September 7, 2011
Vlog #110 ~ Hilarie and Nick Answer Your Questions Part 3
Vlog #109 ~ Hilarie and Nick Answer Your Questions 2/3
Vlog #108 ~ Hilarie and Nick Answer Your Questions 1/3
Vlog #107 ~ Reunited
Vlog #106 ~ Up To Speed
Vlog #105 ~ Industry Interview Cucalorus Panel Part 3
Vlog #104 ~ Industry Interview Cucalorus Panel Part 2
Vlog #103 ~ Industry Interview Cucalorus Part 1
Vlog #102 ~ The Tables are Turned
Vlog #101 ~ Blooper Reel... we can always use a good laugh!
Vlog #100 ~ Industry Interview Follow-Up John Desarno
Vlog #99 ~ Industry Interview Beth Crookham Part Two
Vlog #98 ~ Industry Interview Beth Crookham Part One
Vlog #97 ~ Industry Interviews Follow Up Mark Graves
Vlog #96 ~ Industry Interview Karen interviews Leigh
Vlog #95 ~ Industry Interview John Desarno
Vlog #94 ~ Industry Interview Best Boy Grip Mark Graves
Vlog #93 ~ Industry Interviews Tym answers your questions!
Vlog #92 ~ Industry Interview Follow-Up Kelly and Karen
Vlog #91 ~ Industry Interviews Kathy Rayle
Vlog #90 ~ Industry Interview Follow-Up
Vlog #89 ~ Industry Interview Key Makeup Artist... Tym Buacharern
Vlog #88 ~ Industry Interviews Karen
Vlog #87 ~ Industry Interviews Carol Cutshall Outtake
Vlog #86 ~ Industry Interviews Carol Cutshall Part Two
Vlog #85 ~ Industry Interviews Carol Cutshall Part One
Vlog #84 ~ Industry Interviews Robert Girolami Part Four
Vlog #83 ~ Industry Interviews Robert Girolami Part Three
Vlog #82 ~ Industry Interviews Robert Girolami Part Two
Vlog #81 ~ Industry Interviews Robert Girolami Part One
Vlog #80 ~ Sometimes You Bend So Much You Gotta Break Things
Vlog #79 ~ Update from Hilarie
Vlog #78 ~ The Third Star of the true-love tale of Boyfriend and Girlfriend
Vlog #77 ~ Two Sisters Bookery
Vlog #76 ~ Winter Poetry Winnings
Vlog #75 ~ It's Here...
Vlog #74 ~ Hilarie Takes Her Own Advice
Vlog #73 ~ Hilarie update from the West Coast
Vlog #72 ~ Nick hosts a barbeQUE with questions from P.K. Reilly, Kendall Ditommaso, and Anneliese
Vlog #71 ~ Update from Hilarie
Vlog #70 ~ Nick adds another Recommendation to the SoGoPro Book Club, Tunneling To The Center Of Earth by Kevin Wilson.
Vlog #69 ~ You Can't Drink All Day If You Don't Start in the Morning
Vlog #68 ~ You're invited to a Friday Southern BarbeQUE
Vlog #67 ~ Nick answers 3 Questions...
Vlog #66 ~ Don't Delay, Get yours TODAY!
Vlog #65 ~ True Blood and Living Dead in Dallas...
Vlog #64 ~ SoGoPro Book Club - A Treasury of Southern Folklore by B.A. Botkin
Vlog #63 ~ Southern BarbeQUE done Nicholas style
Vlog #62 ~ Southern BarbeQUE take 2
Vlog #61~ A little more about our Graphic Novel...
Vlog #60 ~ Southern BarbeQUE take 1
Vlog #59 ~ Bootleg Bibis
Vlog #58 ~ Bibis sings, we listen
Vlog #57 ~ Get Real!
Vlog #56 ~ Hilarie talks about Friendship Union Community Theater
Vlog #55 ~ Another secret...?
Vlog #54 ~ Meet Zack Turner!
Vlog #53 ~ Meet Annetta Jenkins!
Vlog #52 ~ Rachael Rants
Vlog #51 ~ Meet Kathy Halenda!
Vlog #50 ~ Meet Rachael Sutton and Taylor Kowalski
Vlog #49 ~ Comic-Con, Here We Come!
Vlog #48 ~ Treasure Chest
Vlog #47 ~ SoGoPro Book Club - "We have always lived in the Castle"
Vlog #46 ~ A little bit of magic for Friendship Union Community Theatre
Vlog #45 ~ Bibis and Nick hanging out in Carolina Beach
Vlog #44 ~ SoGoPro Facebook Page
Vlog #43 ~ Successful Launch of SGP Podcast
Vlog #42 ~ Podcasts ... coming soon!
Vlog #41 ~ New Merchandise, Tank Tops
Vlog #40 ~ SoGoPro Book Club - "Dandelion Wine"
Vlog #39 ~ Hilarie and Nick talk about two of their favorite Southern actresses
Vlog #38 ~ Hilarie and KT discuss NC film incentives and 'Motion Picture Month' in NC
Vlog #37 ~ Hilarie and Nick ask the Magic 8 Ball some tough questions. Do you have questions?
Vlog #36 ~ Hilarie and Nick talk about what it was like shooting the first webisode
Vlog #35 ~ SoGoPro.com Official Welcome Message from Hilarie, Nick, and KT
Vlog #34 ~ Hilarie talks with Denise Gideon about Podcasting and the SGP Podcast!
Vlog #33 ~ Nick and Hilarie discuss their favorite plays (with a gator)
Vlog #32 ~ Hilarie introduces us to Levi Boyd
Vlog #31 ~ Hilarie and Nick discuss mothers, including Lincoln Booth's mother
Vlog #30 ~ SoGoPro Book Club - 'Wicked Plants...'
Vlog #29 ~ Nick and Hilarie talk about community theatre and the new webseries!
Vlog #28 ~ New Media - Hilarie wants to know what products YOU use
Vlog #27 ~ Nick and Hilarie beam in from outer space and compare the Star Trek film to 'Pedestrian'
Vlog #26 ~ Hilarie talks to pedestrians Kim and Lindsay on the Riverwalk
Vlog #25 ~ Nick and Hilarie don't like...
Vlog #24 ~ Important Announcement from Hilarie and Nick - DON'T FREAK OUT
Vlog #23 ~ SoGoPro Book Club - Hilarie reads from William Gay's 'Twilight'
Vlog #22 ~ Happy Birthday, Austin!
Vlog #21 ~ Hilarie talks to Bibis about her musical past, present, and future
Vlog #20 ~ Bibis performs her song 'Foxes'
Vlog #19 ~ Nick and Hilarie introduce us to their muse, Bibis
Vlog #18 ~ The Young People's Speaker
Vlog #17 ~ Hilarie and KT announce the arrival of SoGoPro t-shirts!
Vlog #16 ~ Nick and Hilarie have secrets...
Vlog #15 ~ Nick gives Hilarie a palm reading
Vlog #14 ~ Hilarie hits the Riverwalk to talk to real-life pedestrians Kathy and Chase
Vlog #13 ~ Austin, Nick, & Hilarie discuss their favorite actors
Vlog #12 ~ SoGoPro Book Club reading by Nicholas - 'The Pillowman'
Vlog #11 ~ 'Poems in the Tree' - Nick and Hilarie share what they found in the tree!
Vlog #10 ~ Nick and Hilarie scout locations for their short film 'True Love Tale of Boyfriend and Girlfriend'
Vlog #9 ~ Q&A with Austin Nichols about his character Lincoln Booth, and his power animal...
Vlog #8 ~ Hilarie catches up with real-life pedestrian, Linda
Vlog #7 ~ SoGoPro Book Club - Austin Nichols reads from Ayn Rand's 'The Fountainhead'
Vlog #6 ~ Messages from SGP fans all over the world
Vlog #5 ~ Austin and Hilarie stroll down to the beach (no dialogue)
Vlog #4 ~ Updates from North Carolina - Hilarie's message
Vlog #3 ~ Nick and Hilarie and Southern Gothic, Part 2
Vlog #2 ~ Nick and Hilarie and Southern Gothic, Part 1 - What is 'Southern Gothic'?
Vlog #1 ~ IntroductionsOther Transcripts
The True-Love Tale of Boyfriend and Girlfriend
Friendship Union Community Theater - Pilot Episode (Prequel)
Star News Interview with Hilarie and Nick
September 7, 2011
[open to Hilarie and Nick siting on the Riverwalk, continued from last vlog]
Hilarie Burton: Serious questions! [reading next question] ‘What’s been the more important experience for you in the past? With today’s point of view, is there something you would do completely differently?’ God, these are really serious, you guys! I liked it better when you asked what our favorite color was! I mean, I had a friend I grew up with and did theatre with all growing up from elementary school on and he died in Iraq and that was really a turning point for me because it was, like, oh, well I’ve got to keep doing stuff because he’s not around anymore to do stuff. And we had always talked about, when he got out of the military, how he would come and do movies with us, and it sucks and you don’t want to wallow in sadness but you also keep that goal in mind. So I think that was a really big turning point for me. That made me a little more serious in my approach to film stuff for sure. How’s that for a buzz kill? Top that, Nick.
Nicholas Gray: I’m still kind of… I’m not sure I have an answer. I’m trying to come up with where I am now…
HB: I mean, we certainly are much calmer now than we used to be. We went out last night… We were home at eleven. It was really domestic and awesome. [laughs]
NG: We were, we were.
HB: Yeah, that was late! I’m usually in bed by 9:30! For you, I’ll stay out! [laughs]
NG: I’ll stay out all night!
HB: Have dessert. Let’s see. [looks at phone for next question] ‘During life we often gain new experiences and our point of views change constantly. What is happiness and success for you now?’
NG: Oh, okay. Well… happiness and success right now… We mentioned earlier, we are turning 30, both Hilarie and I.
HB: Yeah! But no, we’ve got a whole year before that happens! Let’s be clear.
NG: We do have some time before that happens.
HB: We’ve got a whole seven years before we admit that we’re turning 30!
NG: And nobody ever thinks I’m 30. [smiles]
HB: That’s true, he gets carded! God!
NG: Which I love. But I think I have a bit of age and time anxiety that I’ve been trying to really throw off the dock.
HB: Yeah, get rid of it!
NG: So that’s kind of where I’m at right now… being okay that I’m 30. I think, you know, when I was younger, I definitely thought that by the time I was 30 I was going to be like…
HB: … kickin’ it.
NG: HBIC, doing everything! [both laugh] Doing whatever I wanted to. And life happens! And you just kind of have to roll with it, and I hope that in five more years I’m even more chill about everything.
HB: Yeah, calming down has been a big thing. Like, going to bed early is really awesome now. And also, getting to shower! [both laugh] You know, my life is so busy at this point! Yeah, you just appreciate little things, the older you get, and I think we appreciate the times that we all get to hang out together and work together and I think we appreciate the successes and the victories that we have in our own lives. Yeah, it’s just a much calmer place now and I think we’re more realistic than we used to be.
NG: Definitely. Definitely a little bit more realistic. And I’m always so hard on myself. You know, people from the outside…
HB: [referring to a boat whistle] That boat agrees!
NG: That boat agrees! [imitates boat noise] Stop that!
HB: Toot toot! [laughs]
NG: It’s hard sometimes to recognize your own successes as being successes.
HB: You don’t realize that it was a win at the time!
NG: Yeah, and other people, from their perspective, it’s so clear, and I’m trying to get better at seeing it as clearly as that.
HB: Word. Okay, different paths. [reads next question] ‘If we weren’t in the industry right now, what would we be doing?’
NG: Oh, I would be a forensic scientist. I would be Dexter.
HB: Solving crimes!
NG: Solving crimes.
HB: I’m saying, I went to school for psychological forensics.
NG: But that’s what I was thinking. I was like, if I’m going to stop writing, what am I going to go back to school for? I would go back and try to be Dexter, but not kill anybody!
HB: That we’d tell you about…
NG: Yeah, I love science!
HB: Yeah, I do love science. Science fair, man. Don’t you miss that? Those boards that fold…
NG: Three-way boards!
HB: We love dioramas, it’s our favorite! [looks at next question] On the industry. ‘If you could make/remake any film, what would it be and which actors would play which characters?’ I would remake ‘Baby Doll,’ Tennessee Williams.
NG: You do like that movie.
HB: That was really great. I really like the lead female in that. And I would have Mandy Patinkin play a part in it, and also Elliott Gould! [Nick laughs] I really like Elliott Gould!
NG: Have you seen him on anything recently?
HB: I mean, I like that movie ‘California Split’ he did when he was much younger, but he’s a man who’s aged well. He looks nice!
NG: I would have… oh.
HB: It’s so hard. I’m not going to put you on the spot.
NG: A remake… ‘Cruel Intentions.’
HB: Oh! You love that movie! You’ve always said that was your favorite movie. [Nick laughs] But would you use the same cast?
HB: [laughing] Would you use Sarah Michelle Gellar?
NG: I would use the same exact cast.
HB: Oh, that’s so awesome!
NG: Let me make sure everyone’s alive…
HB: That’s so awesome. Yeah, that movie was great!
NG: It was trending on Twitter the other day…
HB: Little Reese Witherspoon!
NG: … because it was on TBS the other day.
HB: Was it really?
HB: Yeah, that’s a good one. [reads next question] ‘What would be your ideal film role?’ [thinks] A spinster… that solves crimes… [laughs] Who would you want to be?
NG: Well, when I was acting, and I guess I’m acting again, I was really good at playing people that were a little bit autistic or… [Hilarie laughs and throws her head into her lap while Nick laughs] I mean, just a little…
HB: You were Seymour in ‘Little Shop’!
HB: We used to sing that in the house when we lived together!
NG: I mean, just a little off, a little colorful.
HB: [a bug flies across screen] Oh, a bug! The guy that attracts bugs.
NG: That guy that attracts bugs, maybe somebody who can heal the world with a magical power, a nature intuiter.
NG: … can make grass just…
HB: Yeah, yeah. Make leaves fall off the trees to blind your enemies? Yeah, that’s a good skill.
NG: … the earth open up.
HB: I’m into it. [reads question] ‘What do you find most irritating and unfair regarding the movie/media business in the U.S.?’ I’m not irritated. Are you irritated?
NG: I don’t know how to answer that question.
HB: Yeah, I’m not irritated, really.
NG: I wouldn’t say that I’m irritated, I wish for a lot of people that it was easier. I wish that it was easier, but it’s not. When I was acting in New York, when I stopped acting it was because I took an internship with a casting agency in New York and I saw really firsthand how difficult it is.
HB: Well, they just hire the same people over and over again.
NG: Well it was regardless of… I think, for me personally, I like to work hard, and I like to have things happen based on how hard I was working, and I think for actors, until you become well-off enough and independent enough in your career that it does matter if you work hard… Up until that point, it doesn’t matter so much how hard you work.
HB: It’s a game, man.
NG: I wish that wasn’t the case, but it is. And so if you do want to get involved in this industry, you kind of have to go in with the mindset and be ready to knock it out no matter what.
HB: Yeah, I agree. I’m not bitter. [reads next question] Let’s see. ‘Shakespeare: tired-some to study, or fabulous to act?’ Well, I was Puck in ‘Midsummer,’ that ruled. That was a really good time!
NG: Yeah, I mean it can definitely be frustrating for a lot of people, but it’s the bard!
HB: I know, Shakespeare’s awesome! Go to a Renaissance Fair! [Nick laughs] Dip your feet in those waters. [laughs and reads next question] Let’s see. People are asking about ‘Friendship Union Community Theater.’ We were actually talking about that today. You know, the ones that we did… Those were expensive to shoot! Because we did a really nice job. We used some nice cameras and stuff. I think technology exists now, even just a year later, that is so much sharper, so we can do it on a much cheaper budget.
NG: I have ideas on a daily basis about Friendship Union Community Theatre
HB: I think about it all the time.
NG: There’s a lot of ridiculousness out there to make fun of.
HB: Yeah, it’s awesome! And I think on that note, we’ve answered hopefully all of your questions, a lot of your questions certainly. So yeah, if you have more, send them in, we’ll try to get to them. And in the meantime, we’re just keeping busy, telling stories…
NG: … talking to strangers.
