I had the opportunity to interview Michael Shortt, a production manager based out of Savannah, Georgia. Shortt has worked on films such as Forrest Gump.
1. Can you briefly define your job to me?
I people things they need. Main thing is to make sure that things facilitate properly.
2. How did you get started in the business?
I started off as a child actor. Next, I transitioned into theatre work and became a stage hand. Next I opened up my own talent agency. Then, I started working behind the scenes on film. I realized they made more behind the scenes and started there. I worked my way up, and eventually became a production manager.
3.How would deal with someone who is not completing the task given?
I would someone else to replace the person who is making mistakes. I cannot hold your hand. It’s a waste of time and money.
4. Do you have any advice for a media student who is just starting out?
You are not going to be a producer until you’re 40. You need to know how everything works. You can’t give out orders or try to run a set unless you know how everything works. You can’t tell people what do if you don’t know.
As previously mentioned Shortt worked on Forrest Gump. He worked with the casting department on the film. He said of his experience, "Great. Great people."
Tuesday, September 14, 2010
Saturday, September 11, 2010
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.
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.
Tuesday, August 31, 2010
Vicki Dunakin: Producer/Director.
1) Can you briefly define your job to me?
As a producer Vicki helps with the origination of projects. This is the idea part of the project. She also plays a big role with the budget. She looks for grants and other sources of money to fund the project. Hiring the crew and mapping out the problems that may spring up throughout the project are also problems producers have to deal with. Legal aspects are also covered by Vicki such as contracts, insurance and releases. Vicki “actualizes the Directors vision.” As the producer on the set she is the “go to” person.
2) How did you get started in the business?
Vicki stared her career as an actor. She eventually became interested on what went on behind the camera. She began to volunteer on set doing whatever she could and got her first paying job behind the scenes taking script notes.
3) How do you tell someone over you that you couldn’t accomplish and assigned task?
Just being honest is the first step and most important step to take according to Vicki. After you have addressed the problem it is important that you have a few possible solutions to the problem to pitch. You have to be “flexible like Gumby” says Vicki.
4) Do you have any advice for a media student who is just starting out?
Do whatever you can to gain experience. Be hands on says Vicki, volunteer look for internships anything to get your name out there. You have to start on the bottom and work your way up. Always be looking to contribute on set even if it’s something like picking up around the set. You have to think ahead and keep things running smoothly. Be pleasant and you have to have smarts. Vicki says the most important thing is, “you have to let people know you’re interested even if it something as simple as a post card or email this will let people know you still want to work with them.”
As a producer Vicki helps with the origination of projects. This is the idea part of the project. She also plays a big role with the budget. She looks for grants and other sources of money to fund the project. Hiring the crew and mapping out the problems that may spring up throughout the project are also problems producers have to deal with. Legal aspects are also covered by Vicki such as contracts, insurance and releases. Vicki “actualizes the Directors vision.” As the producer on the set she is the “go to” person.
2) How did you get started in the business?
Vicki stared her career as an actor. She eventually became interested on what went on behind the camera. She began to volunteer on set doing whatever she could and got her first paying job behind the scenes taking script notes.
3) How do you tell someone over you that you couldn’t accomplish and assigned task?
Just being honest is the first step and most important step to take according to Vicki. After you have addressed the problem it is important that you have a few possible solutions to the problem to pitch. You have to be “flexible like Gumby” says Vicki.
4) Do you have any advice for a media student who is just starting out?
Do whatever you can to gain experience. Be hands on says Vicki, volunteer look for internships anything to get your name out there. You have to start on the bottom and work your way up. Always be looking to contribute on set even if it’s something like picking up around the set. You have to think ahead and keep things running smoothly. Be pleasant and you have to have smarts. Vicki says the most important thing is, “you have to let people know you’re interested even if it something as simple as a post card or email this will let people know you still want to work with them.”
Thursday, April 29, 2010
My friend Brians first feature
http://500sheetsproductions.com/dearmom.html
Everyone check out the link to my friends first feature it is the person I interviewed.
