HILLSBORO, VIRGINIA -- The chronicle of the independent film, Waterford's War is off to a jolly start after cast and crew met at writer/director Meredith Bean McMath's Hillsboro home for the first official reading of the script. Almost everyone was in attendance and the scene was set in Meredith's 1824 home, chocked full of antiques, old warped glass window panes, and heart pine floors. Imagining we were closing the heavy front door to the Civil War raging around us, slid easily to mind. After abundant reunion hugs and cookies (thanks Meredith, for understanding our one essential need: sugar), the meeting commenced. As we introduced our way around the actors' circle, Maxine Bean won "Funniest Introduction" as she established herself as playing the part of "Old Sarah Steer... or was it young Sarah? I forget."

We learned that Nancy Griffith will be Assistant Director, handling film continuity, cast management (whew, what a task), scheduling and basically ensuring that everything runs smoothly. Meredith explained that 80% of the filming would be done at Clermont Estate in Berryville where volunteers have been busy preparing this fabulous 18^th century home for its screen debut.

A portion of the Clermont Estate - Berryville, Virginia Soon to be the Dutton Kitchen Door - with the cistern at bottom left to be masked by a false wooden Civil War-era well cover.

Meredith added that the funds for the production of the movie are being raised through tax-deductible donations to the Lincoln Preservation Foundation - unusual arrangement for an independent film. "The goal is to create a film that we can sell and all the funds raised from selling it will go towards the renovation of Grace Methodist Episcopal Church in Lincoln," Meredith said. The church was built by former slaves in the 1880s with help from the Quakers of Lincoln's Goose Creek Meeting, and the building will be restored for use as a community gathering place and repository of local Black History.

She also divulged that the scenes with the most dialogue would be shot first with additional footage from different angles filmed next. She pointed out that Clermont, with its partially restored advantages, like gaps in the ceiling, would allow for some exciting camera perspectives. Meredith then introduced the cinematographer, Peter Buck, and sound technician Brian Busch, who were greeted with much applause.Peter explained that he would be shooting everything he could possibly need in the editing room, because, "at that point, we can't go back and add more." In other words, more is more. He further explained the importance of every filming day and that even one rain day would make things tight.

Tim Jon, Artistic Director of Not Just Shakespeare, Inc. who plays the role of Union Lieutenant Luther Slater, also offered sage advice to the cast when he explained some differences between stage and film acting. "You'll need to be in your character and ready to go," he said. "It's good not to try to act." He also added that most good screen actors don't even blink!

"If we can do and not say - absolutely! More than anything this is the time to feel and be these characters," said Meredith.

Preparing to read the script. Left to right: Sound Technician Brian Busch, Union soldier Oliver Mathis, heroines Morgan El-Shafey and Lindsay Long, Union Provost-Marshal Tim Jon, Confederate woman Karen Harvey, Cinematographer Peter Buck, Director Meredith McMath and Show Mascot Tsunami (Photo by Kim Haeringer)

After signing waivers for Clermont, the script reading began in full animation. Creative energy crackled around the circle, complete with sound effects from Christian (soldiers screaming orders, horses etc.), Mark (a lot of knocking), and Chris (windows slamming, volley of carbine and pistol shots) among others. Imagine what will happen on 300 acres!

We learned that Annie has major roosterphobia when she burst out with, "I am SO scared of roosters! They are killers!" This could prove problematic if Abraham Lincoln, the movie's starring rooster, makes his cameo. We could always take Maxine's suggestion and "get a dead one."

Possibly the most intriguing detail of the day came when Meredith announced the replacement of the script's Scene 4 raccoon with a friend's pet opossum, who for all intents and purposes is perfect... except for his crossed eyes.

Many humorous jabs ensued regarding the poor cross-eyed possum including Meredith's suggestion that the scene on page 25 of your script be shot at twilight to accommodate our marsupial friend and to ensure "that possum magic."

By the way, thank you to Tsunami, Meredith's very furry canine for dutifully standing in for the napping, yet-to-be-met-non-blinking-crossed-eyed possum.

And we're off!