Young Friends/Bookends

From day one, the One Came Home set was filled with young people. While I like to think that Willy and I have our own youthful approaches to our art, I am very attentive to my Social Security earnings. It was heartening to see so many young folks there, throwing themselves into the fray of filmmaking, many with limited experience but a sincere desire to help in any way they could. All with a desire to learn. Some were college students, some had just graduated, some had an interest in all-things creative, and others were there just wanting to help.

While One Came Home was never conceived as a non-profit endeavor, we knew that we were going to have to count on some unpaid, and even more underpaid, people to help us out if we were going to get One Came Home completed within our limited budget and pay back investors and make money enough money to send us into another film project. Not counting those who lent cars, provided locations, and offered us props and more, there was a slew of young people who served as volunteers or very close to it. They were valuable additions. Let me mention a few here:

Mallory McGhee: From the first day on the set, at the very first scene, Mallory stepped up and took on a very important role - script supervisor. We had overlooked this crucial role in our planning, and in so many ways I am glad we did make this mistake. Had we "hired" someone, we would never have had the chance to meet this young U of M student. Mallory was rarely absent from the set, and when she was, she was missed. And, from her comments, she missed the set. "Oh, I have to work. I would so much rather be here." But those days were rare, thank goodness. Mallory was focused and she was thorough. After the final day, Mallory provided Willy a complete breakdown of the scenes and the shooting sequences, complete with notes and comments. They would be extremely valuable as he began to edit. What a treasure we had in Mallory.

Matt Bearden: The first day on the set offered me my first real introduction to Matt. I had only met him once to take a picture of him and Willy for a publication I worked with several years ago. But, through his occasional visits to his dad's studio and the days on the set, I came to discover that Matt was another one of those quiet, multi-talented folks in the world who simply make their own paths. Already a fine songwriter with a unique voice, Matt impressed me with his down to earth kindness, quiet, and dry wit. Seems like there's something in the gene pool there.

Ryan Howell: I have known Ryan's dad for over thirty years, and I had only met Ryan once some fifteen or so years ago. He was just a kid. He's grown up now, and came to OCH with a college degree and limited experience, but with a desire to learn and with all the intelligence and wry outlook that I know from his father. I watched Ryan as he was punished on the first day by the heat. Even Ryan admitted to me that after that first day, he had no idea that filmmaking was such a physical job. I knew what he was talking about; I'd had such jobs in my younger days. But, he stuck with it. I'm not sure I would have done the same. And he watched. And he learned. His confidence grew daily.

Alex Smythe: I didn't have the chance to get to know Alex as well as some of the other young folks on the set, but what I did see of him impressed me. What a hard worker! The most vivid memory I have of Alex is of his crawling all over that 1935 Ford pickup truck used by Harley the Postman, making sure we got the shot and that everyone and everything was secure as we moved down that little Mississippi back road. His dedication was written all over him in sweat. Those details are never forgotten, Alex.

Joe Fragale: Where would we have been without the ever-present Joe? Maybe Rachel would have found someone to assist her. Maybe we would have found someone else to keep us smiling. Maybe we would have found someone else to be the recipient of a birthday whipping (one that I suspect he will never forget), and maybe we would have found someone else to make our final group shot on the cabin porch so memorable under moonlight on that bright sunny day. (You'll have to ask Joe about that one.) Like Mallory, like Matt, like Ryan, like Alex, Joe is destined to make a name for himself wherever he chooses to go, be it the world of film or some other path.

Incidentally: Matt, Ryan, and Joe teamed up with Alex Smythe to complete an entry film into the Lil Film Fest a week or so after we wrapped One Came Home. From what I hear, the film was an amazing little piece of work for three guys who just happened to really get to know each other about one month prior.

Bonds are developed on film sets, aren't they. And, whether they knew it then, these folks made a lasting impression on one old man who watched and witnessed their work, wit, and willingness day in and day out.

By the way, I'm saving a future blog for two of my favorite ladies of the set, Maggie Bearden and Anna Bearman, our makeup ladies.

Hangin' with Sister Savannah

Making a movie can be a nerve-wracking experience, particularly for a novice such as I. There are so many points to consider, countless people to please, to feed, to counsel, to avoid. And, while Willy and others shouldered so much of the burden in this film, allowing me to remain on the sidelines for the most part, my official title as co-producer still provided me enough anxious moments to last me for.....well, for the time it takes us to get over the first movie and want to do another.

