It’s March 2012. I’m standing outside a warehouse with 18 people. We’re about to watch a pig die. Three cameras are ready to role: two for the movie and one for legal purposes. My actors have the morning off; because of my agreement with SAG, they’re not allowed to be on set for this particular scene. Rory Royston, the operator of an independent slaughterhouse, as well as his assistant, stand in for my lead actors, dressed in their wardrobe; they will make sure the slaughter about to be performed is both safe and humane. Rory looks to me; it’s time. […]
from Filmmaker Magazine http://ift.tt/1s30kbw
from Filmmaker Magazine http://ift.tt/1s30kbw
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