Dee Dee Rutherford has never been able to figure out what her father, Bill, wants from her. Like oil and water they've lived essentially separate lives for the past 15 years-Bill running his Fortune 500 company from the city and Dee Dee on the dole, chasing an endless series of outlandish adventures from his summer home. Now, on the eve of his retirement, Bill finds he's got one piece of unfinished business: to finally make an upstanding woman of his brash, neglected, and undisciplined daughter. But in laying down the law, he learns Dee Dee's capable of a lot more than he ever knew and soon finds his tactics are punishing him more than her. As Dee Dee struggles to placate her father she's confronted by the reality that she 'doesn't know how to be anybody else' but her complicated, unrefined, unsinkable, adventure-seeking self. In the end, each drives the other to the same surprising discovery of what it is Bill really wants. Written by
When the driver of a recurring taxi cab got bored and left on the cab's first day of shooting, prop master Geoff Binns-Calvey and Prop Asst. Merje Veski fashioned a new cab out of Key Grip Ronald Dragosh's maroon Caprice Classic in a single hour to save the shoot. Their creation became Ali's cab for the whole movie. See more »
At the William Rutherford tribute ceremony, when William has had enough of Dee Dee talking to Reggie Bailey and disrespecting William, William leaves his table and gives chase. In the very next shot William leaves his table and gives chase all over again. See more »
Thank you all for your comments both positive and negative. This industry thrives on people talking about our movies. I'd just like to address a comment from an otherwise spot-on remark from "dedmouse." Thank you for defending me but the editing that so bothered you is ENTIRELY my "fault." I do not believe in "the line" that most filmmakers find it taboo to cross. I believe today's audiences have seen enough filmed entertainment and behind-the-scenes documentaries to understand they're not watching a play but looking through a camera that can be moved and are no longer prone to becoming disoriented when the camera captures something from the other side of a scene. I may be wrong. It does certainly seem to be disorienting to filmmakers. Also, in terms of the shots going from CU to master to over-the- shoulder in a slipshod way, you may be right. My priority was the actors' performances. Whatever brought out the best verbal timing, best reaction, facial expression, tone, etc. won out over issues of visual pacing and was placed in the movie. It was simply my priority. I was heavily involved with the editing and was the final word on editing decisions. It's entirely possible that these were lousy decisions - I just thought it would be in the spirit of these comment pages to let you know that they were on purpose and that they were my call. --Mike Meiners, Director
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