Assuming the anxiety, assuming the fact that I am going to multiply my cigarette habit tenfold, there is still one aspect of film-making that I simply love: hanging out with creative folks - from listening to Ryan Parker's dead-on imitation of some of the cast, to witnessing Corey Parker's dedication to his craft, to kidding around with Matt Bearden and Ryan Howell, to watching Pam Parker Branham do her magic as caterer, associate producer and confidante, to watching Maggie and Anna do their make-up magic, and to having quiet conversations with John Sneed, Gerald Faught, Cookie Ewing. And to hanging around on set with Savannah Bearden, constantly laughing at each other and everyone else, waiting anxiously for action to resume and smoking cigarettes. (Smoking should not be practiced by young people under the age of 21, and should be done by professionals only.)

There are so many memories of standing outside Hillwood, waiting for actors to have makeup applied, waiting for the crew to set the lights, waiting for meals to conclude, waiting, waiting, waiting. But, waiting was made so much easier when I could talk to Savannah.

I have always trusted Willy's instincts and when he told me he wanted Savannah to take the role of Murphy's sister, there was never any doubt as to whether she would equal the task. I laugh when I consider how she must have felt when she learned that she would share her first name with her character. She confessed that it was a bit disconcerting, but I still believe that the name fit her character. Such a good southern name. And so, Savannah became Savannah (there is an essay here for philosophy or psychology students).

I recall so many specific moments watching her professionalism, even after long, long days and nights on set, and while she still maintained a full-time job. The party scene comes to mind. As we waited for the lights to be set, Savannah and I had retreated to the golf cart to smoke, to talk and to wait. I could tell the long hours had taken their toll. Savannah was very tired, as were all the actors and crew, and she still had several very tough scenes ahead of her that night/morning - reaction scenes where only her face would tell the story. No dialogue. Tough stuff. And when she was called to the set, Savannah did her magic, time and again. I was always amazed.

And, then there was the time prior to a happy little scene for Savannah - I can't recall the specific scene - in which her character was to be light-hearted. I chose just that moment to tell her a humorous, albeit poignant, story of a cross-dressing law enforcement officer from Mississippi. After the little anecdote, Savannah looked at me, and laughed/cried, "Tank, why did you tell me that sad story right now?" I just smiled at her and said, "Oh, you'll be fine." And she was. So professional. So much fun to kid with. So much fun to watch on camera. I knew Savannah would become Savannah.

And, so dependable:

"Hey, Savannah, you got your lighter with you?"

"Sure, Tank, if you have a cigarette." DT

Mr. Reliable

Don Meyers has perhaps more credits in local films than just about anyone around these parts. While Don auditioned for a role in One Came Home that was eventually deleted from the script, he didn't let that prevent him from stepping in and helping out wherever he could. Don was there at the table reads to lend a voice for the roles of actors who couldn't attend, for one reason or another. He was also the designer behind several products: the Rolling Fork Beer in the Mississippi bar scene and Delta Gold cigarettes. And he was a valuable member of the party scene, showing everyone else a thing or two about country dancing. Don's own acting experience goes back to his younger days in L.A. and even his hometown of Chicago, where he also learned his design skills (even serving as an artist for Playboy Magazine and a cubicle mate of Shel Silverstein). He was a valuable member of the One Came Home team. The following is a quick note he asked me to share with everyone. DT

Thanks, Tank and Willy for giving me a chance to be part of this fine production...as an extra, we're used to cold food, long hours and perhaps a chance of seeing a fleeting glimpse of ourselves in a movie. Well, with this production, the food was hot, the performances were hotter and yeah it WAS the hottest because it was shot in the middle of the summer. Throughout my little efforts in the film I was impressed with the level of professionalism that surrounded me...from the detail of the sets, the selection of props, the positioning and organizaton of extras and the incredible performances of the actors. I could tell at the outset that this wasn't just another movie. As the production progressed, one thing impressed me overall, and that was that everyone was so damn eager to participate. On most productions a lot of folks grouse about the petty stuff, but I didn't see any of this. Instead, I saw folks coming together to form a kind of bond, if you will, to see that this story becomes a proud achievement brought to life through the lens of an incredible cinematographer, Ryan Parker, and the direction and writing of both Willy and David. The fact that I could contribute a rusty ‘ol two step in the country dance scene is a memory I’ll always cherish together with all the friends that I met who were eager to join in and have some real ‘down home’ fun.

Thanks, Jenkins

From the first day of auditions when I met John Locke, the man's energy and enthusiasm for One Came Home has helped keep me going. His brief emails, his postings on Facebook, and the occasional personal meetings have consistently provided the necessary buoy to keep my spirits afloat. Obviously, there have been others in the cast and crew who have done the same, but John Locke aka Mr. Jenkins has been a constant reminder of all the wonderful people who worked on this movie. He has been the number one cheerleader for this film, at least from what I have witnessed. I'm sure there are others out there speaking it up, but John has always been there for me personally.

