Here is the final entry I have for the diary. I hope someone found something interesting in there, haha. I know I did, and it was my movie.
EDITING
Post-Production didn’t star on CRESTFALLEN for a while. Dominick and I were fighting to meet a delivery date for our first cut of THE SADIST, our “killer in the woods” feature film we shot in the summer of 2010. Russ and our other collaborators had to wait patiently, occasionally chiming in with queries on what the hell was going on with this little movie we shot back in September. When we finally started cutting the movie, I can only commend Dom, who had a very clear-eyed poetic approach to the material. When selecting the opening image, we had miles of B-roll but he became fixated on this image of a dreary old barn against a cold sky. “I don’t know, it just feels like death,” he said, then turned to me with a smile and said, “Nobody is gonna understand what the hell this movie is about!”
The second act of the movie took a slip into what we called “purgatory”, with Chris Cunningham inspired sound effects as the narrative as it were fell right off the rails. And in the original script, the character has a moment of epiphany where she comprehends that the child provides her with a reason to live. But this realization comes too late. Our editing ground to a halt as the movie felt leaden with despair, and we had run out of places to go with our material. We had always intended on shooting a baby and a toddler upon our return to New York, but figured out it was an essential element to the completion of CRESTFALLEN. We went out and spent a pleasant afternoon on a misty Sunday morning filming a friend’s children up near the Cloisters far uptown. Once we had that, the editing resumed and we had the necessary climactic beats of our picture. We caught an image of a baby’s tiny fingers wrapping tight around her mother’s hand; that bit of magic encapsulated our central character’s reason to live.
I hope everyone finds the time to at least stop by the Crestfallen Facebook page and click "LIKE" for more updates on the film from time to time.
Here is the link:
http://www.facebook.com/pages/Crestfallen-movie/100874133313179
Showing posts with label Crestfallen Diary. Show all posts
Showing posts with label Crestfallen Diary. Show all posts
Sunday, March 20, 2011
Saturday, March 19, 2011
The Making of Crestfallen - Entry #5
SUICIDE
The key scene in CRESTFALLEN is the main character’s suicide, which is the engine that drives the entire picture.
A recent horror movie I love called VINDICATION, directed by Bart Mastronardi, has a suicide as a peak moment in the first act that defines the anti-hero. Bart’s film was the wall I had to bounce off of. How not to replicate his vision, which was personal, wounded, a naked display of vulnerability? My only fallback was that the entire opening of Bart’s movie is steeped in naturalism, to lull us into a “real world” that spirals into a nightmare.
That defined the way CRESTFALLEN had to go, which was the opposite direction—epic, operatic, a spectacle. That was the only way to escape VINDICATION. So we created a stylized world of smoke, light, water, something that shows how our emotions resonate large – Love, Hate, Despair, Envy.
These are as big as castles and kings, and we should never be afraid to go big. I never want to make a small movie. Yet here we are again, working with pennies, scraping together a movie with only two or three lights. With that, we aimed for the grand scale, shooting in widescreen. The paradox is it remains a small movie, a humble offering, a pauper’s feast. A woman attempts to kill herself and a flood of images wash over her. She goes to purgatory and emerges with a new understanding.
As you can imagine, this scene took the longest to shoot. Deneen, Dominick and I were up well into the night, and our colleague-at-arms was Arthur Cullipher. Arthur makes very, very bizarre, provocative and unnerving movies (one of them involves a kind of Lovecraftian vagina monster) and yet he must work out all of his madness onscreen because he was utterly professional, serene, calming, and very present for us when everyone else had, quite sensibly, gone to sleep (except for assistant director Leya Taylor, who fastidiously helped restore order to the mess we’d made in the rest of the house). Arthur was with us to the last, fastidiously setting up blood gags (and other, more invisible gags) that onscreen seem so simple but required diligence and steady care and reapplication. On a closed set where you want as few people around as possible during this emotionally and physically naked sequence for the actor, Arthur made himself indispensible and nearly invisible; an amazing bit of magic on his part.
I also nearly got my foot shot off by a small purse-sized handgun during this sequence, but that’s a story for another time…
The key scene in CRESTFALLEN is the main character’s suicide, which is the engine that drives the entire picture.
