Sherilyn Fenn, Wrap on Principal, and Press

It's been almost two months since we had our first day of filming on Losing Addison, and my, how far we've come!

Photo by Marc Hom

We secured Ms. Fenn thanks to Producer Adam Elliott Davis, who was able to pursue his industry connections, negotiate with all the parties, and come to a mutually pleasing arrangement for Ms. Fenn's appearance in Losing Addison. Not only was this a simultaneously time-consuming and urgent, highly sensitive endeavor, but it has been perhaps the most important and valuable contribution to the Losing Addison enterprise outside of the sheer talent and hard work of the rest of the cast and crew. Thanks to UPM-turned-Co-Producer Stephanie Foyer and her own network of industry peers- including PR Strategist Kelly Ford- who collaborated to apply Sherilyn's star power to a press release for the film which was a Deadline Hollywood Exclusive!

Immediately, we started getting more eyes on our pages. Our Google AdWords hits leapt up. Popular genre blog Bloody Disgusting and trends blog Ain't It Cool News each released a short piece on Sherilyn and her involvement in the film, which you can find here.

Sherilyn, Adam, and Joel (Sarah Jane, Les, and Addison, respectively) share a laugh while adjustments are made. Photo by Markus Weaver

In addition to our amazing star news, and the tremendous level of professional experience (over a hundred professional film credits spanning a career of more than thirty years to date! Wow!), talent, and excitement that Sherilyn brought to the film, it also happened to be our last day shooting! This final day, called "Wrap on Principal Photography," indicates the major milestone of having completed filming most if not all of every scene, location, and character in the film. Our final day was 15.3 hours long (Sherilyn worked for 10 of those hours, thankfully, Adam worked 16 as an Actor while simultaneously working 18 as a Producer- his day starting at 2pm with DP Dennis Noack and ending at 8am, some of the cast arrived at 9pm and worked until 7am, and the entire crew worked the whole period from 3pm to 7:30am. Let no one think this career path is an easy one!) and began for some at 2pm on the 16th and ended around 9am or later for some of the crew! Those hours were long, and ranged from emotionally straining and physically exhausting for those of us working around the camera, with lights, art, acting, or even the staggering amount of clerical work that went into the film- as tensions wear thin long into the night- to vibrant and vividly fulfilling creative moments, as the lights, sound, camera, and acting found such cathartic and lovely grooves that we are certain will bless every scene in this film. Yes, the day was long, and the work was hard, but a more perfect conclusion to the principal photography of this film you couldn't ask for. It is fair to say that in this final mighty push, we solidified ourselves as family.

Pork tenderloin/wild salmon/vegan soy

ginger tempeh/braised greens/balsamic roasted mushrooms/

roasted beets & carrots/garlic lemon green beans/pureed white beans with roasted garlic & olive

oil/homemade Mac & Cheese/

hearty vegetable soup/

green salad

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Photo by markus weaver

What's on the menu

The wrap on principal photography isn't the end, however. While we've accomplished something many people only dream about, and further still, something rarely accomplished to this level in the Portland film market, we have only scratched the surface of this film, and are unearthing great new opportunities to tell this story in the best way possible day by day. Jon Meyer (VanJam Productions) has taken our footage and prepares to edit the completed cut of our film. We have a couple more shoot days (called "Pickups") to pick up anything we may have forgotten, skipped, or not sufficiently covered. Usually, this is simple stuff like b-roll of someone doing a simple activity (walking, writing something down, etc.), any SFX shots we weren't able to do on location for safety, functionality, time, or other reasons, any missing coverage of lines or scenes, and scenery (invaluable for seamless editing). These pickups should take a couple of days, and require a minimal cast and crew; they will serve as the glue for our film, and allow us to tell a complete and immersive story from start to finish.

After pickups, we go to sound design and color correction, and finally... Festivals. Once we're submitting to the festivals we hope to enter, we're closing in on the finish line for Losing Addison. We are excited to have you along for the ride, and are grateful for your continued love and support as we celebrate this heroic undertaking: creating compelling stories, well-told.

The biggest day on set, with the most cast, crew, and extras of the entire shoot. Photo by Anonymous

Cheers!