HB: … talking to strangers! [laughs and waves] Bye!PróximamenteBientôt Disponible
August 12, 2011
[continued from last vlog, Hilarie and Nick sit at the Riverwalk]
Hilarie Burton: How did we cross paths? I think we’ve told this story before.
Nicholas Gray: I thought they meant the TV show.
HB: [laughs] Friends, on Friends.
NG: [laughing] Previously on…
HB: That was a good show. Previously… [laughs] No, Nick was best friends with my friend’s girlfriend, so it was almost like we were set up on a double date! [laughs]
NG: We were.
HB: They were on a date…
NG: Literally, that’s kind of what happened.
HB: Yeah, they were on a date, and then you and I were at the table like, ‘hey, wanna hang out?’
NG: Well. I think we were playing trivia.
HB: Yeah, it was trivia night at… what bar was it?
NG: The Copper Penny.
HB: The Copper Penny.
NG: And you and I knew all the answers. And that’s how we knew it was meant to be.
HB: Because we’re really into pop culture. [laughs] Yeah! We fell in love really fast. It was easy! What a match! We should send them thank you notes.
NG: The Copper Penny? Or our friends?
HB: No, our friends! ‘We don’t talk to you guys really so much anymore, but thanks for introducing us!’ [both laugh as Hilarie reads next question] ‘You introduced SoGoPro fans to Bibis, but how did you meet?’ I mean, that’s just Wilmington. You just meet people.
NG: Yeah, Bibis is… she recently moved away from Wilmington. I believe she’s in Chapel Hill right now.
HB: But she still plays here all the time, right?
NG: She plays here quite often but, you know. I mean, she was just playing!
NG: You also introduced me to Bibis, her music. We went down to The Whiskey one night and had a little dance party. Oh, Bibis! [sighs]
HB: She’s so cute!
NG: So good.
HB: She’s just the cutest. [reads next question] Let’s see. ‘I blogged about the benefit for Bryan Greenberg’s charity, how did I decide to get involved in that?’ Well, Bryan Greenberg played my boyfriend Jake Jagielski here on ‘One Tree Hill,’ and he’s on of the… You know, you move away, you fall out of touch with people, and Bryan’s one of the people, for whatever reason, we’ve just stayed really good friends over the years. He’s like a brother. I never had an older brother so he’s kind of like the older brother character, always looking out. He calls me Hils.
HB: I’m not plural! It’s one. Hil. [both smile] So yeah, he’s like the older brother that has the nickname for me and always makes fun of me for whatever. Anyway, randomly, his TV show ‘How to Make It In America,’ and the show I work on, ‘White Collar,’ shoot in the same stage in New York and so I see him all the time now, which is awesome. And he asked me to get involved in this charity that he’s doing to raise money for kids in Africa to have a library and who’s going to say no to that? That’s awesome! We love books!
NG: Yeah, we love libraries.
HB: We love books. [reads next question] On music. ‘It’s been a while since we’ve posted anything about music. What new musicians or songs have we been listening to recently?’ What have you been listening to?
NG: Gosh. I’ve been a little out of touch with music. I really liked when Mumford and Sons first came out.
NG: And I still enjoy listening to them, but now everybody’s kind of listening to them.
HB: They got cool.
NG: That is a great album. What else have I been listening to?
HB: I don’t know.
NG: I listen to a lot of cover songs. I find songs that I like…
HB: That you liked the first time, like Hall and Oates!
NG: Like Hall & Oates, for instance. [both laugh] Then I go on youtube and I find awesome people singing them.
HB: That’s cool.
NG: I really like cover songs.
HB: Yeah! That’s probably why we like going to see Bibis so much!
NG: It is, that’s probably really the reason for that. But I already know the words, I don’t need to learn a whole new song.
HB: That’s great! It’s a two-for-one!
HB: Yeah, I mean, I’ve been listening to a lot of Fresh Beat Band this summer. If you’re a parent, you know what I’m talking about. It’s on Nick Jr.
HB: There was a time when I worked on MTV that I knew every cool song that was out, even the uncool songs that were out. I could not tell you a single song from this summer, other than the Fresh Beat Band music video that airs on Nick Jr. 30 times a day, so… That’s my jam.
NG: And I like Nicki Minaj. She’s so fast!
HB: Oh, she’s cute! I don’t know what she sounds like but man, I like her wigs!
NG: She has a lot of good wigs.
HB: She’s cute! I’m more into aesthetics these days than music. Although, my friend Tripper Ryder is a bassist in Nashville. He toured with Josh Grayson. He on tour now with Easton Corbin, and we have been texting about starting a band, and it’s gonna be like a psych-country band. It’s gonna be awesome.
NG: What’s the psych part?
HB: Like if Rocky Ericsson from the 13th Floor Elevators… If you don’t know them, look them up… and Gladys Knight had a baby.
HB: It’s going to be supreme.
NG: Putting it together like that.
HB: Yeah. I mean, we like to look at things like cross-pollination. Yeah, I’m almost 30 years old, I’m going to start a band. It’s going to be awesome! [reads next question] ‘Pop your iPod on shuffle, what are the first five we get?’ I don’t have my iPod, do you have yours?
NG: I don’t have mine with me, but it would probably be like some Tracy Chapman song…
HB: Oh, ‘Give Me One Reason’! [both laugh]
NG: I bet that would be the first thing that would come up.
HB: That’s a really good song! Yeah, I’m just listening to a lot of old stuff. Well, my boyfriend is working on a show that takes place in 1959, so I just spent like $300 on iTunes downloading every song that was popular in 1959. So we’re listening to a lot of love jams. A lot of old school jams. I like it. It sets a tone in your home. You should always have music playing in your home. Set a tone. [reads next question] On the past. Woah. [both sigh] Do we wanna go there? ‘You’ve had many different hairstyles over the years, which has been my favorite, and why?’ Well, we’ve both let our hair out. [laughs]
NG: Wait, is this question for me? [laughs]
HB: I know! What’s been your favorite hairstyle on yourself?
NG: On myself? You know what? My hair doesn’t usually see a bad day.
HB: That’s true. It’s magical!
NG: You know, just the other day, it was hotter than heck down here, and…
HB: Hottest day since 1999.
HB: Yeah, that’s what the newspaper said.
NG: And I was just thinking to myself, I was walking down the street, I was just thinking, sorry humidity, my hair has moves that you have never seen. [Hilaire breaks out laughing] Like Julia Roberts in ‘My Best Friend’s Wedding.’
HB: [still laughing] Oh, that’s awesome! You can’t touch this!
NG: No, I mean, it is a little long right now,
HB: No, but it’s carefree!
NG: It’s carefree! [swings his hair around and they both laugh]
HB: My favorite hairstyle? I don’t know, man. I really liked my hair in high school, that was cool. It was really curly. You know that late 90s curly hair style where girls wore too much gel in their hair so it was really crunchy? I rocked that. I miss having hair that you could hear every time you moved your shoulder. [both laugh] I dug it! One day it will come back.
NG: I liked when you had your red hair recently.
HB: Oh, like my hooker red hair? My X-Men red hair? That will come back one day.
NG: I wish that you would become Jean Gray with that red hair!
HB: Right? [pretends to have super powers] Solve all the world’s problems with my red hair. It was purple-red. That’s a different look. Let’s see. [reads next question] ‘If I had to tattoo a moment of my life upon me, what would it be and why?’ Well, I think we already do that, don’t we?
NG: Yeah, we do. [both laugh]
HB: But we don’t want to tell you about it. They’re really private!
NG: Yeah, I mean, that’s something, with some tattoos that I have, I look back on them and… I’m glad that I have them because they’re there to remind me of where I was personally, but sometimes I’m like… [both groan] I wish that wasn’t there.
HB: That’s forever.
NG: Or I need to now find something to counter balance that.
NG: Maybe with something a big more light hearted. Because I would say some of the things I’ve got…
HB: Are dark? [laughs]
NG: My body art is a little dark.
HB: A little grim? Take your shirt off at the beach, people start asking too many questions, it gets weird. We’ll keep our body art to a minimum. Let’s see. [reads next question] ‘Do we have any regrets in our life?’
NG: [laughs and puts his head in his hands] Oh my god!
HB: [laughing] Kelly, who wrote this? [to camera] Which one of your guys asked that question? What are our regrets? I don’t have any regrets.
NG: You know, I have one regret. And it’s so basic, but its kind of really true. In my last year of college I was taking a songwriting class just to kind of fulfill my…
HB: Man, you would be so good at that!
NG: … to fulfill my requirements and one of my professors, he thought I was really, really good at songwriting and I didn’t really care!
HB: [waves to someone off camera and laughs] Hi!
NG: … and so he had kind of set me up at this program at NYU for the summer to go learn a lot about songwriting, and I just blew it off.
HB: Whatevs, man.
NG: And I regret that. I look back on that and regret that. Because I do remember I was in New York and I wasn’t doing anything better and I have this dream right now of getting this guitar and…
HB: We’ve talked about this.
NG: Yeah! I was at Best Buy. I found the one that I am going to get.
NG: And I have actually been working on this international club-banger hit called ‘In The House Tonight.’
HB: Is the Countess going to sing it from ‘The Real Housewives of New York?’ [laughs]
NG: I wish!
HB: We need to get that put together.
NG: That was a regret. I have other regrets that are a lot darker and maybe if you ask me on a one-on-one basis I might tell you.
HB: [laughs] If they find you in a dark seedy bar down here in Wilmington?
NG: Yeah, and I’ve had a couple of drinks, I might be like ‘come here!’
HB: Tell you a pirate tale.
NG: Let me tell you a story!
HB: Yeah, regrets are… You only regret the things that you didn’t do. You never regret things that you did. [looks sideways at camera] Or do we? Wah wah wah. You guys and your serious questions.PróximamenteBientôt Disponible
July 25, 2011
[Hilarie and Nick are sitting on a bench on the Riverwalk]
Hilarie Burton: Hi guys!
Nicholas Gray: Hey!
HB: Sogopro, just hanging out in beautiful Wilmington. A couple days ago, Kelly compiled a bunch of your questions.
NG: How much is a bunch?
HB: Like, a bunch! [laughs] And so Nick and I are going to try our best to read them off my cellie tellie and let you know what we’re up to! Our first question is about ‘One Tree Hill.’ It’s our honest-to-goodness reaction on ‘One Tree Hill’ getting a season nine. I mean, duh, that’s awesome!
HB: Mazel! As Andy Cohen would say! [laughs] Yeah, it keeps our crew here. ‘One Tree Hill’ has done such a good job of keeping film alive in Wilmington and being the thing that gives all the crew members a good pay check so they can do independent films in their breaks because they are getting well paid by this network TV show. I would root for ‘One Tree Hill’ to go 20 years! It’s a great institution in this town and it’s something that has supported us and that we support.
NG: I mean, it’s one of the reasons we were all able to come together at the beginning of this so, keep it going!
HB: Yeah man, that paid the bills! [laughs] Our next question, we’re going to roll through these, on travel! Okay, check this, [reads] ‘Traveling on trains gives you quite some time to do many things. Which country would you like to travel to by train to get some inspiration for a story that SoGoPro would like to be involved in?’ Where would we want to go? There’s like a Maple Leaf Express that goes from upstate New York up to Montreal that I’ve heard is beautiful and scenic. That would be lovely!
NG: Okay, that makes sense. I would want to be on a train in Russia.
HB: Yeah! That sounds dangerous!
NG: All that snow? Yeah, it does. It seems dangerous.
HB: You would have to wear a bear fur coat.
NG: I’m a bit more dangerous since the last time you guys saw me. [smiles]
HB: True! He carries a knife everywhere! He has gold teeth.
NG: I mean, Russia….
HB: The Ukraine?
NG: The Ukraine. [both laugh]
HB: It sounds romantic!
NG: It does. So romance, danger, spies…
HB: The best kind of romance is dangerous.
NG: Yeah, you’re right about that.
HB: I’m into it. Our spy story is coming up. [reads her phone for more questions] Oh, ‘White Collar!’ ‘White Collar,’ people are excited we’re back. Let’s see. ‘Is this my niche or do I have a hankering to go after a drama? Maybe a period drama?’ Well, we like period stuff! I mean, the Southern Gothic literature that brought us all together and kind of got us started. I’m really into the, like, the Carson McCullers, dirty south. Tennessee Williams, dirty south. We like that depression era, post-depression era, south. Poverty makes people interesting.
NG: Well, for me personally, the interesting thing is, everything that I’ve written… [says ‘written’ with an accent]
HB: [laughing, repeating Nick] Written! I’ve missed that! Written!
NG: [smiles] … has been an entirely different genre!
HB: That’s true!
NG: And I hope that’s a good thing.
HB: Well, yeah, you’ve been flexing your muscles! [Nick smiles and nods at the camera, Hilarie laughs] Muscles. That’s why you’re so dangerous now! You’ve got all these flexed muscles! [laughs] Yeah, I think that we’re people that are curious by nature, so I don’t think that any one genre would be…
NG: [smiles] That’s why we’re always in so much trouble.
HB: That’s true. You should have seen us last night. [reading another question] ‘What’s been my favorite episode of ‘White Collar?’ Probably the ones where I work with Willie Garson the most. He’s… Willie’s awesome! And he’s brassy like we are, you know? So he’s a good one to hang out with. Let’s see. Oh, I have a great sense of style, says someone! [Nick laughs] ‘Do I bring any of my own style to Sara’s character?’ No. I mean, clearly, right now, I am wearing a dress that’s made of bathing suit material, and I don’t know that Sara Ellis would do that.
NG: What’s the most expensive thing you’ve gotten to wear on the show?
HB: I mean, there have been like $4,000 dresses.
HB: That’s ridiculous! I shop at TJ Maxx! I really hope we get an endorsement out of that. [laughs]
NG: [looks at camera] We love TJ Maxx!
HB: [laughing while singing] TJ Maxx! Yeah we do! [reads another questions] On New York, ‘What do I love about living in New York City?’ [to Nick] Well, what did you love about living in New York? You’ve been contemplating going back to visit or stay for a little while.
NG: What I loved about New York… Gosh. I mean, I was there when I was really young. I went there right when I was out of school. I’m from a pretty rural area, and I went to school in Boston and then I went right to New York, and I think, for me, still at that point, it was just seeing the bigness of everything that I hadn’t experienced before. And then it scared me after a while!
HB: Well, the thing about New York… Because I went right when I graduated school too… New York, anything can happen. There’s no ceiling in New York, you know? You can be as famous as you want to be. You can be as obscure as you want to be. You can be as creative, or as corporate, it all exists there.
NG: Or as homeless.
HB: Or as homeless! [laughs] I like the homeless in New York. You know, there’s a huge difference in the homeless in New York and the homeless in Los Angeles. The homeless in Los Angeles are all drugged out and screaming and crazy, and the homeless in New York are like artists! I used to have these guys paint me pictures, have barbeques on my street. Offer to invite us over, ‘hey, come over! We’re having a barbeque!’ I like the homeless in New York. It’s a good breed. New York is a nice place for us. It’s always been good to us. [reads another question] On Wilmington! What is the scariest and coolest thing about Wilmington, besides wolves and downtown? Well, the scariest part? I mean, Wilmington has gotten kind of dangerous recently. And maybe that’s because we’re getting older and are more aware of what’s going on.
NG: Well, I’m not really sure. There were times that I said in the past that I’ve felt safer in the neighborhood that I lived in in New York than the neighborhood that I lived in here. It has gotten kind of dangerous downtown, so be safe!
HB: Yeah, when you guys are coming to visit, just be smart! It’s a colorful place for a reason. It takes all shade to make a town colorful.
NG: What was the other part of that question?
HB: And the coolest thing about living in Wilmington?
NG: The coolest thing about living in Wilmington…
HB: The color here! I mean, the fact that we’re in this little town that holds such mystery and history and anything could happen. There’s stuff lurking around the corner here.
NG: And I think also, if you’re the kind of person who can embrace it, Wilmington is an amazing place to invite yourself into the community. Everyone’s really friendly here and you do really see a lot of the same people all the time, so if you are just trekking downtown, you’re going to run into somebody that you know, and that’s a nice and comfortable feeling.
