What do you find is the biggest challenge working out here right now?
The bugs.
There was definitely an issue with the wildlife.
The bugs were absolutely merciless.
Oh my god, ton of bugs.
Ah, the bugs.
Especially in the first half of the day when we were down by the creek bed.
You mean like the desert?
The desert?
Yeah.
That's deep.
Because obviously with water there was bugs and there were a lot of bugs.
They were pain in the butt during the day especially.
It was hot.
We were sweaty.
The bugs like hot and sweaty people.
They were just all over everything and everybody's faces buzzing us constantly, buzzing the actors
during takes.
We were spraying down a building while in Kathleen because especially Kathleen with
that perfect white skin, they were all over her.
They are attracted to creative people.
It was quite warm that day so everyone's wearing shorts and shorts-leaved shirts and they're
just on your legs or on your arms.
We were covered pretty much in little natty flying things all day and then at night it
was like a shift change.
All the little natty bugs went away and it got dark and cool and thinking, oh great now
no more bugs.
No, no, no.
Then the pterodactyl bugs come out.
The HMI light that we use to simulate the moonlight is basically a giant bug magnet.
This thing generates so much light that the bugs are all going into it.
I think there was some extra large wildlife at night.
We had these enormous moths flying around, attacking everybody.
The gigantic flying things with wingspans like a bird.
And it kept zinging Bill Engvall, swooping down.
Did you see the size of that moth?
Yeah.
Oh man.
And Dan would say, and the moths are flying.
And he'd grab a shotgun.
Son of a bitch.
Trying to kill this thing.
There's that big old moth again.
No, that's a little one.
Little.
Yeah, I thought that thing was going to come down here and bite off this.
We got all kinds of lights going on and stuff.
It was a mess.
It was a mess.
It was definitely annoying and probably the highlight of the shoot because everyone
would just constantly complain about the bugs.
If you hear that, then you got to worry.
The bugs in the end were just a minor detail, even though on set they seemed like a really
big deal.
But in the end, it just brushed off.
It's just part of being on location.
And I was doing that naked scene and all I had on was my boots and my guns and I took
a step and it was a dang snake.
Was there a snake?
Was there a snake?
Actually, I'm pretty sure there were actually two snakes.
I remember seeing the one snake go into the bushes.
I was in my rig and I'm kind of trying to find a really neat spot to get a shot and
I thought I heard something in the bush next to me and I'm like, um, guys, is there something
in there?
And they're like, oh yeah, there's a snake back there.
I'm like, okay, thanks for telling me.
Did you see the snake?
Got down in its face.
There was a snake?
Jeez.
Where was I?
Took pictures of the snake.
Was there a snake?
Well, you sure it wasn't a shadow of your own?
No, no.
Now you're going on the assumption that it can cast a shot.
This guy, Howard, that owns a ranch, one of his quotes is, you know, you're in the big
room.
You know, so when you're in the big room, you know, you get used to the snakes.
All right.
Thank you.
That's a wrap.
I think our shoot day ended up being about 16 hours, probably 10 a.m. to, I don't know,
wrapping up at midnight.
It was a long day.
I want to say it was like 18 hours or something.
I was like 14, 15 hours.
It was long.
We're at hour 13.
I can't keep an eye on Paul every minute of every day.
And he did get behind.
He was probably an hour and a half behind.
It's pretty much like weddings.
Weddings never go on time.
You know, start off at the time they're supposed to.
Most productions at some point in the day or in the shoot always get behind.
As we got rolling, I think we got a little bit more efficient.
You know, you sort of have to shake the rust off a little bit and get things rolling.
But always when you're starting off, it's just sort of that first initial hump to get
going over it.
It takes the most time.
Not only an hour behind schedule, what does that tell you?
We're running behind, but what movie shoot doesn't run behind?
It means we get some time to make up.
The biggest thing that slowed us down was just shooting outside, just dealing with just
the logistics of all of it.
And the next thing you know, halfway in the day, you're like, man, we're behind two hours.
We need to really step it up.
And almost every time they do.
When you're working outside in the sun, it has a tendency to slow you down.
When you're trying to get a set amount of shots during daylight, once the sun goes down,
you're done shooting those scenes.
We had to drive a whole bunch of crew and equipment up to higher elevations so we could
get a few more minutes of sunlight.
But we are rolling finally, so that's always a good thing.
And I think we're going to make up some time on the butt shots because I have a feeling
Bill's going to want to get those done real quick.
Thanks.