As with any project of this magnitude, there are highs and lows. There are days when a writer, director or actor will ask, "Why in God's name did I get involved with this project? Will it be successful? Is it a huge waste of time and money? Will the audience appreciate the story?" There were countless long nights/early mornings standing in front of Hillwood and looking at the set lights in the distance when I asked myself such questions. And, of course there have been those moments when I watched the magic and really believed we were creating something special. Throughout it all, the rollercoaster of emotions, John Locke's voice would resound: "You betcha buddy. This one here's a winner!" Even if the voice didn't totally quell my anxiety, it did make me smile and gave me hope.

And John certainly kept people laughing. You can't help but be in good spirits when standing alongside "Mr. Jenkins." Willy tells a story of working with John on a corporate training video several years ago. For the sake of the video, Willy needed John to "do something" - anything - just something to keep the video from becoming static. So, together with a company representative, they decided that Locke should loosen a particular valve on a particular pipe. "Sure," said the corporate type. "Okay, let's do it," chimed in Bearden and Locke. And, as Locke turned the valve, oil, lubricant, or some mystery fluid sprayed him and his wardrobe. I can imagine Locke's shock and quick grin. I can also imagine him saying, "Let's do another take; I don't think my reaction was right, Willy."

Most know that John had a role in Oh, Brother, Where Art Thou and did a magnificent job. And, how many times did I ask him to run those great lines to some new cast member or extra to lighten the mood? He always had them laughing. He always made them feel at home on the set.

And, while John's antics, fun-loving spirit, and recitation of his "Oh, Brother" lines made me laugh and saved my spirits when they most needed saving, one memory always makes me laugh: The night of the big party scene, John had a slight glitch in some of his lines, and he was so upset with himself. But, as I stood on the perimeter of the crowd listening to him deliver a magnificent performance, I recognized that the script issues that tripped him were not his fault. They were mine as a writer. This portion of the script had been over-written. There was redundancy, and bad lines cause actors problems. I know from both sides of that fence. And, when John later apologized for "his" problems, I had to smile to myself and say, "No, no, John, that won't do! You were right on the money." Locke/Jenkins being anything but professional? Don't make me laugh! DT

Thanks, Mr. Jenkins. See you at the premier. DT

Note from Gerald Faught aka "Reverend James Foote" in One Came Home

It was a pleasure to work with so many talented and professional people on and off the set. Great story! Willy and David told it well. It will become a Hit! Pass the rolls, while I wait for the Premier.

Thanks for the kind words, Gerald. It was great fun with you and your Covington pal John Locke aka Mr. Jenkins on the set. Who else but Rev. Foote would know all the words to "Love Lifted Me" without ever having to refer to his songbook for help? You WERE Reverend Foote. And, I'll see if we can find a few hot-buttered rolls for you to chow down on at the release party! DT

Hope for the Best

Casting the role of Hope, the widow of Murphy Hodges, was a formidable task. The person who would play this character had to be multi-talented, with the ability to act and sing, and had to possess the right look - Southern sexy and beguiling, and with a slight hint of vulnerability. We knew that finding our "Hope" was going to offer a real challenge. The first day of auditions we were lucky enough to be introduced to some talented actresses who embodied several of the characteristics of Hope. We were encouraged that we had talented folks to choose from. Encouraged yes, but convinced that we had found our Hope, no. Several showed fine acting skills. A few really knocked us back a notch with their singing ability (and their courage to stand before three strangers and sing a cappella). Some had the look and incredible talent but did not reflect the Southern qualities we needed. We did not find Hope that day.

Several days later Hailey Giles came to audition. A native Memphian, with credentials from Emerson College and Berklee College of Music in Boston, Hailey had experience both as an actress and as a behind-the-scenes production assistant for several films. She had done the New York acting thing. She knew the business and the art. But those credentials were simply the resume. We had seen several resumes. That was just paper. Then she read for us. Whoa. And, she sang Delta Dawn. Again, whoa. And, as everyone will attest, she certainly had the look. We had found our Hope.

And Hailey was a hoot to work with. Blending charm with straightforwardness: "David, the directions to Hillwood [or Holly Springs] were horrible!" She made me laugh often, and I never stopped being both amazed and amused by the lady's talents throughout the entire shooting schedule. Even at our early table reads, I knew that Hailey was going to wow us with her performance on screen. One evening's table read stands out clearly in memory. In the movie's central dinner scene, after a quiet meal and conversation with friends and family, Hailey's character had to erupt over a specific incident. I was not prepared for what she delivered. It was a quick bit, but she nailed it and nailed it several times that night with such precision that I smiled the way only a writer smiles when a professional grasps the way the words are supposed to work. Hailey was right there. And, she proved time and again that she could handle range of her character's emotions throughout the story.