A recent horror movie I love called VINDICATION, directed by Bart Mastronardi, has a suicide as a peak moment in the first act that defines the anti-hero. Bart’s film was the wall I had to bounce off of. How not to replicate his vision, which was personal, wounded, a naked display of vulnerability? My only fallback was that the entire opening of Bart’s movie is steeped in naturalism, to lull us into a “real world” that spirals into a nightmare.
That defined the way CRESTFALLEN had to go, which was the opposite direction—epic, operatic, a spectacle. That was the only way to escape VINDICATION. So we created a stylized world of smoke, light, water, something that shows how our emotions resonate large – Love, Hate, Despair, Envy.
These are as big as castles and kings, and we should never be afraid to go big. I never want to make a small movie. Yet here we are again, working with pennies, scraping together a movie with only two or three lights. With that, we aimed for the grand scale, shooting in widescreen. The paradox is it remains a small movie, a humble offering, a pauper’s feast. A woman attempts to kill herself and a flood of images wash over her. She goes to purgatory and emerges with a new understanding.
As you can imagine, this scene took the longest to shoot. Deneen, Dominick and I were up well into the night, and our colleague-at-arms was Arthur Cullipher. Arthur makes very, very bizarre, provocative and unnerving movies (one of them involves a kind of Lovecraftian vagina monster) and yet he must work out all of his madness onscreen because he was utterly professional, serene, calming, and very present for us when everyone else had, quite sensibly, gone to sleep (except for assistant director Leya Taylor, who fastidiously helped restore order to the mess we’d made in the rest of the house). Arthur was with us to the last, fastidiously setting up blood gags (and other, more invisible gags) that onscreen seem so simple but required diligence and steady care and reapplication. On a closed set where you want as few people around as possible during this emotionally and physically naked sequence for the actor, Arthur made himself indispensible and nearly invisible; an amazing bit of magic on his part.
I also nearly got my foot shot off by a small purse-sized handgun during this sequence, but that’s a story for another time…
Friday, March 18, 2011
The Making of Crestfallen Diary - Entry #4
TAYLOR METZGER
They say never work with children or animals, but in my experience it can be very rewarding. Kids are able to access their imagination much quicker than grown-ups. And when directing children, it’s important to make sure you lead them, guide them, and are assertive; otherwise they’ll lose confidence in you and take over the entire production based on their whims. If any child actor gives me any crap, like one did a few years ago on the set of another movie, I just threaten to fire them or cut them out of the movie, and that whips them into shape pretty fast.
Thankfully, I had no such problems from Taylor Metzger. She was the first actress I wound up working with on CRESTFALLEN, and it was simply because we were scouting a location, she happened to be there (it was her mom’s house) and the sky was perfect. We immediately got her into wardrobe and brought her out into the field, where she proceeded to run back and forth, over and over again, tirelessly. Since I am a particularly expressive director (I’ve been known to punch my director of photography in the arm over and over again while excited, screaming, “YEAH YEAH YEAH!”) she seemed to respond to that, and grew expressive herself. I like that she took it seriously and worked herself as hard as she could; I like that she did not complain about it at all, ever, and I especially like that she showed up and did her job. She had to be dragged off to bed at the end of the night, sort of bummed out that it was over with.
It was an important role. Russ’s script makes the child the predominant reason why the parent wants to slide back into the world of the living. It’s more than a sense of obligation; it’s a connection. Thankfully, I felt very connected to Taylor, and I’m glad she connected with the movie.
DOMINICK SIVILLI, CINEMATOGRAPHER
Dom is my closest collaborator, more than just a Director of Photography. He has cut all of our latest pictures together, so he’s very involved during multiple steps of the process. And yet Dom never, never reads the script. It’s downright infuriating. CRESTFALLEN was only two pages long (CONTACT was only one!) but Dom is constitutionally incapable of sitting and reading.
Here we are, on the plane to Indiana where we are going to start shooting B-roll that afternoon and principal photography the following day and he turns to me and says, “What’s this movie about again?”
What you have to understand is Dom is reactive, impulsive, and cannot comprehend the image until it plays out before him. What I try to do when working with him is be as verbally articulate as possible, and then allow his poetry to shine through. If you asked Dom what his sensibility was, he’d answer, “Make it look awesome!” or “HMI through a window, smoke it up, soft top light!”
But when you collaborate with him, you understand fully that Dom expresses his philosophy through his work.
