Cast and crew arrive at 5:45 a.m. The first sequence on the schedule is sc. 8, Sebastien stepping from the elevator and into the "Corridor from Hell." The location is a long, narrow hallway located under one of the large buildings on the AIU campus, and a fast tracking shot running the length of the hall is planned to exploit it. Zach is sent for wardrobe and make-up while the crew sets up.

Another team, headed by Stan, is sent to prep the next location on the day's schedule, sc. 6, the questioning of Ajay by reporters. This sequence will include a 30' dolly shot, two key players, several extras adlibbing dialogue, multiple cameras and lots of coverage.

While the corridor scene interiors are swiftly gotten (after nearly crashing the dolly cart and the student camera operators on board into a wall a couple of times), the next shot — Sebastian bursts out of the door into bright sunlight — is cancelled. It's too early in the morning, and there is no bright sunlight as result of coastal fog. The shot is listed as a pick-up that we hope to get at some point later in the day, or on Monday.

A mini-company move later and we're at the library location, where Ajay and the reporters are. Efficient prep and rehearsal by the second team allows us to cover the 3/8's worth of script page in only two hours. The next location is assessed, a diverse interior that will allow us to knockout both sc. 4 and sc. 9, without a move, and a half-hour lunch is called while Nick Berry and the lighting department setup the location.

DOG DAY AFTERNOON

After lunch, Sebastien's introductory scene (4) is shot fairly quickly in one setup. Next up: Ajay confronting what in the script is a security guard, but has been changed to a maintenance man. The entire scene consists of four shots with two actors speaking two sentences, with a new comic gag involving a mop thrown in. One hour, tops, is the thinking.

Nearly three hours, a casting swap, then another casting swap later, the company makes another mini-move to the exterior location where Dave's scene with the Babe (7A) will take place. Shooting goes well, but involves lots of coverage. It's late afternoon before the company makes its final mini-move of the day, to the guard shack and winding road locations where scenes 1 through 2A will be shot.

END OF DAY

Traffic control at the campus main entry where the guard shack is located proves challenging, and extremely hot on this record-breaking-high-temperature summer afternoon. Unable to get the specific shots planned, new setups are improvised, however we're losing our light. The crew rushes to the final location up the road, intent on getting the exterior of Dave's car scene (2A), followed by the interior moving car stuff with Ajay and his chauffeur (1C).

Another hour-plus getting the Dave footage and we're ready for the car interior. Only problem is, the sun has sunk behind the nearby woods. We've lost our light. It's 6 p.m., and yet another needed shot is booted to Monday. On this first day of shooting, near everybody has been at it for over twelve hours, yet getting less than three pages shot proves impossible.

But Stan's come up with an idea for the missing woods scene, plus an unexpected revision of Harold could save the movie. The production department works until 11:15 p.m. getting Monday's callsheet together.