Thursday, September 13, 2007

Pre-Production Day 9-13

First off, thanks to Kevin Drum for saying this was one of the three funniest blogs he reads on a regular basis. If only I'd written one damn funny thing recently for all the minions who flooded here. I'll toss up a link to Crazification Factor to amuse them, and now dive back into the film geekery.

We're still casting, which entails an awful lot parsing out the reality-shift between what agents say ("She read the script and loved it") and reality ("She intends on maybe reading the script, or at least her parts of it, as soon as you declare your intent to provide many, many filthy American monies.")

This hierarchy of casting -- offer only, offer dependent on a meeting, meeting, audition. etc. -- is one of the many oddly codifed status systems in Hollywood, somehow both rigorous and undefinable. It is dedicated to maintaining egos and power balance for all parties involved.

Actors start at the bottom: auditioning for the casting director, who then passes you up the line to an audition with the producers. A small mark of your status as an actor is that you will agree to read, but for the producers. Then, a finer shade is a only meeting with the director/producer, but then, hey, you're a nice guy, you'll read just to see how it goes, wink wink. When you're bigger you'll go for a meeting only when there's an offer on the table, with one or both parties then given the option to bail depending on how the meeting went.

Finally there's "offer only". You're guaranteed the part at price X, you make the call once you've read the script. If you say "yes", we live with you, for better or worse, never having seen you read the words. That ... can be stressful.

This system can then be modulated in order to tune the social dynamic. I once had an actor come in whom I certainly didn't need to read for the part, but in order to show his enthusiasm for the project he brought in prepared text to audition with. He moved himself subtly down the ladder in order to change the dynamic with me as the director. Agents will try to get you to agree to a meeting instead of an audition so they can crow to their client about how they've advanced within the caste system thanks to the agent's canny skills.

Casting also means that I spent a bit of time breaking out sides from the script. When actors audition, they rarely get the whole script (this is changing, with the advent of PDF's and online script services.) Also, when we cast a wide net on a character, we'll see 20-30 actors a day. Got to keep those reads short to be reasonable.

So we pull out five odd pages of dialogue and scenes for each character, which the actor reads when he comes in to audition. This material is tricky -- we usually don't want it to be just one scene, we want to get a sense of how the actor can lay into the different shades a character will present in the show. I'll often take few minutes to rewrite some of the material, so each character gets a titch more material in each representative set of sides.

These pre-production days are when we hire the various humans who actually make television, as opposed to those of us who just make shit up for actors to pretend.

Our Production Designer is already off in Chicago, looking for locations. Thank God for the web, in these situations. She's set up a secure web page where she posts photos of all the locations she's found. We can then review the shoot possibilities while still handling the LA-based responsibilities before the actual shoot. Our Director of Photography has arrived and is reviewing the storyboards, consulting with Dean about directing choices, and is assembling what's known as the camera package. This is the camera/lighting equipment rented from the big camera companies on a production-by-production basis. That way you don't have pricey cameras sitting around depreciating, you didn't waste money on cameras you don't need for a specific gig, and you can always get the newest shiniest tech. For those few who read this blog and aren't aware, a DP is the person who's the camera expert, whose knowledge of lighting, lens and film stock (or digital limitations), not to mention shot composition, define the look of a movie or TV show. Many Directors are fairly knowledgeable in this respect, but keeping up on the tech is brutal, not to mention the fact that a Director has a thousand other responsibilities per minute on a shoot.

Essentially, as a Director I can say how I want to move the camera -- "Start low, then crane up to reveal the car." I can describe how I want that to look, the tone, etc. "That chromed-out Private Ryan feel." Whatever absolutely insane shit I want to see on my monitor. But it's the DP who figures out how to move the camera, what camera lens and what lighting will actually match the vision I've described. They'll often frame the shot, too, based on their decades of experience. To be blunt, it is one of the purest amalgamations of technical expertise and artistic vision in the industry.

