it paid for itself time and time again." After returning to Los Angeles, he visited each of the locations (including Mexico) again with the principal and technical crews. Principal photography began in mid-October 2005 and continued through November over a total period of 25 days. The film was shot in sequence, with production starting in Eugene, Oregon and then moving to Reno, Nevada and subsequently Ensenada, Mexico. Hynes called the filming "a high-wire act the whole way", and said that one of the biggest challenges was transporting the crew of 40 from Oregon to Mexico, sometimes changing locations twice a day with few hours of daylight. A crew member lost the project's Filming Permit on the last day of shooting in Mexico, and filming at rush hour was halted by the police. Hynes took a smaller camera to film several blocks away from the original set, but the second assistant director soon arrived warning that the police were coming and that they would be taken to prison because they did not have the paperwork for filming. Hynes and the crew "scatter[ed]", leaving Pucci alone further down the street, which Hynes claims is his strangest experience in the film industry. The crew later returned to Los Angeles to shoot final scenes and to commence post-production. Music When searching for the film's music, one of the producers suggested to Hynes that he go to a Bright Eyes concert. Singer and guitarist M. Ward opened the show as a supporting act, and Hynes recalled thinking, "Holy shit! That's the guy. That's it. He's perfect!" Hynes sent an unsolicited script of the film to Ward, who read it and signed on to the project when there was no financing behind the film nor any actors attached. He told Hynes that any of his songs could be used in the film; Hynes said that, in post-production, he tested every one of Ward's songs, including instrumental versions, in the final cut. In the beginning of the film, Mercer comes across a band; Hynes had always intended for whichever song they were playing to become the overture of the film. Ward's song "Vincent O'Brien" became that overture, and described the continuous presence of Ward's music as "a reminder of home". He decided that when Joely entered "it was right to step away from Mercer's sound—M. Ward—and [convey] that this movie has been overtaken by forces outside his