Throwback Thursday Blog Post: Casting

We just announced auditions for our next movie, which is in pre-production. Info is at the link below, but please read through the whole notice and follow the instructions carefully.



You can now watch many of our movies streaming online!

You might already know that we have an extensive audition process for our movies at Big Biting Pig Productions, because we take casting seriously.  As actors ourselves, both Steve and I know how important it is to have the right person in the right role.  But what exactly goes into making that choice?  (I’ll be talking about primary roles here; smaller roles and extras casting require a different set of criteria).


The first and most obvious feature we look at when considering someone for a role is whether they fit the physical description.  Does the actor match the age range of the character?  The build?  And beyond that, do they have to match, physically, with any of the other characters?

There can often be some leeway in the age range that will allow us to go beyond what we originally expected, but once you cast one part, the others often need to fall in line.  If you put a 25-year-old in your main role, for example (as in The Creepy Doll), the husband will have to be within a believable age range, and his parents and her parents must also.  If, on the other hand, your lead is 40ish (as in Widow), then her sister will need to be a similar age.

We can tell which parts an actor is eligible for by looking at their headshots.  But we can’t tell how well they will perform it.  That’s where the next element comes in.

Acting Ability

Some information about ability can be gleaned from an actor’s resume.  If they’ve been on set before, they know a few things about the process.  That helps.  It allows them to be more relaxed in the audition and to understand the vocabulary of the set.  Steve and I recommend actors go to as many auditions as possible — not because they should expect to be cast, but because it gives them this kind of hands-on experience.

But newbies should not be discouraged by their lack of experience.  Some things can’t be taught.  Some people read for a part and even though they have never had a lesson in their lives, they get cast. There is an unquantifiable element at work here — something that allows the actor to embody the character and bring him or her to life.

What some would call “acting ability” for us means authenticity, or presence.  It has nothing to do with learning lines and everything to do with being “in the moment.” While it helps to understand a scene and be able to get inside the mind of the character, being able to show presence in emotions and interaction with other characters will often get our attention regardless of the other factors. Authenticity shows on camera. It weighs heavily in our decision-making.

Willingness to Take Direction

After authenticity, we need actors who can take direction.  We often run our potentials through a variety of acting exercises, alone and with others, to see if they can adapt. This one’s hard to measure, but it matters a lot on set. Film-making is a team effort.  We have a lot to cover in a short amount of time, and knowing someone can go with the flow or change direction when asked to is a huge asset.

This brings us to another point — whether the actor is willing to do all the things necessary of the character.  Nudity, sex scenes, graphic violence, scenes with animals or children — these should all be cleared with an actor before he or she is cast.


If we know a person is dependable, available, and committed, that can factor into a decision.  Dependability also has to do with how demanding the part is in relation to the person’s work schedule and location.  Some of it isn’t personal, but rather logistics.  You can’t film with someone who just can’t be there.

In the end . . .

You can’t worry over why you didn’t get cast in a part.  You just give the best audition you can and the rest is out of your hands.  The truth is, you might be perfect for a part, and give the best audition of your life, and still not get the role.  There are just too many other factors that have to be considered.  Or, you might be outside the age range of the character as written, but we think you embody the character so well that we cast you anyway.  You just never know.

Give it a shot. Audition info for our next movie is here:

BBPP promo pic

PJ Woodside is writer/director of Big Biting Pig’s 9th movie, FRANCES STEIN. She is co-producer of eight other movies with Steve Hudgins of Big Biting Pig Productions, and she also owns PJ’s Productions.  

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Throwback Thursday blog post: Special f/x on a shoestring!

A zombie biting into an arm in Hell is Full

You can now watch many of our movies streaming online!

When you make movies on a budget, you get used to looking for the most cost-effective (read “cheap”) ways of doing everything.  One item:  blood, gore, slashes, stabs, bullet holes, dead bodies, monsters, etc. I never dreamed I’d spend large chunks of time practicing making a throat slash, but over the years we’ve gained a small repertoire of skills in this area.

People often ask how we make our blood, and truth is that Steve “made” blood during his earliest project (The 3rd Floor) and it was such a disaster that after that we used pre-made blood that comes in a gallon.  I call it Gallon-O-Blood though that is not its technical name.

Other effects, however, we have made from scratch.  Below are some of the most memorable:

Maniac on the Loose. Primarily, Dr. Grim’s foaming vomit.  This was basically a baking soda and lemon juice mixture with bottled blood.  Mixing this concoction in his mouth caused Nick to literally “foam at the mouth.”  Fun.  Most of the rest of the effects were faked.  The broken finger in the torture scene is actually Steve’s finger — he has a strange but convenient ability to bend some of his joints backwards.

