Before taking charge of a set, Irene had observed her father Francis’s productions and had seen how George Lucas directed.
Their apparent ease gave her a misconception about directing, as though one only needed to issue instructions and the crew would execute them perfectly.
In practice, that ease was built on years of mutual understanding and trust. She was far from that level.
Every lighting adjustment, every movement of background performers, even minor camera shifts required repeated review and correction.
Although she reminded herself that this was standard for any production and that mistakes were common, the constant communication and detail work left her exhausted.
New problems arose daily, and plans required frequent revision. Irene’s stress increased steadily.
Just as Francis considered intervening because his daughter was nearing her limit, the situation improved in the second week of filming.
Perhaps the crew had adapted to Irene’s approach, or her directions had become clearer. The recurring issues with blocking and props decreased, and the production found a rhythm.
The new actors had deficiencies: limited expression control, imprecise positioning, and occasional line errors.
But they also had an advantage. With the director still learning, they did not resist direction, complain, or overuse stand-ins.
Everyone adjusted together and developed together. No one assigned blame easily. Being of similar ages, they developed a collaborative rapport while solving problems.
By December, filming moved to the school sequences.
Irene’s classmates had learned of the shoot and gathered near the set, hoping to greet her.
However, Irene was occupied because George Lucas had said he would visit, which made her anxious.
"I’ve never seen you nervous when I visit," Francis said, with a note of jealousy.
"Because I see you daily, Dad." Although the crew was functioning well, Francis continued to appear on set every day.
"It seems I’m becoming unwelcome. At the start, you followed me with questions," he said.
"I’m not, Dad." Irene sighed. When George was mentioned, Francis became competitive, as if he were a different person.
"Set, quiet," Irene said, ending the exchange and refocusing on the shoot.
This scene depicted Elle Woods arriving at Harvard and required a visual contrast through styling and environment. In addition to hair, wardrobe, and a dog, a distinctive car was essential.
Parked on set was a Ferrari F355: low profile, red, with square headlights and a recognizable engine sound. It drew attention.
She had intended to rent a standard sports car, but a young actor on the crew, Edward Nelson, offered his personal vehicle for free.
Seeking to reduce costs, Irene accepted. She did not anticipate that his "sports car" would be a model limited to twenty units worldwide.
When Edward drove it onto set, Irene noticed the reaction from several crew members.
Likely another wealthy individual participating for experience.
But news that the Coppola family had invested millions in their daughter’s film had already set expectations, so a luxury car was not particularly surprising.
Still, Edward’s casual manner with the keys prompted some envy.
"Student in the blue hoodie, you’re in the shot."
The background performers were hired temporarily, and coordinating their movement required an hour of rehearsal. Making Elle distinct while integrated into the crowd was difficult.
One sequence was repeated until Irene achieved the desired result.
When filming concluded, Reese’s lips were pale from the cold, and she recovered only after being wrapped in a blanket. Performing in low temperatures was challenging.
Once they moved to indoor classroom scenes, the set became more controlled. Sometimes, economizing on background performers was counterproductive.
During a camera adjustment, the assistant approached Irene and mentioned that classmates wanted to visit.
Irene considered and did not decline, but she was surprised to see nearly the entire class.
"Hi, Irene. It’s been a while. We waited outside for hours before being allowed in," Hanni Charles said, taking Irene’s arm with familiarity, as if criticizing the assistant’s handling.
Irene freed her arm by reaching for a document and indicated the assistant should return to work.
Hanni persisted, trying to demonstrate their closeness. Irene did not allow it and directed the group to sit in the lecture hall. The camera was still being calibrated, so there was time.
"Why did everyone come? I told Vivian it wasn’t necessary. It wouldn’t be good to miss class," Irene said.
Before others responded, Hanni answered, "Class isn’t as instructive as being here. You said we could visit once filming started. We have no class today, so I brought everyone."
Before production began, she had mentioned it casually to Vivian and Hanni, but once filming started, she became too occupied to follow up. She had sent messages explaining, but evidently Hanni had not understood, or had chosen not to.
Irene looked at Vivian, who pressed her lips together and glanced toward Hanni. The implication was clear.
She sighed internally. Ambition was not a fault; in the entertainment industry, it was often necessary. But being pressured was unpleasant, especially by people she considered friends.
She called the assistant and asked whether all background performers were present. The assistant understood the situation from the group’s expressions and replied, "Director, we’re short a few."
Hanni interjected, "Mr. Assistant, would we work? No payment needed for background roles. Consider it helping Irene."
Irene could only gesture for the assistant to take them for makeup.
Vivian remained, appearing to want to explain but saying nothing.
"If you prefer not to be on camera, stay with me. A few additional extras are fine." Compared to production logistics, her classmates’ maneuvering was minor, merely an irritation easily resolved.
Two hours passed before the crew was fully assembled. Irene ate lunch calmly and then resumed filming.
"Cut. Male student in the black windbreaker, upper left, your expression is too severe. Reduce it. You don’t have to agree with her, but she is a classmate, not an adversary. Understood?"
"Again. Everyone, manage your expressions. If unsure, maintain a neutral, attentive look."
When the day’s shooting concluded, it was dark. The classmates left satisfied. Someone had obtained Reese’s contact information, likely provided due to the director’s presence.
George Lucas, who had intended to visit, was called back to his company for editing.
Irene returned to her residence and took a hot bath, concluding the long day.