Having pull at Gizzi’s served to be very useful, as we included the location in the Pale Blue Light script, and ultimately shot scenes of the pilot there. The day was May 21st, 2011, and according to Harold Camping, it was to be the end of the world. With a looming rapture, we set up production on the streets of West Village, drawing a crowd with the presence of our special guest star, Big Daddy Kane. We sat back and watched the BBQs across the street fill with Amish patrons, undoubtedly relying on the return of Christ before the bill came. The streets were hectic, but it didn’t deter us. The environment that Eddy provided was conducive to the highest levels of creativity, and would truly make anyone feel like a superstar. The makeup chair, the production crew, and the feeling of cracking jokes with a bonafide celebrity, all came together in magnificent form. I was no professional actor. In the short moments that cameras were rolling, my stomach was in my ass. But I held it together as best I could, and got through my scenes unscathed. Watching the footage back on the production monitor, I saw myself in a new light, sharing the big screen with a hip-hop legend. I saw this as a turning point in my life and vowed to never abandon my mission to succeed.
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