GoatSucker.  Primarly, the creature’s suit.  This one meant hours of latex and toilet paper application onto an actress in a unitard. As it turned out, we didn’t like the looks of it onscreen and so cut most of these scenes down to the bare minimum.  Everything else was practical stuff — milk tinged with food coloring for vomit, contact lenses for the weird eyes, sprayed blood for the hiking kill.  We did drag one of our actors through the woods to approximate a monster dragging him off.  That was memorable!

Widow.  The throat slash. I actually used silicone, not latex, for this effect.  Silicone can spread thinner and look more natural than latex, and it takes makeup better.  I used my thigh as a foundation, to approximate the curve of the neck.  The great thing about silicone is that it’s reusable, and that same slash has found its way in other movies as well (sometimes on the same actress!)

Hell is Full.  We had several challenges on this one.  First, the zombie makeup.  We wanted people to look freshly dead, not long decayed.  The best makeup choice for that is a Ben Nye makeup in the color of Death Flesh.  One of the tricks of zombie makeup is matching the bone structure — you want shadows where hollows would be, in the cheekbones, in the temples, in the eye sockets.  A little blue on the lips. That’s enough to give the impression.

Other than that, we had guts in the woods, which we created with pantyhose and jello goo.  We had a blue finger, which I created with makeup and latex.  And there were lots of bloody flesh wounds — a little latex and toilet paper and some makeup, and we were good to go.  An infected bite wound (on the character I played) proved a bit of a challenge.  Latex, toilet paper, and makeup gave a good base for the wound, but it turned out to be mustard that made the wound look infected.  Gross!

One of the most difficult bits was portraying a shot to the head of one of the main characters.  That’s a combination of latex, toilet paper, makeup, and blood.  The best way to get proficient at this sort of thing is to practice, which we did.

The Creepy Doll.  That throat slash again (on the mother-in-law character, played by the same actress as in Widow!)  We had a scissors kill for one of the characters, which we accomplished by attaching a cropped pair of scissors to an L joint and then duct-taping that to the actor’s chest.  We did something similar with a knife blade later in the movie.
*The Creepy Doll is now available streaming on Amazon here.

The pregnancy belly was actually one of the easier effects — we used a nerf soccer ball as the base, which created a nice firm foundation for the rest.

Spirit Stalkers.  We had lots of blood in this one, but some of the more difficult effects were making Horace Hammond’s skin white and dappled, making the ghost sisters pale and bloody, and creating a realistic throat slash.  I’m reluctant to give any more details than that.  The worms were not an effect but a real event:  we used real worms on set.  That was quite an experience, and gives the scene a verisimilitude that simply cannot be faked.

*Spirit Stalkers is now available streaming on Amazon here.

BBPP promo pic

PJ Woodside is writer/director of Big Biting Pig’s 9th movie, FRANCES STEIN. She is co-producer of eight other movies with Steve Hudgins of Big Biting Pig Productions, and she also owns PJ’s Productions.  

Got a scene you want to hear more about?  Post with questions!

Throwback Thursday Blog Post: WORMS!

About PJ

This is a rebooted blog post from 2012. Since then we have completed three new Big Biting Pig feature films, Lucid (2013), The Caretakers (2014), and Frances Stein (2015). You can now watch Spirit Stalkers free on Amazon Prime!

6 Worms

So if you recognize this screenshot, you have probably seen the entire worm scene in Spirit Stalkers.  If you haven’t, SPOILER ALERT.  Before the casting of Spirit Stalkers, my husband was asked if he would put worms in his mouth for a scene.  He said yes, and was cast in part because of his willingness to do so (he also has the perfect look for it!).  I applauded him for his courage.

My worm scene was only added AFTER I’d been cast.  Steve Hudgins, the writer and director of this one, said he’d done a revision to the script, and would I, WOULD I, mind putting a worm in my mouth.  Only one.  How could I say no, right?

That filming night had another challenge for me:  my first onscreen kissing scene.  And not only would I be tongue-kissing another man than my husband, I would be straddling him, in bed, half-naked, with crew around to egg me on.  And not only that, my husband, yes, he of worm-madness, would be in the same position with another woman that night, tongue-kissing her and being humped.

But back to the worms.

I will tell you what worms taste like.  Dirt.  That’s not too surprising, since they come from the dirt.  But wait.  Worms actually make dirt.  And how do they do that?  By processing organic matter through their bodies.