They say never work with children or animals, but in my experience it can be very rewarding. Kids are able to access their imagination much quicker than grown-ups. And when directing children, it’s important to make sure you lead them, guide them, and are assertive; otherwise they’ll lose confidence in you and take over the entire production based on their whims. If any child actor gives me any crap, like one did a few years ago on the set of another movie, I just threaten to fire them or cut them out of the movie, and that whips them into shape pretty fast.
Thankfully, I had no such problems from Taylor Metzger. She was the first actress I wound up working with on CRESTFALLEN, and it was simply because we were scouting a location, she happened to be there (it was her mom’s house) and the sky was perfect. We immediately got her into wardrobe and brought her out into the field, where she proceeded to run back and forth, over and over again, tirelessly. Since I am a particularly expressive director (I’ve been known to punch my director of photography in the arm over and over again while excited, screaming, “YEAH YEAH YEAH!”) she seemed to respond to that, and grew expressive herself. I like that she took it seriously and worked herself as hard as she could; I like that she did not complain about it at all, ever, and I especially like that she showed up and did her job. She had to be dragged off to bed at the end of the night, sort of bummed out that it was over with.
It was an important role. Russ’s script makes the child the predominant reason why the parent wants to slide back into the world of the living. It’s more than a sense of obligation; it’s a connection. Thankfully, I felt very connected to Taylor, and I’m glad she connected with the movie.
DOMINICK SIVILLI, CINEMATOGRAPHER
Dom is my closest collaborator, more than just a Director of Photography. He has cut all of our latest pictures together, so he’s very involved during multiple steps of the process. And yet Dom never, never reads the script. It’s downright infuriating. CRESTFALLEN was only two pages long (CONTACT was only one!) but Dom is constitutionally incapable of sitting and reading.
Here we are, on the plane to Indiana where we are going to start shooting B-roll that afternoon and principal photography the following day and he turns to me and says, “What’s this movie about again?”
What you have to understand is Dom is reactive, impulsive, and cannot comprehend the image until it plays out before him. What I try to do when working with him is be as verbally articulate as possible, and then allow his poetry to shine through. If you asked Dom what his sensibility was, he’d answer, “Make it look awesome!” or “HMI through a window, smoke it up, soft top light!”
But when you collaborate with him, you understand fully that Dom expresses his philosophy through his work.
Thursday, March 17, 2011
The Making of Crestfallen Diary - Entry #3
THE CAST
Dominick had worked with Deneen Melody before on the short film “Lewis” by a vividly talented filmmaker named Anthony G. Sumner. He described her as being my kind of actor, which means she shows up, knows her lines, hits her marks, and there’s not a lot of bullshit. I was daunted by the fact that we would have zero rehearsal time with her or the other actors (other than a lively 30-minute phone conversation a few days ahead of principal photography—Dom and I would be landing in Indiana the day before we started shooting). On CONTACT, which is a 10-minute short, we had two or three rehearsals prior to filming. On CRESTFALLEN, we had to hit the ground running.
She does her homework, though, and she also did a good job of sizing me up before the shoot to see what sort of filmmaker I was. I was frank with her about the content of the film, and she was brave in her willingness to go there. Deneen reminds me a little of Kate Winslet. She has a natural grace about her; she projects sensitivity and of wheels turning inside. (She’s also a major science fiction nerd who delights in talking about Peter Jackson, LORD OF THE RINGS and unicorns.) On set, she’s very well prepared, but what makes her also pleasant is she gives all due consideration to her fellow actors and the crew. She and her co-star Michael Partipilo, who plays her husband, were very generous with each other. They became friends on “Lewis” and drove in together from Chicago; they felt safe with each other. And Michael grew to feel safe with me, too, since I involved him in every bit of improvisation we did with Deneen and the other actors even if he was not participating. He had to catch the wavelength of what her character was going through. If her character was the spinning top, Michael had to be the rock. He had to be solid. Michael projects an inherent decency even after his character has been caught cheating on her. He doesn’t play the guy as manipulative or conniving. My favorite moment with him is when he is taking the daughter away; the way he closes the car door, the way he’s containing himself. He and Deneen played off of each other and intuited each other. I’m grateful to have worked with them.
