Last day of production started at 3:30 am. After about two hours of sleep I got picked up at 4 am. Gregg and I were all bright and bushy-tailed heading to the landfill. Going to a set with no sleep sucks, man, but it was our last freaking day! I was happy about that. But we were both a bit out of it.

Got to the landfill in about 20 minutes. By far the closest location to our apartments of the shoot and if we had known that, we would’ve slept in a bit longer. Half an hour would’ve made all the difference in the world, man!

It was still dark and it was a bit nippy out and I was in shorts, so that was fun. The first shot was going to be a sunrise shot at this little clearing on the top of the landfill that is really pretty and peaceful, for a landfill. So we waited for the sun to come up. And waited. But I was in a great mood, man. It was like the last day of school, you know? Can’t wait to get it over with so that you can start your summer vacation.

Visited with the Pale Figures. These guys seemed happy to be out here on their last day. I can’t believe none of these dudes quit. I ask around and make sure everyone is coming to the wrap party on Tuesday night. There’s a rumor going around that the party is kind of far for a lot of the crew and no one is going to come. I’m making sure these motherfuckers get there, though. They all say they’re coming so I guess that’s cool. They wouldn’t lie to the director, would they?

Breakfast arrives. Some kind of Chinese stuff that I’m not going to eat. I ask Four to get me some McDonalds. Just a greasy BIG BREAKFAST on my last day. A treat. It gets there a half-hour later and I dig in. Even Hale joins me for some Mickey-freaking-D’s. Good way to start the last day.

I see Amy and Tim. They’re happy it’s the last day. Amy makes me promise that I’ll have her out of here by 10 am. Sure. 10 am sounds good to me.

Tim is cool but in a different mood. He’s been in make-up since midnight and he’s done with all this make-up shit, man. He’s totally cool about it but I can tell he’s happy it’s almost over. He has one shot and then he’s wrapped.

Finally, the sun starts to come up! We get Amy and hurry up the hill, through the little patch of woods and into my glorious clearing. The only clearing like this that I saw in Hong Kong. On a landfill.

11 set-ups today. 11 more set-ups and I’m done!

I run Amy through the scene, which is literally the end of the film, and she starts nailing it this way and that. She’s such a freaking pro, man. I have three cameras rolling as the sky goes from dark to bright and she gives me so many good little moments for the end of SEVENTH MOON that I can’t wait to really get in there and bring them out in the edit.

1 set-up down.

I run the end of the scene with Amy, three cameras again, and I capture what I think is the last little moment we see her in the film. I can see the damn edit in my head.

She’s looking out toward her right, to the newly rising sun, and she has this amazing look on her face after what she went through on this night, and right after just seeing her husband for the last time, and I move into her with this shaky but just the right shaky handheld dolly and she goes out of focus and the grasses behind her come into focus and we are really tight and she closes her eyes and a beat later we cut to the rising sun -

ROLL CREDITS!

2 set-ups down. 9 more to go.

The sun is peaking up through the mountains that rim the landfill to the east. So we bring Tim in, all made-up after four hours or so of make-up. He stands where I want him to stand and I once again roll three cameras and get tons of him looking at his wife, Melissa. I get all kinds of stuff of him in focus and out of focus, the sun behind him, the sun grazing his face, his chest, grasses and other junk in front of him - we shoot a ridiculous amount of footage of Tim Chiou for his final set-up on the film SEVENTH MOON. This is going to cut great with what we shot with Amy a few minutes ago.

And it’s a picture wrap for TIM CHIOU everybody! 3 set-ups down, 8 to go.

Now it’s time for Amy to start running.

Lam switches the camera settings to his day-for-night look and we start rolling, three cams again, Amy running toward us, ten Pale Figures scrambling up behind her, just before they grab her. Like the shot in RAIDERS OF THE LOST ARK where Indy is running with the natives behind him. It looks freaking great. John the editor will tell me later that it’s one of his favorite shots in the film.

Amy comes through like a champ again. She suggests that she falls at the end of the take, just to simulate what we’re going to do later with Adda, her stunt double. We lay a few mats down and she starts going down on it again and again. I finally get rid of the mats and have her and the PFs run by the cameras. Gregg and Lam say they got a lot of good stuff. I say let’s move on, done with my little, peaceful clearing on top of a landfill. More running awaits Amy below.

4 in the can, 7 to go.

We move to the road that comes into the landfill. I get Four clearing a few areas through some woods next to the road so that Amy and the PFs can run through them later and we can track with them on the back of Kowloon’s pick-up. I get on the crane and ready the stunt, which we decide we can shoot now instead of ending the day with it like we planned. I just hope the freaking PF make-up doesn’t get all banged up when they all jump on top of Adda in the field.

So I find a piece of grass that will match the peaceful landfill clearing and have the crane positioned over it. Then Gregg notices that the PFs all have their shoes on. They’re going to need to be barefoot for this next shot.

Shit. Off they go to take their shoes off and get their feet made-up. This is going to take at least half-an-hour. I go check the progress of the woods clearing.