And, successfully winning the little battles throughout the film: being stung by a wasp in Holly Springs and maintaining focus under the influence of Benadryl; being accidentally slapped by another actress during a "fight scene" and laughing about it; fighting a bad cold while leading the congregation in Love Lifted Me during the "church" service, and, of course, having to figure out my directions to locations.

Willy, Ryan and I knew there were actresses out there who could play the role we needed, but Hailey truly gave us the Hope we wanted. DT

First Day on the Set - First Impressions

The party scene was a huge one for the movie. Over fifty extras and ten cast members would be involved, and they all had to be outfitted in proper attire. Meriwether Nichols and Kim Howard were stationed at Hillwood trying to pull the wardrobe requirements all together. Actors were being called to the set. Extras were being put through the cattle chute to make sure they looked right. The party scene required us to begin filming at dusk, and we would shoot long into the night and next morning. The same thing would occur the next night, but even longer. Time was a factor, lighting was an issue. There would be music and dancing and all the choreography that comes with such a scene and there was a swell of extras that needed direction. DT

Notes from John Sneed, "Jefferson Daniels" in One Came Home

My first day on set was at Davies - the party scene. I hadn't met any of the crew yet. It was dusk when I went out for my first scene. There was a slew of extras along with the cast, crew, Willy and David. The crew had already had a long day. We were getting ready to walk to the party. Willy was getting actors organized. We were losing light and things were getting a bit tense. It was a time when things could have gotten ugly. We shot and reshot a few times. And I noticed throughout the entire scene, everyone kept their cool. There were no explosions, no quips, nothing which would have indicated an ego or anything short of the utmost professional attitude. It wasn't the only time. There were some really long nights, hot weather, uncomfortable situations, and not once did I ever notice anything but a dogged determination to work together toward a common goal.

The Art of One Came Home

I knew I was ignorant going into this project. I just didn't know how ignorant I was. Working on a limited number of films before - a very few narrative features and shorts, but mostly corporate training, marketing, and the like - I had seen my share of continuity issues in Hollywood feature films: Jet streams floating across the sky of a western based in the late nineteenth century, actors leaving from two different sides of a car in the same scene and on and on. You've seen them too. And, Willy and I were constantly warned about the little things. Continuity! Continuity! Continuity! Okay, we heard their warnings. But I, for one, was not prepared for all the details. Thank goodness we had the people on the set who were prepared, from the details of wardrobe (thank you, Meriwether Nichols and Kim Howard - more about you two later) to the details of the number of 'taters at dinner, the amount of tea in the glasses, how the flowers were arranged on the table, the arrangement of the items over the fireplace, how Mama Grace's pen should be placed on her desk, where Mazilli's suitcase would go in every scene, how the mail should be piled into Harley's truck, and all the other "little pictures" that go into the mosaic that creates the movie's total backdrop. Rachel Boulden and Joe Fragale served as the principals of our Art Department. They had help, to be sure, but they were there every day, designing, fretting and shuffling to do the last minute touch-ups. They did marvelous work.

And, while I promise that Rachel and Joe will find more space in these blogs before this journal is complete, I want to call attention to one of the finer details that Rachel helped pull together. Throughout the scenes we shot in the Hodges' parlor, bedrooms and other home locales, framed informal photos of the family often appear. You may not see them clearly all the time, but they are there, adding detail to the story. The photos that feature shots of Murphy, Savannah, Grace, and Little Murphy as an infant, were all created by Rachel. They created the necessary atmosphere of unconditional love the family had for their fallen son and brother. The photos, small and placed incidentally, tell the audience that this was a special man, someone they too should love. The photos were created masterfully, with wonderful composition, imbued with the right attitude and mood. Samples of the photos are now available on our Facebook Fan Page.

Rachel Boulden and Joe Fragale were god-sends to us. They were there, watching, re-arranging bits and pieces of this and that, here and there, to make sure that our story did not leave viewers saying, "but, I thought the window was shut a minute ago." Ever-vigilant, to the point of driving us to the point of lunacy, they did their job and did not let us get away with doing it "quick but wrong." It takes those kinds of people on the set to make the movie all it should be. Thanks, Rachel. Thanks, Joe.

