1. The gaffer is the chief lighting technician on a TV, FIlm or commercial set. His tasks range from master electrician to lighting director. He works with the director of photography to achieve a lighting look and desired F-Stop.
2. I got started in the business by going to Trident Technical College for a certificate in film production. I struggled to find work and ended up at the College of Charleston where I got a Poli Sci Degree. I decided to give film a 18 month chance with my sites on law school if it did not work out. I never made it to law school. What I always tell students is be patient usually right when you are ready to give up thing start happening for you.
3. Most tasks in lighting are accomplish able, however they may not be the best approach to the desired effect. Ideally on a film set you have a cooperative relationship with a DP. If he presents me with something that I don't feel will give him the required result I tell him my concerns and work with him to find the appropriate solution.
4. Be diligent, work hard. Try to impress with your desire to do a good job and your a dedication to the craft. Use actions and not words. Often after college we have learned a lot and we are anxious to demonstrate the knowledge we have. But as in all aspects of filmmaking it is better to show then to tell. Don't be afraid to ask questions. Work hard, go the extra mile. Filmmaking is one of the few remaining labor related industries where people want to work. As a potential empower I am bless with a number of newbies who are ambitious and want to get it. Showing that you are punctual, reliable and focused will go a long way.
Friday, December 3, 2010
Scott Fowler interview - Dustin Cassels - Gaffer
- I freelance between as many clients as possible, so as to keep myself busy. I never say no when ask to perform any needed role on set. Such as Gaffer, Grip, AC, PA, etc. The trick is learning as many roles as possible so you can say, "yes I can do that". A lot of times you can become some what of a hero to your client if you can pull through for them, especially if its crunch time. With all of this takes a good bit of experience.
- I took an apprenticeship with a local film maker in Asheville, NC. We produced marketing videos for high-end private golfing communities. I began my experience through him by simply moving gear and watching his every move. It was a small team. Usually no more than three, so it gave me a chance to learn all aspects of film making but on a smaller scale of course. Through him I met more filmmakers and the networking began. I started on the bottom with no schooling, just a eagerness to learn.
- You have to be careful when agreeing to work on a set. Basically, don’t sign up for more than you can handle. Be honest with your client and often they will be willing to teach you. That way you can avoid the awkwardness of telling your client that you can’t. On the other hand there have been a lot of times when I found my self in that situation. I have been asked to get certain things that I really didn’t know what it was. So I said yes, knowing that I could probably figure it out or someone on the crew that’s not the boss, could show me. There is a sense of comradely on a film crew.
- I feel like a major part of the answer for this question lies in the answers before hand. I wish I have had the chance to go to film school. It’s a great place to start your networking and experience. Tell more people you’re in school and show them you’re eager learn. Work for free or a low rate or even just food. I’ve worked for everything and anything just to gain experience. Then you can begin saying, “yes I can do that”. Ill sum it up. Make it to where the people you are working for cant live without you.
Thursday, December 2, 2010
Interview with Stuntman Matthew Staley
This interview with Matthew Staley was particularly interesting. I feel that in a way, stunt work is largely overlooked, but it is in fact a big deal in major films. Also, the experience of a stuntman is unlike anyone else on a movie set, so they offer an interesting perspective on the movie business. Matthew has done stunt work in Gods and Generals, The Sopranos, Medium, The Other Guys, and The Next Three Days, to name a few titles. He currently resides in Northern Virginia.
1.) A stunt performer or stunt double typically performs on behalf of an actor in any scenes where action or implied violence happens to that actor's character in a film or television show. Stunt performers are generally highly trained, highly skilled athletes who use their physicality to help tell a story while often putting themselves in harm's way so that actors don't risk injury themselves. Stunt professionals train hard and make calculated risks that enable them to repeatedly perform dangerous actions safely opposed to daredevils who also perform dangerous stunts but purely for the sake of the stunt itself and often only once.
2.) My background is in gymnastics and most stunt professionals either began there or in martial arts, racecar driving, equestrian, etc. Having been a gymnast my whole life and simultaneously been in school plays and such, it seemed a natural progression to me to continue working in a profession that enabled me to utilize both schools. My first professional stunt job was working in a Wild West stunt show at a themepark. For two years, I performed the same Western stunts five times a day and really learned my craft. That lead to performing stunts in a Civil War tv series for The History Channel and from there, I got my Union cards and have been working in major Film and Television ever since.
