ODIE has had a picture editor, an assistant editor and a composer since June. This week it got the person who makes the whole thing sound like a place.

The opening got shorter, so editor Jay Trautman held Reel 1 back until Nick Barr signed off. Then all five reels of ODIE went to composer Anthony Cozza, and by Thursday night the music started coming back.

Composer Anthony Cozza has the first three reels of ODIE, and the first two cues, Memories and Austin, just came back. A dispatch on how a movie finds its voice.

Six weeks after wrap, the first assembled scenes are back from the editor. A dispatch on assemblies, Saturday check-ins, and the first title card mockups.

The website still thinks we're shooting in May. Time to fix that. A summer refresh for odiemovieaustin.org, an IMDb page that now exists, and a look at what the rest of post holds.

This film was made with Austin, not just in it. A thank-you to the partners who opened their doors, and an honest look at the festival groundwork already underway.

The drives are in the editor's hands and the movie now exists in that strange in-between state: shot but not yet a film. A dispatch from the quiet part of making a movie.

The main block wrapped June 4. Pickups wrapped June 10. Seventeen shoot days, 674 takes, and one production diary graduating from daily to weekly. Here's what the end of a shoot actually looks like.