The rest of the cast was brought on by Marv, and I have to say Nicole Ann Watson worked overtime in the brief role of Deneen’s friend and Michael’s lover. She has to show up, do a very intimate scene, and the rest of the time she was helping with wardrobe and hair (forget about gore; the toughest special effect ever is a woman’s hair and clothes!), to be our on-set representative making phone calls to Russ Penning back in Iowa letting him know how the shoot was going (I can only imagine how Russ felt), and be the mother to Taylor Metzger, our wonderful child actress who plays Deneen and Michael’s kid.
Dominick had worked with Deneen Melody before on the short film “Lewis” by a vividly talented filmmaker named Anthony G. Sumner. He described her as being my kind of actor, which means she shows up, knows her lines, hits her marks, and there’s not a lot of bullshit. I was daunted by the fact that we would have zero rehearsal time with her or the other actors (other than a lively 30-minute phone conversation a few days ahead of principal photography—Dom and I would be landing in Indiana the day before we started shooting). On CONTACT, which is a 10-minute short, we had two or three rehearsals prior to filming. On CRESTFALLEN, we had to hit the ground running.
She does her homework, though, and she also did a good job of sizing me up before the shoot to see what sort of filmmaker I was. I was frank with her about the content of the film, and she was brave in her willingness to go there. Deneen reminds me a little of Kate Winslet. She has a natural grace about her; she projects sensitivity and of wheels turning inside. (She’s also a major science fiction nerd who delights in talking about Peter Jackson, LORD OF THE RINGS and unicorns.) On set, she’s very well prepared, but what makes her also pleasant is she gives all due consideration to her fellow actors and the crew. She and her co-star Michael Partipilo, who plays her husband, were very generous with each other. They became friends on “Lewis” and drove in together from Chicago; they felt safe with each other. And Michael grew to feel safe with me, too, since I involved him in every bit of improvisation we did with Deneen and the other actors even if he was not participating. He had to catch the wavelength of what her character was going through. If her character was the spinning top, Michael had to be the rock. He had to be solid. Michael projects an inherent decency even after his character has been caught cheating on her. He doesn’t play the guy as manipulative or conniving. My favorite moment with him is when he is taking the daughter away; the way he closes the car door, the way he’s containing himself. He and Deneen played off of each other and intuited each other. I’m grateful to have worked with them.
The rest of the cast was brought on by Marv, and I have to say Nicole Ann Watson worked overtime in the brief role of Deneen’s friend and Michael’s lover. She has to show up, do a very intimate scene, and the rest of the time she was helping with wardrobe and hair (forget about gore; the toughest special effect ever is a woman’s hair and clothes!), to be our on-set representative making phone calls to Russ Penning back in Iowa letting him know how the shoot was going (I can only imagine how Russ felt), and be the mother to Taylor Metzger, our wonderful child actress who plays Deneen and Michael’s kid.
Wednesday, March 16, 2011
The Making of Crestfallen Diary - Entry #2
Entry #2
MARV BLAUVELT
Russ lives in the Midwest, and it felt somehow important to make this project in that neck of the woods. I’d previously worked for producer Marv Blauvelt on a short film shot out on the east coast, “No Rest For the Wicked”, directed by Raine Brown as part of his horror anthology PSYCHO STREET. Marv has been developing horror features, short films and webisodes out in Bloomington, Indiana, and seems to benefit greatly from this midway zone between two coasts. It’s not the airy, industry-driven vibe of Los Angeles or the gritty, slightly aggressive independence of New York; no, the Midwest has its own character, a slightly friendlier and looser vibe, a kind of cheerful and open quality. As a producer, Marv is the guy on the set walking around slapping folks on the back saying, “You having fun?” I’m the kind of irritant who will respond slightly cynically, “Are YOU having fun?” and he’ll of course answer, “YEAH! I’m having LOADS of fun!” I wish I were as earnest as he is; I have too much city dust sprinkled upon me.
After signing up Deneen Melody in the lead role, there was still much to be done. We enlisted Marv’s resources at Muscle Wolf Productions (finding and securing cast, locations, catering, props, et al), and during our first production meeting it kind of felt like those scenes in LORD OF THE RINGS where all the different factions of good guys unite. In addition to the muscle-bound hunks of Muscle Wolf and their bearded, canny and gentle “man behind the curtain” Jason Hignite, there were Chris Jay and Kitsie Duncan of Dark Rider Productions generously providing lights and gear, Arthur Cullipher and Leya Taylor of Clockwerk Productions handling special effects and logistics, a variety of local actors and helpers, and of course me and my director of photography/editor Dominick Sivilli from New York. We attacked the meeting with high energy, but it is typical of Marv that as soon as we wrapped production on CRESTFALLEN, that same day they’d be shooting a trailer for the Dark Rider production MOTHER’S BLOOD featuring several of the same actors and crew. That’s the other thing about what Marv and his colleagues are doing out in Bloomington; they’re kind of like a factory continually generating product.
