Interview with Steve Marvin

Interview with Steve Marvin

Question#1-Can you briefly define your job to me?

Answer- I would say that the job description would be to makes sure that the director has all the tools that he or she needs to do the shots anticipated. There needs to be backup and tertiary systems for things that don’t go right. There needs to be shooting order that can be varied from as smoothly as possible. And to assemble a team that can work together, hopefully has worked together, and if they haven’t I need to know what is expected of everyone. Since I have done the ordering of props, wardrobe, equipments etc. that the props work, the special effects work that sort of thing. Just to run a smooth set.

Question#2-How did you get started in the business?

I started in the 60’s as a messenger for a film company in New York. Then I was sort of drafted by the Production manager of that company into his office and was given a title as assistant production manager. In those days they gave you titles rather than money. That Company grossed $16million a year exclusively producing commercials. It had a building housing 9 sound stages. So you could have as many as (in theory and occasionally a horrifying practice) 11 or 12 shooting days happening on any one day. You could have as many as 9 stages and two to three locations out shooting. So at that point it was so massive that New York could hardly handle it. So you weren’t calling people saying I need a key grip. You would be saying I need 4 key grips heres where they need to be I don’t care who they are I need warm bodies. That was when the unions decided they needed to reopen their doors because their membership simply could not handle the flood of business. This is really in the explosion of television advertising in the 60’s. So I got into the directors guild and you get in by taking a once annual test given simultaneously in NY and LA. That is a whole story in itself. But being in the production office, understanding booking the equipment that was necessary when the electricians would come in and say heres my list. After a while you made the connections stage boxes need this cable, etc. I would talk to electricians and grips and ask how does this work? during breaks. For example I found myself sometimes 4:30 in the morning 30 miles from LA for a sunrise shot and the cameraman doesn’t show up but I could do the job instead.

Question#3-How do you tell someone over you cant accomplish an assigned task?

Well I think you tell them as directly as you can, the reasons why, and as quickly as you can. As quickly as you know the shoot date is approaching and you know we’re not going to be able to shoot everyone needs to know that straight away. Whether that means doing an alternate shot or shooting on another day. Obviously there’s a reason that it can’t happen and if you’re competent at you’re job and you tried every way to get it done and it still can’t it’s either because it is unrealistic or it cant happen in the time frame. As I used to tell production assistants this is yours I don’t want to find out you dropped the ball I want to know when the ball starts to get slippery. Don’t show up on the day and say I couldn’t get it done. I need to know quickly, progress reports, hows it going, when will we have the answer, when can we see it, when do you speak with them etc. As longa as we all know where the problem is so that we can concentrate attention toward it to get it done.

Question#4-Do you have any advice for a media student just starting out?

Yes, It all depends if your on your interest. Lets say you want to direct which is easier now due to video cameras light weight equipment etc. In the past there was a tremendous dropdown to 16 and people couldn’t afford it anyway. Unless one can subsidize to instantly producing your own work I would advise you to take any job even if that means the most important words you hear are “With cream and sugar”. Everyone is promoted from within. With runners on the stage and prod officers are off the job the next people step up. Just being on set and watching is good. My production assistants were told you’re back is to the action, you should watch for trucks people walking on set etc. But even in that case you will absorb professionalism and understanding of the process. So I would recommend rather than taking any graduate courses that you get on a set and begin working even for free. This will cause the producvers directors etc when they have a beer with each other at the end of the day to say “Hey that new kid is pretty good. I like him/her anyone get their no.” essentially producers will eventually need bodies to fill the slots. So… go to work.