That’s right.  Dirt is worm shit.  And so when you put a worm in your mouth and it tastes like dirt, basically the worm is doing what all your sworn enemies wish they could.

And what do they feel like?  Too squirmy for spaghetti, and too muscular.  Honestly the only thing I could think of to compare them to was a penis.  A little tiny skinny penis.  The guys didn’t like that comparison, but they didn’t offer a better one.

Steve brought the worms in that night, two styrofoam containers similar to the kind that have cole slaw in them from the bbq restaurant.  He offered to do the honors first, because he never asks his actors to do something he wouldn’t.  He selected the worm, put it in his mouth, and didn’t wince.  I took note.

However, putting one worm in your mouth for a moment is quite different from putting it into your mouth AND acting convincingly as if you’re leaning in for a kiss and then becoming hysterical.  AND hitting your marks.  AND doing that repeatedly.

My first worm got fired quickly.  Every time I put him in my mouth, he created a load of dirt and I wanted to swallow him.  We did about two takes before I said, “You know what?  Maybe we should try a less active worm.”  Whoever was wrangling the worms selected a second one and this guy was much more polite.  I put him in my mouth, prepared to look amorous, and waited for “action.”  Positioning my hand the right way as I pulled the worm from my mouth was important because in order for the audience to see the worm well I had to get it into the light.

We got what we needed in about ten takes, and honestly, I would have done it twice as many if asked to.  Once I got the hang of it, it was kind of fun.  The worm and I bonded.

My hubby, the one who agreed to put worms in his mouth?  Well, his experience was a LITTLE more intense.  Want to know more?  You should see the movie!

BBPP promo pic

PJ Woodside is writer/director of Big Biting Pig’s 9th movie, FRANCES STEIN. She is co-producer of Spirit Stalkers and eight other movies with Steve Hudgins of Big Biting Pig Productions, and she also owns PJ’s Productions.  

Got a scene you want to hear more about?  Post with questions!

details are a bitch (pt. 6): equipment on a micro



Posters for our seven movies to date

If you think you need 100 grand to make a movie, you would be mistaken. Granted, if you make a movie with your iphone and movie-maker, it’s going to be lacking some production value. But it CAN be done. And you would learn a few things.

But if you want to know which equipment is the most essential for producing a solid movie with visuals and sound that will not stand out as being deficient in the general “low-budget” market, I’ve got a few suggestions for you.

Staples vs. luxuries.

Start with your camera but don’t neglect the microphone and the editing suite. When looking at your initial budget, the bulk of it should go for these three items.  However, you can get by with a lot less than many professionals will recommend.


You’re not going to make your money back if you purchase the latest and greatest on the market. Instead, look for the model that’s just been retired. At this stage, 4K is overkill but HD is necessary. There are many sweet (sometimes used) cameras out there with good visuals for a couple of thousand. Do your homework. Follow ebay and watch what sells and for how much. Go to websites and read. But keep in mind — you can always upgrade later. Even additional lenses are a luxury, not a staple. But you will want a decent case — something that will protect your most precious piece of equipment.


We were lucky enough to borrow several mics and try them out before purchasing. Lavaliers and even a separate recording setup are a luxury, but a good boom mic is a  staple. Good sound is crucial to creating an end product that’s watchable. In addition to a decent mic, you’ll want a heavy-duty cord, good headphones, and a boom pole with a shock mount. Be sure to protect your mic when you’re not using it.

Editing suite:

Most of the editing programs have a 30 day trial period, and it’s worth it to try several out before making your purchase. Even then, you can purchase the “studio” version instead of the “pro” version until you can make the upgrade. After Effects and sound editing programs are luxuries, not basics. Be familiar with what’s out there, but wait until you are sure of the necessity before you purchase.

LIGHTS, MOUNTS, MAKEUP, and other gear: Start simple, add later.

You’ll absolutely want a monopod to get started. A good one with a tiltable head will give you all the stability you need to start off with. A tripod is often useful but a good one is pricey — I consider this a luxury, but we’ve been lucky enough to borrow a good one when we need it.

An expensive monitor is nice, but you can get by with a small flat-screen TV or even a portable DVD player.  The high quality visuals may be limited on these media, but you will still see framing, shadows, and focus, as well as color balance.  Make sure connections are compatible with your camera.