Back to the crane a while later, the PFs have no shoes now. Lam and I get into the crane and up it takes us, pretty scary for both of us because it wasn’t exactly the safest freaking-looking crane either of us have seen. It’s all shaky and shit.

We get over the patch of grass and the PFs and Adda get into position after some rehearsing. This is going to be such a cool shot, looking straight down on these boys just as they catch up to Melissa and literally swarm all over her, covering her body completely with their filthy bodies. Lam is wide and I am tight. Gregg grabs an angle from the ground.

Oh, wait, the PFs are having trouble walking in this grass. It’s hurting their feet, since they’re now barefoot. “Hey, Ed, these guys can’t run on this!” I hear over the radio.

Damn. I have very sensitive feet, since my mother never let me go barefoot even inside the house, so I know what it feels like to have shit jabbing you in the feet, man.

“Put the shoes back on! Ten minutes!” I see an art guy hauling ass to get their little white shoes.

I hope those damn shoes don’t show up, I tell Lam.

Ten minutes later we’re shooting and fifteen minutes after that, I have five or six great takes of a horde of Pale Figures gang-tackling and swarming over the body of a young stunt woman named Adda, who doubles perfectly for Amy Smart. The shoes don’t show, the overhead works great, the crane shot is done.

5 done. 6 to go.

Now we move to the tracking shots. First one area, the PFs running after Amy after she leaves the temple. The finale of the film!

One run with Amy, then another with the PF’s. 2 more set-ups down.

Now we move to another section and do two more runs just like before, Amy and then PFs. 2 more down, just 2 more shots to go!

The electricity is building in the air. I can hear the excitement building as the crew feels this shit coming to an end. They all hang back near the base camp and it’s starting to sound like a party over there between takes.

On the back of the pick-up truck, Lam, Gregg and I shoot the tracking shots, and we’re giddy with anticipation. Or at least I am. The jokes fly here and there and I don’t even care that no one laughs at most of them, it’s my last day, man!

One last shot for Amy Smart. She runs out of the woods, completely out of breath, and into a grassy clearing that matches my little peaceful landfill clearing. We run it over and over again, it’s like I can’t let go of this moment! I’ve waited for this for months now but I don’t want it to end. The long nights, the depression, the fucking barn field location and bloody car! I don’t want it to end, man. Please don’t let it end!

Actually, I can’t get my damn shot. I keep losing her in the woods. I need a clear shot of her just as she clears the woods. I finally give it up and watch Lam and Gregg’s stuff. Okay, Lam got it a few takes ago.

It’s a picture wrap for the young and talented AMY SMART! We hug. It’s way after 10 am but she’s not mad at me. She’s so happy to be done! Done, I say!

1 more shot down, 1 more to go!

“Bring the Pale Figures in,” I say for the very last time. These boys are tired. They’ve run at least a mile or two today for me in that damn make-up. And it’s sunny and hot outside, man. They’re not freezing anymore, that’s for sure. They’re hot.

Again, tracking shot, same shot that we just did with Amy and these guys can go home. We all can go home.

We run it through over and over again, three cameras, on the back of Kowloon Black’s pick-up truck. We get tons of stuff of them running out of the woods into the clearing. They give me their all on every take. Running low and fast, like animals. I joke that I’m going to do takes until Hippo, a Pale Figure who isn’t exactly in great shape, has a heart attack. Real funny.

They give me 110% until the very last take of the film. And then it’s done.

No more shots to go.

It’s a picture wrap for HIPPO (sans-heart failure of any kind), KEN, JASON, ANDY, AHOY and the rest of the PALE FIGURES! You can go and start taking that annoying make-up off for the very last time! Go, I say. GO!

But before that happens, let’s all take a group picture. Let’s get everyone together up on this hill. Where’s Amy? Get over here! Come on! We’re trying to take a crew picture. Hey, man, you didn’t work on the fucking film! Where’s Lau? Lam! Where’s Lam? Where’s Amy? Ed, you’re blocking me. Dudes, stop putting that grip shit in the truck and get over here and take this damn picture with us! Where’s Amy? Where’s So? Tell Amy we’re doing a crew picture. Dude, you DID NOT work on the film, so step off! I’m not standing next to Hale. Did someone shit their pants?

And after like 10 minutes or so, we had finally assembled what remained of the cast and crew of the motion picture SEVENTH MOON and took a bunch of pictures at the end of the last full day of production.

It was over. We still had a very short day of pick-ups but it was 99.99% done. I had my third feature in the can. Fifth if you counted film school. I had weathered the biggest film-making dread of my professional career and made it through those dark times to this moment, where it was all behind me now. I could go home and be with my family and not have that perpetual looming final exam that is production haunting my every waking moment.

I’m free!

Wrap party tomorrow night! You Chinese motherfuckers better be there, man. We’re giving away a 42″ LCD, did I tell you that?

-ed

HAXAN YOUTUBE DIRECTOR’S FLICKR PRODUCER’S FLICKR ACTOR’S FLICKR