3.) With stunts, honesty is key and such a conversation should only happen when a prospective boss calls you about a prospective stunt. The professional thing to do when asked if you can perform a certain gag is to be honest and answer yes or no. Black and white. Too many lives have been lost and careers have been ruined by budding stunt performers lying about their abilities only to find out the hard way. Ours is a profession where lives are on the line and trust is at stake so we have no room or toleration for harmless, little white lies like other professions. If you found yourself already on a set and the director came up with a last-minute stunt in mind that you were not capable of performing, the right thing to do would be to discuss alternatives with your coordinator or recommending someone who can do it in your place.
Casey Cox's Interview from Maryland
1. Can you briefly define your job to me?
I was hired to scout and present locations for potential feature film projects that had an interest in Maryland. We were always competing with other states. As a former feature film and tv location scout and location manager, it was challenging to be “in on the project,” at the ground floor. Recently I was asked to work on film and also take on many additional responsibilities within the Division of Tourism, Film and the Arts
2. How did you get started in the business?
I worked as a copywriter for commercials and produced the work that clients selected. I worked at a commercial production company. I did a stint managing a Grip and Electric Company. Then I went freelance and found myself being hired on TV series and feature films…at first as Assistant Location Manager and then as Location Manager. In between movies, I production managed and/or location managed tv commercials, particularly the larger projects from companies in LA who needed a strong Maryland based production person.
3. How do you tell someone over you that you couldn't accomplish an assigned task?
Actually, you need to tell them early when they can jump in to help you or put more resources to getting the task done. For example, I was tasked with finding a cemetery location for a feature film. It had to look historic, be quiet and in a rural setting, and allow the filming of a horror movie. This is a very difficult “ask,” and I probably contacted over 40 churches and got turned down. When I started to see how this was going I went to the producer and production manager and said, “listen, I’m scouting for this location (and there were probably 50 distinct locations on the movie) but it is looking grim. I wanted to alert you as I think we need a backup idea. I should be able to find a hillside where we can place tombstones that the art department creates…with the correct set dressing.”
They appreciated my honestly. At the same time I was working with a gifted but stubborn production designer who did not want to go to plan B…so I persisted and found a small Church that had a sense of humor and needed the money. It was very difficult but in the end, it was win-win. I called the producer from the vicar’s home office and we made the financial arrangements.
You often have to deliver bad or disappointing news during a production. It is really important to bring it up…not to the director…but to your production boss, whoever that is. They will appreciate it even if they are initially upset. I think it is your job to deliver the truth…and any options you can provide. In production especially, time is money and wasted time is wasted money.
4. Do you have any advice for a media student who is just starting out?
Don’t expect to make much money. Keep in touch with the local film office and pay attention to the states that have big incentive programs because that is where much of the production is going to go. Take notes; don’t expect to remember everything because you think you can (an amateur mistake for sure).
Always be early. Be flexible. Be quiet. But do get to know the other PA’s…often they will recommend you (and do repay the favor) for jobs they are on. Don’t complain about the hours. Don’t make personal plans when you are working. Your supervisor does not know when you’ll go home so don’t ask.
Keep all your receipts in one place and keep them dry and neat (ziplock bag); be up to date on computer skills. You’ll be amazed how having additional skills can make you a favorite in production. If you are a PA, you can possibly rotate through various departments and determine what you like the most. Be open-minded. The Payroll Accountants (union) are really in demand.
Help everyone. Keep gas in your car at all times. Be gracious and thoughtful and courteous. Courtesy is a lost art so if you display courtesy, again, you may rise above others.
I was hired to scout and present locations for potential feature film projects that had an interest in Maryland. We were always competing with other states. As a former feature film and tv location scout and location manager, it was challenging to be “in on the project,” at the ground floor. Recently I was asked to work on film and also take on many additional responsibilities within the Division of Tourism, Film and the Arts
2. How did you get started in the business?
I worked as a copywriter for commercials and produced the work that clients selected. I worked at a commercial production company. I did a stint managing a Grip and Electric Company. Then I went freelance and found myself being hired on TV series and feature films…at first as Assistant Location Manager and then as Location Manager. In between movies, I production managed and/or location managed tv commercials, particularly the larger projects from companies in LA who needed a strong Maryland based production person.
