How to Produce and not be an Asshole…

Producing requires some imagination.  We needed to shoot in an opera house. Can't afford Lincoln Center. How about Rev. Ike's former movie palace church in Harlem. The Rev makes a lot of location fees for his church because he kept a lot of the old theater, including the lobby almost intact.

Producing requires some imagination. We needed to shoot in an opera house. Can’t afford Lincoln Center. How about Rev. Ike’s former movie palace church in Harlem. The Rev makes a lot of location fees for his church because he kept a lot of the old theater, including the lobby almost intact.

‘Across America, assholes abound’

Wm.C. Roman 1971

Especially in show business…’

John L., 2015

Recently, I heard a fellow DGA brother tell film students a great insight into our business.  When he was a young 2nd Assistant Director he was talking with his 1st AD about another AD they would hire for the production staff. The 1st made it clear who they should hire—but noted– they are not the best person available for the job, they are the best person for the job who can work well with us. Continue reading “How to Produce and not be an Asshole…”

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Hit the Ground Running in Chicago…

Shooting on the rooftops of Chicago

Above, the crew prepares to shoot on a Chicago rooftop with that fabulous skyline.

At the Director’s Elbow series continues. 

Part 2–1981

Working on the TV series Chicago Story was a complete eye opener for me. Now I would be prepping with Directors, and my 1st AD on an actual TV series script. The crew was huge. 150 people or more. And because of the airdate schedule, there will be 2 crews shooting simultaneously.  The AD’s of both crews must share locations, and actors over an 11 day schedule for each episode. Meaning lots of coordination for AD’s.  Unusual for TV, this would be a 90 minute show of Doctors, Lawyers and Cops working and living in Chicago.

The cast was something spectacular—Dennis Franz, John Mahoney, Craig T. Nelson, Kris Tabori to name a few. John Malkovich is a day player in this crowd. Seriously. Kim and I (Yup. Got her to Chicago. Another story for another day…)  were going to local theater and seeing Steppenwolf shows in a storefront on benches. Joe Morton’s daughter, Amy Morton is well on her way to becoming an amazing theater actress. The 2 Tony nominations are yet to come, but by then she was in a little theater group we used to go see that included some guys named Gary Cole and Billy Peterson. They’re pretty good too. The town was exploding with acting talent. Continue reading “Hit the Ground Running in Chicago…”

At the Director’s Elbow…

On the set

The Director always has their chair. It’s a sign of their authority as well as their comfort. The AD never sits during the production day. Their position is standing next to the Director and running the set.  At the Director’s elbow.

On set, Backdraft 2nd Unit

On set, Backdraft. Standing next to 2nd Unit Director and Executive Producer, Todd Holland.

As fate and luck would have it, I got an education in the field from many different Directors who taught me in different ways. You could not buy the experience today at any cost.

By 1978, American movies were rocking the world and film schools like USC and NYU had already earned their impressive reputations. Their graduates went directly into the film and TV industry.  I was just about to graduate from Oakland University in Detroit’s northern suburbs with a minor in film history (film history and aesthetics, no less. Woo-hoo). I had done student movies and 2 real docs and was willing to do anything on a film crew. I wanted in the business. What would be the way forward? Continue reading “At the Director’s Elbow…”