For lights, you have a lot of options that aren’t expensive if you’re not doing anything too extreme. Sometimes, all that’s needed is a good-sized white board to bounce light where you need it (you can get a huge foamboard from Lowe’s for under $20).  Sometimes lighting is actually about shading — you can use the board to do that as well, or sometimes a dark umbrella will do the trick.

For simple setups, two LEDs with chargable batteries will light faces; cheap dome lights with colored bulbs can do quick and easy backlighting; a couple of floodlights will cover a pretty big area in a pinch.  You can also use your overhead lights, daylight, streetlights, car headlights, and even flashlights. Just remember, you usually want to see the face, the eyes, and some depth in the background. You CAN go to more trouble, but you will be trading off time and trouble (and cost) for just a small percentage of gain. You can always add more as you go along. Lighting is more about knowing what you want to see than having expensive equipment.

As far as makeup — you might need some if you’re doing something special, but most of the time a little powder for shiny spots is all that’s really necessary if your cast will come “ready to go.”  If you do have special effects needs — fake blood, bruising, etc — do your homework and start with small amounts so you can get used to the product. People are often willing to share their tips in this area.

One of your greatest resources of all is free: Youtube tutorials. You can learn to do almost anything with the simplest of equipment if you just do a little research.

But remember — the most important piece of equipment is you. Though you WILL need some basics, the rest is negotiable. Be resourceful and you’ll be surprised at how far it will get you.

Our newest movie, The Caretakers, will premiere on June 28, 2014, in Madisonville, KY.

PJ Woodside is the writer and director of  Lucid, which features Bill Johnson, and The Creepy Doll, which is now streaming on Amazon.  She is co-producer with Steve Hudgins of all the projects by Big Biting Pig Productions (we’re up to eight feature-length horror/thrillers).  She is also owner of PJ’s Productions.   More about PJ here.

You can now follow “this old bitch” on Tumblr! 


details are a bitch (pt. 5) — Wardrobe on a small budget


Two of our blood-covered actresses in Spirit Stalkers. Luckily, these outfits only had to be used once. We supplied them (and the blood).


Our same actresses in their “dated” looks. They were part of a flashback that reveals violent activity in the house in Spirit Stalkers.

Setting up a film shoot requires making decisions about thousands of things — locations, sets, cast, crew, equipment, scheduling, etc. Wardrobe would seem like a minor and relatively easy detail to handle. However, since wardrobe can cause you the most trouble with continuity, it’s one of the things you’ll want to spend some time working out in advance.

Some wardrobe needs are simple, especially for background characters. We often ask our cast extras and minor characters to bring three different options for a scene, including no logos (for legal reasons) and no bright reds or whites, and no small patterns (these don’t show well on some screens). Also, though black can work well in some scenes, it’s difficult to light, so we suggest some alternatives to black outfits be part of what they bring.

For repeat characters, I use my spreadsheet to keep track of any wardrobe that needs to be worn again, especially if the scenes will be shot on different days or different locations. Since we do our own continuity, I will often email a screenshot of the first shooting day to the people who need to remember what they looked like for the next time. Getting hair, nails, and jewelry identical is not always critical, but sometimes it makes a difference.

For more extensive wardrobe demands, and for movies with severe continuity issues, it’s important to plan well and thoroughly. I include columns in my spreadsheet for any characters with significant screentime or extensive wardrobe issues. As I go through my scenes in script order, I make note of wardrobe with a letter designation: OUTFIT A, OUTFIT B, OUTFIT C (GOWN), etc. When the wardrobe is repeated, I use the same designation. Once wardrobe is decided on, I substitute a short description and keep a designated photo on hand.

We sometimes ask cast to bring and wear their own clothes, but when specific looks are required, we supply them ourselves. Our local theater, secondhand stores, and our own closets are some of our resources. When we will need to bloody up an outfit or perhaps tear it for a scene, we purchase it in duplicate. That has been the case for many of our movies at Big Biting Pig Productions. There’s nothing worse than ruining a character’s shirt and then realizing you’re going to need it clean again for a scene that’s shot out of sequence.

Beyond just the practical elements of wardrobe, it’s important to think about how the clothing reflects a character. With a bigger budget, this is definitely something you can and should do. But even on a micro-budget, the choice of wardrobe can make a difference. A conservative character needs to reflect those choices. The same is true for an artsy character. Or a homeless guy. Or a mom at home.

At the same time, visual elements play a part. You don’t want a character in a brown shirt sitting on a brown couch. You don’t want a roomful of people in blue, or a woman in red next to a woman in orange. If you don’t have an artistic director to help you with these choices, enlist the help of a visually talented friend.

