Photo by Alex Marquez.For the production of Better Luck Tomorrow, the producers needed to assemble a dedicated and committed team. With neither fame nor fortune to offer at the outset, the crew had to be willing to make the film for the right reason: for the film itself. The crew consisted of transplanted New Yorkers, San Franciscans, long-lost classmates from junior high through grad school, and friends and relatives of friends willing to work long hours and sleep on floors. Usually with independent projects, attrition happens with the crew. But with great timing, strong connections and an overall sense of passion for the project, the crew and cast of Better Luck Tomorrow pulled through with pride and a need for a vacation. Find out how this team got together and how their crisscrossed roads led to Better Luck Tomorrow.
Ernesto on the set.
Photo by Karin Anna Cheung.
Ernesto (co-writer, co-producer)
Justin and Ernesto were in the undergraduate film program together at UCLA.
"Justin and I were apartment mates in our senior year," Ernesto notes. "We
didn't hang much because he was always at work or editing his film," Justin
adds. "It wasn't until after we graduated that we had time to get to know
each other. The funny thing was by then Ernie was living in New York." Once
Better Luck Tomorrow got rolling, he relocated to Orange County. "And believe
me, Ernie will not ever let me forget what a huge sacrifice he made."
Julie (co-producer, line producer)
Julie also relocated from New York, but to work at a museum. A week into the
job she knew she had made a mistake, and soon parted ways with the museum.
Jobless, Julie accepted an offer from Justin to log tapes for one of his projects.
"Julie was definitely overqualified and underpaid. But she never complained
and did an amazing job logging all these boring tapes," Justin remembers.
After the project, she helped co-produce a couple of documentaries and an
educational pilot Justin was working on. Making the transition to a feature
film was natural.
Julie and Donna Tina prepare to celebrate the last shot of the film.
Photo by Juliet Wong.
Fabian (co-writer, script supervisor, post production supervisor) Justin and
Fabian went to junior high school together. They attended different high schools
and slowly lost touch. Eight years later, they ran into each other at a New
Line Cinema screening of Austin Powers. Justin got free passes (from Daric,
Better Luck Tomorrow's fight coordinator) to see Mike Myer's new film. Meanwhile,
he also had tickets and was intent on seeing Comrades, a love story, at UCLA.
"But at the last minute, I decided to fight traffic and drive to Hollywood to
see Austin Powers. To this day I still don't know why I did that." At the screening
Justin caught up with Fabian. Soon Fabian quit his job as a post production
supervisor at New Line to work on Better Luck Tomorrow.
Both Alex and Michael joined the team through Fabian. Alex is Fabian's brother
and Michael took geet kun do class with Fabian. "I was really nervous because
I remembered that if they didn't work out it would have been all on me," Fabian
notes. "But from day one, everyone realized that they were 100 percent committed
to this project."
Curtis (production sound mixer) "I got a call from Curtis one
day because he had heard about the production," recalls Justin. "I knew Curtis
had worked on numerous projects through the years and really respected his work.
But I also knew that we were not going to be able to afford his fee plus room
and board." But after reading the script, Curtis called Justin and insisted
on working something out. Soon Curtis was driving his sound mobile down from
San Francisco and sleeping at Justin's parents' house.
Josh (first assistant director) Josh and Justin were in the film M.F.A.
program at UCLA. "It's amazing that and at the end of four years of film school
you're lucky to have a few people you would work with and trust," Josh admits.
Living in New York and working on his solo music career Josh got a call from
Justin. He moved back to L.A. for the production and crashed on Justin's floor.
"Justin and I are like brothers. But because we are both workaholics, we rarely
get to hang out. The only time we spend together is when we work on each other's
projects."
Justin and Josh discuss next scene.
Photo by Alex Marquez.
Donna Tina (casting director, second assistant director)
Josh cast Donna Tina as a lead in his first film while in school. After the
shoot Justin, Josh and Donna Tina would catch up whenever they could. When she
heard about Better Luck Tomorrow, she wanted to get involved. It's funny that
people will offer to help you when they find out you're a filmmaker," notes
Justin. "Through experience you learn that it's mostly just a nice gesture.
