Inside
Rent-A-Pal
Go behind the scenes with producers Jimmy Weber and Annie Elizabeth Baker, stars Brian Landis Folkins and Wil Wheaton, and the rest of the Pretty People Pictures team during the making of writer/director Jon Stevenson’s feature directorial debut, Rent-A-Pal. Across twenty episodes, the series documents the film’s ultra-low-budget production from the first day of shooting through the final scenes.
Pretty People Pictures YouTube Channel
Shoot day 01 / 20
Day One
The cast and crew of Rent-A-Pal embark on the first leg of production. As old friends reunite and new coworkers are introduced, Director Jon Stevenson tackles the first day on his first feature film. But just because it’s the first day of production, doesn’t mean it will be an easy ride. Pyrotechnics, no radios and other unexpected hiccups make for an exciting first day of shooting.
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Shoot day 02 / 20
Day Two
Things get off to a great start as the crew films Brian Landis Folkins “David” doing chores (and circus acts) around the house. Kathleen Brady “Lucille” has her first day on set and quickly becomes a set favorite, but things take a turn when the film team gets behind schedule just as a major sequence is about to be filmed.
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Shoot day 03 / 20
Day 3
The production design team tries to figure out how to make toast stand taller in a toaster as the camera crew determines the best course of shooting for the day. It’s a full day of setting the camera outside of windows, creating God’s Eyes, and tying up bags of fake poop. Meanwhile, a new set rule is established, and “Pound the Mound” is born.
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Shoot day 04 / 20
Day Four
The cast and crew of Rent-A-Pal attempt their first nighttime exterior sequences. A 600 pound phone booth has been shipped across the country for the occasion. Permits have been obtained, and the operation is up and running. Just as the production begins to catch a rhythm, some stubborn soda cans could potentially ruin everything.
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Shoot day 05 / 20
Day Five
A culmination of dramatic scenes leads to the most emotional day of filming yet. The lighting department makes do when a scheduling snafu leaves them a man short. Amy Rutledge “Lisa” has her first day on set, and Director Jon Stevenson shows how an inexpensive slider dolly can be used to achieve stunningly effective shots.
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Shoot day 06 / 20
Day Six
The cast and crew of Rent-A-Pal uproot their production and spend the day at Lighting Services, Inc. Denver to film some wild early ‘90s dating tapes and a few exterior driving scenes. As an actress hilariously adlibs her way through a take, the film crew does everything they can not to laugh. All is well until everything comes to a halt when the 30-year-old VHS Camcorder necessary for the day appears to be broken . . . as does the backup camera they brought for that very reason.
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Shoot day 07 / 20
Day Seven
Now that the ‘90s dating tapes are made, the cast and crew of Rent-A-Pal film the opening scene of the movie. After a change in plans, the team films a stunt with a VHS tape that couldn’t have gone better. As the day wears on, and the set ups seem to be taking longer and longer, Director Jon Stevenson searches for his “director’s bat.”
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Shoot day 08 / 20
Day Eight
The cast and crew of Rent-A-Pal invade Skate City, Aurora to film a fun “date night” roller skating scene. First Assistant Director, Brian D. Bell utilizes the background extras available to create a festive atmosphere and Producer, Jimmy Weber takes part in a roller skating stunt. As time begins to run out, the team attempts to film a few night exteriors in frigid temperatures to complete their day’s schedule.
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Shoot day 09 / 20
Day Nine
Kathleen Brady “Lucille” is back! The cast and crew of Rent-A-Pal venture back outdoors late at night for another cold night exterior scene. During filming, Producer Jimmy Weber gets some exciting news about the film’s big star. And as the first full shooting week comes to a close, the team celebrates a great week.
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Shoot day 10 / 20
Day Ten
“Now we’re making a horror movie, people!” Things get intense as Brian Landis Folkins “David” and Kathleen Brady “Lucille” face off while filming some of the more violent scenes of Rent-A-Pal.
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Shoot day 11 / 20
Day Eleven
After another day of hijinks and problem solving, a much beloved character is killed off. But certainly not quietly. And as the team moves outside to film a long delayed scene, they are visited by a very curious furry friend.
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Shoot day 12 / 20
Day Twelve
“Back to where it all began . . .” The cast and crew of Rent-A-Pal return to Colorado Film School, where many of them first learned their crafts. After a long day of filming the “Video Rendezvous” scenes of the film, the cast and crew celebrate a successful first leg of production, even though they are unsure of the next time they will meet.
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Shoot day 13 / 20
Day Thirteen
The cast and crew of Rent-A-Pal are reunited for the second leg of production. And to kick things off with a bang, Wil Wheaton finally makes his appearance as “Andy.” But they must film all of his coverage in a single day. Can the team pull it off?
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Shoot day 14 / 20
Day Fourteen
As a blizzard sweeps through town and delays the start of the production, Producer Jimmy Weber finds the playback system he built for the production will have to be scrapped at the last minute. And just as things seem to get back on track, a critical prop becomes unusable, leaving Production Designer Brandon Fryman no other choice but to save the day.
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Shoot day 15 / 20
Day Fifteen
After a tough day of technical issues and “punting” shots, Director Jon Stevenson is bound and determined to have a great day of shooting. As the group tackles the “Montage” sequence, Brian Landis Folkins “David” is allowed to let loose and get wild. And if things keep going well, the cast and crew might be able to film a shot they were forced to skip the day before.
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Shoot day 16 / 20
Day Sixteen
The group films one of the most uncomfortable scenes of Rent-A-Pal. Kathleen Brady “Lucille” and Brian Landis Folkins “David” give their most emotional performances yet, and the group says goodbye to a beloved cast member on her final day of filming.
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Shoot day 17 / 20
Day seventeen
Using unique production design and camera tricks, the cast and crew of Rent-A-Pal film a character’s frightening descent into madness. Everything is going well until one of the main props used in the film is broken. If it can’t be fixed, the film can’t be completed.
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Shoot day 18 / 20
Day Eighteen
It’s go time! With a snazzy batch of storyboards guiding the way, the cast and crew of Rent-A-Pal film the climactic fight scene. It’s a big day with 31 setups, physical stunts, special effects - the works. Just one mistake could derail everything.
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Shoot day 19 / 20
Day nineteen
Brian Landis Folkins “David” plays “Go Fish” with and apologizes to a television. After his day is over, Producers Jimmy Weber and Annie Elizabeth Baker hop into costume and film some much needed inserts.
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Shoot day 20 / 20
Day Twenty
The team films the final scenes of Rent-A-Pal on the last day of production. As the day wraps, the cast and crew share heartfelt goodbyes.
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