3. How do you tell someone over you that you couldn't accomplish an assigned task?
Actually, you need to tell them early when they can jump in to help you or put more resources to getting the task done. For example, I was tasked with finding a cemetery location for a feature film. It had to look historic, be quiet and in a rural setting, and allow the filming of a horror movie. This is a very difficult “ask,” and I probably contacted over 40 churches and got turned down. When I started to see how this was going I went to the producer and production manager and said, “listen, I’m scouting for this location (and there were probably 50 distinct locations on the movie) but it is looking grim. I wanted to alert you as I think we need a backup idea. I should be able to find a hillside where we can place tombstones that the art department creates…with the correct set dressing.”
They appreciated my honestly. At the same time I was working with a gifted but stubborn production designer who did not want to go to plan B…so I persisted and found a small Church that had a sense of humor and needed the money. It was very difficult but in the end, it was win-win. I called the producer from the vicar’s home office and we made the financial arrangements.
You often have to deliver bad or disappointing news during a production. It is really important to bring it up…not to the director…but to your production boss, whoever that is. They will appreciate it even if they are initially upset. I think it is your job to deliver the truth…and any options you can provide. In production especially, time is money and wasted time is wasted money.
4. Do you have any advice for a media student who is just starting out?
Don’t expect to make much money. Keep in touch with the local film office and pay attention to the states that have big incentive programs because that is where much of the production is going to go. Take notes; don’t expect to remember everything because you think you can (an amateur mistake for sure).
Always be early. Be flexible. Be quiet. But do get to know the other PA’s…often they will recommend you (and do repay the favor) for jobs they are on. Don’t complain about the hours. Don’t make personal plans when you are working. Your supervisor does not know when you’ll go home so don’t ask.
Keep all your receipts in one place and keep them dry and neat (ziplock bag); be up to date on computer skills. You’ll be amazed how having additional skills can make you a favorite in production. If you are a PA, you can possibly rotate through various departments and determine what you like the most. Be open-minded. The Payroll Accountants (union) are really in demand.
Help everyone. Keep gas in your car at all times. Be gracious and thoughtful and courteous. Courtesy is a lost art so if you display courtesy, again, you may rise above others.
Wednesday, December 1, 2010
Interview With Allen Abel
1. Can you briefly define your job to me? Most of my TV work now is as a documentary writer or "doc doctor" -- I get called in by producers, networks, and directors when they have a script that needs re-jigging, or writing from pictures, or re-writing following the screening of a rough cut. I've done more than five hundred docs of various lengths and used to be an on-camera reporter, foreign correspondent and host, mostly when I was based in Toronto. Currently, I'm doing more print than TV as I write a syndicated "Postcard From Washington" column every week for a chain of major Canadian papers.
2. How did you get started in the business? I was a small-town sportswriter at first, moved from Albany NY to Toronto when the Blue Jays were founded in 1977, covered sports up there and then was a correspondent in China. A network TV producer liked my writing and asked me to join his show ("The Journal" on CBC) as an on-camera reporter. There were a lot of former print journalists on the program so I fit in. I had no previous TV experience of any kind. I was at CBC for 20 years and since then many of my writing jobs have come from former colleagues. Virtually everything I've done has been through personal connections. That's probably true of most people in this business.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task? One of my rules has always been "If you don't get the story, for God's sake get something." As a columnist, it's easier to make something out of nothing; it's harder in TV. Good planning, research and pre-production greatly minimizes the number of times you come back empty-handed. I could tell you a long story about lighting our own forest fire in the Brazilian Amazon after 4 weeks in the field not finding any fires, but I wont. ;-)
4. Do you have any advice for a media student starting out? Find the smallest possible outlet that lets you do the most possible jobs and maybe you'll turn out to be good at one of them. Media are very different from when I started; today, everyone with a cellphone camera is a "documentary journalist." I always say that writing is easy; it's writing for money that's hard. I never had any interest in doing this as a hobby. It was always a serious job, even when I was covering high school football. So I'd say be serious about it, pound on doors and prove how good you are.
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