Finally, it’s helpful to have a wardrobe person to handle all of this for you, but at the very least you’ll want to enlist someone you trust to either manage the details or help you keep up with them, adding info to the spreadsheet as planning goes forward.

The spreadsheet was particularly important for my last movie, Lucid, due to its complexity. The story is about one character’s violent dreams that seep into real life, and many of the locations show up repeatedly, in real life and in the dreams. In addition, sometimes what seems like real life becomes a dream. Often, the same outfits were worn multiple times, crossing multiple locations and threading throughout the movie. And sometimes the scenes involved bloody violence.

What this meant was that continuity was of utmost importance.  Sometimes, in one location we had characters wear six or eight different outfits, covering six or eight different sequences in the movie. Even with excellent organization, sometimes mistakes are made. We did end up reshooting one quick scene for Lucid because of having the main character in the wrong top, but considering the complexity of this movie, that’s not too bad.

In the end, what a character wears may not seem like it should matter — but it does. It becomes part of the moving visual that creates the overall impression and helps tell the story. It’s complex, but it’s not hard. It just takes some forethought.

Next time: ????

Our newest movie, The Caretakers, will premiere on June 28, 2014, in Madisonville, KY.

PJ Woodside is the writer and director of  Lucid, which features Bill Johnson, and The Creepy Doll, which is now streaming on Amazon.  She is co-producer with Steve Hudgins of all the projects by Big Biting Pig Productions (we’re up to eight feature-length horror/thrillers).  She is also owner of PJ’s Productions.   More about PJ here.

You can now follow “this old bitch” on Tumblr! 

details are a bitch (pt. 4) Organizing shooting days


PJ and Steve consult the schedule during filming on The Caretakers.

Let’s say your script is pretty well finished, you’ve cast the majority of roles and gotten commitments from the actors, and you’ve secured locations. You’ll need to secure some crew pretty soon, but before you do that, you’ll want to know what your shooting schedule is going to look like.

I’m not sure how others decide when/how long to shoot; I can only tell you what we at Big Biting Pig Productions do. And believe me, this is a plan that has developed over our eight productions. Every year we tweak, and every year there are still unexpected elements. But in the last four features we’ve shot, I would say we’ve had to reschedule a shooting day or schedule a reshoot or runover day about a dozen times. That’s not bad.

The first step for me in coming up with a schedule is to organize the scenes by location. This is where my spreadsheet comes in handy.  I might have four scenes in an office, with mostly the same characters, covering the course of the movie. It makes sense to shoot all of these on the same day or consecutive days, especially if they are fairly simple scenes that together cover no more than a few pages. If you have any limits regarding locations (for example, you can only be there specific times), you’ll want to make note of that.

Before you nail down those “two days in office,” you’ll need to check to see if anything in the scenes will complicate that plan. Will your characters look more or less the same? Will you be trashing props or wardrobe that you’ll need in another scene? Will some of the scenes be day and some night? Etc. Make a note of any special circumstances.

Next, do this for all your locations. Where you have sections that cover more than 5 pages of script, you will probably want to designate more than one day.  Gauging about eight hours of shooting for every five script pages, break down longer portions into logical chunks and sort them into reasonable shooting days.  Sometimes you may need to change locations during a shooting day — add at least an hour to your schedule for tear down and set up. Add any travel time as well. Try to keep your shooting day length manageable (especially if you’ll be paying folks for overtime).

This is not an easy process, and there are a lot of logistics involved. It’s best for everyone if you plan well, so you don’t have to keep a group of actors any longer than necessary. We’ve all heard stories of hours spent on set, waiting, only to be told to go home or have your scene cut. You can avoid that if you plan well.

Once you have your days added up, it’s time to schedule them. This will vary depending on your needs.

We typically schedule shooting on weekends, during summer and/or fall months. I like to start off slow and ease into the schedule, and since there are often “setup” scenes to shoot that will be part of other scenes, such as photos or TV newscasts, I usually start with those. If there are simple scenes that we can do in the second weekend, I might schedule those next. Finally, if I have characters who need time to get to know each other and have chemistry, I’ll try to keep those scenes chunked together, possibly as the center or ending of shooting.

You’ll have to make note of anyone who’s coming in from out of town, or anyone who’s not available certain times or certain dates, or any location that needs to be shot sooner or later in the schedule, say for weather issues. All of this goes into the mix.

