The best stories seem to come from behind-the-scenes turmoil from our films, like Data's fantastic Roman Hood story. (I never heard that one... and I could swear Mark had told me them all!)

Hands down, no single Otter production was as troubled (or as not worth the trouble) as my own directorial debut, PressTime. I have detailed some of the more outlandish disasters in the documentary "A Big Blue Pain in the Ass," but there were many things I didn't (or couldn't) include there.

Like LG leaving the camera running between takes, but turning it off for actual shooting. (It was a camcorder we'd borrowed from the GMHS library and hardly top of the line, in his defense.)

Or the time several of the principals had gotten done up in full makeup and some minor detail didn't go exactly my way. So, as I often did in those days, I threw a temper tantrum and went home. Morale soared on the set that day I can tell you.

Or the fact that I'd written a courtroom scene and actually gotten permission from a judge to film in a St. Mary's county courtroom... but decided against it because I was lazy.

And we won't even go into how many almost-sequels I tried to organize, much to the chagrin of everyone I've ever known. Not to sound like too much of a sleeper, but please see A Big Blue Pain in the Ass for a proper apology.



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