Written in Greg's messy script are the composers Greg wants to score his movie. The names have been marked with a pen (underlined, circled, and marked) along with their questions about each composer:
Clint Mansell
James Newton Howard
Thomas Newman
Carter Burwell
Elliot Goldenthal
Then below that, in Greg's neat script, is a note: "two indie guys from Sundance / weirdo / jazz / minimalist composer that I met while in Toronto"
Harry is looking for the right composer to score Providence and has worked with a smaller composer before who did a good job, but for Blind Man's Gambit he needs something completely different - anxious, disturbed, piano based but not pleasant. Harry wants a score that exists in Aaron's mind.
Harry picks up the phone and calls.
When Toni answers, Harry asks, "Are you busy?"
Toni says, "Always." (In a very dry voice) "What can I do for you, oh destroyer of sleep?"
"I need you to send the script and a tone document to a list of composers. Top shelf."
Toni says, "Of course you do."
When Harry finishes saying the names of the composers, Toni says, "Holy crap. You know these guys have already been signed by some of the biggest directors."
Toni says to Harry, "You're the kid on the block with one hit movie and a festival darling."
"I'm the new kid with money," Harry replied. "And a studio partnership. We don't need them, but I at least want to ask. Worst case, they say no. Best case, one of them's bored and wants to slum it in our little piano noir."
"And the weirdos Greg found?" Toni asked.
"Reach out to them too. Anyone who's comfortable with silence and broken piano chords. Someone who understands unresolved tension."
"You don't want much, do you?"
Harry smiled faintly. "Just perfection."
"That's becoming a theme with you," Toni sighed. "All right. I'll send the script packet. But don't expect responses this week."
"I know," Harry said, glancing at the call sheet on his desk. "We're shooting either way."
He hung up, grabbed his rolled-up script, and headed for the door.
------
The warehouse had a dusty, painted smell from the years gone by. The production designer's work was fully evident through the use of raw materials - stained concrete, peeling walls, exposed pipes, etc. A corner of the room had been set up as an improvised medical examination room equipped with metal tables, cheap surgical lights, plastic sheeting which was stained muddy brown and a floor drain that looked as if it had at least been used at some time.
On the flooring was a Panavision 35 mm movie camera mounted on wheels over a flat track. The cables were cross-crossed all over the floor. Above were large bright lights suspended from metal frames with diffusion panels and Manfred's attached to them, casting a bright light and creating shadows on the wall.
Harry and Greg walked through the doorway to the warehouse. Harry was wearing a headset and carrying a script. Greg was at his side with a headset around his neck. The 1st Assistant Director had already begun to set up extras who would be used in later takes. The Gaffer and Director of Photography stood viewing the monitor and checking the pre-lighting of the stage. Greg was impressed by how it all looked together.
"This is disgusting!" Greg exclaimed. "It is quite easy to imagine waking up here and realising you were missing your kidney!"
"Well then we're at the right location for this production," Harry continued.
Daniel was already sitting on the ground in the correct position with his wrists and ankles tied with soft rope (to imitate rehearsal) and a rope connecting him to Cate Blanchett who was sitting directly behind him with her shoulder to his shoulder.
The props department will be switching to a more realistic cloth restraining prop for the close-up shots, but at this time, it is more important he remains comfortable.
Cate's hair and makeup have gone all "fallen elegance" with smudged eyeliner, an almost invisible cut on the forehead, bloodied blouse, and Daniel looks tired yet slightly amused.
"Good morning," Harry said.
Daniel turned his head towards where Harry was speaking. "Good morning boss, you were just waiting for an opportunity to tie us up, huh?"
Cate glanced over her shoulder. "There are cheaper ways to work through control issues, Harry," she said mildly.
Harry exhaled through his nose and replied, "I'll discuss this with my therapist when he arrives with a boom pole. Until then we will just work."
He squatted down in front of both men.
"All right," he says, slipping into his director role. "This scene takes place toward the end of the film. You have both been betrayed at this point in time. Murph and Sasha seem to have gotten all the loose ends under control by leaving the two of you behind to perish. You do not trust each other, but at this point in time, both of you realize that you are both going to be dead if you don't take some type of action."
Daniel smiled as he adjusted himself against the ropes strapped to his body, "So he's afraid, but thinks quickly."
"Yes," Harry replied, "And you, Cate-"
He stopped himself and corrected, "Simi Lane, not Cate Blanchett."
Cate smirked, "That's too bad. I think my name is cooler."
"But you're you." Harry said, "Just with more crimes. You've pretty much controlled the entire course of the film up until now. You've cheated, concealed evidence and manipulated every situation. This scene is the very first scene where you are truly at the mercy of another person."
In a matter-of-fact manner she said, "I get that."
The Director of Photography called him over, "We're considering the 40mm as our master lens, close enough to force intimacy but far enough out to give the audience an understanding of the surroundings."
Harry peered through the viewfinder where he could see Daniel and Cate occupying mid-screen with the rope acting as a visual representation of their relationship.
"Nice." Harry said, "Now let's move a bit to the left to get the rusted support post in our frame as well."
The assistant director yelled "Picture's Up!" and told everyone that the scene was now set. The boom operator moved into position. The mixer said "Speed".
The First Assistant Director snapped the slate.
Harry put the headset on and stared at the monitor.
"Action."
Daniel's chest was rising and falling a little too quickly when Aaron's voice said "They're going to kill us" in a cracked tone.
Simi didn't respond immediately, instead, it seemed like she was listening and searching for something. It also looked like she was almost offended by the suggestion that she could be harmed.
"Only you", she said. "I am too valuable".
"Not if they are scared", replied Aaron. "Men like these do not keep anyone they cannot control."
Harry noticed Cate's jaw twitching, and he thought that was good. "You lied from the moment you walked in my house," she said. "You behaved like a blind saint, so why should I trust you now?"
"We do not need to trust each other", replied Aaron. "We simply have to want to live."
Harry let the silence sit, counting in his head. One… two… three…
"Cut."
They've done this before. And before that. And now again.
Take 6 - the AD is doing the "nod" to indicate that we have to extend time in overtime set up, "We still need to do Mano entrance, and we have to film all of the CHAOS".
Harry looks over at the monitor to see Aaron fighting against his ropes while Simi listens and watches with icy cool calculation.
"Two more," Harry said "I want a version where she barely laughs at the thought of dying or that she doesn't really understand the idea."
"You are paying for the O.T. (overtime), not me," AD said as he got back in position.
Daniel is sweating after they finished off the MASTER. Daniel's shoulders are really tight and sore after all the takes and Cate just stretches ever so slightly when changing positions in between each take.
When Harry called out, "Moving on". Daniel let out a breath.
"How many takes was that?" he asked.
"Eight," the script supervisor said.
Daniel whistled softly. "Providence déjà vu," he muttered. "The perfectionist lives."