes by Jamie, but also add a completely new scene to the movie that had not been in the script, but was perfectly in line with the spirit of the movie’s predecessors. A training montage.

It makes no sense plot-wise as to why they would go do this, but that was part of the fun of the joke. We filmed portions at the HSHS Football field, back at Garett’s house, Evans Plunge, and several other places around town.

A favorite addition to the montage was the junk food scene, one which Aspen to this day still gives me a hard time about. This outtake pretty much sums it up.

On the same “5th day,” we brought Isaiah back in to fix a continuity error I’d caught in editing: in the scene where Dorn steals the satchel from Jamie, Ryan is hit by Jamie with the bag and then it’s stolen from Jamie by Dorn. Problem: these two shots were filmed on separate days, but were from nearly the same angle, and where Isaiah’s character “fell” was obviously empty in the shot with Michael. So we added a quick shot of Isaiah moving out of the frame, supposedly retreating from battle to go assist Sam’s character catch Okoye. Yet another minor fix, but an important one.

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In between takes, Isaiah demonstrates the “Kermit defense.”

EDITING

By the first weekend after filming, Daniel had come in to record his lines for the Sahera Backstory scene, although no artwork was complete at that time. After the day of reshoots, most of June 2013 was spent tightening up what was already there, adding sound effects and learning how to roughly complete the visual effects of scenes like Dr. Lawrence going 2D and making Sahera throw Down out of frame at an unrealistic speed.

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With mostly a lot of trial and error, by July 1, the fourth rough edit of Jamie Klotz’s Diary was complete. This edit still sits on my hard drive today and features a different opening song, very little color correction, rough visual effects (Dr. Lawrence is almost entirely transparent in his 2D form), Dorn’s half of the phone scenes are still missing and the credits have not been added. In spite of what was still missing, the movie was very much in watchable form.

A decision had also been made to axe the scene between Dorn & Lawrence because, in rushing the shoot that day to squeeze in as much with Michael as possible, I missed a couple crucial alternate angles and readings completely, rendering the scene mostly useless, in spite of it helping explain Dorn’s motivations and family connections to the diary and treasures. In order to fill that hole, dialogue would be added to Dorn’s (still unfilmed) telephone calls with “the boys” to clarify.

In late July, Aspen came in to dub the lines for the dreaded library shot as well as a couple new lines during Sahera’s backstory – which still had no artwork and we also shot the bonus end credits music number which would feature additional outtakes/cast dancing and would only be shown as part of the film during the premiere, which had been set for September 21.

On August 22, Michael finally made it back to Hot Springs and we added the crucial shots of him on the phone. Not the ideal scenarios compared to the scenes that had been scripted (in fact, Isaiah to this day has never met him despite their characters having a number of interactions on screen) but it was an exercise in creative compromise and working around limitations. On August 25, Okoye added her lines over the library shot and on September 5, an 8th draft rough cut had been assembled. Credits were added and the movie was essentially complete, save the artwork that was still missing. Enter Deana.

ART

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It’s no secret that Jamie Klotz’s Diary was in part inspired by The Legend of Zelda game series and, as scripted, the scene depicting Sahera’s backstory was always intended to be done in a style similar to the openings of A Link to the Past or The Wind Waker. However, I had no idea how it was done, or where to even start.

A week before the movie was set to premiere, I still had no idea how this scene was going to be done. My girlfriend Deana took a look at the game openings, almost immediately recognized the style I was looking for, and offered to create the prints necessary to finish the scene. I sketched out what I had in mind and she fleshed them out, creating the artwork, carving the blocks and, two days before the premiere, creating the prints themselves, which I scanned, composited & edited into the movie literally the night before the premiere.

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Sahera defeats the 9 wise men. Each of the 9 treasures used to free Sahera is supposed to represent one of the wise men.

She hasn’t gotten nearly enough credit or recognition for the amazing artwork she created, and unfortunately it’s buried till almost the 45 minute mark of the movie. But they’re really fantastic pieces of art that – even if the rest of the movie was blah – that scene was going to look great!

THE PREMIERE

It was a turnaround of only four months between the first day of shooting and the release of The Incredible Search for Jamie Klotz’s Diary. When the premiere date hit, I was so nervous that I hid in the Mueller Center conference room as people entered the theater and made Aspen make the announcement that the program would be delayed 5-10 minutes to wait for the stragglers to come in.