HB: We went to the Basics today and I walked in and saw the owner and was just like ‘Hi!’ And it’s been months and months and months since I’ve been here, and he was so nice, and that’s something that doesn’t exist everywhere. It’s really special here!PróximamenteBientôt Disponible
July 19, 2011
[Open to Hilarie and Nick smiling, standing on the Riverwalk]
Hilarie Burton: Did you guys miss us? [laughing] It’s Hilarie and Nick!
Nicholas Gray: Reunited and it feels..
HB: And it does feel good!
NG: It’s feeling good.
HB: It feels really good. We’re really professional. We’ve got our sophisticated microphone [points to the microphone she is holding] so you can hear what we’re saying out here on the water. I feel like we used to shoot blogs and people at home could just kind of interpret whatever they wanted because you couldn’t hear what we were saying at all.
NG: Well, we would have the microphone, like, stuffed behind the couch…
HB: … hidden away… [puts microphone in her belt] Will this work?
HB: Oh, that’s non-obtrusive, isn’t it? So we have some exciting stuff going on! Nick is doing a play festival here in town. When is it? Next month? It starts in a couple weeks, right?
NG: It starts in a couple weeks. It opens on August 3rd. I was working for a time as the company manager…
NG: … for a theater company here called Cape Fear Theatre Arts, which is also under the umbrella of CityStage, which I know a lot of people in Wilmington would recognize that, and they had the studio season coming off at Thalian and they had a slot open and I said…
NG: ‘You know what? I’ve got something we can do!’ Kind of like this time last year I started trying to put together this play festival. [looking at Hilarie] You’ll probably remember.
HB: Yeah, I remember you talking about it.
NG: And because I am the person that will take on everything at once [Hilarie laughs], it kind of fell to the wayside, but it was also a money thing. I want to do a great job!
NG: And these spaces are expensive!
NG: And so, anyway, I had talked to this guys a little bit about it, and then they said ‘Yeah!’
HB: ‘We’re going to give you some money!’
NG: ‘Yeah, let’s do this!’ So it’s 9-10 minute or less plays. They all kind of fall in the theme of love in one way or another. And it’s funny…
HB: Who doesn’t love love?
NG: It’s funny. The thing that I think is really humorous is that… so I asked all these people, [referring to Hilarie] yourself included.
HB: I wrote one! Brad Land wrote one. Who else would they recognize?
NG: I’m trying to think if anybody…
HB: I mean, these are all Wilmington folks that, if you’re from the area, you’ve probably met these people. You’ve seen them in a show or…
NG: I’m just trying to make sure nobody else was from something that we’ve done before. But just a lot of really awesome people wrote some great plays. But I asked them for these plays. I said, ‘Here’s the requirements: one location, under 10 minutes, has to be about love in one way or another.’ [Hilarie laughs] And I was surprised about how many came to me and weren’t the most…
HB: [laughing] Loving?
NG: … uplifting. [both laugh]
HB: Love is dark! It’s sad! It’s angry!
NG: That’s really true. But I mean, love comes from different places. From tragedy, it rises forth sometimes.
HB: It’s true! You’re doing like 8 million things. You’re doing… how many are you directing? All of them?
NG: I’m directing all of them….
HB: The props.
NG: I’m doing the props.
HB: The sets?
NG: Well, I designed the sets.
HB: Okay, what about costumes?
NG: Costumes? I don’t really know what’s going to happen with costumes yet.
HB: And then you’re acting in two of them!
NG: Somehow I’m acting in two of them!
HB: He’s a renaissance man, isn’t he?
NG: But yeah, you know, we might talk about this a little later, but I am thinking about scootin’ the boot out of here.
HB: For a little while, yeah!
NG: And seeing what else some other places I haven’t really touched on yet have to offer.
HB: Tour America.
NG: So this is kind of my ‘bang!’
HB: It’s your love letter to Wilmington.
NG: My ‘bang,’ yeah. I’ve been trying to get my own theatre done all over the country, and I want there to be more opportunities here for people to get their work done here instead of spending hundreds of dollars submitting all around the country and try to get it done elsewhere.
HB: It’s going to be awesome! So when are the dates for everything?
NG: The dates for the play festival are the 3rd through the 7th of August, that’s a Wednesday through Sunday. And then the 11th through the 14th, and then the 18th through the 21st. And those last two weekends are Thursday through Sunday. All shows are at 8 except for Sundays at 3 at Thalian Hall.
HB: It’s going to be awesome. It’s at a historic site in Wilmington…
NG: [smiling] Hilarie, you’re play…
HB: Oh, man! So, Nick asked me to write this play, and I’ve never written a play! I’m an idiot! What do I know? And so I wrote him this play and I was like ‘Okay, you’re going to name it for me and you’re going to edit it for me, right?’ And we went out to dinner last night and I was like, ‘So, you edited my play, right?’ [in Nick’s voice] ‘What? What did you want me to do?’
NG: It didn’t really need to be edited.
HB: It did need to be edited! So, I don’t know what you guys are going to see when you come down to see this show, but hopefully it will have a Nick Gray flare to it. I trust him with my words.
NG: It’s got some flare.
HB: [laughs] So yeah, you guys, if you’re in town, please come by and see the show. It’s going to be something really, really special in the area. Until next time, it’s Nick and Hilarie and Kelly behind the camera.
NG: We’re back!
HB: We’re back in action!
[camera fades out]PróximamenteBientôt Disponible
July 18, 2011
[open to Kelly and Hilarie sitting on a park bench]
Hilarie Burton: [waves] Hi guys! [Kelly waves] Hilarie and Kelly here. We know it’s been a while.
Kelly Tenney: A little bit of time.
HB: But I have some time off and I decided to come see my boyfriend down here in Wilmington. We’ve had really busy schedules. You’re working on ‘One Tree Hill.’ You did a fantastic job on the Weather Channel commercials. I hope you guys keep your eyes peeled for the rest of them, but the one we have posted on our site is awesome. [To Kelly] And you pulled that together really, really fast.
KT: We did, we got the call, and said yes!
HB: [laughing] And like a week later, you’re shooting!
KT: Let’s roll!
HB: Yeah! Well, I think that’s a testament to the connections that you’ve made in this area and the resources that Wilmington has to offer everybody, and the pieces came together organically and naturally and correctly because you know what you’re doing! Not to toot your horn, but toot toot!
KT: Well you’re the one who told me about shooting on digital, because your show shoots it.
HB: Yeah, ‘White Collar’ shoots on digital and it’s incredible what they do with lenses because you can shoot on a little tiny digital camera, but if you put a beautiful lens on it…
HB: It makes all the difference in the world! So we’re actually looking at a project that maybe we will be doing later this fall that, again, would be digital. The time it saves! You know, actors used to be really, really scared of digital cameras because it makes you look like crap!
KT: [to camera, referring to Hilarie] Not her!
HB: [sighs] Please! What we didn’t bank on is that the edit on digital work is so much easier. On ‘White Collar,’ if you’ve got a little boo-boo, they go in and airbrush it out on the edit. They can’t do that on film!
KT: No way.
HB: It’s incredible! So, it’s a medium that we’re partial to and hopefully we’ll shoot some more stuff on that. So, we’re spitballing stuff today. We have a list of homework to do. I have to write a treatment.
KT: Yes, you do!
HB: Which I’m gonna do tonight at, like, 10:30.
KT: Why is that?
HB: Because I’m a mom. [both laugh] That’s the only time I have to myself.
KT: [joking] Are you busy?
HB: Yeah, I’m a little busy. And then I’m going to have Nick do a rewrite on a project that he wrote, like, five years ago. One of the things that’s been really important is that I have to maintain an on-air presence, or else people don’t care what I’m doing, as far as Southern Gothic. So ‘White Collar’ is the perfect job for me because it’s a great opportunity. I’m getting to play a character that I’ve never played before, but I don’t have to be there every single day of the week and I’m getting free time to focus on this. Also, I’m making really wonderful connections. So, I’ve met some people in the last few months that I think that we should involve in some of our endeavors. So, I’m going to have Nick do a rewrite on this pilot he wrote and tailor it to some folks that I’ve met in my adventures.
KT: You’ve had some adventures.
HB: Well, folks that worked in Wilmington. Everybody’s worked here, and everybody loves it. They’re now looking for an excuse to come back, so guess what we’re going to do? We’re going to give it to them.
KT: We’re going to give it to them. [Hilarie laughs] So, you just had a film come out that I sadly haven’t seen.
HB: Oh, it’s so good! And I don’t want to sound arrogant saying it’s so good, because I’m only in it for, like, a little bit. It’s good because Shane Taylor, the director, did a marvelous job. I’m barely in it, but what he did with Wilmington and with the talent that he had, is that he showed… I don’t know, he just showed a different side of this town. We’re used to seeing… It’s some of the same actors I worked on ‘The List’ with! But they’re so different in this movie, they are unrecognizable!
HB: He did a really good job. Shane Dex Taylor and I have the same lawyer and that’s how we became friends. So, he came into town and directed this William Gay novel ‘Provinces of Night’ and we had talked about that in Book Club before. They changed the name to ‘Bloodworth,’ which is the last name of the lead character, and I went and I rented it the other night, and I really liked it! The music is awesome! It’s T-Bone Burnett! So, the music’s killer. But if you want to see Wilmington showcased really beautifully. It’s great! Hilary Duff is in it! She’s really wonderful. Reece [Thompson] is in it. I mean, it’s Kris Kristofferson, Dwight Yoakam, and my boyfriend, Val Kilmer.
KT: Oh, Val!
HB: Oh, sweet Val. Yeah, so that was a really fun experience and it’s nice to see it’s turned into a beautiful… [looks to her right] There are some squirrels! We’re in the park! [laughs]
KT: Attack of the squirrels!
HB: [laughs] Attack of the squirrels!
KT: And Shane’s written another script that you’ve been looking at…
HB: Well, yeah, Shane had sent me a bunch of stuff before. You know, he’s a Southern dude and I think we’re very much about the same thing, and we’re at very similar points in our lives right now, as far as families and things, and so he’s someone that I would love for us to team up with again. He’s got some projects he’s interested in, so part of my homework assignment is I need to write this treatment that you’ve requested…
KT: Yes, please!
HB: I’m going to talk to Nick about rewriting his pilot, and then I’m going to get in touch with Shane to see if there is something we can’t plan together, like in the winter, because I don’t go back to work until next spring on ‘White Collar.’
KT: So, we’re going to keep Hilarie as busy as we can! [Hilarie laughs] She’s going to do some homework for us.
HB: [laughing] My 10:30 at night homework assignments! And meanwhile you’re running the show down here on season nine!
KT: Season nine!
HB: [smiling] It’s awesome that it’s gone on so long!
KT: It’s amazing!
HB: I remember when I bought a house here season one and everyone’s like, ‘How do you know the show’s gonna go? How do you know the show’s gonna go?’ Well, because it’s a damn good show, that’s why!
KT: And it’s gone!
KT: But we’re done. I mean, everyone knows on the show that it’s 13 episodes and the show’s going to finally retire.
HB: And then it’s Southern Gothic all the time!
KT: And then it’s us all the time.
HB: All the time! So yeah, thanks for hanging in for the ride! And hopefully, in the next weeks and months, we’ll have some more exciting news. It’s nice to have a little break so we can focus on this.
KT: Yes it is! [Kelly blows a kiss and waves]
HB: [waving] So in the mean time, you guys hang out. We’ll see you all soon.
KT: See you later!PróximamenteBientôt Disponible
March 28, 2011
Announcer: Next, I want to go to Representative McComas. Representative Dan McComas. He was a leader in getting the North Carolina film incentives passed and, for that, we certainly have to give him a huge thank you. [audience applause] So my question to you, Representative McComas, is what can the film community do to continue to educate and help the legislature focus on the importance of this industry, that is jobs and economic impact? I get a lot of calls and sometimes… Perhaps the education is lacking with the legislature. They sometimes just see movie stars when truly that’s about a percent of the industry.
Rep. Danny McComas: Well the stars are probably less than a percent of the industry. So far as the film community, the most important is to be involved in the political process. And I’m not saying you have to be on one part of it or the other. The struggles that we had last year, or this year, I should say, it’s still 2010, it was kind of a bipartisan. It was not specific to one party or the other. It was different mindsets of different people with different ideas. The fact that you can explain it and show and allow elected officials to put their arms around what the industry is all about and convey the knowledge and the importance of the film industry to the community. Let me explain it. We have people that go to Atlanta. They work in Atlanta. Unfortunately, they can’t come home every weekend. So they spent two or three weeks in Atlanta and their families live here. But their income is being generated in Georgia. They pay towards their income taxes. They are all paying for other services in Atlanta and those sales taxes and those income taxes generated by those restaurants and hotels and small businesses stay in Georgia. Their family is over here so they have their children going to the local school system. So that creates a disconnect for the local economy and we can say as so far as Wilmington is concerned. So these are the little intricacies that need to be conveyed to the elected officials and not done once the bill is introduced. Once the bill is introduced, the has seen the light of day. Many times that is way to late. Now is the process. Now is the time for people to get involved and not well, I’m not going to make a difference or I’m not on a movie, it’s not going to do anything. Well that is far from the truth. We, as elected officials, we are elected by the community. We may be elected by a majority to serve everybody. And just because we are in Raleigh doesn’t mean you need to go see us in Raleigh. No, do it here. Kelly Tenney, who works on ‘One Tree Hill,’ he spent the better part of 2 hours 2-3 weeks ago showing me and affording you the opportunity to feel a sense and put a face to what the industry is all about and what it means and that is very important. You know, it’s not just going to Raleigh and spending 15 minutes or 20 minutes in our office. It’s sitting down with a cup of coffee, let’s talk about this, let me explain what the industry is all about, what the jobs are, understand what the sweat that has gone into the film is in this community. I remember back in 1994 when we hired Mark Strickland, I was with the chamber, that’s one of the things that got me in to the political process is because we knew we needed the industry here. Representative elect Susie Hamilton and Dino DeLaurentis, I mean, he was very active. In 1995, and that’s 15 years ago, we were doing 300-500 billion dollars in this state. We’ve gone back. We got to do what we can to make sure this industry remains here and especially now that we talk about job creation, but more important is that we need to retain the jobs that we have and those are the jobs that we want to make sure will remain here in North Carolina.
A: Thank you. What’s the, I guess, most appropriate way for people to contact legislators. Do they respond to emails? To phone calls? To personal visits? Can people just call up and make an appointment? Will they make time to see individuals?
R.DM: Absolutely. I think if the legislator doesn’t make an appointment or take the time, he does not deserve to be a legislator. He does not deserve to be an elected official. I understand the process, let me tell you. If you live in Hanover county, you need to know who your senator is. You need to know who is your representative and don’t send a letter to somebody in Buncombe county because he’s not going to listen to you. He’s got his hands full. That person or that lady may have his hands full. Just understand the process. Who is your senator? Who is your elected official? And make it a point, you know, listen, we need to sit down and let’s have a cup of coffee. Let me come by your office here or you come by to see me. We’re here for you, it’s not you for us. So that’s the whole process. In my case, I tell you, with a phone call, I may not answer, I may not be there, but every single phone call I get will get a return message. It might not be today, but you will. I only have one phone number and I’m not too hard to talk with.
A: Thank you representative McComas.PróximamenteBientôt Disponible
January 20, 2011
[continuation of the last vlog, panel at the Cucalorus Film Festival]
Announcer: …film festival, and as film commissioner, I’ve seen that the movies being recruited are independent versus studio. I’ve noticed that in the last few years, the studio tent pole is making a comeback, and the independent market seems to be… it’s not drying up, but it seems to be more difficult. As an independent filmmaker, could you discuss the process of raising money and distribution? How can independent filmmakers do that? They call me up all the time, and me saying, well, do you have a bunch of credit cards? Which is not, you know, responsible advice to give anybody.
