PRODUCTION NOTES
The story for EVERYDAY FOREVER was developed over a series of backyard conversations and neighborhood walks with my son Tusk, who was 8 years old when production began. The notion of a ‘shadow remnant’ was entirely his contribution. Below is his first camera test in costume.
Scenes were minimally described on 3×5 cards. All dialogue was improvised.
We shot 20 days, first in two major bursts: Fall 2017 (interiors) and Spring 2018 (exteriors). We augmented practical location photography with cinematic lighting and art direction touches to represent the same household and neighborhood terrain over three different time periods.
First-time feature Director of Photography David Crawford gracefully captured the energy of each scene as it unfolded, augmenting natural and practical lighting with subtle cinematic touches. And operating the drone!
Co-stars Pedro Tapia and Ahmet Elez both trusted the process and delivered uniquely realistic performances.
Three-time collaborator Sean Everett (MULHOLLAND DRIVE) brought surreal gravity to a vital role.
Pickups and inserts were shot over the next few years as the edit took shape. This integrated approach allowed us to shoot a lot of the same locations in different seasons in time.
In 2019, Tusk did his own underwater stunts with professional divers & safety equipment as Justin Lutsky helped us capture some of the signature moments of the film.
In 2022, my younger son Django had grown big enough to act as Tusk’s onscreen double for a long-missing scene. Five years from first shot to production wrap!