Casting for Talent

I confess to some amount of pride about our process of selecting acting talent for One Came Home. From the earliest stages of this film's development, Willy and I knew certain people we wanted for some key roles. I suspect this is pretty standard in filmmaking. For the other roles, we would go through the three top agencies in the city: Lisa Lax, Colors and Abby Elzemeyer. We wanted people who had made a commitment to acting.

Willy and I had stumbled onto Corey Parker's Memphis presence in an around-about manner. Corey came to us through Project 366, a documentary film Willy and I had worked on together in 2004. Willy had done a masterful job of pulling photo images of our city into a photo/video montage, sans narration, by way of an idea I had conceived initially as a book. When the film was released in 2006 and shown on WKNO TV, Corey Parker was watching. The film struck him and he sought out Willy to compliment him. Through that communication, which Willy shared with me, I did some research into Corey's own background. He had been an actor since he was a kid, with film and TV credits rarely, if ever, found in this city. Good fortune had led him to Memphis and eventually to us. When the script was completed two years later, his name loomed in front of us. The idea of a New York-trained, experienced actor to portray a New York con man seemed to make good sense. Duh. The choice of Savannah Bearden, Willy's daughter, to portray Savannah Hodges had been part of the deal since the conception of the film. Willy knew his daughter's ability, and with her stage acting credits and natural talent, combined with her connection to the family-based story, that decision was simple. The idea to ask Julia "Cookie" Ewing to portray Grace Hodges included perhaps a bit of the divine intervention. From the day our words began to go on paper, I knew I wanted Cookie in this role. Obviously, she had years of acting experience and was a much-loved theater professor at Rhodes College. I had known Cookie off and on for some thirty years, and I knew there was so much more to her than acting talent. Cookie exuded love and kindness, traits so common to the role of Grace Hodges. At a quick meeting in the fall of 2008 at Rhodes, Cookie agreed to accept the role, but shared her fears of being back in front of a camera after several years. Willy and I never had any doubt about Cookie. Finally, Willy asked me to assume the role of Harley, the postman. With very limited acting experience, but faith in Willy, I agreed, even though the writer in me told me that writers should stay writers.

There will be other blogs spent detailing events of the actual auditioning process, but certain people stopped Willy, Ryan Parker (our DP who helped in the formal audition process) and me right in our tracks. John Locke was Mr. Jenkins hands-down. Gerald Faught embodied the spirit and voice of Reverend Foote spookily, and John Sneed nailed phrases from the script so well that it made me laugh. I knew we had found Jefferson Daniels when he smiled and walked from that room. Dennis Phillippi had all the attitude of a New York bartender, plus some. And, he was off book when he came into the audition. What a pro! There were others. And, there will be other blogs to reflect those marvelous people. Remember, visit us at

www.facebook.com/pages/One-Came-Home/179962884812?v=info

Until next time, DT

Heading for the big screen

Willy Bearden and I began writing the film One Came Home in August 2008. It went through approximately twelve drafts before being finished in early spring 2009. And, from there it went into the hands of some of the area's finest acting talent who put their own spin on the story and their characters. After six weeks of table reads, we began filming on Monday, July 20, using one of the finest crews ever assembled for a Memphis-based film production.

Over the next several months, until the actual premiere of the film, Willy and I, along with several cast and crew members, will share our insights and thoughts about the making of One Came Home. Each installment of this blog/memoir/journal reflects our passion and belief in the story and the people behind the film.

Bookmark this site if you want to follow along. And, join us on our Facebook Fan Page: One Came Home.

One Came Home Synopsis

It was a different world in 1946. The war had ended. The nation was staggering under new economic pressures. There was a new world order. And, people grieved for those they had lost.

One Came Home presents a story of a New York con man who brings a nefarious scheme to the heart of Mississippi. Pretending to be a friend of fallen soldier Murphy Hodges, John Mazilli presents himself to the the Hodges family and to the people of Magnolia, Mississippi as a man on a mission. He is committed to honoring his fallen comrades by raising money to build a monument to their memory in Washington, D.C. In an age before the instant communication of computers, television and cell phones, and in a place removed from big-city ideas, the people of Magnolia accept his story with faith and love. They welcome John Mazilli and embrace his mission as their own.

As John Mazilli's message spreads through the town, the town's own message of acceptance and love gradually washes over him. He is no longer an outsider come to take the money and run, he has become part of lives in a way that he could never have imagined. Mazilli's personal passage through Magnolia, Mississippi and the Hodges family brings a story of deliverance and hope to everyone but himself, and it is only through his own baptism of life that he comes to understand himself at a deeper level. He brings salvation to a small town and faces his own dark night in the process.

One Came Home is a realistic story of deliverance and redemption. It is a simple story of 1946 Mississippi. It is a story of real people.