Gary Wheeler: I think, yeah, if you stay to watch the end credits, you’ll see the economic stimulus… In my movies, you’ll see more ‘special thanks’ than crew members. The independent film world… I think, really, what Greg [Prange] touched on and talked about, the community a really almost a calling, you know? You have to have a call to this business or you will not make it. It’s just that simple. Two weeks before we were going to shoot our last film, we had an offering signed by an investment company that had invested in our previous film. Two weeks before we were going to shoot, their offices were raided by the FBI for running a Ponzi scheme! [audience laughs] You know you’re in trouble when you’re watching the news and the FBI goes into your investor’s office! [laughs] You know, you have to start over! And that can be a pretty dark place when you have to call agents and tell them, have you been watching the news lately? So, you have to have a calling, and one of my mentors in the business, the early part of the business, he’s the managing director of Guggenheim Fund. He manages $90 billion in money, in funds. And he took one look at the film industry and he said, well, your business is simple. Just start with distribution and work backwards. He said, figure out what you’re going to do with the movie when you’re done with it, and work back from there. If it’s a movie that you’re going to show five friends and be proud of it, then don’t spend a million dollars of your money on it. So, just figure out what you’re going to do with the film and work backwards. I actually feel like I’ve never been more hopeful about the industry because I think that our state has a lot of elements in place to make it advantageous for investors. One, we have qualified business credit, which allows… In North Carolina, an investor, to get up to 25% of their investment back as a personal state tax credit. Then, we have our incentive package of 25%. Up until last year we had the 181 credit, I don’t know if that’s been approved again for this year, but that could amount to about 38% of your investor’s investment. So there’s 85% right there. We’ve been very blessed to have 20th Century Fox distribute our last two movies, and they gave us 30% of our investment back as an advance. So, when you add all that up, your investor’s already made whole, and so I think, for us, which has to do if you’re an independent filmmaker in the state of North Carolina, you have to have a call to it, you have to be willing to ride the peaks and valleys of this industry and not get upset by the… You know, life’s not a roller coaster because it’s not fun when you’re going down. So when you’re in the valley, you just can’t stop your call, and then just figure out what you’re going to do with the movie when you’re done with it and work back. And I think we have a lot of incentives in place already, a lot of advantages.
A: So are you finding that banks are loaning against the soft money on incentives?
A: No? Okay. [Mr. Wheeler laughs] But the studios are certainly… or your distributor, that’s a big…
GW: Well, I try… [jokes to the person next to him] But I tried several. We had an anchor pickup deal with the studio, so as soon as I delivered a movie, they were going to pay me x amount of money and I couldn’t get a single bank to loan me money against that in the state of North Carolina. I had private investors who were willing to do that, but no bank. Not in this economy, I don’t think you are going to find a lot of banks who are willing to do that.
A: So you said look backwards. Were you able to secure your distribution deal before you were done with your film?
A: How did you do that?
GW: They had distributed twice… I have a very good relationship with the Senior VP of Acquisitions at 20th Century Fox Home Entertainment, and so I put my package together, made an offer to Matthew Modine, who was his favorite actor from the movie, and we got him at the last minute, and so I called him up and we already had our elements in place and he made me an offer before we shot. I was in Tom Priestley [points] right back there, and I was in his hotel room, and he made us an offer right there, and so that allowed us to kind of keep moving.
A: So, it was key you knowing who they like.
GW: Yeah, I involved a distribution company in the process, I gave them a list of 80 names and they actually ranked them for me, and so that was extremely helpful.
A: Right. Thank you!
[side reads ‘Tune in Next Week: Danny McComas’]PróximamenteBientôt Disponible
January 19, 2011
[KT is seen sitting on a chair]
Kelly Tenney: KT here, with another episode of Industry Interviews. This week’s going to be a little different because I’m not really interviewing anyone myself, but I was at the Cucalorus Film Festival and this panel that was put together by the Cucalorus folks of filmmakers, industry executives, producers, and directors. It tells a little story about what it’s like to be here in Wilmington, how to shoot here in Wilmington, and why it’s… well, why, as we always say, it’s great to be here. So, I especially want you to pay attention to what Greg Prange, our executive producer and director of many episodes of ‘One Tree Hill,’ has to say, along with Danny McComas, our representative from Wilmington, who was probably the biggest reason why the North Carolina film incentive has passed the last two bills. A really, really good friend of SoGoPro, Gary Wheeler, who we worked with quite a bit in developing projects, and also who has directed a couple features and has one coming out… well, I think it’s coming out as we speak. So anyways, give it a watch, and, as always, questions, please send them in, and we’ll get them answered.
[cut to panel, Greg Prange shown]
Announcer: … as an editor on such projects as the film ‘Armed and Dangerous,’ the television movie ‘The Big One: The Great Los Angeles Earthquake,’ and received an Emmy nomination for the television movie ‘To Kill a Nation.’ He has produced well over 300 hours of television and directed more than 40 episodes during that time. Mr. Prange currently resides in Wilmington, North Carolina, where he is in the 8th season as executive producer and director of the CW’s primetime drama, ‘One Tree Hill.’ He’s an advocate for filmmaking in North Carolina and gladly spends his time helping young filmmakers learn about the industry. Greg Prange.
[audience applauds as Mr. Prange waves]
A: Next to Mr. Prange is Bill Vassar. He’s the executive vice president of EUE Screen Gems Studios. He runs the company’s movie and television businesses in Wilmington, North Carolina and Charleston, South Carolina. Bill joined EUE Screen Gems in 1997 as the manager of the company’s video facility in New York City. He began working in the management of the Wilmington studio in 2002. Bill and his family moved from New Jersey to Wilmington 3 years ago so he could focus full-time on the growth of the studio. Bill has managed productions for major media companies including Paramount, MTV, Fox, ABC, Disney, CBS, Warner Bros, and HBO. He began his TV and Film production career in 1984 on ‘The Cosby Show’ on NBC. He started his media career at the age of 16 as a rock’n’roll disc jockey. Bill also serves on the Governor of North Carolina’s film council and the board of the Wilmington Regional Film Office. Bill’s also a member of the board of Cucalorus. He served two terms on the board of Governor’s of the National Academy of Television Arts and Sciences. It’s Bill Vassar.
[the audience applauds]
A: Representative Danny McComas is the president of MCO Transport, Inc. He has held that position since 1985. He has served in the North Carolina House of Representatives since 1995, where he has served as Vice Chairman of finance and transportation committees. He has also served on the Environment and Natural Resources, Rules, Public Utilities, and Financial Institutions Committee. Rep. McComas is a current member of the Governor’s Film Council as well. Representative McComas.
[the audience applauds]
A: Next is Johnny Griffin. He has been a Director of the Wilmington Regional Film Commission for 11 years. While in this capacity, he is one of six film commissioners in the world that has earned the designation of Certified Home Commissioner for the Association of Film Commissioners, International. Prior to joining the film commission, he worked as a location manager in the film and television industries for 14 years. He attended the University of North Carolina at Chapel Hill and graduated with a Bachelor of Arts in Radio and Television and Motion Pictures. It’s Johnny Griffin.
A: Last and certainly not least is Gary Wheeler. He’s a multi-award winning international filmmaker who has produced number of motion picture and television productions around the world. He is the founder and president of the North Carolina based Level Path Productions. Mr. Wheeler’s films include ‘The Trial,’ a soon-to-be-realeased feature based on the Christy Award winnings novel by Robert Whitlow, starring Matthew Modine, Bob Gunton, and Academy Award nominee Robert Forster. ‘The List,’ a multi-award winning theatrical release starring Malcolm McDowell and Will Patton, which Mr. Wheeler served as writer, director, producer, and distributed by 20th Century Fox. ‘Final Solution,’ a critically acclaimed major film shot in South Africa, starring Tony Award winner John Kani, which was broadcast nationally on PBS in the United States and ‘Midnight Clear,’ an award-winning Christmas special starring Stephen Baldwin and K Callan. Mr. Gary Wheeler.
[the audience applauds]
A: Again, thanks for coming and supporting Cucalorus. We’re so excited. Cucalorus is in its 16th year. Movie Maker Magazine also recommended it, also said it was one of the 10 coolest film festivals in the nation. So, not only one of the most critically acclaimed, but also the coolest, which also is very cool. [the audience laughs] So I want to start this out… This is the state of the state and so with that, I’m so happy that Representative-Elect Hamilton mentioned Dino DeLaurentiis. Since becoming film commissioner here about 3 and a half years ago, I’ve had the opportunity to know Dino, and he certainly is proud of Wilmington, and I know that many of you owe your careers to Dino. It’s a crazy place, Wilmington, an industry formed by an Italian filmmaker… you know, an Italian filmmaker training a whole bunch of American filmmakers, which I think is very cool. Not too many places in the world can say that, so we wish his family well. To get started, I want to start with Greg Prange. Often, when I have meetings in Hollywood, Greg’s name comes up and says Greg’s had the best job in Hollywood the past 14 years. Coincidentally, he’s been working in North Carolina for the past 14 years, so from all of us, we thank you for the jobs you’ve created over the past 14 years. I don’t know if you know this, but the economic stimulus you put in to North Carolina is probably close to a half billion dollars in this community, so thank you. [audience applauds] With that, I wanted to get started with what your vision or what you think… what is the future of the television as we go to internet… as people are getting their content more off the internet and branded content, what do you see the future of television being?
Greg Prange: Well, I think the future of television, in a lot of ways, is with all the different mediums, it allows for more television to be made.
A: Greg, there’s a microphone right by you. Sorry about that.
GP: [speaks into the microphone] I think that in the overall, television is a very healthy place. There’s a lot of stuff being done, and I think that, with all the cable networks, you realize that it was not that many years ago that there was only three major networks and independent stations in the area, so there was very limited amounts of production being done. Today, it’s unbelievable. I was just talking to a studio exec today and some of the cable networks are making 15 pilots in the month of December around the country and Los Angeles and some of them haven’t decided, but there was never a pilot made in December until maybe a few years ago. So I think that there’s a more cultural market happening. There is a problem with cable though, because I don’t think everyone’s quite figured out the formula, you know? Everybody hasn’t figured out how to pick people and how to make it fine for the everyday workers in the film industry as opposed to just the producers making a pretty substantial amount of money because there’s no package put in place. But television is… You can get it on your phone now! It’s not going to go away. It’s just going to get larger and larger which, quite frankly, is going to allow more people to be employed, which I think is the essence of how some of these gatherings get together.
A: Certainly. And with that, do you see North Carolina’s economy being able to do more television here? And with that, why is North Carolina so successful in television?
GP: Well, I think the success is fairly obvious and that’s the fact that the crew base here is as outstanding as any place I’ve ever worked, and I’ve worked all over the world, so I don’t say that a lot. But I’ve worked 14 years here and I can tell you that any guy that I have in this company or any guy in the crew, I would take them with me anywhere because they really… There’s something about this film community that people are still getting psyched… They still want to make a great shot. They still care, and there’s a passion that all the people have that do this and it’s very rewarding to me as a producer and director but also as a guy who’s out there 14 hours every day working. There are people who care. I think anybody that comes to North Carolina eventually wants to come back and do something here because… There’s an actress Moira Kelly who worked on ‘One Tree Hill’ for the first 4 seasons, and I bumped into her at dinner the other night at a local restaurant downtown and they’ve moved back in July. They had never been here before until we did ‘One Tree Hill.’ They had never been here at all. So, they came here, she was done the show. She left in the 4th season. They moved back to Los Angeles and she turned to her husband one day and said, ‘I think we need to go home.’ And he said, ‘Where’s that?’ and she says, ‘That’s Wilmington, North Carolina.’ So, someone who had only been here for 4 years decided that… well, probably because the freeway or 405 in Los Angeles… [he and the audience laugh] which we all kind of go back and go, okay, do I really like this at all? But I think it’s one of those places that filmmakers want to come back to because it’s a very open environment to shoot in. Lord knows, you can’t find a place more beautiful. And there’s an infrastructure that allows you to have professionals in the area.
[slide reads ‘tune in next week for Gary Wheeler.’]PróximamenteBientôt Disponible
January 17, 2011
[KT and a local high school student are sitting at a table as the student is interviewing KT]
Local High School Student: What is your current position, and how long have you been in the film and television industry?
Kelly Tenney: Well, I’m a producer on ‘One Tree Hill,’ a CW show. I’ve been in the film industry for approximately 15 or so years.
LHSS: I see. I understand you were on the forefront of the fight to improve North Carolina’s film incentive package. Can you describe some of the difficulties that you and your associates faced to improve the package?
KT: Well, I’m on the governor’s film council, and we started this process… I guess it was around five years ago, and it was a really difficult process because there’s 25 of us on that board and we had to try to explain what the film industry… why the film industry is so important to the state of North Carolina. We got a lot of help because all of us are from different backgrounds, and we have the School of the Arts, we have lawyers, we have doctors, and they all have one common thread and that’s that they love the film industry. So once we got focused we were able to then get some allies up in the Capital to join us, Senator Boseman, Marc Basnight, and Danny McComas of the House. And they had come on board to generate the heat, to get our names out there up in the Capital. And basically what happened after that was, once we were able to have a single idea, we could go to the governor, who was Easley at the point, to back us. The first incentive actually went through fairly easily when you think about getting stuff passed in the State. It was the second incentive that really was really difficult. It was painful. There was a lot of animosity. The state’s budget is about 4 million dollars on the whole and we generated a lot more angry… There was a lot more anger coming out of the House and the Senate toward our industry, so it was very hard. Plus, we had a new governor who is an extreme supporter of the film industry, thank goodness, because it would be a lot harder to get the same incentive passed next session.
LHSS: Why exactly would a legislator oppose a bill like that in North Carolina so much?
KT: Lack of information. That’s the thing we ran into. That’s one of the reasons why the incentive that was last to pass didn’t quite make it through the Senate. There was too many paths, too many fronts, and it was a very busy time, so our message didn’t get out there. We didn’t have the numbers that we know we have. We didn’t get those big numbers out there to share with the folks up there in the Capitol. And we lost several key votes because people were afraid they weren’t going to get elected if they supported the film industry. There’s a misconception about our industry and they think that we all are fat cats, that we live in billion dollar homes and that we rub our elbows with big stars, that’s the live we live, which is not true. [both laugh] But unfortunately, that message got out there, and a lot of senators pulled back. They were going to support us and they decided not to. Now, one of the pillars of the incentives that’s been passed fell in the Senate. It passed in the House with support from both sides of the aisle, and that’s a message that I hope, as we continue on, that it’s not a Republican or a Democratic issue. It’s about creating jobs and keeping jobs in the state of North Carolina, and unfortunately there’s some folks up there that have poisoned the well that think it’s something else.
LHSS: I see. And are there any changes or additions to the film that you’d like to see?
KT: I would have like to have passed the bill that the House passed, which included highly paid individuals, taking the cap off of that. It would have made us even stronger. We would have been… The state probably would have had the best incentive in the whole Eastern part of the country. And yeah, I would have liked that, but I don’t see that happening, especially now, the way that the voters voted on the people who are going to be representing us. I don’t know that they have the stomach or they have the ability to change that cap. So, I’m very happy with what we have. It’s a great incentive and we’re going to move forward with it and we’re going to get jobs in here with it and do what the governor and our supporters want, and that’s to get people working.
LHSS: Excellent. Now, if the film incentive bill loses support in the legislative, how could an individual like myself join the fight to keep the bill in place and improve it?
KT: Well, first of all, getting the message out to everybody you know, because you come from a family that works in this industry, you know how important it is, and you have the spread the word. You have to tell your friends why we’re so important. You have to be involved on the internet, you know, reach out to your friends and have them reach out to people they know. Because, at the end of the day, just like everything in this country that goes through a voting process, that’s how you can change, through the voting process. And everybody that we talk to, especially Danny McComas, says this over and over: You have to reach out to the people that represent you because that’s their job! They’re supposed to take care of you or try to do what they can. And so, if we stay together and support each other and we get new folks such as yourself to help promote us… That’s what the key is, is the promote the film industry in North Carolina to our officials. They themselves will want to support it, because if something’s working, you’ll want to continue to keep it working, and that’s what’s so great about the film industry, is that there’s a fortune out there. We’ve probably, in this state alone, have gotten over a billion dollars worth of work in the last 20 years, but just in the last two years we’ve left a billion dollars on the table and states like Louisiana, South Carolina, and Georgia have scooped it up. So we just have to get our message to elected officials and show them why this is so important to the whole state and it’s not just a regional issue. And that’s another message we have to work on because this state has all these different counties who are suspicious of other counties. For instance, Charlotte sometimes feels that New Hanover County gets more than their fair share of films, and that’s the kind of political stuff we have to work through. Because, in our state, the economy of the state of North Carolina is what’s important. I don’t care where in North Carolina a film goes, as long as we get the film. That’s the message we really need to get out there. We’re no separate kingdoms here, we’re North Carolina and let’s get our piece of the pie!
