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Production JournalUpdated 07.24.06When you're driving at night while deprived of sleep, lights form narrow rows of streaks that wave by the windshield as they are passed. The effect would be beautiful if it wasn't also accompanied by the fear of blink-sleeping yourself into a guardrail. The plan was to drive to Portland to film the show on the 21st, then drive back to Seattle that same night, sleep, then shoot the Seattle show that next night. We'd done it before around Thanksgiving last year, but we expected the trip to be better this time around because there wasn't holiday traffic involved. It wasn't better. Not at all. The trip took 5 hours. The show was worth it. Beforehand Jace and I discussed the creeping spectre of burnout. We still enjoyed the shows, but we wondered if we'd ever enjoy a TLW show the way we used to. Those halcyon days where you didn't have to worry about holding a camera steady so long that your arms shake and shoulders cramp while streaks of sweat form on your face you can't wipe away, and you could pay more attention to the show than what the next shot should be. The show that followed that conversation erased all doubt; the band played with a passion and aggression that in my fatigued state I really responded to, and it made me regret having any doubts that the music couldn't remain as meaningful as it ever was. Maybe it always was that way, and that my weakened state changed my perception of it enough that I became more vulnerable to it. All I know is that the camera felt lighter than it had in a long time. The Seattle show the next night was the same way. In front of a packed hometown audience at Neumos, the band played ferociously. I really hope the feeling translates to the film. The band did their part, I just have to do mine. I'm going to update the site every Monday. < > |
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