No 'Blues' on This Happy Set

NASHVILLE—Airs and pretense could not budge their way into the cramped quarters on the movie set of Blue Like Jazz if they tried. They couldn't get past all the passion, excitement, eagerness, and humility by those making the film, nor could they fit for the literal lack of space in this particular scene's locale: a little retail shop on a small corner in Nashville, Tennessee.

Co-stars Marshall Allman and Tania Raymonde

Everyone—actors, producers, directors, assistants, and tech crew—has crammed into the store for an evening of shooting what will ultimately be an eight-second portion of a montage that depicts Donald Miller's character adjusting to college life. These eight seconds include Don, played by True Blood's Marshall Allman, trying on new "hip" clothes tossed to him by his friend Lauryn, played by Lost's Tania Raymonde.

Despite the sewing machines, large craft tables, racks of clothes, stacks of folded jeans, and a couple of roaming dogs to work around, the crew maneuvers its equipment among the obstacles, and no one complains of the limited space that necessitates should-to-shoulder contact.

"You just can't buy that kind of camaraderie," says Miller, author of Blue Like Jazz and co-screenwriter of the film, tentatively scheduled to release in the fall of 2011. Miller planned to be on set as much as possible during the four weeks of filming in Nashville—they wrapped this weekend—and again early next year for three days of filming in Portland, Miller's hometown and the locale for much of his true-life story.

Reflecting on the people who are making this "miracle film"—more on that in a moment—Miller says, "A lot of times you can shoot an [independent] movie and people are just going, 'I wonder if we're shooting anything that people are ever going to see. Is this going to be special?' But when everyone showed up here on the first day, we knew this was a very special project."

Ben Pearson, co-screenwriter and director of photography, agrees. "It's been magical," he says. "I don't think I've ever been on a better set. The people are working together in a way that I'm just not used to seeing. There's a certain synchronicity. It's kind of a corporate thankfulness."

And for good reason. Less than a month before production began, Miller and co-writer/director Steve Taylor—who had been working on the film for years, including fundraising—had essentially declared the project dead when a major investor pulled out. "It's a sad day," Miller blogged on September 16.

A Jazzy resurrection

Less than two weeks later, the film had a shot at new life when Zach Prichard and Jonathan Frazier, Blue Like Jazz fans from Franklin, Tenn., launched a grassroots effort—starting with the appropriately named SaveBlueLikeJazz.com—to raise money to resurrect the project. They directed fans to the fundraising site kickstarter.com, hoping to raise $125,000 in 30 days. Some 4,000 fans responded, donating $345,992—almost triple their goal, making it the best-funded project in Kickstarter history (and putting Prichard and Frazier into the Kickstarter Hall of Fame) while putting the project back on the fast track.

Miller (left) with 'Jazz' fans Jonathan Frazier and Zach Prichard

Prichard and Frazier have been on the BLJ set in Nashville for much of the last few weeks, with cameras in tow and two new assignments from the filmmakers: to update the movies' "investors" with regular production blog posts at the film's website, and to collect footage for a behind-the-scenes documentary they have been hired to create.

Prichard says the production blog proves they're not taking the usual secretive approach to movie production. "We want to broadcast it," he says. "We want to let everybody in on what we're doing, keep them updated and keep them involved."

Pearson recalls the sinking feeling from just a couple of months ago. "We'd been on this project for four years," he says. "I thought, I guess I have to prepare to see it die and to move on with my life, whatever that means."

Instead, he and Miller and Taylor are moving forward and in the thick of production, albeit with a limited budget. The $345,992 raised at Kickstarter won't fund the entire project; word on the street is that its budget is closer to—but not more than—$1 million. As a result, the cast and crew are running on passion more than on funds.

A cinematic apology

Allman, the actor who plays Miller, has to return to the True Blood set in December, but wanted to set aside this small window of time to shoot a movie he believes in—a movie he says has an important message of apology from Christians to a country that needs to hear it.

"It's amazing what happens in a marriage when you apologize," says Allman, 26, who has been married for four years. "It really opens the door for honor and respect of one another, and I think we could use a heavy dosage of that all around from any sort of group or culture—a little bit more wisdom, a little bit more empathy."

Director Steve Taylor and producer Clarke Gallivan

That attitude seems to stem from the three humble screenwriters. The set has no stereotypical canvas directors' chairs. Miller grabs what little space is left on a worn, leather sofa mostly claimed by a large golden Labrador retriever. Taylor hovers quietly around the monitor. Pearson stands behind the camera. They're just grateful to be there.

And none of them are earning a dime for their work.

"Monetarily, this is a really expensive hobby right now," admits Taylor, who has directed one film (The Second Chance, 2006) and has an impressive resumÉ as a songwriter and musician. Though he and his family are, for the time being, financially dependent on royalty checks from his past songwriting, Taylor says his wife is "overjoyed" this dream is turning to reality.

"She's seen how frustrating it's been," says Taylor of past years of funding let-downs, "and to see it all come together—in such a miraculous way—has been great for all of us."

Most working on the film are not in it for the money. Many have accepted a "modified low-budget agreement," meaning they are working for a fraction of what they would normally; they're hoping for a "deferred" salary from any profits the film might make.

The non-egotistical director

Clarke Gallivan, the lead producer, has been on many film sets. She says the overall selflessness on this set traces back to the director. "It's a business that's full of egos, and sometimes that's what leads," she says. "But Steve really leads with his heart and his vision, and he really goes out of his way to be very respectful. So that sets the tone."

When asked about his greatest fear regarding the movie, Taylor ponders the question long enough to return to his monitor until shooting wraps for the night. Only after the equipment is hauled off and the actors are loading into vans heading to a late dinner does he finally reply.

"This process has been so amazing and frankly miraculous the last three to four weeks that I can't think of anything to fear," he says. "There's plenty of things that could still go wrong, but it just feels like God's been putting this together in such an unexpected way that it would kind of feel ungrateful for me to start thinking of all the things I'm afraid of. So I don't think I'm afraid of anything right now."

Keep up with the film's progress at BlueLikeJazztheMovie.com or with Miller's "Movie Monday" posts at DonMillerIs.com.

Andrea Lucado is a freelance writer, a blogger, an editorial assistant, and yes, daughter to Max.

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