LHSS: Alright. Now, are you optimistic about the film incentive bill’s future?
KT: I am. I really am. I think it’s such an important part of our economy. I think that even though there has been some rumors and some rumblings from some of the new folks that have been elected that they’re against incentives and they wouldn’t support them, I think that the leadership in both the House and the Senate, even though it’s changing, there’s a lot of members that voted for our incentive and they understand how important it is and think they won’t change it. I don’t believe that they’ll go back and do a roll back. It would absolutely destroy the film industry. We wouldn’t have one. We all would move and they would lose thousands and thousands of jobs, so I’m extremely optimistic. I’ve talked to a lot of our representatives that are still there and they haven’t waivered in their support of the film bill. So, I think, already it’s paying off. There’s a film coming in in December. There’s one here that just showed up, ‘Descent of the Earth.’ We have another film coming out from Warner Bros. from here that’s going to be here shooting in January. We have another show in Charlotte, I think, a pilot that’s shooting. And that’s all because the incentive was passed and the films are starting to come in here. It’s always going to be competitive with the states, and just like we had a competition with Canada that, for twenty years, we lost. Now, you know, we’re going to be competitive and continue to be competitive with our sister states because there’s too many jobs and too much money at risk in our state to back off now.
LHSS: I see. Well, thank you very much, sir. [they shake hands]
KT: Sure! My pleasure!
LHSS: I really appreciate you taking the time to help me out!PróximamenteBientôt Disponible
January 16, 2011
[Nick, Hilarie, and KT are seen shooting the welcome video for the website.]
Hilarie Burton: Hi guys! Welcome to the official Southern Gothic Productions… [stops and listens to a dog barking in the background] Really? The dog starts barking as soon as we go? [Kelly laughs and it cuts to the next take] Hi guys! [dog starts barking] Welcome to the official Southern Gothic… [starts laughing and curses while both Nick and Kelly laugh also] ****ing dog! [laughs as they cut to the next take] [Next take but they are all trying not to laugh, the dog continues to bark] Just wait. [they continue laughing, as they cut to the next take once again] [Next take, the dog begins to bark as soon as the take starts, they all laugh without stopping] [to camera person] Can you hear it?
Camera man: I don’t know.
[they all laugh, and it cuts to the next take]
HB: Hey guy! Welcome to the official Southern Gothic Productions web site. I’m Hilarie Burton and this is my business partner, Nick Gray, and my [dog starts barking again] other partner, Kelly Tenney, and I’m going to ****ing kill that dog next door if it’s the last thing I do! [all laugh]PróximamenteBientôt Disponible
January 16, 2011
[KT and John are seen standing next to each other]
Kelly Tenney: KT here with John for a follow-up question, a couple of them. This one is actually from Miryam. ‘When you cook on location, how do you manage? You showed us the tables you set up, but do you set up outside or in empty rooms for lunch? How does all that work?’ So when we go on location… I know, here at the studio, we have this big room that’s mostly set up. Do these tables go with you?
John Desarno: Yes, they do. That’s our outside guy who sets up our buffet table and our tables and chairs. We’ll find out the next day whether we will be on location or not, so from there we’ll pack up everything and load it up into one of our support vehicles, a box truck, and then we’ll go to the location and have to set everything back up as you see it, like this. And you know, if we’re out somewhere, sometimes we’re in churches, and we are able to use their tables and chairs. Or sometimes we have to put ours in, or if we’re out somewhere and we don’t have the facility then we’ll use the tent or something like that.
KT: That’s rougher when you have to use the tent. Then you have to bring in an AC unit to try to keep everything cool.
JD: Right. Yeah, then you’re dealing with all the bugs and all the flies and the mosquitoes and things of that nature… Power, yeah.
KT: Unlevel ground… anything.
JD: Yeah, it’s a real pain! The fire ants… and things of that nature, yeah. It depends on where you are.
KT: Yeah, you brought that up. It’s interesting. You work with several departments like the ADs and locations and transportation.
JD: That’s correct.
KT: All those three have to work together to get your department working where you’re set up, on location especially.
JD: Right. So, who basically finds us the location and sets up the tent is the locations department. They notify us where we’ll be and then the AD department will tell me the times and how many people I have to feed. And then transpo. is usually right there when I get to the location in the morning and they’ll tell me where I should park and all that stuff. And they’ll actually get with locations, I guess during their scouts, and figure out where they’re going to put the tent or where they’re going to park all the equipment. A lot of times we’ll do breakfast on the side of the street closer to the working trucks, like the equipment/electric trucks, and then we’ll have to pack everything up and move to another location for lunch.
KT: Even though we’re shooting in the same location.
JD: That’s right. Yeah, because it’s just easier for the crew to come and get breakfast in the morning and then go right to work instead of being at one location and then being shuttled back to another location.
KT: That’s true. They usually try to keep you as close as they can to the set. I’ve heard many discussions in the office about how we can get catering… which location would be best to put you so they don’t have to shuttle so everybody eats to the clock.
JD: Yeah, I guess it’s like the time is money, so the quicker they can get in and out eating, then the quicker they can get back to the shooting schedule.
KT: It’s all about time and schedule.
JD: Yeah, it’s all about timing and scheduling, yeah. [laughs]
KT: Another question is ‘Why do films have catering and craft service?’
JD: Well, I imagine because, one of the reasons would be, if they didn’t have catering, let’s say, then they would probably have to give everybody, what they call, a walk away, right? So then I think what that means is that they have to give all the crew money to go out and eat and I think that some of the unions have an hour walk away, so that’s an hour that they have to leave to go get lunch.
KT: So that’s more of a New York or L.A. kinda rule.
JD: Yeah, more where you work.
KT: Because in New York, in the city, every block has restaurants and delis and places to eat so it’s easier to say, okay, here’s the money, go and come back in an hour.
JD: Yeah, but then you risk that, will they all come back in an hour? They might be 15 minutes late.
KT: Getting cast their food is difficult. It changes everything.
JD: Yup. It changes all the dynamics of it.
KT: When I came down from New York that was one of the first things I noticed. I was like, wow, everyday there’s catering? How excellent is that? [John laughs] Mostly in New York it’s still a walk away.
JD: For most of the time, yeah.
KT: In Philly, is it like that in Philly?
JD: Philly… Well, when I was there working they didn’t… You know, we were there on the side of the street feeding because it’s a time thing. They save so much money by having us there, so that’s a whole hour that they don’t have to give away. That’s a half hour they get to eat. So for them it was big savings.
KT: Sure, because keeping everybody together is a big deal. Everybody goes into team moves, the company, the cast, and you do have… Usually you have lunch and the cast eats very quickly or in the makeup and hair trailer. That means makeup and hair need to eat very quickly, so it does cut back on down time.
JD: Downtime, yeah. Sometimes people will eat… They will get something to eat if they’re near… They don’t feel like what I have to eat is what they’re in the mood for which is totally understandable, you know? I would probably be the same way. Maybe I just want a burger or a sandwich from a place, you know?
KT: Of course. That’s true. John cooks five days a week, twice a day, and people get used to… It’s just like, every once in a while you want a different flavor. We in the office, as Karen can tell you, we order out on non-catering days, and it’s great! But you know, it’s wonderful to walk up here and… [smiles] Thanks, John! What a great meal! [John laughs] Our last question… ‘Is there any dish or dishes that you can’t make with your truck?’
JD: We can pretty much make everything. Some things that require, you know… like making a stock, let’s say, like a real stock. That takes 12-14 hours to make or so, so we won’t really do those types of things. But there’s really not much that we can’t make on the truck. I mean, some of the guys know how to roll sushi so some guys have the time to roll some sushi up and things like that. So we can also do that. Pretty much, we can make anything, almost. I mean, a couple weeks ago we had a smoker out here so were smoking ribs and stuff like that, so I mean, we’re pretty versatile as far as that goes.
KT: Tell us what we’re having today, John.
JD: Today we’re having more of an… what do they call that? Like the home cooked meal. I’m doing the beef stew, all the vegetables, the rice… I’m doing a seared salmon with a gilleted beurre blanc. [KT looks excited] I’m doing a lemon thyme rosemary roast chicken. I’m doing sautéed spinach with garlic and maybe a pasta dish. I’m not sure yet.
KT: Mm, sounds delicious! [John laughs] John, thanks again for taking time out of your day.
JD: Yeah, anytime! Sure! Absolutely!
KT: [to camera] And keep your questions coming!
JD: Yeah, please do!
KT: I’ll talk to you all later.
JD: Bye.PróximamenteBientôt Disponible
January 15, 2011
[slide reads: ‘Beth Crookham: ADR – Sound Department, Part 2]
[KT and Beth are sitting at a table together]
Kelly Tenney: Well Beth, tell us about… How did you get to Wilmington? Tell us about Beth.
Beth Crookham: I got to Wilmington… It’s actually kind of funny. I was a theatre major in college.
KT: [holds a thumbs up] Me too!
BC: [laughs] I studied voice for six years. Growing up I was convinced I was going to end up on Broadway someday.
BC: Then I realized I didn’t love it enough to be willing to starve.
KT: There is that.
BC: Yeah, and I knew there were several thousand other people who did love it that much and so I thought, maybe I should find a skill other than just acting and singing, and so I ended up in the business world for a little while, but those creative roots kept kind of pulling at me and I wanted to get back to it. And so I had a connection in Wilmington, of all places, to some people…
KT: [points to her] From Iowa.
BC: From Iowa, yes. I forgot to say that. I’m from Iowa. I had a connection in Wilmington because my family, our company, has…
KT: [smiles] Tell them your company.
BC: [laughs] It’s called Musco Lighting and we do large area outdoor lighting.
KT: Did you ever hear of Nascar? Those lights.
BC: Those lights, yes. When the cups racers are running under the lights at night, that’s us.
KT: And that’s only one. I mean, they’re in the movie industry, too. Believe me. We’ve used the lights on a truck that come up. They light up a football field. That’s how big these lights are. We’ve used them on movies.
BC: When we started out, in fact, it was kind of fun. I was just a kid when we started doing all the movie lighting and the trucks and that sort of thing. And the trucks are a very small part of what we do. Primarily what we do is football fields and baseball fields and little league fields. Small stuff, that’s our bread and butter. But, the trucks came along and we used to… Our slogan for the trucks was ‘Daylight by the Truckload.’
KT: True statement!
BC: And that is in fact what they are!
KT: They are! They light it up.
BC: And then for a while it was ‘Let the Source be with You.’ [both laugh] How corny is that? So anyway, I had some involvement or familiarity with the film industry, a little connection because of that. In fact, just the other day on set we were talking about the first movie set I was ever on, ever exposed to, was ‘Field of Dreams.’[KT holds a thumbs up] It was shot in Dyersville, Iowa, and if you haven’t seen ‘Field of Dreams,’ it is a must see.
KT: Must, must!
BC: Yeah, it is one of the great sports movies of all time. So anyway, I had some familiarity with it and, obviously, my theatre background and all that sort of thing, so I started thinking I wanted to get back into the entertainment world somehow, and the theatre, while I love it… Personally, if I’m going to act or perform, I prefer theatrical performance. I actually day-played as an actress once in front of the camera on…
KT: Yeah, we saw you!
BC: … on ‘One Tree Hill.’
BC: Oh, and…
KT: C’mon, Erica’s film!
BC: Oh, yeah!
BC: And I ended up on the cutting room floor in another one of Erica’s films! I was supposed to be in two of them.
KT: Oh, I didn’t know that.
BC: Yeah, I think I made it into ‘Find Love,’ and I got cut from ‘Red Means Go.’ But that’s how the cookie crumbles sometimes! So, yeah. My family has a sales rep. He has since retired from the company. It’s Stacy Wells who was amazing and has been with the company since I was, like, ten, and his daughter works in casting here in Wilmington.
KT: That’s how we found her!
BC: Yeah, so I called him one day. He has, over the course of my life, many times has said, you need to meet my daughter! She’s fantastic. You guys will be like long lost sisters. So finally one day I called him and I said, do you still have a daughter that works in the film industry? And he said, [puts on a southern accent] I sure do! [KT laughs] He’s southern. I love Stacy! And he said of course I do! You should come on out here! So he fetched me from the airport, as they say in the South. And I flew out to Wilmington and I met his daughter and, lo and behold, we were like long lost sisters, Lisa Fincannon, of Fincannon and Associates Casting here in Wilmington. They’re incredible, like Emmy award winning casting directors. And he was right, Lisa and I, it was like we’d known each other for years, and at the time, Frank Capra Jr. was still alive, got rest his soul. He was amazing. He was the president of Screen Gem Studios at the time, and I met him and fell in love with Wilmington because, really, how can you not? And Frank said, you know, there’s not really a lot going on here right now. ‘Dawson’s Creek’ was in their sixth and final season. But Lisa and her husband and Frank and some other wonderful people said, if you really think this is what you want to do, we’ll help you as much as we can! There aren’t a lot of jobs here right now, but…
KT: And they worked you!
BC: Yeah, but see what you think.
KT: Yeah, but you earned your spurs, basically, like we’ve talked other times. But yes, you earned your spurs and you got on the show!
BC: Yeah, and that’s really the key to, I think… especially in Wilmington, but in smaller film areas, but I think it’s probably true in Georgia, in Louisiana, in all the other places that film is going on, although we want it all to happen in North Carolina!
KT: All of it.
BC: If you have the financial wear at all to be able to do it, and you have the drive to be able to do it, if you can come in and you’re just willing to jump in anywhere where there’s help needed, and you continue to do a good job and be reliable and be willing to learn, you’ll get there. That will be noticed. And I actually interned… interned, volunteered, basically, for Frank for about the first, I don’t know how many months I was here, which was, you know, if you can find somebody like Frank Capra Jr. to sit at the feet of and learn from, how incredible is that? And then I ended up kind of doing a little bit the same thing with the Fincannons. They just needed an extra person here and there. I ended up on the road with them doing casting for commercials and movies and whatever came along, which was an amazing, quick lesson in all the different types of film work that are out there.
KT: All that they do. Because they are involved all over the country.
BC: So I was all over the southeast with them. And actually out to Los Angeles as well on a project that Mark Fincannon did, and then, by the end of all of that, I learned two things. One was, I moved to Wilmington to be in Wilmington, not to be all over the southeast, and, that while casting is an amazing, amazing part of the business and critical to any film, it wasn’t what I wanted to do. And what I had actually figured out was, if I stay in the business, which is always a day to day question for me. [both laugh] If I stayed in the business, I wanted to be a producer. I knew that’s where my skill sets would lead me and largely because producers, in its simplest terms, is facilitating, is the ability to talk between two camps and get them to work together and to help translate when the creative isn’t understand what the business needs and the business… you know, and vice versa. And I do that. I facilitate pretty well. And so I said, if I’m going to stay in this business, that’s what I’m going to do. So I told the Fincannons. By that time, I had come onboard with ‘One Tree Hill’ as the extras casting person for Season two. I day-played as an actress season one. You probably won’t find me though because I had almost blonde hair and looked a little different, but I’ll challenge you to find me! Although, they’ll just IM me it, or something…
KT: Yeah, they’re pretty smart.
BC: Yeah, you probably figured it out as soon as I started talking earlier! But anyway, so I was doing extras casting, so part way through the season I said to the Fincannons, I will finish out the season but then I will be done with casting. This just isn’t what I want to do, and, god love all extras casting directors out there in the world, it is a thankless job.
KT: Very much so.
BC: Yeah. Your complete job performance rests on whether or not somebody who’s getting paid essentially minimum wage, here in Wilmington… in L.A. it’s different. Here in Wilmington, whether somebody who’s essentially getting minimum wage, and may or may not have been partying the night before, wants to get up out of bed early and show up for work on time. And some days that’s 200 people that you’re hoping will make the right choice, so…
KT: A little stress there, can you tell? [laughs]
BC: It’s a little stress. It’s a little stress. So I did one season of that and said this is for the birds… [both laugh] But, that being said, extras casting is so important!