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Would they like it? Would they think it was funny? Would they get it? Was anybody even out there besides friends and family? I was just hopeful anybody would even show up, let alone like the movie. To me, I was still surprised that in spite of it feeling so thrown together, it felt cohesive. Worst of all was the discovery that the Mueller Center’s audio system was cutting out the left audio track. Due to the last-minute completion of the Sahera backstory scene, one of Daniel’s lines was accidentally hard-panned left. Without a real hard fix and completely incapable of re-rendering the whole thing, my quick fix was to load the isolated line as an mp3 on my cell phone and play it through one of the microphones as the movie was playing, cued at just the right moment.

Somehow, it all worked. I don’t know how, but it did. Even more surprising was how engaged the audience was. They were willing to give this slapdash, thrown together project of mine a chance, and during the Q&A, they asked so many great questions of the cast. I was feeling a lot of feelings, but mostly I was just grateful. It was completely unreal and I went home that night wondering it was all a dream.

The question on everyone’s mind, even asked during the Q&A, was: what’s next and would there be a sequel?

 LESSONS LEARNED:

-Don’t be afraid to make cuts or additions based on the needs of the story and pacing.

-Your first edit will suck. Your second edit will suck more. Your fourth edit might be watchable, but it will suck. Be brutal. Keep tightening. Find a flow and go with it.

-Test all equipment, both on set and before you screen the final thing.

-Whether people like it or not, you did it. And that’s an accomplishment you can be proud of.

-Carry the lessons you learned into the next thing you do and make that next one even better.

Celebrating the movie franchise that sparked creativity in me!

It’s October 21, 2015. If you haven’t already figured out by the countless Facebook posts and news articles, that’s the day to Marty McFly travels in 1989’s Back to the Future Part II.

Many people have fond memories of these movies and I’m not different. Back to the Future, along with Beverly Hills Cop, were the two movies not branded with Disney or Don Bluth that I watched over and over and over on VHS as a kid, the first two “adult” movies that I only only liked, but understood and appreciated in some way I couldn’t explain. While most jokes and cultural reference points of both the 50’s and the 80’s flew over my little munchkin head, I was thrilled by the idea of time travel; the concept of going back in time and changing things to how you wish they could be. And even moreso by the idea introduced in Part 2 and expanded upon in 3 of what was essentially the butterfly effect (though Doc never uses such a term.) I realized very early on that Back to the Future wasn’t a coming of age story for Marty, it was a coming of age story for Doc. Here was a man who dedicated his life to science and the invention of time travel to the brink of bankruptcy, to the point of helping terrorists, literally laying his life on the line, and learning to stop thinking about the past and the future but instead focus on the present. Fascinating stuff, even for a kid. Back to the Future Part 3 is far & away my favorite of the trilogy, but inevitably I just end up watching all three parts.

I could argue Back to the Future is the movie that inspired me to make movies, or at least write stories.

We had the first Back to the Future film on VHS, but I had to wait to record Parts 2 & 3 from TV before I could watch them on any sort of regular basis. But I very vividly remember being so enthralled with the first film that I sat down with a notebook and started writing a sort-of novelization of the first movie, from memory. I remember taking the notebook to Pizza Hut and proudly displaying my hundreds of words (probably poorly) depicting the first 20 minutes or so of the first Back to the Future film.

BTTF later bled into almost everything else creative I did. The Adventures in Hot Springs’ 7 day proposed themed-episodic structure would have allowed me to experiment with different genres I always wanted to try to film: Night in Hot Springs was suspense, Quest for the Lost Treasures (and later Jamie Klotz’s Diary 1) were the Indiana Jones-influenced adventure/treasure hunt films, 1001 Arabian Gumps was an homage to the Disney Renaissance, War of the Dandelions was a space opera on the ground, and Paradox was shades of Back to the Future through & through. (read: plagiarism)

Bttf.com was a constant web visit through my adolescence, the crappy TV recordings (with dubbed dialogue over the swear words) were replaced by the 2002 “Complete Trilogy” VHS boxed set with bonus features tacked onto the ends of the tapes, which I devoured, then those were in turn replaced with the DVD set, full of commentaries and extra making-of features. I remember reading a report talking about how Back to the Future’s script is one of the best scripts in movie history; not in the sense of quality or cultural value, though one could argue for that as well, but instead that no line or shot is wasted in moving the story forward. Every detail is paid off somewhere else later in the film.

In 2011, when the Back to the Future video game by Telltale came out (pre-their Walking Dead days) I was all in, buying them for PC as soon as I could and was thrilled by the story and world created within that game, what I consider Back to the Future part 4. That Christmas, two different gift buyers got me copies of the game, for Wii and PS3, and I played through both again, happily, and will again on PS4 with the new edition.

