Thursday 29, 2011
10:00 Director & DP arrive with equipment
arranging of equipment, food props and craft services.
10:30 Film students, principal female actresses arrive, hair dressers arrive.
-Hair on the principals to be completed by 11.
-Possible additional cast member’s hair
-Placement and paperwork completed by students by 11.
-briefing on dolly/steady-cam and gib (Hassan and John’s teams)
-dressing the set (Jennida & Hannah’s teams)
-arranging lighting per DP (Hassan and John’s teams)
11:00 Extras arrive.
-Paperwork, placement and costume/hair/make-up touch up. (Jennida and Hannah’s teams)
-Placement of extras and students. (Jennida and Hannah’s teams)
11:30/11:45 begin shooting individual table sequences and bar sequence
12:45/1:00 Shoot main sequence
2:00 Clean Up/Load Out
Tuesday, September 27, 2011
Monday, September 26, 2011
shooting script/story board/shot list
coming soon...
Shot List:
C/U of Heather’s eyes watching all the patrons going crazy all over the restaurant
C/U of Heather turning and looking into the camera
The (main) long tracking shot with Heather attacking (Med)
Tracking/(Dolly) down balcony shooting into BH open doors… (wide)
Tracking/(Dolly) down bar focusing on the bartenders staring in shock (Wide/Long & Medium Long)
(try all the tracking/dolly shots with the steadycam & glide cams!?)
Jib! (place jib on table 42 and also 45 to get nice moving shot panning down into the set)
Babies running/crawling…
Track in arches around a table or two of outlandish patrons
Medium shots of patrons at extravagant tables
Table Scenerios:
Shoot with steady or dolly or glide…
(set up scenarios for my students to shoot additionally)
waitron being handed way too many dishes from the guests…
waitron being interrupted at a table by another table getting her attention
kids running by waiter trying to carry large tray
people waving empty glasses across the room at waiters
someone finds a hair in the food they have almost finished
Shot List:
C/U of Heather’s eyes watching all the patrons going crazy all over the restaurant
C/U of Heather turning and looking into the camera
The (main) long tracking shot with Heather attacking (Med)
Tracking/(Dolly) down balcony shooting into BH open doors… (wide)
Tracking/(Dolly) down bar focusing on the bartenders staring in shock (Wide/Long & Medium Long)
(try all the tracking/dolly shots with the steadycam & glide cams!?)
Jib! (place jib on table 42 and also 45 to get nice moving shot panning down into the set)
Babies running/crawling…
Track in arches around a table or two of outlandish patrons
Medium shots of patrons at extravagant tables
Table Scenerios:
Shoot with steady or dolly or glide…
(set up scenarios for my students to shoot additionally)
waitron being handed way too many dishes from the guests…
waitron being interrupted at a table by another table getting her attention
kids running by waiter trying to carry large tray
people waving empty glasses across the room at waiters
someone finds a hair in the food they have almost finished
Crew Positions
CREW:
http://en.wikipedia.org/wiki/Film_crew
Here are some very basic details with a few of the crew members and the traditional definition of duties... I will be assigning several students to follow each of these positions.
Producer/Director: Jennida Chase
Traditional Duties:
Producer: creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to completion of a project.
The director: is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.
Film I students assigned to this position:
Cinematographer/DP: Hassan Pitts
Traditional Duties:
DP: is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DoP how they want a shot to look, and the DoP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the directors requirements.
Duty in our production:
Camera Operator
Steady Cam operator
Dolly operator
Chief lighting
Film I students assigned to this position:
Assistant Director: Anubhav Bist
Traditional Duties:
AD: assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
Duty in our production:
Help maintain schedule
Hold on both Jennida and Hassan’s cell phones/answer and take messages/direct traffic etc…
Film I students assigned to this position:
Production/Location Manager: Hannah Sutherland
Traditional Duties:
Production Manager: supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.
Duty in our production:
Manage all model release forms
Help manage and place extras
Film I students assigned to this position:
Key Grip: John Cappello
Traditional Duties:
Key grip: is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and blocking.
Best boy (Grip): is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
Duty in our production:
Manage all equipment and technical issues with blocking and
Film I students assigned to this position:
Hairstylists:
Melissa Grey
Tasha Patrick
Set Decorator/ Props Master: Chef Todd Richardson/Eddy Collier/Jennida Chase…
Traditional Duties:
Set Decorator: is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.
