We celebrate our 50th episode with the continuation of our Behind TPH series. We have made it to production and in this segment we cover all the dirty details of our first segment of the film. We shot the storm story and the bookend story over the first four days of production.

But, before we continue with Behind TPH, we update you on the most recent developments with the film. We have partnered with Tugg.com to offer The Perfect House in local theaters. All you have to do is request a screening in your area and list the top 3 theaters and dates you would like for the event. You become the event promoter and receive 5% of the ticket sales. Tugg handles all of the work setting up and booking the event and making ticket sales available. As long as the minimum number of tickets are sold a week before the event, the event happens. If not, the event is canceled and no one is charged for anything.

As a reward to any fans that request an October screening in your area, we will supply you with 5 DVDs of the film to give away at your event!

Behind TPH: Production of the storm story.

The first day of shooting got off to a rocky start, we started right out with exteriors on a busy street. As we discussed in the last episode of gratcast, the rain had saturated the ground to the point anymore moisture was going to flood the basement all over again. On top of the weather issues, we discovered we completely forgot to cast a role, not just a role, but a role in the very first scene we shot!

Our first day working with a name actor was chaotic to say the least, we got some great stuff that actually inspired the storyline for the sequel, but in the end it was all for not, as we had to comeback a few months later and completely rewrite and reshoot the last scene of the movie.

The next day Monique Parent arrived in Buffalo. Because we were running behind, from the fight with the weather the day before, we had to try and make up for lost time, by shooting some of the next days scenes that night. That meant, if Monique was up to it, she had to come straight from the airport after a cross country flight, right to set and make-up. She was not only up to it, but nailed it!

While we shot the bookend segment and tour of the house, we got a lead on a potential set designer for the rest of production. Zach Serafin came to set for a lunch break interview, he never left! From that moment forward Zach was our set designer. Once again, we got ridiculously lucky, Zach’s talents and efforts showed up directly on screen, he added depth and detail to our sets that would have never been there without him. The second story, the John Doesy story, was an entire world he had created in two days!

During the first story we were all still feeling each other out, as was my grandfather in regards to his feelings about all of this. It became evident right away that the tight rope between loyal grandson and loyal producer was going to be almost impossible to balance. We had a bullseye on our chest and it wasn’t going to go away. However, thanks to a timely scheduled surgery, my Uncle Dave was out of work recovering for a few weeks, the exact weeks we were shooting. He became a godsend and a bridge between family and business, without him becoming our ‘set manager’ we would have been kicked out of the house after day 2.

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