Chet and Fletch went onto the Universal backlot and scouted out where the various sets would be--the barber shop, the drowning scene and local hanging location. "We walked around for a while and as the sun started to set, we found the last of the three sets. Chet called Luke Freeborn, the production designer and his team and he snapped into action."

Steve Christensen, the art director on the project, recalls, "Luke and I re-varnished the floor of the barbershop at the end of every day so that it would be pristine for the next morning's filming."

The funny part was that when they found the location, Chet and Fletch didn't even know there was a floor there. "It was just a dirt floor when we found it. When we arrived on set the next morning it looked like a high glossed stone. I couldn't believe it."

One thing became quickly apparent as we arrived on the set the first morning of principle photography; this project was even larger than we thought it was. To give you an idea of the size I'll let you in on a small secret: "A Kiss Remembered" had seven professional filmmakers at any given time on set. "Simplicity" would grow to include more than thirty filmmakers on the largest days. This not only helped make the project look amazing, but allowed the professionals to easily slip into their roles as instructors and mentors.

Darrin Fletcher, the writer and co-producer of the project, said, "Unlike Kiss, where we were going at break-neck speed from start to finish, this workshop allowed me time to look around and I noticed that at any one moment, several one on one experiences were taking place between teacher/student and filmmaker, what a reward that is to see. It makes all the struggling worth it."

You could literally see the effect this project was having on these kids as they came to the backlot at Universal, already with their eyelids peeled back, amazed that they were even there. But to actually have one of Steven Spielberg's crew members stop and show you personally how its done... that experience won't be forgotten and can't be matched.

Though teacher and student alike had a lot of excitement for this project, they weren't the only ones. Almost every single filmmaker approached Chet or Fletch during the production and thanked them for allowing them to be a part of something that made them feel like they were contributing to something special, not just making a movie.

"Nothing I could have imagined would have prepared me for the experience that I had. Thinking all the time that I was going to a small motion picture shoot, I found myself sitting at the back gate of UNIVERSAL STUDIOS looking at the address again just to make sure that I had came to the right place, and thinking "this can't be right." It was, and what happened over the next four days has now become one of the most fulfilling, rewarding and memorable times of my life."

David Allan Loy - Teacher

Even many of the film crew were a little shocked by the size of the project. When Steve Christensen, the production designer on "A Kiss Remembered," came to Los Angeles to work on "Simplicity" he remarked, "I was blown away. This was my first time stepping onto a studio backlot. I got to see where they filmed some of my favorite movies, work with a real movie crew, and I even had the chance to see where Steven Spielberg works. It was a dream come true."

It wouldn't be long before the filmmakers Steve was meeting on "Simplicity" would be hiring him on other projects. "I made some good friends on this show and because of those relationships I started to get more jobs. Before long I was working on feature films in Hollywood."