Or, shorter version, as it was explained to me on my first gig: "The DP is the guy who leans over and whispers to the Director, '... yoooou don't want to do that.' "

I spent a chunk of yesterday meeting with the 1st AD (Assistant Director). The 1st AD is the brain/spine interface on a set. First, the AD breaks down the script into boards. This is a list of all the scenes in the movie with the associated sets. He then orders them into the most efficient shooting schedule. "We have five scenes in the Hotel Bar. Let us shoot them all in a row, on the same day. This would bring us much pleasure." Then he arranges the shooting schedule based on these boards, coordinates all actor schedules, tech arrangements, staff requirements ... everything. Everything. When the Director is looking at the shot through the monitor, the 1st AD is making sure everything and everyone is in place (and quiet) for this shot. He's also anticipating the lighting change for the next shot, tracking down which talent and equipment will be necessary for that, figuring out how best to take advantage of the spare minutes while the camera isn't rolling, mentally changing the next day's schedule based on whether you're making your shots for this day, coming up with Plans B through Q just in case one of a thousand things goes wrong ... good 1st AD's are notoriously unflappable savants. They run the set.

Today we reviewed the video inserts. Every time -- every single stinking insignificant time -- you see something on a video screen on a TV show, that screen is built by a graphic designer, who then has to animate it to create the illusion of actual functioning software, cameras, whatever. Each shot then has to coordinate visually with its function in the script. For a heist show, it's a bit tricky. For Global Frequency, of course, it nearly frikkin' killed us.

The above folk are just a few of the dozens of people -- all of them far smarter than I -- necessary for delivering a television pilot unto network humans. Setting aside the image you have in your head of actors and directors, or maybe all the lawyers and agents wrestling with legal contracts measured by the pound, the shoot itself is surprisingly ... heavy-machinery oriented. For the uninitiated. you've got actors and directors working on making their little moments under heavy lights being watched by heavy cameras running on yards of metal tracking among false walls that are often rebuilt multiple times in a day. We need trucks, construction crews, and technical experts for most of the equipment. There's a lot of hammering, spot-welding and jigsawing going on while we "make art."

The example I always use: filming is like building a house in a week while crazy people run around inside the construction site.

All this, again, for both the best show you've ever seen, and the crappiest, dinkiest little show you've ever seen.

By the way, this is why I always chuckle when I read pundits slamming Hollywood types as "unserious" or "lightweights." Every TV episode and movie is a 14 hour-a-day contracting job spot-welded to a start-up advertising agency, trying to accomplish the Big Project under brutal deadlines, worth tens of millions of dollars in competition with other ten to a hundred million dollar competing projects. It is ruthlessly capitalistic without any of the clarifying efficiencies of a pure marketplace. Most academic think tank writers and guys whose Mommy got them every job they've ever had (cough Goldberg cough) wouldn't last thirty goddam seconds in "La La Land."

When we next meet, we'll discuss why the hell we're shooting the pilot in Chicago. Ask any questions in the Comments, I'll get to them when I can.

62 comments:

Anonymous said...

On these kinds of productions, who's the person who has to sit down with a piece of paper and list all the crew needed on a shoot, and makes sure these people are hired and are there on time to do their work?

Anonymous said...

On a deal like this one, how much input to the budget do you actually have? - Does it matter that you want Joe the DP and Sally the 1stAD because they are good, but an accountant would prefer someone else because Joe and Sally are too pricey? Do you get to bargain? - I'll shoot cheaper scenes if I can have Joe shoot them.

Anonymous said...

I've worked as an AD for 12 years. Your words, sir, are the most accurate and succinct description of the job I've ever come across, and I thank you for them!

Unknown said...

Good 1st AD's are godsends. Especially when you are in the production office trying to get stuff done and you have producers and the other big kids not understanding exactly what needs to happen to get the show done.

Madeley, in most shows I have been on, the people responsible for that list are production managers, the producer (the one actually who will be on set everyday), and maybe the line producer as well.

Alexis, I don't envy your job; but I can say I do respect the hell out of what yall do and what you go through to get there.