Props Master: The property master is in charge of finding and managing all the props that appear in the film. The property master usually has several assistants.
Film I students assigned to this position:
http://en.wikipedia.org/wiki/Film_crew
Here are some very basic details with a few of the crew members and the traditional definition of duties... I will be assigning several students to follow each of these positions.
Producer/Director: Jennida Chase
Traditional Duties:
Producer: creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to completion of a project.
The director: is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.
Film I students assigned to this position:
Cinematographer/DP: Hassan Pitts
Traditional Duties:
DP: is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DoP how they want a shot to look, and the DoP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the directors requirements.
Duty in our production:
Camera Operator
Steady Cam operator
Dolly operator
Chief lighting
Film I students assigned to this position:
Assistant Director: Anubhav Bist
Traditional Duties:
AD: assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
Duty in our production:
Help maintain schedule
Hold on both Jennida and Hassan’s cell phones/answer and take messages/direct traffic etc…
Film I students assigned to this position:
Production/Location Manager: Hannah Sutherland
Traditional Duties:
Production Manager: supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.
Duty in our production:
Manage all model release forms
Help manage and place extras
Film I students assigned to this position:
Key Grip: John Cappello
Traditional Duties:
Key grip: is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and blocking.
Best boy (Grip): is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
Duty in our production:
Manage all equipment and technical issues with blocking and
Film I students assigned to this position:
Hairstylists:
Melissa Grey
Tasha Patrick
Set Decorator/ Props Master: Chef Todd Richardson/Eddy Collier/Jennida Chase…
Traditional Duties:
Set Decorator: is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.
Props Master: The property master is in charge of finding and managing all the props that appear in the film. The property master usually has several assistants.
Film I students assigned to this position:
Casting
I often use many of my same actors/performers in my work. All of the Waitron and some of the extras have been in my previous projects. I extended an invitation to the entire staff from the Boathouse, asking them to be extras in the project, many of them have confirmed. A casting call went out on both Craig's List and on the Virginia Production Alliance's list-serve... the call was asking for people 40+ any type... This is the wording I used:
"Casting extras between the ages of 35-80 (looking for all types) to be a part of a small no budget art film in Richmond, VA. The shoot will take place at The Boathouse at Rockett’s Landing on Thursday September, 29th at 11am to 1:30pm. If interested, please contact Jennida Chase at jumpcutjen@yahoo.com for more information.
There will be snacks and you will receive a copy of the finished film."
From there I received 20-30 responses asking for more information, and about 11 have confirmed so far....
Here is an unfinished list of the cast:
Waitron:
Christina Ashe
Heather Bailey
Nia Burks
Lily Lamberta
Barkeep:
Josh Plinski
Extras:
Mike Shiflett
Corey Campell
Trevor Swinson
Jackie Nance
Tyler Young
Jennifer Hurst
Nathan Wender
Jennifer Brooks
Anna Nuger
Leigh Cole + Boyfriend
Micah
Ross Amory
Josh Hill
Extras from VPA Casting Call:
madeleine chasen
Eric Stoupa
George Ludden (bearded!)
charlie morgan
Anthony Amos
Richard C. Burriesci
Karla Brown?
Al Strickland?
Bill Kaffenberger (bearded!)
prlorimer@juno.com?
Kathleen Richine
Bearded men:
Wheeler (perhaps his roommate)
Several of the extras from casting call
Bald and cleanly shorn men:
Zach
Barefoot
Mike Shiflett
Society women:
Aly Thorton
Tasha (BH)
Melissa Grey
Victims:
Zach Deaver
Tyler Debus
This is the very basic flyer that I put up in the kitchen of the Boathouse Restaurant inviting the staff to participate...
"Casting extras between the ages of 35-80 (looking for all types) to be a part of a small no budget art film in Richmond, VA. The shoot will take place at The Boathouse at Rockett’s Landing on Thursday September, 29th at 11am to 1:30pm. If interested, please contact Jennida Chase at jumpcutjen@yahoo.com for more information.
There will be snacks and you will receive a copy of the finished film."
From there I received 20-30 responses asking for more information, and about 11 have confirmed so far....