Everyone check out the link to my friends first feature it is the person I interviewed.
Saturday, April 24, 2010
Interview by Rob Battista
Brian Baldomero: (Director, editor) By: Rob Battista
Shooing my another feature in October, its going to be an experimental film and will take about 16 months in postproductions.
Can you briefly define your job to me?
Working for full tilt poker as a video editor, hang out with pros and learn poker and edit videos for full tilt poker. Always trying to better myself and I do only editing. Side Job is to make features and I just started working on my 2ed feature that’s showing on its first film festival tonight. I was the Director and assistant editor and co wrote. I want to keep it in festivals and if it doesn’t get picked up I will release it online.
2. How did you get started in the business?
Started with school and did my thing and staying in school saved my money. Eventually got a job with Full tilt. Then I started working with my friend who was writer and he started to producer my films that I’m making. Networking with a lot of the people in the industry helps and increasing the people your friends with opens a lot of doors.
3. How do you tell someone over you (your boss) that you can't accomplish an assigned task?
That it’s impossible; it will sacrifice the quality if I don’t have enough time. If they want something perfect I need more time. Always be honest and say I can’t get it done and try to buy more time. Always
4. Do you have any advice for a media student starting out?
Always keep working, whatever you’re doing if your making shorts keep making shorts. Your going to always run into people that make movies every weekend. There is no time put into it. You need to take your time, clear your mind and then start working on a project.
BBaldomero@me.com
Tuesday, April 13, 2010
AD by Rebecca Brinson
1. As an AD, he makes sure that everything on set is running properly. He keeps things moving on schedule and making sure the schedule will be kept even if the director doesn't have everything he wants. Mainly he is the eyes and ears of the producer on set, keeping things rolling. He makes sure that the actors and crew aren't working over time because of the huge financial penalties that that will have. He also makes sure that the schedule is sent out for the next day at the end of the night.
2. He got started by helping out friends that were in the business. He also used class opportunities and helped work on films through school. His first film that he helped with was through the university he attended, but he was the 2nd AD for that.
3. You want to be sure of the logistics so you can relay them back to them. Be sure to let them know what all is involved. You'll typically have a director or a producer that's more on your side but you must refer to the higher authority over you.
4. His advice mainly was to buckle your pride. He said not to have any pride issues with whatever little task that you're doing. Often times its hard starting out because you feel like you have all the skills but that you're not able to use them. Sometimes you'll be working under people you don't respect and those are the hardest times to not be prideful. His other advice was to make friends in the business and to network.
2. He got started by helping out friends that were in the business. He also used class opportunities and helped work on films through school. His first film that he helped with was through the university he attended, but he was the 2nd AD for that.
3. You want to be sure of the logistics so you can relay them back to them. Be sure to let them know what all is involved. You'll typically have a director or a producer that's more on your side but you must refer to the higher authority over you.
4. His advice mainly was to buckle your pride. He said not to have any pride issues with whatever little task that you're doing. Often times its hard starting out because you feel like you have all the skills but that you're not able to use them. Sometimes you'll be working under people you don't respect and those are the hardest times to not be prideful. His other advice was to make friends in the business and to network.
Monday, March 15, 2010
William Powell interviews Damien Payne
Well, this is pretty late. I did the interview a while ago, but forgot to post it. Anyway, here it goes:
I interviewed Damien Payne. Damien works freelance as a 1st Assistant Director. Damien spends most of his time in Washington State, but also works in Los Angeles, Portland, and London. He has worked on everything from music videos, to commercials, and feature length films.
1. Can you briefly describe your job?
Damien sums up his job as the foreman of a production. His job is to marry the needs of production to the vision of the director. In preproduction, Damien is in charge of mapping out the job. He will make the production schedule. He will often have to tell the producer that there isn’t enough days for them to do what they want, which either means they need more days or to cut down on the vision. Either way, he has to find a way to make it work. Damien says a good producer will listen to the Assistant Director.
