This is the 10th Anniversary for the filming of the award winning film Polycarp in which I play the title character. The experience of making that movie proved to be far more momentous and impactful in my life than I ever anticipated. To celebrate this anniversary I am re-publishing my diary from those days which I wrote on the back of the daily sides, with explanatory comments and added memories. Be aware that prior to this film I had spent exactly one full day as a film actor. Now I’m playing the lead in a serious film. It’s all a very new experience to me, and I was just beginning to learn how to evaluate my own work and the cumulative results of the day.

Wednesday, July 24, 2013 - The first couple of days our shooting schedule was a “regular” daytime schedule: 8 a.m. to 8 p.m. Today we had a transitional schedule, 10 a.m. until 10 p.m. My call time was 12:30. It takes almost an hour to apply my makeup, but makeup artist Mary [Wise] is a pro, and I can already tell how she’s building speed in applying it. Hair stylist Ashton Ballinger’s challenge is to make sure my wavy hair always waves the same way every day in every scene. She has it figured out.

2nd day of filming for me—the purchase of Anna from the slave market. Was greatly impressed by the realism of the set. (Not entirely pleased, however, when having to stand near a table loaded with smelly fish. Ha!)

This was also one of the few scenes in which I got to have a direct interaction with Ilse Apestegui. Ilse is a fascinating actress and individual. Most of her acting background is from the stage, and in particular, opera! A native of Costa Rica and now a Kentucky resident, her name speaks of her Basque heritage. Her role is vital in this film, and she is the perfect actress to play it--not only for her authentic look, but for the deep emotional well from which she draws to develop her character. I value the time I had both onscreen and offscreen to share with her.

While playing the scene I became emotionally moved by what we were portraying. The inhumanity and immorality of the slave trade was brought vividly to mind and eye, and I felt anger as I realized that this is the face of human trafficking in every era, including our own.

Received lots of positive feedback on my work. My fellow actors did a wonderful job, and the young crew is thoroughly professional. [Director] Joe [Henline] was pleased by the outcome of the day’s shooting.

[Exec. Producer] Jerry [Henline] was there to watch this scene where Polycarp ‘saves the day” with his trump bid, and was moved almost to tears. I think that says more probably of how the scene was timed and framed than my little performance, but it is one indication that I’m doing my job right.

We actually wrapped early—a little after 9 p.m. (Later on we would put a premium on the time saved, because we would definitely use it up.)

Top Left: It took less than an hour in the makeup chair for me to age a decade or two under the expert hands of makeup artist Mary Wise (Also note the banana clips in the hair, courtesy of stylist Ashton Ballinger.)  Top Right: Garry Nation as Polycarp, street scene between takes. The figure to the left is Ilse Apestegui.  Center Left: Ilse Apestegui as Melina, the Christian woman who becomes a mother to the orphaned slave girl Anna. Center Right: Dave Moak as the slimy slave owner, dragging around his unfortunate slave played by Audrey Cornett. Alas, most of Dave’s scenes got cut in the final reel. Bottom:  Veteran actor Rich Swingle as the smarmy slave trader gets a ‘dental treatment’ from MUA Mary Wise.

Polycarpmovie.com