Posterous theme by Cory Watilo

Filed under: mia trachinger

Fear is a lesson in history and perspective...

When I was asked to audition for EXPOSURE  I had a hair trigger reaction to the character of Roxanne as it pertained to the audition scene... someone who cared deeply about her job position, but who cared for the people and community she was instructed to inoculate. As actors we bring our whole selves to a project and with that experience comes cultural egocentricity; it is just part of who we are. I come from grandparents and parents who were raised in the segregated South. They were and are proud people who in the former generation feared the government and in the latter reaped benefits and became a part of it. 

So the impression made by the character was personal and, in retrospect, I supposed it may have been one of the reasons that I was cast... 

Roxanne is determined to complete the task of immunizing citizens against the virus and she is a woman on a mission, caring solely about the mission at hand.

From where I sat,  government had been an asset to community-. Being a child of the post Civil Rights Era, it afforded me opportunities, it employed my Dad and a number of my relatives, and my knowledge of all the things put in place to aid mothers and children who were underinsured and under privileged was expanse... surely the federal government would look out for its constituents, right?

Interestingly enough though, during my Grandparents' era, the US Public Health Service ran syphilis experiments on African American men in Alabama under the guise of free health care. No wonder, sometimes they were reluctant to see a doctor even though they were insured. So? These are the questions that swirled inside of me as the script unfolded and we embarked upon the shoot and it brought me a great deal of joy to pose the questions with Mia.

In the recent wake of the H1N1 vaccines that year, I hadn't a second thought about getting one, but I had a number of friends who questioned the necessity for it...what was the fear and so forth. As I spoke to people it became clear to me that history, culture and ethnicity informed a lot of the answers to individual questions. Where people lived...how they are treated by government officials, what results do they get when requesting aid, was asking for help ever an issue in their lives all had something to do with their decisions. 

I am excited that the dialogue about our commonality and different feelings about our government will be raised when people see the film and moreover, intrigued by what new ideas the film will spark as a result. 

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Julie Kirkwood (DP) Storyboards Exposure's Chase Sequence

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When our shotlist for the building location was complete it had over eighty shots on it.  With two shooting days for several interior and exterior dialogue scenes and a chase sequence involving our main cast and crowds of extras, this wasn't going to be possible. We narrowed it down a bit before the shoot and we did get over seventy shots in the course of those two days-- thanks to an incredibly hardworking cast and crew.

Above is the storyboarded shot from the post below-- the way it looks in the final film.

 

Julie Kirkwood (DP) & Writer-Director Mia Trachinger On Scouting Out the Chase Sequence Location

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Mia and I knew that the office building location was going to be very important in terms of the look of Exposure.  When the building with a strange layout and a lot of glass became an option, we both hesitated because it wasn't how we pictured that part of the film.  Pretty quickly, we did a complete turnaround and decided we needed that building.

Mia and I made several visits to the building to shotlist together.  Our storyboarding sessions consisted of running around with a DSLR shooting video and stills of Mia acting out the scenes.  Above is a shot of Mia simultaneously playing the roles of a crowd of office workers desperately running from government agents and a man being trampled by them.  It's one of my favorite shots in the finished film-- and one of my favorite storyboard videos. 

Vaccines in 1898, by Mia Trachinger

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I think it’s interesting to note that the resistance to immunization campaigns is nothing new….in fact it’s been going on for over a hundred years and birthed the term "conscientious objector." Read more below....

According to Deadly Choices: How the Anti-Vaccine Movement Threaten Us All, by Paul Offit...

"In 1898, the British government finally gave in (ed. to the anti-vaccine crusaders), appeasing angry citizens by passing a conscientious-objection law. People who didn't want to get a vaccine didn't have to. (The term "conscientious objector," born of England's anti-vaccine movement, was later applied to those who refused to fight in WWI and subsequent wars.)”

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Camera Intern, Arpita Kumar's experiences on Exposure

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(Camera Intern, Arpita Kumar)

Mia Trachinger took me under her wing in July of 2010 for her film, Exposure.  I worked closely with her doing research, location scouting throughout Culver City, and assisting the camera department during the four-day shoot. The camera department was a fun and efficient team headed by Julie Kirkwood, who was the cinematographer, Bret Suding, the 1st A.C., and Evan Harbuck, the 2nd A.C.

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Post-Production Sound on Exposure, by William Tabanou

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(William Tabanou, Sound Designer/Re-recording Mixer, Tab Sound Design)

 

Doing the post sound design and mix for Exposure was challenging and rewarding due to what was involved sound-wise, and the quick turnaround we had to meet.  We had to place many sound elements to make sure all of the locations and action sequences felt right to create the futuristic and tense nature of this film.

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Ben Dubash speaks about his role in Exposure

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(Ben Dubash as "Martin," third from left)

Exposure was efficient, professional and fun. 

Those are also the three words that come to mind if I had to describe Mia Trachinger and her style. It's always cool working with a director that wants actors to bring options to the table. She had an idea of what she wanted, she expressed it, but then allowed us to bring something different in every take. She let us play within the scenes, keeping it organic and you could always trust her opinion. 

The only problem I had on set was when I tried to convince Mia that my lines would be best delivered if i was "in the nude" but she said something about it not being right for the film...

The crew was amazing; Aaliyah and Rueben ran a great ship, each crew member was professional, courteous with a single goal....making a great film. 

This was my first project with the team, and I am certain we will work again in the future.

Working with Mia Trachinger, by extra Rebecca Brink

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Rebecca Brink


When I showed-up at the Exposure set, I didn’t expect anything out of the norm. I thought it would be a typical background acting day (meaning a lot of sitting around). But I was pleasantly surprised when I learned we’d get to do a lot of action shots, too. Instead of turning us into fuzzy shadows in the distance, Mia Trachinger gave us the chance to dig-in and have some fun. She really gave us a license to be creative while running like mad from the scary ‘men-in-black’ types!

Working on Exposure also turned out to be an interesting experience for another reason. It was the first-time I got the chance to work with a female director on a Hollywood set. What was different was the amount of collaboration I observed during filming. I noticed, in particular, the way Mia consulted her crew in-depth, giving them a real voice in the decision-making process. This openness extended to extras, too. In other background acting jobs, I rarely got the chance to interact with directors on-set. But Mia was quite open, interacting candidly with many of us. And I think this quality of transparency mirrors what’s at the heart of the film’s theme. Hopefully, movie viewers will come away with a similar willingness to ask questions and pursue openness as well.

Behind-the-Scenes on Mia Trachinger's EXPOSURE | stills by James Boyd (credit: Production Still Photography)

This is what things looked like on the set of Mia Trachinger's Exposure. All snaps by James Boyd, Production Still Photography.

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