Here is an unfinished list of the cast:
Waitron:
Christina Ashe
Heather Bailey
Nia Burks
Lily Lamberta
Barkeep:
Josh Plinski
Extras:
Mike Shiflett
Corey Campell
Trevor Swinson
Jackie Nance
Tyler Young
Jennifer Hurst
Nathan Wender
Jennifer Brooks
Anna Nuger
Leigh Cole + Boyfriend
Micah
Ross Amory
Josh Hill
Extras from VPA Casting Call:
madeleine chasen
Eric Stoupa
George Ludden (bearded!)
charlie morgan
Anthony Amos
Richard C. Burriesci
Karla Brown?
Al Strickland?
Bill Kaffenberger (bearded!)
prlorimer@juno.com?
Kathleen Richine
Bearded men:
Wheeler (perhaps his roommate)
Several of the extras from casting call
Bald and cleanly shorn men:
Zach
Barefoot
Mike Shiflett
Society women:
Aly Thorton
Tasha (BH)
Melissa Grey
Victims:
Zach Deaver
Tyler Debus
This is the very basic flyer that I put up in the kitchen of the Boathouse Restaurant inviting the staff to participate...
Equipment
Equipment:
7D
lenses
cards
Dolly
Tripod
Steady Cam
Glide Cam
2 Diva Kits (lights)
Flourescent to Daylight jells?
toolbox
I am also inviting my film students to bring their cameras… Any of them who use canons will be placed at tables with the extras to shoot and micro-direct their table for additional camera angles! The ones who use other types of cameras are invited to shoot whatever they want, perhaps to document the shoot and to shoot stills of the actors and the project.
Templates for forms like these can be found easily online, I recommend downloading one and abridging it to your specific shoot!
And the model/actor release form:
7D
lenses
cards
Dolly
Tripod
Steady Cam
Glide Cam
2 Diva Kits (lights)
Flourescent to Daylight jells?
toolbox
I am also inviting my film students to bring their cameras… Any of them who use canons will be placed at tables with the extras to shoot and micro-direct their table for additional camera angles! The ones who use other types of cameras are invited to shoot whatever they want, perhaps to document the shoot and to shoot stills of the actors and the project.
Templates for forms like these can be found easily online, I recommend downloading one and abridging it to your specific shoot!
And the model/actor release form:
Original Budget Estimation
Boathouse Film Budget:
Waitstaff wardrobe:
White button down shirts for waiters $30
Black pants for waiters $30
Props:
Breakaway bottles $200
Food props $200-$300?
Catering: $50-$100?
Total estimation:
$660
I will post the final project cost later on in the process...
Waitstaff wardrobe:
White button down shirts for waiters $30
Black pants for waiters $30
Props:
Breakaway bottles $200
Food props $200-$300?
Catering: $50-$100?
Total estimation:
$660
I will post the final project cost later on in the process...
Props
Because the only props outside of the breakaway bottles will be the food on the tables... I consulted Chef Todd Richardson (the chef of the Boathouse) for ideas on how to make the tables look great...
A Few Ideas for tables:
FAMILY STYLE:
-society women-2-3 tier tower of muffins/scones/cookies served with tea and coffee/sparkling cider
-bearded men- eating chickens and mashers/asperagus?
-table with pasta
-table of women with Salad and Bread and 'champagne'
-Table with elevated cake or pie?
-little cones/canapés or visually outstanding things like this? (did the picture have smoked salmon?)
-a table with an elevated pizza?
Food props (budget $200-$300?) (aim for LESS!!!)
Shopping Lists
Costco?:
Chicken
Bread
Salad mix/veggies
Cake or pie
Smoked salmon
Muffins/scones?
Kroger/Food Lion:
Pasta/sauce
Sparkling cider
A Few Ideas for tables:
FAMILY STYLE:
-society women-2-3 tier tower of muffins/scones/cookies served with tea and coffee/sparkling cider
-bearded men- eating chickens and mashers/asperagus?
-table with pasta
-table of women with Salad and Bread and 'champagne'
-Table with elevated cake or pie?
-little cones/canapés or visually outstanding things like this? (did the picture have smoked salmon?)
-a table with an elevated pizza?
Food props (budget $200-$300?) (aim for LESS!!!)
Shopping Lists
Costco?:
Chicken
Bread
Salad mix/veggies
Cake or pie
Smoked salmon
Muffins/scones?
Kroger/Food Lion:
Pasta/sauce
Sparkling cider
Art Direction!
Art direction is a very important part of my work. I enjoy developing a direction to head a project into...
