The school location did turn out to be a problem, but the line producer who eventually was hired, Priscilla Guastavino, was a tough lady who I would later work with on a few projects. She got it done.
There was one area that I turned out to be correct, and that was in questioning Jason and Joana's suggestion that it be shot on 16mm to save money. My work with JR and on other projects had convinced me that the cost-saving measure many used at that time - shooting on 16mm and then getting it blown-up to 35mm if it got sold - was a bad choice, one that seemed to invite failure.
I had a good deal of success shooting 35mm using resold raw stock, which has to be differentiated from the even cheaper "short ends" method. I would only use stock that was still sealed and resold back to a broker that I knew, not those that were repackaged from full loads. I had a very reliable broker, and had never had one frame of bad footage (a fear many producers had with even resold).
I made an argument for not shooting 16mm, and though I turned out to be correct, and the film was shot on 35mm, I could see in the eyes of Joana and Jason that if I hadn't failed the interview before, I had certainly lost them here.
Other producers ultimately came aboard; with them, a bigger budget and shooting on 35mm.
As a postscript, a few weeks later, Todd called me, asking for a reference for Van, the AD I had worked with on The Rook and the ill-fated Corman film. Of course, I gave him a glowing reference; of course, he didn't get the gig either.
Of all the projects that slipped through my fingers, I most regret not working on this ground-breaking film with a great indie pioneer in Todd Solendz.