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Big Fish, Jimmy Buffet, and seeing shows on a budget

October 28, 2013 Big Fish, Broadway, Follow Up

Let’s start with the **TL;DR version**:

The producers have agreed to restore my SCRIPT discount code for Big Fish on Broadway, but only through December 22nd — and they might pull the offer at any time. Tickets are $85/$67 (versus $150/$85) at the box office, or on [Ticketmaster](http://www.ticketmaster.com/Big-Fish-a-New-Broadway-Musical-tickets/artist/1859083) for the same price plus a service charge.

Longer version:

Jimmy Buffett is one of the producers of Big Fish. He has legions of [Parrothead](http://en.wikipedia.org/wiki/Parrothead) followers, but since they’re not the classic audience for a Broadway musical, he asked for a discount code (JIMMY) he could send his fans as an extra incentive.

I love Jimmy. I love this idea.

But I too have followers I want to come see the show, especially students and over-educated/under-employed aspiring writers. My people came in surprisingly large numbers during previews, and I have a hunch many of them may be headed to the East Coast for the holidays. So I asked for my SCRIPT code back and got it.

It’s not quite the deal it was during the [first weeks of previews](http://johnaugust.com/2013/big-fish-broadway-unlock), but it’s almost certainly the lowest price you’re going to find for a guaranteed seat.

###It’s not a competition but yeah sort of it is

Every week, we get a report on the discount codes used, and it would honestly kind of thrill me to out-earn Jimmy Buffett.

And it’s a game you can play, too, because just like booking flights and hotels, you can manipulate the system to get a much better seat than you’d expect.

Big Fish sells out most performances, but here are some suggestions for getting a great seat. Most of these apply to any Broadway show:

1. Tuesday, Wednesday and Thursday nights generally have the best availability.
2. The first five rows of the mezzanine are terrific — arguably the best seats in the house. In the Neil Simon, the front mezzanine is better than rear orchestra.
3. Split up. You’re more likely to find two amazing single seats.
4. Talk to Louie or Eric at the box office. Use the code. Drop my name. These guys are awesome, and want you to have a good seat.
5. In the hours — sometimes the minutes — before a show, a great seat may become available because the producers release tickets they were holding back for media. So even if Ticketmaster says there are no tickets, it’s worth a visit to the box office.

For some performances, we sell tickets at the TKTS booth in Times Square. These are almost always seats at the back of the mezzanine, and availability is constantly changing. TKTS is great, but you’ll get a better seat by coming to the theater itself.

###Seeing shows for less

There are two ways to see a Broadway show for less than list price, but both of them involve some trade-offs.

**Student Rush.** If you’re a college student with more time than money, it may be worth waiting in line for student rush. First check out the [Rush Report](http://www.broadwayspotted.com/rush-report-october-27-2013/) to gauge when you’d need to be there and how likely you are to get a ticket. Big Fish is one of the more difficult shows to rush:

> Weekdays: 15 people in line by 9:20 AM. 26 tickets available. Weekends: 37 people in line by 9:15 AM. 1st person in line at 6:30 AM. 26 tickets available.

Student rush tickets are $27. These seats are generally at the edges of the orchestra, and are sometimes partially obstructed. But you’ll often be very close to the action, and if you’re a theater student, you may learn something extra just from seeing it so close-up. I’ve talked to some college students who’ve already seen Big Fish three times because of student rush.

**Standing Room Only.** At the back of the orchestra, there’s a railing with numbered standing room only spaces. At performances where absolutely every seat is sold, the theater will sell those spots. I’m not even sure of the price, but it’s more than student rush.

This is where I stand to watch the show most nights. I love it — but I work at a standing desk, so your mileage may vary.

There’s no guarantee you’re going to be able to get SRO tickets on any given night. That’s why I strongly recommend that if you want to see Big Fish, you use the SCRIPT code either at the box office or Ticketmaster as soon as you can. Heading into the holidays, supply will get constrained. I really want you to see Big Fish, and I want you to have a good seat.

The challenge of filming inside a theater

October 11, 2013 Big Fish, Broadway

The [new 30-second spot](http://www.youtube.com/watch?v=1k6mdCcYpcQ&feature=youtu.be) for Big Fish features a lot of footage from the show. Filming it was much more complicated than I would have guessed, so I thought a rundown of the process would be interesting for both film and theater folk.

Because I know my way around cameras and film sets, one might assume I had my hands all over this commercial. I didn’t. I was strictly an observer.

The production team, led by David Kane, shot footage for the spot from 1pm to 4pm on Friday, September 13th, in lieu of normal rehearsal. (We had a show that night at 8pm.)

Actors wore their normal costumes, but no microphones — we didn’t want to see those little dots on foreheads, or microphone packs. The editors would be using separately-recorded audio anyway, and cutting is so quick that lip-sync isn’t a high priority.

Theater always plays in a wide shot. Video needs closeups, which means you have to rethink some things.

First, theatrical makeup is more extreme than movie makeup. Everything needed to be notched back.