Location:
This shoot is designed to be shot on location at the Boathouse at Rockett's Landing in Richmond, VA. It is an incredibly beautiful restaurant located on the James River, overlooking RVA. Because this location is a functioning restaurant, there is very little that I need to do to dress the set. I will be providing the food props on the tables... (Which I will go into more detail in another blog entry)
here is a link to the location:
http://www.boathouserichmond.com/rocketts_landing/boathouse_restaurant.php?dsp=restaurant
Costume
The Patrons:
In general I have asked the extras to dress in business casual and in solid colors. There are a few people I asked to dress up a little bit and to play wealthy people.
Waitron: Black pants/shoes and white button up shirt with a bistro apron. Bistro aprons can be found on restaurant supply website. (I own about 12 from a previous shoot) most of the cast already has or is borrowing their pants/shirts... I am taking the ones who do not shopping at a local thrift store.
I want the women who have been cast as the waitron to have braided hair, vaguely reminiscent of soviet worker women... I am bringing in some hair stylists to do this on the morning of the shoot. I google searched images of braided hairstyles until I found a few I wanted to show the stylists... I went by a beauty supply store with one of the stylists and bought hair weave, in a few general colors, in order to generally match the actors cast in these rolls-- in order to allow for larger, thicker braids on them. I spent about $45 in the beauty supply store, as I also bought some fake lashes and adhesive for them. Below are a few images of braids I collected: (If I was creating the set for this project, I would probably have opted for something more in the style of the last image)
Location:
This shoot is designed to be shot on location at the Boathouse at Rockett's Landing in Richmond, VA. It is an incredibly beautiful restaurant located on the James River, overlooking RVA. Because this location is a functioning restaurant, there is very little that I need to do to dress the set. I will be providing the food props on the tables... (Which I will go into more detail in another blog entry)
here is a link to the location:
http://www.boathouserichmond.com/rocketts_landing/boathouse_restaurant.php?dsp=restaurant
Costume
The Patrons:
In general I have asked the extras to dress in business casual and in solid colors. There are a few people I asked to dress up a little bit and to play wealthy people.
Waitron: Black pants/shoes and white button up shirt with a bistro apron. Bistro aprons can be found on restaurant supply website. (I own about 12 from a previous shoot) most of the cast already has or is borrowing their pants/shirts... I am taking the ones who do not shopping at a local thrift store.
I want the women who have been cast as the waitron to have braided hair, vaguely reminiscent of soviet worker women... I am bringing in some hair stylists to do this on the morning of the shoot. I google searched images of braided hairstyles until I found a few I wanted to show the stylists... I went by a beauty supply store with one of the stylists and bought hair weave, in a few general colors, in order to generally match the actors cast in these rolls-- in order to allow for larger, thicker braids on them. I spent about $45 in the beauty supply store, as I also bought some fake lashes and adhesive for them. Below are a few images of braids I collected: (If I was creating the set for this project, I would probably have opted for something more in the style of the last image)
Breakaway glass...
Since the synopsis requires the waitron violently attacking the public with beer bottles, I knew I needed breakaway bottles (or sugar glass)
http://en.wikipedia.org/wiki/Sugar_glass
Ordering this type of prop takes a while, so you want to order it several weeks in advance of your shoot.
I chose to gamble on a cheep source out of California...
http://www.smashprops.com/
I ordered 6 green and 6 brown beer bottles. (I still have 2 left from a shoot several years ago)
Order Subtotal: $144.00
Shipping: $16.54
Sales Tax: $0.00
Grand Total: $160.54
http://en.wikipedia.org/wiki/Sugar_glass
Ordering this type of prop takes a while, so you want to order it several weeks in advance of your shoot.
I chose to gamble on a cheep source out of California...
http://www.smashprops.com/
I ordered 6 green and 6 brown beer bottles. (I still have 2 left from a shoot several years ago)
Order Subtotal: $144.00
Shipping: $16.54
Sales Tax: $0.00
Grand Total: $160.54
Saturday, September 24, 2011
Contacting Location with Project Proposal
After coming up with the idea, think of location... (this project needs to take place in a real restaurant)
The 1st step was to contact the location (the restaurant management and owner)
this was the content of the proposal of the email I sent to them...