I didn’t mention it in the Origins blogs, but the original Jamie Klotz’s Diary script drafts included an element of time travel. The watch that Dr. Lawrence invents originally jumped time, not other dimensions. The movie would have opened with a flashback to the 1880’s and Jamie’s ancestor Jessica and Christoff Dorn’s ancestor, who was unnamed in all drafts, would have been introduced, as well as the idea of the treasures existing even then. There are still elements of this in Dr. Lawrence’s story he tells Kaitlyn & Jamie. Later, when Dorn slaps the watch on Jamie, rather than meeting the Man, she would have met her ancestor in the “old west” a la BTTF Part 3. These scenes were replaced (for the better IMO) with the Man’s scenes due to budget constraints.

Dr. Lawrence in the final movie still very obviously references Doc Brown, but that was as far as I thought the BTTF-Jamie Klotz connection would go…. until the cast asked to do another one. Of all the genres encompasses in the scripts for the Adventures in Hot Springs, time travel was always the one that fascinated me most, because of BTTF, and the influence of BTTF Part 2’s thick-with-exposition story specifically, on me led directly to Jamie Klotz’s Diary 2 and its story of altered timelines, past, present & future.

I’ve said before that if there were to be a Jamie Klotz’s Diary 3 (and there likely won’t be) it would have to be a western, in tribute to BTTF 3.

So long story short (too late), I’m thrilled to be celebrating Back to the Future Day before I leap in to my next big project, The Christmas Heist, which is also slightly inspired by 80’s teen movies like BTTF, and the many many many John Hughes films of the 80s.

Jamie Klotz’s Origins 7: Production Day 3

So the weather on May 24 and 25 had been really great! We couldn’t have asked for better filming weather. Sunny and summery, like a summer vacation should be. In fact, it got downright HOT! Sunday, May 26, however, the planned last day of our “72 Hour Project,” started out overcast and bitter cold. Now the cold is one thing, but the overcast is the real problem when it comes to filming… and especially if you’re filming the second half to a scene you shot on a sunny day two days earlier.

First thing in the morning was Aspen, Okoye, Deana & myself taking care of scenes inside Kaitlyn’s car, setting up the scene with Dr. Lawrence. From there, we headed out to my grandpa’s house and filmed the shots needed to intercut between the footage with Matt and Aspen from the first day. It was windy, it was dreary, bitter cold, and a tad depressing. We pressed on despite my worries whether any of this would even cut together well… the colors of the world were off – how can you match a cold and bleak morning with a warm, bright summer mid-day?

After finishing up only a half hour of footage at around 10:30, we took an early break and reconvened at around 1:00 at Garett’s house, set to be the stand in for Jamie’s home. The sun broke around through and then Bridgett showed up with wigs and makeup. Okoye had unfortunately had to leave, but with more people around, and especially ones as energetic and creative as Bridgett, Isaiah and Sam, we set out to film the establishing scenes of the film while the boys got all dolled up.

Five or six takes later and Aspen nailed the monologue... only to find out she was wearing the wrong costume!
Five or six takes later and Aspen nailed the monologue… only to find out she was wearing the wrong costume!

Most of it went by pretty quickly and accurately to the script – except Aspen struggled with the long-winded monologue about cats and socks; a quirky, Ferris Bueller-esque moment to be sure, but not an easy one to deliver. Then, just when we finally nailed it and went upstairs and filmed the shot where Jamie transitions from pajamas to normal clothing… I realized in horror that Jamie was supposed to be in her normal clothing in the monologue shot, and we had filmed it with her in her pajamas.

We quickly ran downstairs and did a couple more takes and then, finally, the boys were ready to make their grand debut. And boy did they.

They nailed the rewritten scene with their sweet “precious” comments, hair flicks and eye-batting. Nonstop laughter interrupted take after take, with me being the primary instigator. At one point, both Garett and I had to leave the house and just leave the camera rolling because their delivery was too funny, their costuming and makeup (courtesy the amazing Bridgett) too perfect.

The best moment? Garett’s parents returned home in the middle of a scene, and Garett’s dad mistakenly thought that Isaiah and Sam were actual girls – albeit incredibly ugly.

If there was a lesson to be learned, it was about economics – and not financial, but time. We shot nearly everything in order, and it took probably a third longer than it should have to run back and forth from shot to shot. But it didn’t matter. Everyone was in great spirits, and even though it was early afternoon, the day was only barely getting started.

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Aspen & Okoye between takes during the filming of the treasure hunt montage.

Bridgett headed out and the guys cleaned up and met the rest of us downtown, where we spent the afternoon and early evening filming the treasure hunting montage. Some of it we used in the final film, quite a bit of it we didn’t. The cast got more flexibility to play around and improvise, but the reality of the situation began to loom over me. We weren’t done. What was supposed to be completely done in three days had been held back by a delay in scheduling – missing cast members.

