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Project Greenlight & Feast Wrap Up Main Course, Steamroll Toward Dessert

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We were treated to the final week of shooting on Feast this week – a week that wouldn’t have existed had it not been for timely funding by the Maloof brothers – and I must admit I grew a bit sad.

I’ve been hyping Project Greenlight for weeks and still believe it’s the best show on television: a brilliant melding of reality television, documentary film making, and the aspiration to inject some new blood and creativity into the Hollywood film beast. Most of all it’s a clinic on how hard it is to make a good movie, an interesting movie, a movie that is willing to risk and take chances.

The obstacles, we’re learning each week, are enormous.

Because there was less conflict and less drama this week (save for Miss Thang Krista Allen… see more below) this was not the most compelling episode yet aired. Still, it was nice to see first-time director and contest winner John Gulager pull his production over the finish line through the force of his sheepish yet hefty personality.

Key Moment #1
Blood-smeared Krista Allen sneaking off set in her SUV after she had “wrapped” herself, twirling her hair. Basically, Allen decided it was time to go home, so she went.

Key Moment #2
The monster/effects dude getting mightily pissed off whilst trying to stick his 40 lb. pelt-shrouded monster head through a tiny hole while everyone else joked around and ate sushi.

Don’t you just hate it when that happens?

Key Moment #3
The producers and director cutting their hair in short-bus prisoner a la 1925 style so that reticent actor Balthazar Getty would consent to cutting his hair for continuity.

Come on, Steve Spielberg can wait for that lid to grow out… who’s with me?

Key Moment #4
Smooth-as-a-robot Dimension money-man Andrew Rona saying “I like it” over the phone after viewing an “assembly” of scenes from Feast.

To quote Beck on his latest and brilliant Guero:

Hell yes!

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