KT: Yeah, of course.
BC: As I had a… It was actually John Kretschmer, our original production designer, said to me one time that actors can be a lot of things, but they can’t be 200 people. You can build the most incredible set. You can put the most perfect lighting on it. You can do all these things. But if you put the wrong type of background in the scene with the actors, it’ll destroy it. It’ll destroy the moment. So, extras casting is just as important as anything else, it just wasn’t my cup of tea. So, I had told them I would be done and the end of the season came along and I had no idea what I was going to do next but I knew it wasn’t casting and I wanted to get closer to producing, and as fate would have it, Brenda Dalrymple, who had been the assistant to the producers for ‘One Tree Hill’ for the first two seasons, had decided that she no longer wanted to do that job, and so Greg Prange and David Hartley were looking for a new assistant, and I said what about me? [smiles] And they said, that’s a really good idea!
BC: Done. So in season three I came on in this job and I have had the opportunity, as you mentioned, working with Erica Dunton. I’ve had an opportunity to be a production coordinator, an associate producer, an executive producer. In fact, I am going to Los Angeles next week for a premiere of a film that Aaron Schneider directed that is having its LA premiere that I’m an executive producer on.
KT: And didn’t you… I think… you were producing an album.
BC: Yup. That’s still in process.
KT: See? Right there.
BC: So, doing some music producing as well. I got to work with Grace Potter and be a little bit of a music producer for Grace Potter when she was on our show season six, episode 6.07, I believe!
KT: Wow… wow!
BC: [laughs] Why do I know that?
KT: I don’t even remember the script.
BC: Greg Prange directed. That was an incredible experience. Grace Potter and the Nocturnals, love them! That was amazing. And yeah, this show in particular and being in Wilmington with this kind of a film community…
KT: A great vibe.
BC: … has awarded me amazing opportunities, absolutely amazing! And again, it’s about just being open and, sort of, saying yes, you know, when something comes along. So yeah, that’s how I ended up in Wilmington and now it’s home. I can’t quite imagine moving back to Iowa. They have snow. [makes a disgusted face as KT laughs]
KT: No, we’re not doing that!
BC: [laughs] Yeah! Exactly.
KT: No, we’re staying right here. But, the future is looking bright.
BC: The future is looking bright. I’ve actually got the very, very beginning stages of what could be an interesting reality TV idea that is not at all like reality game show, no.
BC: No, it’s not reality game show. It’s like real people and I really believe that the power in reality television, whatever remains of it in the next few years, because I think it is waning, but I think the power in it and what’s remaining is telling people’s stories and telling the stories of people who would otherwise never have their stories told. So that’s this concept that I’m kicking around it that kind of thing.
KT: Always busy.
BC: Yeah, and I’ve got a movie idea that’s been in the works…
KT: That’s right. You’re developing… yes.
BC: I’m developing a script that is, at this point, like an octopus with 16 legs. I’m having a hard time wrangling it. [both laugh] But one day! One day.
KT: It will come together. It will, it will.
BC: It will come together. In fact, Nick has given some advice on that.
KT: Sweet Nick?
BC: Your own sweet Nick! I adore Nick!
KT: Good guy.
BC: I just read another one of his stage plays, too. It’s fantastic.
KT: Yeah, that’s coming up, too, isn’t it? He’s got his one act…
BC: Yeah, I haven’t read any of those! And I hear there’s a surprise guest that has written a couple of monologues!
KT: There is!
BC: For his night of monologues. I don’t know when exactly. Sorry, Nick, I forgot the name of it, but yeah, I don’t know, is that public knowledge yet?
KT: No. So you’ll have to wait!
BC: Yeah, it has yet to be known. But yeah, I think, down the road, to me, the end… not the end goal, but the thing that’s out there that I haven’t done yet that I look forward to doing one day is, what I think is the best part about being a producer, is being able to pull together that dream team, that group of people that, you know, maybe aren’t the group of people that you’d want to go to dinner with, but are the group of people that you think are really good at what they do, and pulling that group of people together would be so incredible. And being able to… On Erica’s movie, when I did a little bit of producing for her on some pickups, and I was… That’s the one I have an associate producer credit on, but I was really the full on producer for these pickups we did, and I love nothing more than getting to set in the morning, you know, half hour, 45 minutes before other people were arriving, you know, crafties just brewing the coffee, you know, it’s quiet and watching people show up and watching the cables start to unfold…
KT: Trucks open up…
BC: The trucks open up… That’s when you know you have the bug. That… stepping over cable and that looking out for, you know, c-stands and that kind of thing, that’s a good day. That’s an incredible day.
KT: That’s what drives us.
BC: Yeah, and the fun part for me as a producer was… you know, there was one day we were shooting and it was hot, hot, hot, hot. I mean, kind of like it is outside today, I mean it was…
BC: Yeah, 105 heat index, it was hot, hot, hot. And it was so fun as a producer to be able to try to figure out how to fix that and try to keep the company going and keeping an eye out for people and making sure…
BC: Yeah, safety, and walking around and saying, hey, have you sat down? Have you gotten in the shade recently? Have you been drinking water? That’s kind of the… like, it’s fun!
KT: Yup, and still getting performances!
BC: And still making your day. Not using more film than you have allotted. [both laugh]
KT: … can afford!
BC: That you can afford! [both laugh] But all of that. That’s like one of the really fun things for me in producing is that people element, that’s my favorite part of it. And telling a good story.
KT: Beth, thank you so much!
BC: You are so welcome. This was fun!
KT: This was fun! [both laugh and wave]PróximamenteBientôt Disponible
January 14, 2011
[KT seen standing out of an office that says “ADR/Foley: Stage 1”]
Kelly Tenney: KT here with another episode of Industry Interviews. [points to the sign] ADR! Look at this! We’re going to meet Beth Crookham who’s going to tell us all about ADR. Let’s go!
[cut to inside the office where KT and Beth sit at a table]
KT: Hey everybody! KT here with Beth Crookham!
Beth Crookham: [smiles] Hello!
KT: How are you?
BC: I’m great! Thank you.
KT: Beth is responsible… One of the many things that she does for ‘One Tree Hill’… but one of the more important things is ADR. I don’t know how many of you know what ADR is. I didn’t before I got involved with ‘One Tree Hill,’ but she’s going to explain to you what it is. Tell us what happens in the ADR room!
BC: ADR… Well, first of all, there’s an argument, and I’ve never gotten a straight answer, on what the letters actually stand for.
KT: Darn! I was hoping you were going to tell me!
BC: I’m confident on the D and the R: Dialogue Replacement. The A is still in question. Automated? I go with automated.
KT: Let’s go with automated.
BC: Yeah. So we’ll go with that. So, ‘Automated Dialogue Replacement.’ It is primarily… when you think about, in the editing process… I don’t know how much your fans, at this point, how much you guys know about editing, but…
BC: Nothing? Okay. Well, you know, everyday you’re shooting different things and eventually that’s all gotta get assembled together into scenes that tell a story, and once that’s all locked in together and you’re done fiddling with the picture, then you start to really deal with sound. So picture kind of comes first, well, script and story comes first, obviously, and then picture. So, once you get the picture locked in, then you’re dealing with sound, and if you’re shooting out on location, there could be a dog barking down the street…
KT: Sure. Lawnmowers…
BC: … a Harley Davidson goes by, lawnmowers…
KT: … planes. [laughs]
BC: [sarcastically] Yeah, we don’t know anything about airplanes here! Yeah, all that kind of stuff happens, as well as there could have been clothing they were wearing and it was a body mike and there was a little rubbing on the mike… all kinds of reasons that there’s a little… that there’s a glitch in the sound. So, now you have the opportunity to go in and fix that. That’s ADR. So, you’ve got the picture locked in. An ADR supervisor, like myself, would go sit in to what’s called a spotting session.
KT: What’s that?
BC: You sit and watch the film or the episode or whatever it is… You watch that and you’re watching… or watching for sound issues? [laughs at her use of words] You’re listening for sound issues.
KT: Ah, listening!
BC: You’re listening for sound issues! Although, we’ve looked for them as well. So, you’re actually spotting for those kinds of things. In that spot, a lot of times your music supervisor will be in that spot as well, and so the music supervisor is looking for spots where there are music cues they need to line up to or places where maybe the composer needs to write in a specific cue. Your effects editor might be there, sound effects editor might be in there as well, so they’re watching for places where maybe you grab a coffee cup and you set it down [uses coffee cup in front of her as an example] and the mic picked that up a little louder than it should have, so you need to strip that sound out, but put it back in again so you don’t have a silent coffee cup, which doesn’t seem like it would make a difference, but it’s odd when a cup hits a table and doesn’t make a noise…
KT: It is odd.
BC: The audience actually realizes that on some unconscious level, so that’s sound effects but then at the same time an ADR supervisor would be watching for places where the dialogue has noise on it or something that needs to be… maybe it’s even in the way they edited it, they hooked two cuts together, and so there’s a little bobble in the sound, in the piece of dialogue, in the way they cut two pieces together, so all of those things get noted in that spotting session, and then an ADR supervisor would go back to their office and go through and put exact time code… to the 00s. I mean, down to the tenth of a second of the time code for each of those things and create a log of all of that. So that’s your ADR cue sheet. And not only are they doing that for all the principal talent that actually had written lines, they’re also doing that for all the background that wasn’t allowed to speak. So now is when you go in, and say it was a night club, and all your extras, all your background were in there getting down and dancing but they were doing it silently.
KT: Oh, because there’s no music! That’s right!
BC: And there’s no music and all of that sort of thing. And so now is when you put voice to those people.
BC: Also in ADR. That’s a group session, or loop groupers is what those people are often referred to, and in Hollywood those are, like, golden jobs.
KT: I actually sat in in one of those and they walk, like, in a circle and have conversations, like five or six of them walk in a circle, there’s a mic hanging, and they talk. It’s unbelievable!
BC: Yeah, and it’s really pretty cool.
KT: It’s pretty cool.
BC: And really good loop groupers are… They’re amazing at what they do! They really are. But those jobs are ones that a lot of actors are seeking because they pay like a day player actor.
KT: Is that right?
BC: If it’s a SAG project, yeah. They pay like a day player SAG person but you don’t… I don’t think they get the royalties end of it, but I don’t know. Anyways, but they pay like that, but it’s steady work, especially if you get it with an episodic. Like, our ‘One Tree Hill’ loop groupers… They know, every episode, they’re going to get called in.
KT: Are they the same ones, like every season?
BC: Every season! [KT laughs] If you get a loop grouper job, you do not give it up. You do not give it up.
KT: Good to know!
BC: Anyways, those jobs are very hard to come by, very sought after in Hollywood.
KT: That’s pretty cool.
BC: So yeah, in that spotting session, you’re also watching for that. Is there two people, like us, sitting? Maybe we’re in a diner and we’re talking, and maybe just over my shoulder is another set of people, some extras at a table. Well, while they were being extras, they were behaving like they would in a diner, so they were maybe miming a conversation. Well now, you and I are talking and they’re over my shoulder, and so now we need to put words in their mouth.
KT: … that matches their mouths.
BC: They will kind of be buried in the whole sound mix, but if it’s silent…
KT: It looks funny.
BC: You’ll be like, wow, how come they have voices and no one else does? So, all of that goes into ADR. So, we talked a little bit about the loop groupers. They go into a sound stage, and those rooms don’t have to be great, big huge rooms, but they’re very sound proofed rooms. And there’s a technician in there who really understands… They’re asking questions like: What kind of microphones were being used? How is it being recorded? They’re looking at what size is the room their in? Is it outdoors? Is it indoors? Because they want to make sure they capture that sound as close as the way it was captured on set that day as they can.
KT: And that’s stuff that you do here.
KT: Because it’s a little more challenging for Beth because she’s at actually in Wilmington, and they do the post in Los Angeles.
BC: And with the power of the internet… [says with sarcasm] Not that your fans know anything about the power of the internet!
KT: No! [smiles]
BC: With the power of all of that, it’s amazing how quickly we can post what we do here up to Los Angeles and they can get it. And there are those times when I’m going into the ADR room with one of our actors here and, I mean, they are literally sitting in LA like [twiddles fingers together]… You done yet? [KT laughs] Are you done yet?
KT: [holds up a phone] Calling her.
BC: Yes, calling me and I’m like, if you stop calling me we’d get done! [both laugh] But anyway, so we go in… the loop groupers all happen in Los Angeles, however I’ve sat in on enough of those sessions and you’re right, that’s exactly what they do. They are trying to create the sound that the background would have made had they not been there. And that’s why, sometimes when we’ve got great big scenes, like some of our concert scenes and things like that that we do, that’s why sometimes we do a take or two where we let the extras, as a mass, talk and respond and react because we can use that to help fill in in post production.
BC: Exactly. And it’s really hard for the loop groupers to be 300 people.
BC: They can kind of be 15 or 20, but…
KT: It costs money.
BC: But our loop groupers really can, legitimately, be 15 or 20, we just get a set of passes and lay them on top of each other, but it’s really hard for them to be, like, 300 people. So that’s why when we have big, big groups of extras, we let the extras, on some takes, actually make noise, so our sound department has that and can feed that into post production, but more of what I deal with here is with the actors and the reason we do the ADR here is because it’s where the cast is!
KT: And it’s a series, you’re always prepping, shooting, shooting the next one…
BC: Yeah, there’s no time to fly them back and forth, exactly. And they are frequently coming in to do their ADR on a day where they are shooting and maybe they’ve got one scene down that they’re not in, I will grab them and take them over to ADR, and then they will go back and finish their day. Or if they were in the first two scenes of the day or whatever, I might grab them before they go home.
KT: Constant scheduling.
BC: Constant scheduling. Constant working with the AD staff, the Assistant Director’s staff to…
KT: And working with talent that doesn’t really want to come in and do it! [laughs]
BC: Yes, they usually… I have to give… our cast is pretty good about it! [laughs] Although I think they’ve learned over the years…
KT: They’ve learned that she’s not going to give up!
BC: [laughs] Yes!
KT: You might as well get it over with!
BC: That’s what Greg says, so yes… [KT laughs] That’s what my boss tells me all the time. They just give in because they know I’m going to win. But yeah, so they come in and I have a cue sheet set up for them. They put on the headphones just like you think of in a music recording session or whatever, and they’ve got a big TV screen in front of them that is showing them what the scene is. So they’ve got the cut in front of them and they’ve got the headphones on and they’re hearing themselves in the headphones. So they watch it a few times, get a reminder of their cadence and what they did in their performance because the goal most of the time in ADR is to preserve the original performance.
[Slide reads: ‘Jackson Brundage: Recording Dialogue for ‘One Tree Hill’]
[cut to Jackson sitting on a couch in a room with Beth talking to him]
BC: This one is where you pretend like you are running, but we can’t hear your feet. So you’re going to have to kind of run with your knees, not your feet.
Jackson Brundage: So like… [does an example of what to do]
BC: Yeah, so we get the sense of that movement.
[cut to Jackson in the recording room with headphones on]
JB: [watching scene on TV in front of him] Did you do it yet? Did you do it yet?
BC: [off screen] Let’s…
Man off screen: I was going to say maybe if he…
[cut back to KT and Beth in her office]
BC: Now sometimes in ADR, in our world, that’s really what it is. Now there are some actors I’ve hear of… I want to say it’s Dustin Hoffman or somebody like that. I mean, it’s one of those biggies… That absolutely loves ADR and will actually ADR… and it may or may not be Dustin Hoffman, I’m sorry if I’m wrong… but will ADR their entire performance in a film or in a movie and they will go back and literally alter their performance because as long as it, speed wise and volume wise, kind of fits in their mouth, they can change some inflection and they can change… You can completely alter a performance. It’s really quite amazing. And our actors, sometimes they’ll come in and they’ll watch the cut and they’ll see the take that was chosen and sometimes they’ll be like, oh man, they took that take? That’s not the one I wanted! You know? So I will say to them, look, I need to get this where we preserve the performance, but once we’ve got that, if you’d like to give me something that’s an alternate read on it, that’s great! Let’s send them an alt! And maybe Mark or the executive producer who’s in the room, maybe they’ll like it and they’ll take it, so I’m happy to do that. And so it’s interesting, they can actually… And it has happened on our show where they have altered the performance just a little bit, and…
KT: And it was picked!