The Minstrel Boy said...

despite your apprehension about not actually having experienced somebody reading your words, i must toss up a small defense of "offer only" status. it took me nearly 25 years in the music game before i got there, but once i did, damn son. the meanest, most soul crushing part of the business is the endless trooping around (and musicians have to lug shit with them on these treks) and know that you're going to be shot down on well over 90% of them, also knowing that there is that golden ticket hit out there which will buy you a ranch in ojai and . . .well you get it. after becoming offer only my ulcer went away, my attitude improved, and i quit being given jobs that really weren't right for me. (auditions are sales pitches that have almost nothing to do with the task at hand and i learned to be hell on sales pitches)

being hired because somebody took the time and trouble to examine my body of work, check in the directors and producers who use me on a regular basis is all good stuff.

offer only fuckin' rulez.

Michael the G said...

KFM,

Great piece on the heavy lifting! As I have tried explaining to my relatives and far-flung friends, it's show BUSINESS. I will be forwarding this piece to more than a few folks.

"Building a house in a week while crazy people run around inside"

As for questions, how did you learn to effectively communicate your "vision" to your DP? I mean, I understand what "Chromed-out Private Ryan feel" looks like intrinsically but what if you are trying to describe something that doesn't have easy comparison?

Anonymous said...

I've always thought that the film business was a little bit like my business, which is software.

Ok, we don't have spot welding or heavy cameras. In fact, we don't have much of anything tangible at all. We don't have to deal with agents, only recruiters. But we have first AD's, only they aren't called that. We have killer schedules. We have all sorts of virtual "stuff" that needs to get put in place, and zillions of details that must be managed. We have serious competition, and it's all a big test of faith, because you don't ever actually know that the public will put down money for what you are making until you are done making it.

And most of all, we end up with something that just started out in somebody's head becoming a tangible reality. Parthenogenesis, I call it.

I think it's slightly odd that more software isn't done the way Hollywood does things. Namely, why isn't it contracted? I guess a lot of it (custom business software) is, but that's not the world I work in. I mean, game software isn't even done on a contract basis, what's up with that?

Anonymous said...

Was just thinking that your descriptions were not too far removed from my experiences in large scale industrial automation - millions of dollars on the line, countless little doodads that need to be just right, management types trying to be "helpful", and, yes, welding...
when the realization struck that now seems obvious in retrospect - every human endeavor that creates some finished product will invariably be way Way WAY more complicated, detailed and time consuming than anyone who isn't involved in the process would ever know, or want to know.

Movies. Software. Automated toothpaste tube filler lines... on and on. It's like we're all connected in a great shining continuity of what-a-pain-in-the-assedness.

Except, of course, for the Doughy Pantload - he's on his own.

Jerome Comeau said...

Oh! Oh! Where in Chicago? I'm a Chicago resident, and I'd be happy to buy you a deep-dish slice or a brat and a beer...

James Henry said...

Really useful stuff, thanks.

Anonymous said...

Another Chicagoan here. I'm looking forward to tracking this project even more closely now.

Anonymous said...

I'm a video/computer playback guy. Thanks for the mention. Nobody ever knows the job exists outside the business.
Jim 7

Anonymous said...

Not that I don't love the hell out of the Crazification Factor, but wouldn't a link to I Miss Republicans go a long way to supporting Kevin's statement as well?

Jeff Lipton said...

Do you use private wikis to coordinate any of this? It seems to (totally uneducated) me that getting everything together among a group of people who may not be in the same physical location is a great application for a wiki.

Anonymous said...

Hope you had a great b-day on wednesday (with cake. Nice to see you're working for a living and keeping busy.

Anonymous said...

I'm a video/computer playback guy. Thanks for the mention. Nobody ever knows the job exists outside the business.

I know that your job exists, but only because I used to wonder why computers in movies looked so wrong. (Things have improved a lot since then.)

Back in the eighties, computer displays in Hollywood films meant big text on what looked suspiciously like composite RGB monitors, with nothing resembling any real operating system or application. And lots of text scrolling up the screen or flashing for no obvious reason. See Working Girl for an example of horribly fake PC displays -- I remember a vague approximation of a word processor with forty column (or worse) text.