When you finally come up with a workable schedule, it’s best to send an email to all those folks who committed to your project, with breakdowns of who you would need and when, and see if it flies. This is not a final schedule yet — you’ll want to make sure and tell them that. Hopefully you asked them about conflicts during auditions, so that at this point there are no surprises. But there always are.

Once you shake those things out and get commitments for your 8, 10, or 12 weeks of shooting — it’s time to roll. Well, almost.

Next time: wardrobe.

Our newest movie, The Caretakers, will premiere on June 28, 2014, in Madisonville, KY.

Lucid is now on DVD and can be found at  It will soon be streaming! 

PJ Woodside is the writer and director of  Lucid, which features Bill Johnson.  She is co-producer of Lucid and  Spirit Stalkers and five other movies with Steve Hudgins of Big Biting Pig Productions.  She is also owner of PJ’s Productions.   More about PJ here.
You can now follow “this old bitch” on Tumblr! 

details are a bitch (pt. 3) — Location details

dream arena

The warehouse we used in Lucid.


The funeral home we used in Widow.

Last week I enumerated the details of organizing your script for schedule purposes. This week I promised to talk about locations.

First off, you’ll need to create a “location agreement” for your production company, a legal document that states the address of the filming location and gives you permission to show whatever you shoot there without having to do any more than what’s in the agreement. You should also agree to return the location back to its condition (not leave a mess, holes in the wall, etc).  If you have a huge budget, you’re probably not reading this. If you have a small budget, don’t worry — you may not have to pay for your locations (we never have). But you still need to get someone to sign and give you clearance. Better safe than sorry. It will protect both of you, if you have it prepared correctly. You can use a lawyer for this, or use a “boilerplate” contract from any number of resources. (By the way, this paragraph does not constitute legal advice on my part — just suggestions.)

Second, you’ll want to find the locations, and owners who agree to let you use them for the times you need.

Depending on where you’re filming, this can be easier than you think. In less jaded areas (meaning outside of Hollywood and New York), you might find people are pretty willing to allow you to film in their locales.  They ofen enjoy being part of the process. The important things to remember are to be respectful, be professional, and be grateful, and give those folks a part in the movie if you can (no matter how small). Don’t forget — those involved with your production are often your first fans, and you should not neglect them.

Of course, this is all fairly easy if your needs are simple. Average-sized homes, small offices, public libraries and even city parks can be secured without much difficulty — depending on what you plan to film in them. More difficult are the more extreme locations: funeral homes, warehouses, seaside cliffs, oceanliners.

There are two things you can do as a filmmaker to make location securing easier. One, be open to changing your location based on what is offered to you; and two, just ask.

For Lucid, I had envisioned long, institution-like hallways for the dream setting. But I also knew that in this situation, I could make do with whatever I got. We ended up using two buildings, both of them old, both of them with ancient doors and doorknobs and extended hallways. The look ended up working perfectly, and we gained some wonderful fans and crew folk in the process.

For another scene, still part of the dream, I had envisioned a warehouse. What we ended up with — an empty factory building — was perfect, if somewhat uncomfortable since the floor consisted of gravel and dirt and there were no bathrooms on site. We made it work, and it is one of the most effective scenes in the movie. It just goes to show you — don’t hold out for ideal when good is good enough.

And don’t hesitate to ask. I remember my first unusual location requirement. I needed a funeral home for Widow and I was shy about asking. It was my first movie, and who would even listen to my request? It seemed like an impossible barrier, until I stopped in and introduced myself at the place around the corner. They were extremely accommodating. They even provided the coffin and some of the floral arrangements.

The trick is to be resourceful, think about how you can accommodate your scene perhaps in a different location, and play nice with the locals — which means be careful, replace anything you break, and stick to the schedule you originally agreed upon. We’ve had to extend filming a couple of times, but never by much, and both times the owners were more than willing to see the project to completion.

FYI, I have some special requirements for the main location for my NEXT movie (including a baby grand piano), but I’m not worried — something will show up!

Which reminds me of one final suggestion — don’t burn bridges. You never know know when you might need that golf course again. So please, please — don’t mess up the green.

Next post? Maybe you have a request?

Our newest movie, The Caretakers, will premiere on June 28, 2014, in Madisonville, KY.

Lucid is now on DVD and can be found at  It will soon be streaming! 

PJ Woodside is the writer and director of  Lucid, which features Bill Johnson.  She is co-producer of Lucid and  Spirit Stalkers and five other movies with Steve Hudgins of Big Biting Pig Productions.  She is also owner of PJ’s Productions.   More about PJ here.
You can now follow “this old bitch” on Tumblr!