BC: Yeah, it gets picked, and it’s amazing, it really is. And then sometimes they give us funny, goofy things that kind of fit in the mouth, but not really. [KT laughs] But the key to it is your technician, Alex Markowski is in the room with me who’s brilliant. Alex Markowski could be anywhere in the world working and he chooses to be in Wilmington, North Carolina. Thank god for me! His ability to capture the sound correctly and the right kind of mic-ing and it’s a matter of how far is the microphone from their mouth. Alex can really tell, and I can with my ear, because I’ve been listening to it long enough, but you can tell if it’s a boom mic or if it’s the body mic, and if it’s the body mic then we have a lapel mic we clip on to them in the room. If it’s a boom mic then he’s got a boom in the room. So yeah, all of that stuff makes a difference. It’s really incredible. And how close to the microphone they stand or how far back from the microphone they stand. And there are times, if, say, they are leaned over doing something like this then they come up, then we will have them, if we have them in the room, kind of tip their head a little bit and then come up, because if they don’t, it’s wrong with the microphone. You can feel that. And if they’re turning into a moment, you can feel that. It’s really amazing.
KT: So, when you lay down that track with Alex, and then you watch it again?
BC: Yes, in the room.
KT: And you do it until you’re satisfied?
BC: Yes, and once I’ve got one that I feel like is good, is really good, then I will ask them to give me at least one more. I always want to have a safety, which is kind of, in filming, you do too. I mean, you get what you want, and then you go, okay, one more.
KT: One more! Yeah.
BC: You always want to have a safety because you never know when something might go wrong! And usually, our cast is really good at ADR and you know, four or 5 takes, sometimes less than that, 2 or 3, but usually averaging 4 or 5 takes per line.
KT: But sometimes you have a lot of ADR to do, depending on what’s happened when we’re out shooting, I mean, we’re acting as if in front of a camera.
BC: Yeah, fans of the show, they will recall, of ‘One Tree Hill,’ which I’m guessing there are a few SoGoPro fans who are a fan of ‘One Tree Hill?’
KT: Yeah, probably most of them! Maybe all of them! [smiles]
BC: Okay, so fans of ‘One Tree Hill’ will recall a scene in season three, in fact, I’m certain it was season three… You all were going to call me out on that if I was wrong… It’s when Brucas was still together, and they are arguing in Lucas’s room, and I don’t remember if it’s Brooke of Lucas… runs out the door and they run outside and now they’re in full on rain. Like, there is a pouring storm outside and they have a big wonderful moment where they kiss and oh, Brucas fans love this moment. So, all of that had to be completely ADR-ed. The rain machine and the lightening machine and everything that was going on… I mean, there were parts of that scene where we didn’t even have a guide track.
BC: Which, that’s the worst it’s ever been.
KT: That’s got to be bad.
BC: Because usually you can at least get some sort of a muffled something, and it’s rare that… I mean, Mike Rayle and then, before him, Jeff Bloomer, are such good sound mixers and their ability to mic people in odd situations and all that sort of thing… usually we don’t do a lot of ADR in comparison to some shows, but that was a situation where… I mean, it just was miserable. We had nothing to go off of, and so you’re literally sitting in the room like this [squints] with the headphones on, trying to listen as hard as you can and watching their lips and saying, okay, I think you said… and that’s one of those moments where part of my job becomes keeping the actor relaxed and helping them not get frustrated in that moment.
KT: Big deal.
BC: And just saying, you know what? It’s about the performance. It’s about making this moment right. Let’s just hang in there. Give me one more. Let’s try it again. And at some points saying, why don’t we move on? Let’s come back to this. You know, it’s a little bit… those moments where you’re trying to make a basketball shot and it’s not happening and you go, let’s walk away from it for a second and come back.
KT: I’ve seen that happen a few times on the show.
BC: In ADR, the same kind of moment. So that was a big moment. And so that entire scene is ADR. And it’s interesting… by the time an episode airs, I’ve seen it… [laughs] I don’t know how many times.
KT: [to camera] Probably more times than you guys have.
BC: Probably. And I’ve seen lots of different cuts. I’ve seen the director’s cut and the producer cut 1, 2, and 3, and all the different studio network cuts and everything, and so a lot of times I don’t catch it when it airs, but through the power and glory of DVR, I always record them, and one of the reasons I always record them is because I want to see how the, what we call the loops, or the ADR… We call them loops because, in the olden days, before computers and all that sort of thing, you literally put it on a loop and the actors in their headphones hear… and this is still true… in their headphones they hear beep, beep, beep, and what would be the fourth beat is when they start. So that’s how they know when to start. And so it used to be that they hear that and then it would be on, almost like a tape, would be on a loop. And they would hear it and then they would hear beep, beep, beep, hear it, and go, hear it and go, hear it and go. And so it was set up on a loop, and so they’re referred to as loops. So I watch the show and I’m always curious, 1… to see how many of the loops they actually used, because frequently they give us ADR cues to do and I will even say to the actors in the room, you know what, I can almost guarantee you they’re not going to use this but they gave it to us, so let’s give it to them, just in case they’re trying to cover themselves, but when I can tell, usually, because I heard the loops in the room… I can tell whether it’s a loop or whether it’s production they used.
BC: So I watch the episodes to see how good our loops were and see how smoothly they fit into the show, and actually the bad part of doing my job is when I watch films and television and there are bad loops, it completely pulls me out of the moment.
KT: It breaks it.
BC: It completely breaks it. So when the sounds a little off, or there’s just a different tonal quality in the loop versus what’s in production, and my ear hears that now because you just learn how to hear that stuff, unfortunately or fortunately! [laughs]
KT: That’s good!
BC: So that’s ADR!PróximamenteBientôt Disponible
January 11, 2011
[Kelly and Mark are seen sitting on the set of ‘One Tree Hill’]
Kelly Tenney: Hey everybody! Back here on Industry Interviews. We’re going to answer some questions. Mark Graves is back to help answer some of these from you all. We got our first question about the lights you use for exteriors. ‘What happens when it rains or it’s snowing? Are the lights waterproof? And how do you deal with strong winds and/or storms?’ How do you secure your equipment?
Mark Graves: Well, generally speaking, the lights are not waterproof. They are built… the higher quality lights that we use are built to rigorous standards. They can withstand some elements and rough handling to an extent. The precautions we have to take mainly are to protect the lenses. As they heat up and rain starts to fall, there’s potential cracking and the lenses break, so we do take precautions in that way. As far as strong winds, we limit the height or how high we can put a light. We do sandbag it to put weight down and keep it from knocking over in the wind. In the case of severe weather, we won’t light. We will wait till that passes, but we work in pretty much all kinds of weather.
KT: Now, you also use, what we call, a condor and you put these humongous… You have these HMIs or 18Ks or you put other lights up there, and you shove them way up into the sky. What is that process?
MG: Well, a condor is an industry standard term for man-lift. What we do it… We carry two condors. They extend 80-feet in the air, and we put lights on that in order to give up the height or distance that we need, farther and longer for wider throws of a backdrop.
KT: A lot of times you’ll see trees that are lit up, that have a nice glow around them. That’s how you use some of that stuff, or a house so you rake a building, or something like that.
MG: That’s correct. It’s another tool in the night exterior lighting arsenal that we have. In our region, it’s typical to send a man with the basket, the basket being the actual part of it he rides in. He operates the lights there that are powered from the ground. Some other regions, they no longer put men in the air like that.
KT: Is that a safety issue or just, they can’t afford to have a man up there?
MG: It’s not necessarily as far as affording it, but in other places they decide that they don’t need a man so much. We still use them here to dial into the lights a little bit better and it gives us more control over the lights. The man goes up before the scene is shot. He’s equipped with safety equipment. He’s provisioned as far as snacks and drinks, and any form of entertainment he might need for that long spell, a magazine or a book, CD player.
KT: We used to see him up there in the summer, especially in this part of the world, with the old bugs, and you feel sorry for him up there. [laughs]
MG: It’s not a great duty.
MG: It is a beginner, which you can expect… a beginning electrician can expect to be in a condor. There are some guys that prefer to ride the condor.
KT: Yeah, I can think of one or two. Maybe a little snooze time. [laughs]
MG: Yup. You can probably catch them doing that. It is less strenuous work.
KT: That’s true!
MG: And you have to be comfortable with heights.
KT: Alright, that’s a good answer for that one. Let’s go to the next one. Who do we got here? We got this one from Miss Gellar. Oh, this is a good one. When we look from the Rivercourt to Downtown Wilmington, it looks magnificent! The lighting that you guys put up, I mean, it just… The buildings pop. And she’s basically saying, ‘how are you able to get all those lights on the buildings? And do the lights stay up all season or do you take them down when they’re not filming?’
MG: In that case, our rigging crew will start the day before, or if we’re going down there late at night, they will start early that morning. About a 5, maybe 6 man crew will spend about 6 hours getting downtown Wilmington ready. We do play the lights up on the day. They place the generators on the day. They run all the cable. We come in to shoot it and they’ll generally come back the next day to wrap that out.
KT: Now, you use different lights for different parts of those buildings? Like the courthouse… You use bars that shoot straight up, and then you rake it… I mean, how do you…?
MG: We do use bars, mainly for the up lighting that you see on the courthouse, and on some of the buildings to the right of your screen. Also, the art department puts up string lighting.
KT: Oh, the twinkle lights?
MG: Twinkle lights.
KT: Oh, Joe Davola’s favorite.
MG: And that just gives additional pops. All of that is powered up by the rigging crew, but we also use some larger units to place a deeper background besides that buildings. If you look on the right of your screen, you sometimes might see a church. We light that also, but that’s about 4 blocks away.
KT: Wow. Now, do you use condors on that set at all to light?
MG: Not across the river, but we will use them on the Rivercourt sides.
KT: To light the foreground?
MG: To light the foreground, the immediate background…
KT: The river?
MG: The river not so much, but what we like to do is we like to bounce light into the river and try to get a shimmer on the court house across the river. So if reads well, you will see that reflective shimmering that you see on the side of a pool, and that’s coming from a light that’s being bounced from across the river.
KT: Now, when we see the lights on the posts, is that an art department, or is that electrical department? That puts those practicals…
MG: Those are art department.
KT: That’s art department.
MG: But it’s still our job to power those up.
KT: Oh, I see. So they leave them off, then you guys come in.
MG: That’s what’s called an in-shot practical.
KT: An in-shot practical. Did you hear that? That’s something I didn’t know.
MG: Much like this chandelier here over this table. [refers to chandelier over the table next to them] The art department sets that, and it is in-shot. It does work. It is powered by our system, but as far as we’re concerned, it’s called an in-shot practical. So, we’re not responsible for hanging that chandelier up, art department would do that.
KT: You’re responsible for lighting it.
MG: Yup, powering it.
KT: Powering it and bulbs and everything from there on.
MG: That’s correct.
KT: Okay, cool.
MG: And the same goes for the lampposts at any other place.
KT: They work. Cool! Now I got the last question here which is a doozy. ‘Why did you choose this profession and what do you like the most about it?’ This is from Anneliese.
MG: I didn’t choose this profession to be in the film industry. I needed a job at the time. When the studio was being built by an Italian producer named Dino De Laurentiis, I came on board. I was involved with construction. I stayed with the studio for six and a half years, and then I migrated out to the production end of it. What I like about the industry? There is no other job that allows you to do what we do in the respect that we have access to places and things that the general public will never have. Behind the scenes of major operations such as football stadiums. We could be on the roof of sky scrapers. We could use helicopters. We are on military bases, places with restricted access. We get to meet with people who make these things work, not so much celebrities, but the actual working people that know a lot that you would never imagine. For instance, in a few days from now, I will be working in a major football stadium. I’ll decline to say which one, but I’ll be on the field. I’ll be in the locker rooms. I’ll be in the tunnels. These are places that a lot of people would dream to be.
KT: That’s true. Sky boxes…
MG: Sky boxes, all of it. That sort of variety makes the job exciting, but it is just a job, and you have to get used to travel.
KT: You’ve travelled all over, not only this country, but the globe. You’ve kind of trotted around, haven’t you?
MG: I have in pursuit of work and that is a necessity. You have to accept that. It comes with a cost, your personal life, but everything has its costs.
KT: You take great pride in it, when you watch whatever it is that you’re working on, when it comes up on the TV or the screen, it’s like, yeah, I helped make that! That’s why we’re in this business. You take pride in it.
MG: Yeah, I do take pride in it. I like that my crewmen go home safe. That’s a big thing. I’ve gotten past all the glamour.
KT: Glamour? Was there glamour somewhere? I missed it.
MG: Someone told someone there was glamour in this industry… [both laugh] There is no glamour.
KT: I want to find that… some day, that glamour. [laughs]
MG: But you take pride in seeing that your men get home safe each day, pride in being where the producers need you to be, and being able to get another job because you did the last one well.
KT: That’s right.
MG: There is pride in that.
KT: Well, Mark, thank you again for coming out of your busy day and answering these questions. [to the camera] And you guys, if you have more questions, send them in to us, we’d love to answer them. Yeah, come on, send them in! Talk to you all later.PróximamenteBientôt Disponible
January 4, 2011
[Karen and Leigh are seen sitting together at a desk]
Karen: Hey guys! [laughs] It’s Karen and we’re here with the fabulous Little Leighler, Leigh. [Leigh smiles] She is our office PA and I’m going to interview her about her fabulous side skills and what sides are, how you make them, and what you do with them, yo.
Leigh: Okay, so… oh, I’m not ready! I thought I had all my props but I’m not ready.
K: Oh, failure!
L: Okay, so, these are sides. [holds paper up as camera zooms in] Right here. These are from season 6, so this is probably not going to be exciting for you anyway, but sides are just small versions of the call sheet for the day, and then all the scenes that we’re shooting for that day. So, I guess we’re going to go through the process of making sides?
K: Yeah! How do you start?
L: Okay, well right here I have today’s call sheet, which I think we’ve talked about before. It has all the scenes on it that we shoot for the day and all the cast, which we have a ton of cast today! And it lists all the actors who are working, and then our advanced schedule. So, for sides…
K: When do you get the call sheet?
L: Oh, okay. So, today is Wednesday. I got the call sheet for Wednesday last night, Tuesday night. Actually, we were wrapped really early so it was like Tuesday afternoon. I just make copies for us and copies for set and blah blah blah, and all the stuff. And sides for today, Wednesday, I have to make Tuesday evening, so they’re actually already made, but I can show you guys, I guess, kind of the process. So they start out looking like this. This is a full 8.5 x 11 page. [both laugh as Karen whispers something.] [Leigh talks to camera] We have to cut that out later! [both laugh] So, you know, we got our call sheet here, and I just kind of cut it down to fit the page, and normally what I cut off is just the advanced work because people don’t really care about that. They get a call sheet and sides, so they don’t really need the advanced work on their sides. And then, I go through and pick out… like, I make a list… This is just part of my process. [holds up a blue sticky note] I make a list of all the scenes that we’re shooting for the day. And [points to notes on the side of the sticky] just ignore this over here, I could explain that but it doesn’t matter right now. So there’s all of the scenes we’re shooting for today, in order. So then I go through…
K: Do you put them in scene order, or n-n-numerical order? [laughs]
L: She’s drunk! [laughs]
K: [jokes] I’m drunk again at work!
L: Scene order and numerical order, it’s the same thing, right?
K: No! Wouldn’t numerical order go 1-2-3-4? And scene order could go, like, 4-3-2-1, in the order we’re doing scenes?
L: Oh, you mean like shooting?
K: Oh, shooting…
L: So, yes, they go in numerical order, and like today we’re shooting… On here, it goes 27, 28… oh, these are in numerical order… Hang on. Alright, so here, in the middle of the day, it kind of jumps from scene 31 to 26 and then back to 29. So then, I just put them all in numerical order and pull all the scenes out of our little sides binder [holds it up] and we have… This is for episode 8.09, and we have all of our episodes, you know, up there, and all of our scripts, you know, with all the different collated pages and everything in there. So, I’ll go through, make my list, pull the scenes out. So, the first scene I have is scene 18, which [to the camera person] you might not want to get too close to this. So that’s here, and then it doesn’t end till right here. So I have to pull both of these pages out, and then that kind of turns into… [looks through papers] Let’s see if I can find it right here… So, there’s our first page, so since we’re not shooting scene 17, I cross it out just so people know that’s not what we’re working on for the day, and then this is where it finishes, so I cross out scene 19. So, it ends up, once it goes through the copier and gets reduced and all that stuff, it ends up looking like this. [flips through a slide] [to Karen] I feel like I’m at show and tell.