But with Donna Tina, I knew she really meant it. And knowing her work and work
ethic, I wanted to work with her."
Vincent (boom operator)
Donna Tina's brother, Vincent, was living in San Francisco and had always been
interested in production sound. When he found out about the project, he decided
to take the plunge. Since he and Curtis would be working on sound and were both
living in San Francisco, Justin had them meet to make sure they could work together.
It worked out and Vincent found himself working on the production and sleeping
on his sister's floor.
Curtis and Vincent on location.
Photo by Karin Anna Cheung.Sandi (costume designer)
"I still don't know how Sandi found out about the project," wonders Justin.
"All I knew was that she really wanted to work on the project. We met and I
told her that our budget was so tight that we would not be able to pay. I thought
that was the last I'd hear from her." Instead, she came back with outstanding
design ideas for each character. But still we had no budget for costumes. "Without
hesitation, she offered ideas on getting outfits for free. It's amazing to sense
that energy and passion from someone who believes in the project that much."
Patrice frames up an upcoming shot.
Photo by Alex Marquez.Patrice (director of photography)
While working on his documentary, Justin hired Patrice to shoot some basketball
games. "Having been a director of photography myself, I'm usually pretty critical
when it comes to framing and camera movements. As soon as I saw Patrice's dailies,
I felt confident in his abilities. And he moved the camera in a way that I rarely
saw." Six months later, Justin and Patrice teamed up for Better Luck Tomorrow.
Remi prepares the camera.
Photo by Alex Marquez.Remi (first assistant camera)
"Getting a first rate assistant camera on an independent shoot is almost impossible
because they get paid so well doing television or commercials," states Ernesto.
Patrice had worked on a commercial with Remi and really liked his style. "Still,
I was not sure if he would take out five weeks and work for basically nothing.
I gave him the script and hoped for the best." After reading the script, Remi
crossed out his calendar in the middle of TV pilot season and committed to the
project.
Guy (gaffer) and B.J. (key grip)
"Because of the pending strikes, it was really difficult to get quality crew
because everyone was working," remembers Patrice. Like with other members of
the camera crew, Patrice handed over the script, hoping for the best. He met
with Guy who was a professional D.P. in both Israel and here. "For him to agree
to come on board was very gratifying," notes Patrice. Through Guy's commitment,
B.J. agreed to be the key grip.
Steve sets up the slate for a new take.
Photo by Alex Marquez.Steve (second assistant camera)
Steve was also a fellow junior high classmate of Justin and Fabian. Steve was
completing his Ph.D. at UCLA when he called his old friend Justin. "It was a
total shocker," remembers Justin. "I had not really seen Steve for about 10
years and all of a sudden he tells me that he doesn't want to be a doctor anymore,
but wants to try something in the arts." So Justin hired Steve to do some camera
work for his documentary and instantly saw Steve's potential. Three months before
the production, Steve started working at a camera house to learn the craft inside
and out.
Juliet (web contributor, featured actor)
After a screening of Shopping for Fangs (Justin's first feature film), Juliet
approached Justin about the possibility of working with him. "I remember she
had a resume and was serious about what she was saying," recalls Justin. "So
we went through a series of meetings and she definitely came across a little
green but extremely eager and ambitious to make things happen." Juliet worked
with Justin and Julie on a proposal for a future project.
Sandi and Jaime on top of the car tow.
Photo by Alex Marquez.
Jaime (make up artist) "Finding a good make up artist is one of the toughest
things to do," notes Ernesto. "Even for big budget projects it's hard." We were
very lucky to have found Jaime who just finished school. "We did a screen test
for make up and her work looked great," Justin adds. "Not only was Jaime efficient,
but she also instantly put people at ease. I feel very lucky to have her as
part of our crew."
Brian (Grip)
While in the M.F.A. program, Justin was a teaching assistant for the undergraduate
thesis film class. "Brian was one of those students that really stood out, not
only for his talent but also his willingness to work with others," comments
Justin. When the production team was being assembled, Brian's name came up.
Justin really wanted Brian to be on the team. "We tracked him down and found
out that he was living in San Francisco," remembers Julie. "Brian was working
as a social worker and was itching to be on a set again." Without much hesitation
Brian was on his way down to LA to join the crew.