(Heck, the day we landed in Indiana they were scouting catacombs for ANOTHER horror picture. Months later they ran the Dark Carnival Film Festival, and the day after that finished they were shooting more of the wraparound segment of PSYCHO STREET with Tiffany Shepis—the VERY NEXT DAY after their festival ended. It’s funny, because Marv said he was taking a break in 2011 from movies, but he’s already acting in a slasher movie, making his directing debut, and in early pre-production on a controversial and button-pushing feature; does the man ever sleep?)
Throughout the shoot, Marv was a very present force. He has the gift of the gab, and would continually be telling amusing stories about other shoots, or self-deprecating tales of the film festival circuit, and of course with a politician’s grace greasing the wheels for us to get access to various locations. He’s also doing a million different projects at all times, which is why he surrounds himself with folks like Jason and Leya, logistical captains and stage managers to keep him on point while he’s spinning. But if we’re the A-Team, Marv is absolutely Face Man.
MARV BLAUVELT
Russ lives in the Midwest, and it felt somehow important to make this project in that neck of the woods. I’d previously worked for producer Marv Blauvelt on a short film shot out on the east coast, “No Rest For the Wicked”, directed by Raine Brown as part of his horror anthology PSYCHO STREET. Marv has been developing horror features, short films and webisodes out in Bloomington, Indiana, and seems to benefit greatly from this midway zone between two coasts. It’s not the airy, industry-driven vibe of Los Angeles or the gritty, slightly aggressive independence of New York; no, the Midwest has its own character, a slightly friendlier and looser vibe, a kind of cheerful and open quality. As a producer, Marv is the guy on the set walking around slapping folks on the back saying, “You having fun?” I’m the kind of irritant who will respond slightly cynically, “Are YOU having fun?” and he’ll of course answer, “YEAH! I’m having LOADS of fun!” I wish I were as earnest as he is; I have too much city dust sprinkled upon me.
After signing up Deneen Melody in the lead role, there was still much to be done. We enlisted Marv’s resources at Muscle Wolf Productions (finding and securing cast, locations, catering, props, et al), and during our first production meeting it kind of felt like those scenes in LORD OF THE RINGS where all the different factions of good guys unite. In addition to the muscle-bound hunks of Muscle Wolf and their bearded, canny and gentle “man behind the curtain” Jason Hignite, there were Chris Jay and Kitsie Duncan of Dark Rider Productions generously providing lights and gear, Arthur Cullipher and Leya Taylor of Clockwerk Productions handling special effects and logistics, a variety of local actors and helpers, and of course me and my director of photography/editor Dominick Sivilli from New York. We attacked the meeting with high energy, but it is typical of Marv that as soon as we wrapped production on CRESTFALLEN, that same day they’d be shooting a trailer for the Dark Rider production MOTHER’S BLOOD featuring several of the same actors and crew. That’s the other thing about what Marv and his colleagues are doing out in Bloomington; they’re kind of like a factory continually generating product.
(Heck, the day we landed in Indiana they were scouting catacombs for ANOTHER horror picture. Months later they ran the Dark Carnival Film Festival, and the day after that finished they were shooting more of the wraparound segment of PSYCHO STREET with Tiffany Shepis—the VERY NEXT DAY after their festival ended. It’s funny, because Marv said he was taking a break in 2011 from movies, but he’s already acting in a slasher movie, making his directing debut, and in early pre-production on a controversial and button-pushing feature; does the man ever sleep?)
Throughout the shoot, Marv was a very present force. He has the gift of the gab, and would continually be telling amusing stories about other shoots, or self-deprecating tales of the film festival circuit, and of course with a politician’s grace greasing the wheels for us to get access to various locations. He’s also doing a million different projects at all times, which is why he surrounds himself with folks like Jason and Leya, logistical captains and stage managers to keep him on point while he’s spinning. But if we’re the A-Team, Marv is absolutely Face Man.
