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The film was different from every other project I’ve done for several reasons, not the least of which being the fact that our entire guerilla filmmaking crew traveled throughout the shooting day in one production vehicle (the beloved Magic Bullet, the undisputed hit of Sundance and Slamdance as it rolled up and down Main Street this year) as we stole shots on street corners and chased the sun down together as a true team, without the separational hierarchy which rules most film and TV sets. The actors were at once the “talent” (a term most call sheets use way too lightly) and the traffic directors, dog minders, light holders, DPs and drivers.MM: Being directed by your husband must have been a different experience, too. What was the biggest challenge of working together all day—and then coming home with each other? Of course, the benefit of that is that you get to experience the whole thing together—from pre-production to the film’s premiere. OW: On a film like Fix, there is no time for drama. Amazingly, we never had to resist the urge to hurtle the camera at each other’s heads out of frustration. I suppose it’s because we shared the same vision for the film, and therefore our instincts were often the same. Tao is also the most forgiving person I’ve ever met. He was so understanding of my exhausted moans when I’d crawl home from work on “House” at 3 a.m. on Saturday morning, and he’d say “We’re getting up in two hours to shoot Fix all weekend!”
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