What drives the holiday-movie industrial complex? ralter got herself cast as an extra in one to find out 📷: Stacy Kranitz
You know what they say: Always work with children and animals.producer says into her cell phone with a sigh, “went to the wrong Hilton.” I’m in the lobby of the hotel where the majority of the out-of-town cast and crew are staying, about 20 minutes from set. This is but a minor snafu. In fact, many Christmas movies begin with someone arriving at the wrong hotel or getting double-booked and having to sleep on a hunk’s couch. This is just life imitating Lifetime.
Crew members aren’t the only parts of this production doing double and triple duty. This single-family home has been turned into an ersatz Silvercup Studios: The mud room is a production office, the living room is video village, the front porch is craft services, the side yard is the prop closet, the basement is wardrobe, and the upstairs is dressing rooms for the stars.
When we start rolling, Moreno delivers her line 20 different ways , then Hart films us decorating the hall. Her attitude while giving direction, to both actors and camera-people, is efficient and calm.
Today, Hart has to shoot six scenes, including what is arguably the most important in a made-for-TV holiday movie: the meet-cute. This time, busy bee Emily meets hunky caterer Aiden while he’s hauling produce off a truck bed, signifying both strength and sensitivity . Because female leads’ character traits often amount to “busy” and “klutzy,” Emily falls and Aiden catches her. They run this scene possibly a dozen times. “In one of the takes, she tripped and fell for real,” Gaston tells me later.
I ask the production designer, Robert Wise, a focused man in a porkpie hat , what sort of changes he would like to see in the Christmas-movie genre, and he replies that he’d love a holiday sci-fi movie. “Science fiction is a designer’s paradise,” he says, “because even a pen is special.
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