feet and back out. She'd started to hedge when I had one last confirming chat with her last night, something about a "no-disclosure" agreement she now re­membered signing. This had to be a one-take, all-or-nothing shoot.

The truth was, I wanted to get the interview on film as soon as possible. I was more than a little worried Carly might decide to get cold feet and back out. She'd started to hedge when I had one last confirming chat with her last night, something about a "no-disclosure" agreement she now re­membered signing. This had to be a one-take, all-or-nothing shoot.

Which was why I'd sent down the full gang this morning, not just the "key" personnel as I'd initially planned. Leading my (motley) crew was the director of photography, first cam­eraman Roger Drexel, a grizzled veteran with a ponytail who'd been with my producer, David Roth and his Applecore Productions, from back when he did beach movies and splat­ter films. He worked with the production manager, Erica Cole, our lipstick lesbian, who coordinated crew schedules. The second camera was handled by Greer Seiber, recently of NYU film school, who was so happy to have a job, any job, she acted as though David's previous string of low-budget, B-flick epics were remakes of Gone With the Wind.

Which was why I'd sent down the full gang this morning, not just the "key" personnel as I'd initially planned. Leading my (motley) crew was the director of photography, first cam­eraman Roger Drexel, a grizzled veteran with a ponytail who'd been with my producer, David Roth and his Applecore Productions, from back when he did beach movies and splat­ter films. He worked with the production manager, Erica Cole, our lipstick lesbian, who coordinated crew schedules. The second camera was handled by Greer Seiber, recently of NYU film school, who was so happy to have a job, any job, she acted as though David's previous string of low-budget, B-flick epics were remakes of Gone With the Wind.

Scott Ventri, another Applecore old-timer, was key grip, the guy who got the gear on and off the vans, set it up, and signed off on safety regs. Today he also was responsible for blacking out windows and setting up lights. The chief elec­trician, gaffer, was Ralph Cafiero, who'd come down the pre­vious day and temporarily hot-wired the circuit breaker in the apartment to make sure there was enough amperage. He and his lighting "crew," another bright-eyed (and cheap) NYU grad named Paul Nulty, had arrived this morning ahead of everybody else to pre-light the "set," a northeast corner of the apartment.

I'm always a little hyper about sound, so 

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