Boathouse (RL location) Film Proposal
Jennida Chase
8/15/11
Basic Proposal:
To create a very short, experimental film to be shot on location in the Boathouse at Rockett’s Landing, on either a Tuesday or Thursday morning this September or October, 2011. In addition to shooting this project at the Boathouse, I would like to invite the staff of the boathouse and some additional cast members to come and be extras in the film and enjoy an early lunch (which I will provide). I have been wanting to make this film for some time, and think that inviting my Film I and Filmmaking Workshop classes from VCU to be my crew would be a great way for them to see the ins and outs of shooting on location with a number of extras. I will probably shoot digitally for this project.
Time Frame:
Shoot on Thursday 29th September, 2011. Rough estimation of time needed on location--- We would arrive and set up with crew and primary actors around 10am, extras arrive around 11am, shoot around noon and clean up by 2pm.
Synopsis of film:
On a busy day in an upscale restaurant, one waitstaff member has a break with reality while standing in the middle of her section and euphorically turns and begins walking joyously through the dinning room breaking beer bottles on the heads of patrons.
**bottles will be made of breakaway glass, a prop used in film and theater made of spun sugar.
If you would like to be an extra in this film,
or would like to help with the overall necessities
email (RSVP) with Jennida
Hoping to be provided/lent by BH:
-the RL location
-boathouse plates, silverware and glasses, a few small trays...
**I have spoken with Todd about this proposal who has mentioned that, depending on his schedule, would consider helping me plate the food that I bring in, so that it looks like restaurant fare...
**I have also spoken with Aly who has indicated that, depending on her schedule, would consider being on location during this shoot...
To be provided/arranged by me:
-cast roles and assign all crew, direct film and manage shoot.
-buy and bring in food for the props (for the restaurant patrons to be eating in the film)
-provide the actors cast as waiters with non-Boathouse uniforms.
-bring equipment (camera and lighting etc) and all other technical aspects of the film.
-clean up, dinning room, wash the dishes and leave the Boathouse ready for dinner service!
The 1st step was to contact the location (the restaurant management and owner)
this was the content of the proposal of the email I sent to them...
Boathouse (RL location) Film Proposal
Jennida Chase
8/15/11
Basic Proposal:
To create a very short, experimental film to be shot on location in the Boathouse at Rockett’s Landing, on either a Tuesday or Thursday morning this September or October, 2011. In addition to shooting this project at the Boathouse, I would like to invite the staff of the boathouse and some additional cast members to come and be extras in the film and enjoy an early lunch (which I will provide). I have been wanting to make this film for some time, and think that inviting my Film I and Filmmaking Workshop classes from VCU to be my crew would be a great way for them to see the ins and outs of shooting on location with a number of extras. I will probably shoot digitally for this project.
Time Frame:
Shoot on Thursday 29th September, 2011. Rough estimation of time needed on location--- We would arrive and set up with crew and primary actors around 10am, extras arrive around 11am, shoot around noon and clean up by 2pm.
Synopsis of film:
On a busy day in an upscale restaurant, one waitstaff member has a break with reality while standing in the middle of her section and euphorically turns and begins walking joyously through the dinning room breaking beer bottles on the heads of patrons.
**bottles will be made of breakaway glass, a prop used in film and theater made of spun sugar.
If you would like to be an extra in this film,
or would like to help with the overall necessities
email (RSVP) with Jennida
Hoping to be provided/lent by BH:
-the RL location
-boathouse plates, silverware and glasses, a few small trays...
**I have spoken with Todd about this proposal who has mentioned that, depending on his schedule, would consider helping me plate the food that I bring in, so that it looks like restaurant fare...
**I have also spoken with Aly who has indicated that, depending on her schedule, would consider being on location during this shoot...
To be provided/arranged by me:
-cast roles and assign all crew, direct film and manage shoot.
-buy and bring in food for the props (for the restaurant patrons to be eating in the film)
-provide the actors cast as waiters with non-Boathouse uniforms.
-bring equipment (camera and lighting etc) and all other technical aspects of the film.
-clean up, dinning room, wash the dishes and leave the Boathouse ready for dinner service!
come up with an idea
Synopsis of film:
On a busy day in an upscale restaurant, one waitstaff member has a break with reality while standing in the middle of her section and euphorically turns and begins walking joyously through the dinning room breaking beer bottles on the heads of patrons.
**bottles will be made of breakaway glass, a prop used in film and theater made of spun sugar.
On a busy day in an upscale restaurant, one waitstaff member has a break with reality while standing in the middle of her section and euphorically turns and begins walking joyously through the dinning room breaking beer bottles on the heads of patrons.
**bottles will be made of breakaway glass, a prop used in film and theater made of spun sugar.
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