Towards the end of preproduction they will do a tech scout and collect the crew. They will then figure out how to shoot each scene. Finally they map out a full shooting schedule and create a call sheet, so they can find out how to contact anyone if they don’t show up on shoot.
When it comes to the shoot Damien makes sure everyone hit’s the ground running. He makes sure mics are set up, and stuff like that. Damien then makes sure the actors are getting their make-up, although he blocks the scene first on a movie. Damien then makes sure the stand-in’s are ready and know what to do.
Damien says that the sooner you start shooting the more you will accomplish in a day. Damien also has the responsibility of calling roll and action, calling cues for vehicles, and makes a record of out times.
2. How did Damien get started?
Damien started his career in media as a runner (production assistant) in London. He started at a commercial production company. At the time they still used film. After that, Damien started doing freelance work in London and eventually moved to Seattle, Washington. From there Damien worked on commercials, music videos, and even some feature films, like Dancer in the Dark, starring Icelandic musician Bjork.
3. How do you tell your boss you can’t do something.?
Damien says he will typically bring it up jokingly. He says you have to be honest. If something can’t be done, it can’t be done. He says how the producer takes it typically depends on their competence level. An experienced producer won’t fall into fear. Regardless though, the job will always get done, even if it has to be done differently.
4: Damien’s advice for someone starting in media.
Start as a production assistant. It’ll help you get a foot in the door and figure out which direction to go. However, don’t do PA for more than two years. Use that time to find out what you want to do. He says directors come best from an editing background, but also writing and acting. If you can edit well, you know how to concisely tell a story, which helps have a better vision when directing. Television shows are good training grounds for up and coming directors. Damien’s final advice is to get a good pair of tennis shoes, because there is a lot of standing in this business.
I interviewed Damien Payne. Damien works freelance as a 1st Assistant Director. Damien spends most of his time in Washington State, but also works in Los Angeles, Portland, and London. He has worked on everything from music videos, to commercials, and feature length films.
1. Can you briefly describe your job?
Damien sums up his job as the foreman of a production. His job is to marry the needs of production to the vision of the director. In preproduction, Damien is in charge of mapping out the job. He will make the production schedule. He will often have to tell the producer that there isn’t enough days for them to do what they want, which either means they need more days or to cut down on the vision. Either way, he has to find a way to make it work. Damien says a good producer will listen to the Assistant Director.
Towards the end of preproduction they will do a tech scout and collect the crew. They will then figure out how to shoot each scene. Finally they map out a full shooting schedule and create a call sheet, so they can find out how to contact anyone if they don’t show up on shoot.
When it comes to the shoot Damien makes sure everyone hit’s the ground running. He makes sure mics are set up, and stuff like that. Damien then makes sure the actors are getting their make-up, although he blocks the scene first on a movie. Damien then makes sure the stand-in’s are ready and know what to do.
Damien says that the sooner you start shooting the more you will accomplish in a day. Damien also has the responsibility of calling roll and action, calling cues for vehicles, and makes a record of out times.
2. How did Damien get started?
Damien started his career in media as a runner (production assistant) in London. He started at a commercial production company. At the time they still used film. After that, Damien started doing freelance work in London and eventually moved to Seattle, Washington. From there Damien worked on commercials, music videos, and even some feature films, like Dancer in the Dark, starring Icelandic musician Bjork.
3. How do you tell your boss you can’t do something.?
Damien says he will typically bring it up jokingly. He says you have to be honest. If something can’t be done, it can’t be done. He says how the producer takes it typically depends on their competence level. An experienced producer won’t fall into fear. Regardless though, the job will always get done, even if it has to be done differently.
4: Damien’s advice for someone starting in media.
Start as a production assistant. It’ll help you get a foot in the door and figure out which direction to go. However, don’t do PA for more than two years. Use that time to find out what you want to do. He says directors come best from an editing background, but also writing and acting. If you can edit well, you know how to concisely tell a story, which helps have a better vision when directing. Television shows are good training grounds for up and coming directors. Damien’s final advice is to get a good pair of tennis shoes, because there is a lot of standing in this business.
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