There was a time back in the late eighties and early nineties when a computer in a British television drama would almost always have a Philips 8833 monitor, a very recognisible composite monitor popular with Commodore Amiga and Atari ST users. (By the nineties, the fact that the 8833 didn't have a tilt and swivel stand made it pretty conspicuous.)

Whatever computer prop was on the set, the monitor would be driven by an Amiga or an Acorn Archimedes (the first personal computer with a RISC processor, which never caught on outside the UK educational market), both computers which could provide native 50 Hz video matching the European PAL broadcast standard. (Television productions on film in the UK are shot at 25 fps rather than 24 fps to fit with PAL.)

Anonymous said...

So Rogers, surely you have a part tailor made for Internet Superstar and fellow blogger Wil Wheaton, right?

Wil Wheaton said...

Uhm, it's a little weird to comment right after someone commented about me, so let's just have this sentence acknowledge it, and never speak of it again.

Moving on . . .

It's interesting to hear the casting process from the other side of the table for a change. It pretty much matches up with exactly what my experiences have been, with some notable exceptions that are so horrendous, I don't think they could ever apply to a session that Rogers was part of.

Perfect description of the 1st. May I add: when you have a good 1st AD, hardly anyone will notice, but when you have a bad one, it's just about ALL you'll notice.

The construction site metaphor is pretty damn solid, if my memory is correct.

Did you ever get into that thing on Cosby where there are like fifteen producers, all giving different notes to the actors (I assume they did this to the writers too) and you have to figure out who to listen to?

Unknown said...

"Film is a collaborative medium for which the director gets most of the credit." (Jonothan Cullinane)

Brilliant!

Dwight Williams said...

I've heard of the "15 different credited producers" phenomenon before, although Cosby wasn't one of the examples named by my sources.

A recipe for twenty different kinds of stress, I'd bet.

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penyakit yang ditularkan melalui hubungan seks : vaginal, oral dan anal. Juga dapat menular melalui persentuhan kulit dengan daerah yang terinfeksi.

Unknown said...

Obat Ambeien Resep Dokter Ambeclear dari De Nature Ampuh Tuntaskan Ambeien Sampai Tuntas

Unknown said...

Ambeien bisa mengeluarkan darah(seperti invander salim yang terkena ambeien dan mengeluarkan darah)

Unknown said...

Sebelum kita membahas tentang pengobatan ambeien, dalam kesempatan ini
saya ingin menjelaskan sekilas tentang ambeien, agar kita semua bisa
memahami benar apa itu penyakit ambeien

kLINIK oBAT mANJUR said...

Bismillahhirrohmaanirrokhim.... ***************************

kLINIK oBAT mANJUR said...

Bismillahirrohmannirrokhim ......................................

obar herbal manjur alami said...

Bismillahhirrohmaanirrokhim.... ************************************

obar herbal manjur alami said...

Bismillahhirrohmaanirrokhim.... ************************************

obar herbal manjur alami said...

???????????????????????????????????????

kLINIK oBAT mANJUR said...

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Unknown said...

???????????????????????????????

Unknown said...

شركة مكافحة حشرات بالدمام

شركة رش مبيدات بالدمام

شركة مكافحة النمل الابيض بالدمام

شركة رش مبيدات بالخبر

شركة مكافحة النمل الابيض بالخبر

شركة مكافحة حشرات بالخبر

شركة مكافحة النمل الابيض بالجبيل

شركة مكافحة حشرات بالجبيل

شركة رش مبيدات بالجبيل

شركة مكافحة حشرات بالقطيف

شركة مكافحة النمل الابيض بالقطيف

شركة رش مبيدات بالقطيف


obar herbal manjur alami said...

111111111111111111111111111111

Obat Keputihan Herbal Alami said...

1111111111111111111111111111111111111111

Unknown said...

manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur manjur

obar herbal manjur alami said...

alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami alami

kLINIK oBAT mANJUR said...

obat ambeien wasir paling manjur mengobati penyakit wasir ambeien tanpa efek samping terbuat dari bahan alami herbal seperti daun ungu mahkota dewa kunyit putih