Film Bitch History
Oscar History

The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

Powered by Squarespace
Comment Fun

Weekend Box Office. What did you see?

"I enjoyed The Hustle... Always nice to see Anne Hathaway in comedies...wondering if Meryl coached her on all those accents!" - me

"My friend and I watched Under the Silver Lake last week and to this day, I still don’t know what it is about. 😔Same friend insisted that we watch Wine Country on Netflix and somehow only the white wine joke made me laugh." - goodbar


Keep TFE Strong

We're looking for 500... no 461 Patron SaintsIf you read us daily, please be one.  Your suscription dimes make an enormous difference. Consider...

I ♥ The Film Experience



Ritesh Batra on Photograph


Wanuri Kahiu (Rafiki)
Jia Zhang-ke (Ash is Purest White)
Christian Petzoldt (Transit)
Richard E Grant (Can You Ever Forgive Me?)
Rachel Weisz (The Favourite)
Toni Collette (Hereditary)
Glenn Close (The Wife)

What'cha Looking For?
« Sally Bowles' Father. | Main | 'Growing Up Cinephile' by Leslye Headland »

Behind the Scene with Lizzy & Adam in "Bachelorette"...

...Or, 'How Public Transportation, Running Out of Time and "Party Down" Created Two Perfect Movie Minutes'

-by Leslye Headland

If there’s one thing I learned making a movie, it’s that every frame has a pretty epic story behind it. Here’s one about the scene with Lizzy and Adam on the bed in Bachelorette.

In 2007, during a bus ride from Beverly Hills back to Hollywood (I didn’t have a car for two years), The Proclaimers “500 Miles” came on my iPod shuffle. It was a song that meant so much to me when I was little (Benny & Joon!) but I hadn't heard it in forever. I decided to put it in the scene where my pokerfaced ex-lovers, Gena (Lizzy Caplan) and Clyde (Adam Scott), reconnect. There’s nothing like nostalgia to melt a cynical heart.

Fast forward to 2011. I’m in my first week of shooting. I’m on set with Lizzy and Adam. [Click for More]

I'm still nervous around them because I'm the HUGEST "PARTY DOWN" FAN EVER. They were a DREAM pairing for these characters. So I'm sort of awkward and not really sure how to talk like a human. Anyway we're preparing to shoot the Proclaimers moment. And we’re running out of time. Our schedule for the film was crunched in general, being a low budget indie, but this particular day was wildly stressful. And now I'm really scared because I'm gonna have to tell the Tracy and Hepburn of my lifetime that:

We're gonna do their love scene in the master. No coverage.

Now I had always this weird idea that this scene should be done in the master. It felt to me like the opposite sentiment of the last shot of The Graduate. Elaine and Benjamin were mismatched by their spontaneity. Gena and Clyde were connected by their history. To me, it made sense to shoot two completely different scenes the exact same way.

But NO COVERAGE at all. That's pretty bold.

Lizzy and Adam were hesitant at first. Only because they loved the scene too and didn’t want me, as a first time director, to sacrifice anything important for the sake of making the day. All the actors on the film were supportive and protective like that. I assured them this was what I had always secretly wanted. It’s just that now we HAD to do it. No safety net. They were on board.

We rehearsed. They took their places. I called Action. I played the first few bars of the song then turned the music off. And then I watched Lizzy and Adam embody the melting of two like-minded cynical hearts. What you see in the film they did without music. Without a lot of discussion ahead of time. With very little direction from me. They just got it. All in one long take.

Some weeks, later in post-production, I was shocked to discover, when my music editor laid in the Proclaimers track, that the music timed out perfectly. It’s as if the ghost of the Proclaimers had scored the scene even though we filmed it in silence. He even mixed it so it went from source to soundtrack almost imperceptibly.

Whenever I watch that scene, I’m blown away by what filmmaking is. A small little random idea. Followed through by expert artists. Fine-tuned to make it magical. It’s almost like Gena and Clyde’s kiss itself. Painful reality melting into cinematic romance. Sweeping you off your feet. Falling in love all over again.

[Editor's Note: A huge thank you to writer/director/trueoriginal Leslye Headland for guest blogging for the day. Previously she blogged about films that shaped her life and how she cast her leading ladies -Nathaniel R]

PrintView Printer Friendly Version

EmailEmail Article to Friend

Reader Comments (10)

This was a fantastic series of posts. BACHELORETTE was on my radar before this (how could it not be with that cast?) but now I. am. desperate.

(I'm also in Australia, so I will need to be extra patient.)

August 26, 2012 | Unregistered CommenterSteve G

Are you looking to cast your next feature with quirky parts for bit players (amateurs)? I'm based in Los Angeles.

August 26, 2012 | Unregistered Commenter4rtful

I love this story. I love behind the scenes stories in general and the use of music in movies is so magical; it's wonderful to know that it's magical to you as well.

August 26, 2012 | Unregistered CommenterDeborah Lipp

Steve -- so i hear. mostly from Glenn ;)

deborah -- i know! the thing that got me was the timing out perfectly in editing. Having experimented with editing more than any other film art (besides writing) i know that timing is just so difficult to control and when something clicks it can just be like a bolt of joy meant--to-be ness

August 26, 2012 | Unregistered CommenterNathaniel R

I will sprint to any movie that handles a big scene all in one master shot. So excited about this.

August 26, 2012 | Unregistered CommenterNick Davis

The other thing I forgot to mention that helped me sleep that night is George and Mary's first real love scene in It's A Wonderful Life (the scene where they are on the phone with Sam Wainwright) is done almost entirely in the master and in profile as well. It's nail-bitingly romantic.

August 26, 2012 | Unregistered CommenterLeslye

Leslye -- YES. my favorite two hander in the master is probably "THE LADY EVE" though. 8 glorious minutes of just Stanwyck and Fonda faces emoting and teasing and romancing and lying and everything else, too.

August 27, 2012 | Unregistered CommenterNathaniel R

NR -- oh my god OF COURSE!! Those kinds of things make me wonder if as a cinephile you learn some filmmaking tools by osmosis. Like they are ingrained in you. So it explains why my instinct was master two-hander love scene even though I didn't know why. You just know what you like.

August 27, 2012 | Unregistered CommenterLeslye

I just ordered this On Demand yesterday. Really well done. Familiar enough to be an easygoing good time at the movies, but also departs often enough from conventions of story, performance, and technique that the film remains artistically intriguing.

Obviously, comparisons to Bridesmaids are inevitable, but Bachelorette is its own unique creature.

And the performances by the four ladies at the heart of the story are excellent.

August 27, 2012 | Unregistered CommenterSteve-o

Thank you so much for sharing the story behind that scene – I loved Bachelorette and that scene in particular. In fact it stands out in memory more than any other part of the film for me, and your piece perfectly sums up why.

August 27, 2012 | Unregistered CommenterSarah
Comments for this entry have been disabled. Additional comments may not be added to this entry at this time.