Back and forth

So after Chris and I chat for a few minutes, I ask him to contact my rep, Blake Pearson at VISU. Blake calls me with some of the specs and asks when we can get an estimate together.

The next move was the first, best thing I did on the whole job. I called a trusted producer, who came highly recommended from my friend in New York, Shannon Fagan.

Emily Miller was a God-send on this shoot. I knew she would provide incredible logistical support as we went through this, but at the moment, she was out of town on a shoot and can I call you when I get back in a couple of days? Ummm.....

Yeah, absolutely. But in the meantime we had an estimate to come up with and fortunately this wasn't Blake's first trip to the rodeo either. Apart from a few California- and Marin-specific modifications, we were able to bang out a pretty thorough estimate for Chris pretty quickly, and we had Emily on board shortly thereafter to help us smooth out some rough edges.

After some back and forth, a few days longer than we anticipated, eventually (admittedly, I might have been holding my breath a little) Chris called back to say he was holding a signed estimate and we got the job.

"Hallelujah! About damn time, with this job I'm going to book a nice weekend with the lady and maybe a nice dinner tonight to celebrate!!" Then I realized, no, you're not. You're going to get your head out of your ass and produce this thing because we're shooting in a week, 5 locations, 2 days. Plus it's almost tax time, so you can't spend that money anyway, and you have two editorial shoots to do in the meantime.

Quit staring at the computer screen and get on with the scouting.