No Kaitlyn on the first day meant scenes we were to film that day were postponed until we had recast the part, and one of the most important scenes in the movie, the scene with The Man, had not been touched and would have to be cut down substantially from its original iteration in the script, which had included a moment with Sahera present – and an implication that The Man knew her from personal experience, not as a legend. Another scene that needed replaced/fixed was the scene that we couldn’t film on day one in which Jamie and Kaitlyn sneaked into Dorn’s hotel room and learn about the diary’s secret. Another last minute reconfiguring needed done.

Daniel catches up with the crew during filming.
Daniel catches up with the crew during filming.

Daniel called and was able to come down to Hot Springs to play The Man. He stopped by during the filming of the montage to see how things were coming along and we planned for an early morning shoot. The 72 hour movie would have to become a 96 hour movie, in spite of our best efforts. While I was frustrated at not meeting that goal, I was still optimistic. We had so much done.

With nearly 2 and a half hours in the can from day three, and one full, hopefully final, day planned, I edited together a Day Three reel, sent out a notice to everyone, and headed to bed.

LESSONS LEARNED FROM DAY THREE:

-Shoot economically if you can, not in order. You may think you’re helping by keeping continuity a little better, but even then you might completely screw it up.

-If the cast & crew are feeling a bit glum, bring in someone with a lot of energy and creativity, even if they aren’t in the scene.

-Don’t ask your crew to do sometoverschedulehing you wouldn’t. When Aspen and Sam had to get in the river – I saw the opportunity for a great middle of the stream shot, so I rolled up my pants legs, grabbed the tripod and went in myself. A risky move potentially, but worth it for the shot.

Jamie Klotz’s Diary 2 Locally produced sequel film set for May premiere

Sisters Aryona (left) and Aspen Watts (right) potray Jamie Klotz at different points in her life in the sequel to the 2013 adventure comedy.
Sisters Aryona (left) and Aspen Watts (right) potray Jamie Klotz at different points in her life in the sequel to the 2013 adventure comedy.

HOT SPRINGS, SD – The public is invited to attend the premiere of the independent, locally-produced feature film “The Extraordinary Secret of Jamie Klotz’s Diary” also known simply as Jamie Klotz’s Diary 2, on May 29, 2015 at 7:00 pm at the Mueller Civic Center at 801 S 6th St. in Hot Springs.

Jamie Klotz’s Diary 2 is a sequel to the original Jamie Klotz’s Diary movie that premiered in 2013, was written and directed by Hot Springs filmmaker Justin Gausman, and was filmed in and around the Hot Springs area with a cast of Black Hills-area actors, including leads Aspen Watts, Daniel Crossman, both of Rapid City, and Sam Martin, of Chadron, Ne.

In the film, the titular character returns home from her first year at college to discover that someone has not only stolen her diary (again) but also gone back in time and changed her life – meaning her lifelong friends are now strangers… and vice-versa. Jamie goes on an adventure through her own life, past, present and future, to save the friendships she holds dear.

“Thematically,” Gausman says, “if the first Jamie Klotz’s Diary could

"PJ" gives one of Jamie Klotz's famous monologues while the elder Jamie looks on, puzzled.
“PJ” gives one of Jamie Klotz’s famous monologues while the elder Jamie looks on, puzzled.

be summed up in one word as ‘fun,’ then the second film is definitely about ‘friendship.’ This one is just as much fun as the first one but there’s a slightly darker tone underneath about growing up and going away from your hometown and your childhood friends, coming back and seeing how things change. That’s something I think a lot of people can relate to, but of course it’s sort of taken to the extreme in this with the time travel adventure element.”

For anyone who may have missed the first movie, don’t worry. The first film, The Incredible Search for Jamie Klotz’s Diary, will be screening Saturday, May 16, 2015 at the Chop House Cinema in Lead, SD, as part of a “Local Filmmakers Night” event there and a matinee presentation of the first film will also be held at 4:30pm on May 29 at the Mueller Center in Hot Springs, prior to the premiere.

Admission to both the matinee and premiere is free, but donations will be accepted to help “kick start” the next film project by Gausman, Never Been to Graceland, a dramatic short film about fans of Elvis Presley traveling through South Dakota & Nebraska to find a mythical long-lost Presley film. The evening program will include a Q&A with the cast and crew and a brief presentation on Gausman’s future projects and recent collaborations.

Support is provided in part by the Hot Springs Area Chamber of Commerce and the City of Hot Springs.

The cast also includes Okoye Zimiga, Isaiah Crossman, Garett Jack, Jassmine Epps, Dustin Aaberg and Aryona Watts. The film is appropriate for ages 10+.