0:02
Marcus Abbott, 32°: So I'm excited about the whole thing. It's always fun to shoot, you work for six months or more planning. And then finally the day comes and you get to put it in the can which is, which is great. So we've got five days to shoot ahead of us. The second round of editing by next week, so it's pretty cool.
0:45
Marcus Abbott, 32°: The fourth degree is simply a launching pad for an experience of a lifetime.
The film should be exciting to you, it should get you excited to see the rest of the incredible degrees. It's about the message. It's about the core values. The lessons to be learned from this degree and all degrees in the future.
1:04
Marcus Abbott, 32°: Scene 1D, take 12.
1:20
Marcus Abbott, 32°: Andy and I actually talked about this. I mean, could we have a section of this roof here? That's floating and, you know, it's on. It's on.
1:30
Man with glasses: So we can just raise-
1:32
Marcus Abbott, 32°: It's on chain mode.
1:33
Man with glasses: Yeah. And then we take it away? Yeah.
1:36
Man with glasses: Well, because what I'm thinking about is, so if we're, I had this idea that we'd be on like this wide shot in the gym here. So as these guys leave, we start to pull out and raise. So Hiram does his- walks away from this area, and maybe walks over here,
1:54
Marcus Abbott, 32°: You know, I have to read the script, I go through the script, I decide the location, the environment, and some of that is done, obviously, by talking to the director of photography and also the director.
2:05
Todd McIntosh, 33°: As director, my responsibilities are to interview the cast, select the players that bring the vision and the degree to the production.
2:14
Jeramie Hammond: My name is Jeremy Hammond from the Valley of Boston. Lord, how will I make the Sanctum Sanctorum a fit, biding place for your eternal presence? How does just one man build a home for God? After all, I am just one man.
2:45
Todd McIntosh, 33°: So we're here at the planning committee meeting for the shooting of the fourth degree, the new builder degree, this is the threshold of Scottish Rite Freemasonry, and it's quite a big call, compared to maybe shooting the 17th degree where we tried to capture the large majesty of one of our biggest productions. Here, we have a lot of tight angles and important shots that deal with a single man's discussion with God.
3:22
Nicole Coakley: What's interesting about the fourth degree is that you could take it figuratively and apply it to the process of filmmaking. It is very much about everyone making their contribution to the whole together
3:33
Off-screen: This will be on the wall , the walls, the whole interior of the Senate
3:41
Marcus Abbott, 32°: The nerve wracking part is that it is on paper for four to six months and the entire time you're saying a little prayer, is this going to work because it costs, you know, people's time and it costs money and, and you want it to visually look correct for the film. So it's an anxious period until you finally get the set built. That's probably the one I lose the most sleep over.
4:17
Jim Dill, 33°: This is the first video anybody who joins the Scottish Rite will ever see from now on. Right. This is the one that's going to set the tone. This is one of the ones that's going to help us as we evolve and engage in this new path forward, trying to reinvigorate, reestablish, create and keep the narrative on who we are.
4:39
Nicole Coakley: The most important thing that I do as a costume designer and as a wardrobe stylist is that I find a wardrobe that works within the scope of the stories that we're trying to tell. And when my job is done well. Sometimes that means not immediately noticing my job. I'll have you see the under robe and then if you want to distress it with me, that would be great. Because on the spot it is distressing...
5:02
Off-screen: Would the costume be clean, or would it be dirty, you know, in this case they are working in a construction site. So, you know, those considerations have to be.
5:22
Off-screen: So I try to help translate our work on stage into the work in front of the camera, that can be extremely different. And it's very interesting. It's a big learning curve.
5:31
Rachel Padula-Shufelt: I'm Rachel Padula-Shufelt. I'm a makeup artist, wig and hair designer. So I'm here as the beard specialist to give everybody beards.
5:49
Todd McIntosh, 33°: So one of the first things we had to do and we set up today was block all of the background actors, so they know where to move and which way to go.
5:56
Ken Willinger: We are the look of the film that you watch. So anytime you watch something on TV or our movie, when you go to the theater, there's somebody who is in charge of the look. And that's what the director of photography is. And I think a lot of people don't really know that everybody hears about the director. They're sort of the head of the whole team. So everybody knows about the director, but the director of photography is a whole other thing people usually don't hear about the director of photography, but that's the person who's creating the look.
6:26
Jeramie Hammond: The temple was started with a solid foundation, no edifice can endure without that. Now that it is near completion, I'm assured that what I have learned is properly applied. But what now? How do I make it acceptable to you?
6:47
Off-screen: What we're using is a Jimmy jib triangle, a Jimmy jib that has a triangular structure to make it rigid. And we're using an 18 foot arm, meaning it is reaching from the pinnacle here out to the cameras, 18 feet, and we're about 22 feet high with lens position.
7:03
Off-screen: You're gonna be able to come across to the temple, we have Hiram Shadrach here, and hoping to be able to sort of sneak in our ruffian character in such a way that it creates some intrigue.
7:21
Jim Dill, 33°: 11 Valleys and seven states were involved in this. This is the first time that this is truly a jurisdiction wide show. And we're very excited about what you're going to see, some of the best of across our jurisdiction.
7:36
Steven Flaughers: It's gonna be big, it's gonna be a good, great team. Great cast. Gonna be great.
7:39
Dave Morgans: This is absolutely amazing to see how professionals work. I'll tell you what. I'm happy to be here. Very happy.
7:44
Jeramie Hammond : Hiram is happy.
7:46
Brett Treichler: It was awesome. I was really glad to be a part of it.
It's a really cool thing that we're doing and I hope all the hard work pays off. I think it will.
7:56
Steven Flaughers : It's just great to see how this all comes together. See how so many people with various, you know, different skill sets and different parts come together to make this great presentation. It's really something to be a part of that.
8:08
Robert Bach: It's just absolutely mind blowing to see everything that goes into putting together a production like this.
8:13
Fran Hart: Absolutely incredible to tell you the truth, it's so much more than I ever thought what is entailed in doing something like that? It is absolutely- we're in New England so it's wicked cool.
8:25
Marcus Abbott, 32°: Shot 48C take 199
8:29
Jeramie Hammond: Oh to be by the crossman, and the plan to place on the trestle board and they need only follow them.
8:40
Marcus Abbott, 32°: I think that's a wrap, right? Let's call it.
Ken Willinger - 8:48
It's a wrap. This is like yellow everywhere you go, yellow. It's done There you go.
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