Second, close-ups often require different lighting. Fortunately, modern theatrical lighting is amazing. On demand, the lighting team could bring up or dial down lights on any section of the stage. Between that and color correction, the team was able to create something that felt better than most Broadway production footage you see.

Broadway theaters are not camera-friendly. The stage is too high and too far away, plus all those rows of seats get in the way. So a huge help was the jib arm, the giant swooping apparatus the team constructed on a platform in the middle of the auditorium. With it, you can sell the feeling of meeting Karl the Giant (at :04) and keep the camera moving during ensemble dance numbers. (You can see a lot more of it in the [longer video](http://www.youtube.com/watch?v=uIdOx3xJBU8&feature=c4-overview-vl&list=PLNQf8FoGA4_LOB-UQNMZBoLNErx51rfb-) that plays out front of the Neil Simon Theatre.)

In the end, shooting a commercial for a Broadway show feels like a weird hybrid of theater and film. You’re trying to capture and edit something that by its very nature wants to be live and raw. But you also want audiences to come see your show, and commercials are a key way to do that.

What’s Next

Episode - 111

Go to Archive

October 1, 2013 Broadway, Directors, Film Industry, Follow Up, Los Angeles, News, Projects, Scriptnotes, Transcribed

John and Craig discuss what it feels like to finish a project — the combination of excitement and relief, joy and sadness — as Craig advises John which project he should write next now that Big Fish is set to open.

In film news, a new fund aims to back films directed by women, while Los Angeles appoints a new film czar with considerable studio experience.

All this, plus Craig recounts how he nearly saw John take a fist to the face.

Links:

* [Lobot](http://starwars.wikia.com/wiki/Lobot)
* LA Times on the [Gamechanger Film Fund](http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-film-fund-gamechanger-female-directors-20130926,0,4152777,full.story)
* LA Times on [LA’s new Film Czar](http://www.latimes.com/entertainment/envelope/cotown/la-et-ct-garcetti-appoints-sherak-film-czar-20130926,0,6798783.story)
* [Patti Lupone stops the show to yell at a photographer](https://www.youtube.com/watch?v=WruzPfJ9Rys) on YouTube
* [Box](http://www.botndolly.com/box) by Bot & Dolly
* [Rear projection effect](http://en.wikipedia.org/wiki/Rear_projection_effect) on Wikipedia
* Big Fish production designer [Julian Crouch](http://juliancrouch.com/portfolio/Welcome.html)
* Big Fish’s [Ryan Andes](http://ryanandes.com/), and [on Twitter @AndesRyan](https://twitter.com/AndesRyan)
* [Blind soldier uses tongue device to ‘see’](http://www.theguardian.com/society/2010/mar/15/blind-soldier-tongue-sight) at The Guardian
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Scriptnotes listener Matthew Chilelli

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_111.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_111.mp3).

**UPDATE** 10-4-13: The transcript of this episode can be found [here](http://johnaugust.com/2013/scriptnotes-ep-111-whats-next-transcript).

Scriptnotes Live from New York

September 24, 2013 Big Fish, Broadway, Follow Up, Scriptnotes, Story and Plot, Transcribed

John and Craig welcome their largest live audience yet for a conversation about Kickstarter, movie pilots and musicals. Joined by special guest Andrew Lippa, they talk about the special challenges and opportunities that arise when characters break into song.

It’s the biggest, gayest, most musical episode yet. Everyone sings.

Links:

* See [Big Fish on Broadway](http://www.bigfishthemusical.com/)
* If you don’t have your Scriptnotes USB drive yet, [email Stuart and let him know](mailto:orders@johnaugust.com)
* [Back episodes](http://johnaugust.com/scriptnotes) are available now
* The Yank! Original Cast Album [has been funded](http://www.kickstarter.com/projects/1046922831/yank-original-cast-album)
* Aaron Cooley asks: [Why don’t movie studios make pilots?](http://hollywoodjournal.com/industry-impressions/why-dont-movie-studios-make-pilots/20130920/)
* [Andrew Lippa](http://andrewlippa.com/), and [on Wikipedia](http://en.wikipedia.org/wiki/Andrew_Lippa)
* [Recette](http://recettenyc.com/) restaurant
* [Bid now](https://www.charitybuzz.com/catalog_items/371106) for a Big Fish backstage tour with John and Andrew (and support a Los Angeles public school)
* [Let us know](mailto:ask@johnaugust.com) if you’re in Vienna and willing to meet up with Craig
* The [Falsettoland cast album](http://www.amazon.com/dp/B000V9WJ68/?tag=johnaugustcom-20), and [on Wikipedia](http://en.wikipedia.org/wiki/Falsettoland)
* Thank you and congrats to pianist and soon-to-be husband [Daniel Green](http://www.danielgreenmusic.com)

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_109.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_109.mp3).

**UPDATE** 9-27-13: The transcript of this episode can be found [here](http://johnaugust.com/2013/scriptnotes-ep-109-scriptnotes-live-from-new-york-transcript).

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