Misadventures with Medicine for Melancholy

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On the Process
Written by Justin Barber   
Monday, 05 November 2007

Medicine for Melancholy

An excerpt from the production journal, in the words of producer Justin Barber:

"Two days ago, after production day three, I was into my fourth hour of after-set errands and fire-putting-outs. Next on my list was a stop at the office space which our editor's renting in a warehouse near the Mission to backup that day's footage. I go in and drop our only set of the building's keys, my phone and a boxed hard drive on our desk. Then I walk through two steel double-doors at the back of the space into a small hallway leading to the bathroom. The doors slam shut behind me and lock. I'm trapped. It's 1:30am Saturday night. There's nobody in the building and won't be until Monday. I have to be on set in six hours, and still a handful of other errands that if left undone plus me just not showing up in the morning would scuttle the day completely.

My phone rings, mockingly, from the other side of steel and plaster.

Kicking down a door isn't as easy as it is in the movies. I tried every combination of velocity, my body and impact to no avail. I'm a vegan who's had to eat extemely cheap over the last year - so I flail for a few minutes against it's unflinching mass, rest a few minutes, repeat the process. I try every handle-jiggle trick imaginable. There were three other doors in the hallway, one missing a knob completely, but immovable nonetheless. Another was a huge fire door, it's railing apparently warped by time which prohibited any sliding. Lastly, a door at the back with an illuminated exit sign above. Also locked.

Good one, universe. My phone continued to ring."

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busy

Justin Barber
About the author:
Contributing Writer. Justin Barber is an independent producer/couch-surfer living off leftover craft service snacks somewhere in California. He's able to fund his projects through an impressively high tolerance for other people's futons and a diverse skillset qualifying him for almost any role in the film industry. He balances out gigs as a line producer, camera operator and assistant cameraman with off-set graphic design, motion titles and digital effects work. Two shorts he directed at the Florida State University Film School The Heart of a Small Boy and Leaving Baghdad were welcomed at film festivals across the country. He's most strongly influenced by the work of Ernest Hemingway and Antoine De Saint Exupery. His recent projects include the debut feature films City on a Hill, directed by Amy Seimetz, and Barry Jenkins' Medicine for Melancholy.
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