Tuesday, March 15, 2011
The Making of Crestfallen Diary - Entry #1
Jeremiah Kipp was nice enough to forward me these nice littel writings about the making of Crestfallen. I'm going to post one entry per day until they are all gone. I hope you find some interesting information in them as well as inspiration to maybe make your own film.
RUSS PENNING
When I completed my short film CONTACT in the fall of 2009, our plan was to put it online so anyone and everyone could see it. It became an experiment in the horror blog-o-sphere, and one of the critics who reviewed it was Russ Penning, at Dead-End Drive In. Russ was enthusiastic about our work, and before long was sharing his own film scripts with us. Many of them were straight-up genre projects, but one of them clearly stood apart, and that was CRESTFALLEN. It felt sincere, heartfelt, emotional, and somehow deeply honest. It didn’t read like a horror movie at all, but an impassioned look at the spiral into suicidal depression. Was it autobiographical—I hesitate to ask how close to the bone Russ went with this material; but it sure felt personal. His original draft was quite different from the film we wound up making, but that’s not such a bad thing. It was longer, the genders were reversed, and we agreed that this short version of CRESTFALLEN (just under six minutes) would allow room for a longer interpretation down the line, perhaps directed by Russ or another emerging filmmaker. I think it would be wonderful to see that version made, probably running 15-20 minutes with a male lead character that would be a closer stand-in to Russ himself. I felt like I needed a separation from that, a necessary distance, and asked if we could make the lead character a woman and approach the wonderful actress Deneen Melody to play the part? Russ, who shares my enthusiasm for Deneen’s talent, was open to that and agreed. As we went in and revised the script, which was already daring and experimental in its design, we scaled back dialogue and narrative elements, reducing the movie to a stream-of-consciousness flood of images. I’m grateful to Russ for allowing us to go in that direction. What was our total budget? Gosh, I think it was $750 before Russ paid for the flights from New York for me and Dom. But within those shoestring means, I wanted so badly for the movie to feel epic in size, and not like a movie made in the backyard.
TONE
DP/Editor Dominick Sivilli and I flew in together on September 10. We shot on September 11, which has powerful connotations that were unintentional on our part. And Dom had to fly back on September 12, early, to honor the anniversary of his father’s death. So that kind of feeling was in the air.
A new entry is coming tomorrow. I hope you enjoyed it.
RUSS PENNING
When I completed my short film CONTACT in the fall of 2009, our plan was to put it online so anyone and everyone could see it. It became an experiment in the horror blog-o-sphere, and one of the critics who reviewed it was Russ Penning, at Dead-End Drive In. Russ was enthusiastic about our work, and before long was sharing his own film scripts with us. Many of them were straight-up genre projects, but one of them clearly stood apart, and that was CRESTFALLEN. It felt sincere, heartfelt, emotional, and somehow deeply honest. It didn’t read like a horror movie at all, but an impassioned look at the spiral into suicidal depression. Was it autobiographical—I hesitate to ask how close to the bone Russ went with this material; but it sure felt personal. His original draft was quite different from the film we wound up making, but that’s not such a bad thing. It was longer, the genders were reversed, and we agreed that this short version of CRESTFALLEN (just under six minutes) would allow room for a longer interpretation down the line, perhaps directed by Russ or another emerging filmmaker. I think it would be wonderful to see that version made, probably running 15-20 minutes with a male lead character that would be a closer stand-in to Russ himself. I felt like I needed a separation from that, a necessary distance, and asked if we could make the lead character a woman and approach the wonderful actress Deneen Melody to play the part? Russ, who shares my enthusiasm for Deneen’s talent, was open to that and agreed. As we went in and revised the script, which was already daring and experimental in its design, we scaled back dialogue and narrative elements, reducing the movie to a stream-of-consciousness flood of images. I’m grateful to Russ for allowing us to go in that direction. What was our total budget? Gosh, I think it was $750 before Russ paid for the flights from New York for me and Dom. But within those shoestring means, I wanted so badly for the movie to feel epic in size, and not like a movie made in the backyard.
TONE
DP/Editor Dominick Sivilli and I flew in together on September 10. We shot on September 11, which has powerful connotations that were unintentional on our part. And Dom had to fly back on September 12, early, to honor the anniversary of his father’s death. So that kind of feeling was in the air.
A new entry is coming tomorrow. I hope you enjoyed it.
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