K: Yeah, right? You’re back in Kindergarten?
L: And this is my 6th season set of slides… So yeah, that’s it! And I don’t know if you guys want to see the whole copier process or whatever.
K: Yeah, of course!
L: Okay, alright! We’re going to do the whole copier process. Okay, once I’ve marked all my sides, I’ll go through and I’ll make… just for our copier, I make an extra copy of the pages that I wrote on, I guess, because the way it’s set up, you have to sort of double them up, so that that way… Hm. Let’s see… You know, rather than explaining it, I’ll just show you. [she moves into the copy room] So, let’s just take these two top pages right now, and I’ll show you what they look like when they come out of the copier. So we have a little program in here for size. [camera zooms onto the copier] Right here. And we’ll just do… Let’s just do one right now. So, it’s just going to pull these two cover pages through and [paper comes out of copier]… here we go. When it comes out, it takes those two pages and puts them like that! [shows paper with both cover pages on one page] Which is called 2-in-1 in the copier… So, anyway, there’s two pages for each… Alright, there’s two page 13s, two page 14s… okay, I think we get it. And then, I just put all of them in, and another size program. We staple… This is really…
Woman behind camera: High tech!
L: [laughs] Alright, and it’ll go through. Normally I make, I don’t know, about 30 sides… or, 30 sets which turns into 60 sides, and when they come out, I’ll show you, we have to staple them and cut them and all that stuff. [she gets the sides out of the copier and holds them up] Alright, so that’s what we end up with. It’s only staples right here so I have to go through and staple the top here, and then we cut it right down the middle and then we’ve got two sides. And then I have labels for all the crew members that get them and, depending on… like, today, since we have a ton of cast, I think I made, like, 34 sets of sides or something, and we had, I think, like 3 extra. So, on days that we have a lot of cast, I have to make a ton of them. Sorry all you green people out there. And that’s that! That’s sides!
[cut back to Karen and Leigh at the desk]
K: The question is, why do you make the sides?
K: What is their purpose?
L: Their purpose it that so everyone who’s working on the show, or everyone who gets sides will know what we’re doing, the lines that are supposed to be said, the scenes that we’re filming, and they’re all in the loop. They all know what’s going on so it makes the day run a little smoother because if you’ve got 20 people out there trying to set up a scene, or 40 people or whatever, and half of them know what’s going on, the other half are kind of like, I don’t even know what this scene is, I don’t know how we’re supposed to light it, I don’t know what’s supposed to be in the scene… Then, things get chaotic and it slows stuff down, so these just kind of help people to, you know, stay on the same page.
K: Because not everybody will bring their call sheet or script with them.
Kelly Tenney: [off screen] That’s why we hate sides. [camera pans to show Kelly] We hate them.
K: Yes, because people will leave them anywhere. So we label them so we can yell at them. [smiles]
KT: We actually hate them because everyone is given a script, everybody in the crew, yet that tool is not required on set, unlike tools. Carpenters always bring their tool belts.
K: I bring my shoes.
KT: You bring your shoes, and actors don’t bring their scripts! It’s amazing to me, why they don’t have their scripts on set, but for years it’s been this way, and now we just live with it.
L: Yeah, I totally forgot to say, the actors, when they’re in hair and makeup in the morning, they get a set of these so they can go over their lines, and you know, I think for the most part they all memorize their lines before they come in, but if you’re a little rusty, you know, or maybe you went out and had a little too much to drink last night or something, then you can…
KT: Our cast?
L: Jackson?! [all laugh] But yeah, then you can brush up on your lines before you actually have to be in front of the camera.
K: Alright guys, that’s all we have for sides today! [smiles and they both laugh]
L: I feel like I’m on Mr. Rodgers.
K: I know! I got my sweater!
L: [laughs] I got my sweater!
K: And my shoes! Any questions, just email the website and we’ll answer them for you! I hope it was informative and fun!PróximamenteBientôt Disponible
January 2, 2011
[Kelly stands outside of a ‘Cinema Catering’ truck]
Kelly Tenney: Hey, it’s KT with another episode of ‘Industry Interviews.’ We’re going to talk today with John Desarno who is the chef of ‘One Tree Hill’’s catering. He’ll tell us all about what it takes to feed 150 hungry people, twice a day. C’mon, let’s see what it’s all about. [camera cut to inside the truck where John Desarno is cooking] Here we are. John Desarno!
John Desarno: [waves] Hi, how are you?
KT: …Chef of catering in ‘One Tree Hill’ land! He’s going to tell us about it. C’mon up in the truck and let’s find out what he does.
Woman off camera: Hi guys!
JD: How’s everybody doing today?
KT: What do we got going on in here, John?
JD: Today, we’re doing a tilapia, fresh tilapia, and this is the cornmeal with seasoning and stuff like that, and, you know, we will just pan fry it and I will serve it with a tartar sauce.
KT: So, this is your kitchen?
JD: This is our kitchen, yup. We’ve been feeding cast and crew for about 7-8 years now, so it’s fun. You know, we enjoy ourselves. [pointing to the man working behind him] This is Nick. He does all the cold foods, the salads, and stuff like that. As far as, you know, what goes into our day, we start pretty early. We gotta do our breakfast and lunch. So, breakfast is…
KT: [because of the plane flying overhead] Hold on a second, John. We’ve got a little bit of U.S. Air helping us out with sound.
JD: [laughs] Yeah. So, our day starts off with breakfast. We’re usually here real early in the morning.
KT: Tell us what time you usually get here for a 7:00 call.
JD: For 7:00 call, that’s usually 6:00 ready for breakfast, so we have to get to work around 3 a.m.
Woman off camera: Oh my god!
JD: Yeah, so we’re at work at 3 a.m. getting ready, you know, cooking bacon and all sorts of pastries and stuff like that, eggs, egg whites, and all that prepped for breakfast. Breakfast is usually a short order thing, whatever anyone wants, they can have, pretty much. We have it all. And then from when breakfast is over, it usually lasts three hours, maybe, on an average day, depending on how many people show up. We clean up and get ready for lunch. We do three proteins, a fish, chicken, beef, pork, sometimes instead of chicken we will do turkey or, you know, ham and things of that nature.
KT: You’ve got salads, and you’ve got vegetables, fruits…
JD: We’ve got lots of cold foods, yup. So, I take care of all the hot foods with the vegetables and the sides, and then Nick does all the cold food. That’s all the, you know, the salads that we prepare fresh everyday. We use fresh ingredients every day.
KT: So, how do you come up with your menu each week? How do you decide what you’re going to make?
JD: Choosing what I’ll do is… you know, I’ll sit down on a Sunday. We’ll have to come out to work on a Sunday just to get ready for the following week and, you know, we go through our coolers to see what we have and what we could possibly use and I’ll sit down and collaborate with Nick and see what items we can come up with. Then you go from there. Basically, just plan out at least 3 days ahead and place an order to get my food and product in to be able to feed everybody. So a lot of it just is… I’ve been doing this for over 14 years so you kind of get the hang of what to do. But I still look through cookbooks and magazines for new ideas, you know.
KT: And you have to get a lot of special requests because you do different films, you move all over the East coast cheffing and you take care of big movie stars and take care of the crew. What’s some of the weirdest menu items that you’ve been asked to make?
JD: [laughs] Jeez.
Nick: [off screen] Where do you start?
JD: Yeah, where do you start? What do you think, Nick? I’ll have to think about that. Let me see. Some of the weirdest things? I mean, it’s just… the weirdest stuff is when people come up on the fly and they say a certain somebody really wants this now. And then you go, uh oh, do we even have it? So we have to scramble and pull your resources together, whether you call transportation to quickly get it done. We’ve had people come up and ask for whole lobsters. The director or so and so wants it in an hour, in the middle of a field 30 miles away from anywhere! And you’re like, holy cow, but with the film business you have the resources to make the film cost to make it happen. You get people who have special dietary needs. So, some people have to be gluten free or it can’t have any nuts or those types of things, so you have to be conscientious about that and your vegans and your vegetarian people. I mean, there’s been some wacky stuff but nothing out of the ordinary. You just gotta be on your toes type thing. You have to be prepared for the worst, so to speak, but we do a pretty good job at accommodating everybody. We hope to, at least.
KT: And there’s different budgets on different shows.
JD: Absolutely. Certain shows have, as you were saying, different budgets. I’m basically responsible for somebody’s business. They’re also trying to make money and stuff like that, so I have to be conscious of what I order as far as the price of the foods and things like that. And each show, like you said, warrants different things depending on the budget that I’m working with. And that’s a challenging part of our job too because it’s like, you have to worry about certain food costs and not going over a budget and that end, so you have the happy medium, you know?
KT: And you’re mobile! So you have to know what you can actually cook in here, but there isn’t really much that you can’t cook in this mobile unit.
JD: Yeah, it’s basically a kitchen. It’s a kitchen like any other kitchen you see in a restaurant. It’s just a little bit smaller. It’s a little bit more tighter in here, but we have our flat top, our burners. We have two convention ovens here. You have a freezer, a two door cooler, and I have a four door cooler on my side. Then we have a steam well here and then we have our coffee maker, and that’s how we brew our fresh coffee and stuff like that.
KT: You’ve got your grill, portable grill outside.
JD: That’s right, we have a portable grill so we do grilled foods, grilled vegetables… yeah, take a look.
KT: [opens up a cabinet] You’ve got vegetables in here, take a look. And… what do you got down here?
Woman off camera: [camera shows a Dr. Pepper] You’ve got a Dr. Pepper in here!
JD: [laughs] And the other thing is that you don’t always know what to expect from day to day. Sometimes the AD department will call me up and be like, ‘Hey John, listen, can you be ready in an hour?’ And you just got done serving breakfast and you’re like, holy cow! You know, you’re like alright I can do it You just have to be prepared for that. It’s a very time-oriented type of job. You don’t have time to just relax easily, do what ever you want. You just have to kinda be prepared for that and you just have to be constantly doing something.
KT: And you guys whip up, like, themed dinners, lunches, so to speak.
JD: Right. We’ll do Italian day, whether it’s spaghetti and meatballs or lasagna or chicken parmesan or chicken mushroom marsala or chicken piccada and those type of things, you know. We do all sorts of Italian foods. And then we do an Asian day. We’ll have sushi out on the buffet table and try to do fried rice and shrimp fried rice and all those types of Asian foods. And Mexican and Latin American, and you know, Caribbean. So we try to go from there, and Mediterranean.
KT: You do everything.
JD: We try to do everything, yeah.
KT: People get, probably… it’s tough to keep 150 people happy.
JD: It really is. Especially for… what? We’re going on our 8th year?
JD: So, it’s like, you feed the same people for 8 months out of the year. The same people day in and day out and that’s a challenge. It’s a really hard thing to do, to try not to repeat yourself and try to keep it fun as far as different foods so the customer or the crew is getting bored with the food you’re putting out, which is hard, you know?
KT: It is hard.
JD: It’s a tough act on TV shows. Because on feature films you’re in for 3 months and then you’re gone. Here it’s an extended thing. So, it’s a challenge. I hope everyone is satisfied with my food! [laughs]
KT: They are. Very satisfied!
JD: I’m still here, so… [laughs] I guess I’m doing all right then!
KT: They love it.
JD: Yeah, that’s great!
KT: But it is a challenge and it’s like everything. I mean, you have to make sure that, first of all, no one ever gets sick…
KT: Which is a big deal.
JD: A lot of people don’t know that aspect of it. But yeah, I mean, at the end of our day we clean up our buffet and stuff and then we have to do our shop and have to basically hose everything down and disinfect everything, wash everything, bleach everything because, like you said, you know, because we’re mobile, there’s dirt and anything from flies and bugs that you have to deal with and be conscious about. You can’t have food sitting out all the time and a lot of caterers in this business, they tend to get people sick because of that stuff. That’s one of the things that you’ve got to be very careful about and make sure your product is really fresh.
KT: And I mean that’s one of the things about this business. It’s constantly changing the food and the people and you kind of have to stay on top of keeping everybody and yourself excited to keep eating it.
JD: That’s right. It’s gotta be fresh, like I said before, I try to get the cookbooks and the magazines to keep it fresh and exciting for everyone.
KT: Now, John, you’ve been here in Wilmington for how long?
JD: Since ’96, I believe? ’96. Yeah.
KT: And you’ve just had the birth of your second child.
JD: [smiling] My second child, yeah, that’s Patrick John. And I have a 2 and a half year old daughter, that’s Sophia Joanne Desarno, yeah.
KT: And your lovely wife also works in the industry, or she did before.
JD: That’s right, yeah. She was a makeup artist. So, she does all the makeup for everybody. Her name’s Lindsay. I met her on a TV show in Philadelphia.
KT: That’s where you’re from, right?
JD: Yeah, right outside of New Jersey, yeah.
KT: But now Wilmington is your home? Your base?
JD: Wilmington is my home. My base, yeah. And I love it here, it’s great!
KT: But like all of us in the film industry you kind of move around on jobs, so if you find something here, you gotta go work here.
JD: Yeah, you gotta go where the work is. Kind of a like a carny and a circus, but not as rough. But yeah, you gotta go where the work is, and that’s part of the job. Now it’s going to be a little harder with two children all aboard, but it’s I’ll have to do it. But that was the fun part getting into this business. You’re always on the road , exciting cities, different cities, different people, all sorts of stuff and things and places. It was a fun part of it. Now it’s harder! [laughs] It gets harder, yeah, you know. You’re in a hotel for 3 months and you’re just like, ‘Oh, I just want to go home!’ but, yeah, that’s part of it.
KT: John, thanks for your time. I know you’re busy. I can see you rockin’ it out.
JD: Sure, yeah.
Nick: We’re working on it.
JD: Yeah, we’ve got the tilapia today. I’m doing pork chops with a fresh apple sauce. We’re going to do a sun dried tomato pesto for grilled chicken and sweet mashed potatoes, zucchini, and a pasta dish, and then Nick’s got all the accompanying salads. He’s right now making all the fresh cookes. I don’t know if you want to get a look at that.
KT: Yeah, we do.
Nick: Oh, they’re not in there yet.
JD: [opens oven] Oh, they’re not in there yet.
Nick: They will be.
JD: I’m sorry, they will be. [laughs] And then, outside… I don’t know if you want to see our outside setup?
[cut to Kelly and John outside]
KT: Now, what do we got over here? What’s this truck?
JD: This is one of our support vehicles where we carry our tables and chairs or our dry goods or our canned goods and tents and paper products and things of that nature for us to work and to be able to be mobile and to be able to do this anywhere, basically on the road or anywhere in the country.
KT: Anywhere, anywhere.
JD: So that’s our box truck, is what we like to call that.
KT: [walking up to the outside of the kitchen truck] Over here, this is where we usually get all the morning… here’s where all the drinks, all the orange juice, cranberry juice… We got the coffee and tea set up over here.
JD: And we get our coffee now from this place up in Hampstead, North Carolina and they do a roaster. They roast their own beans and stuff like that and it’s a job in this state and that’s a new thing we’ve been doing is trying to get that fresh coffee because people like different flavors so each day we try to switch up our coffees as far as that goes. And then we have our teas, our assortment of teas and stuff like that. Whatever you really want, you know, and people request stuff and we’ll get it for them.
KT: Do what you can.
JD: Do what we can, yeah. That’s how it goes. If we don’t have it, I’ll be sure to get it. We try to accomadate everyone.
KT: Where’s your grill today?
JD: Oh, I’m not grilling out today.
KT: I don’t see the grill today.
JD: We don’t have the grill today, no. That’s like what we were talking about earlier, planning your menus. I plan that out as far as if I’m going to grill today and you know, I don’t always stick to the menu that I have written down. It’s a workable thing, you know, and it’s per day… if it rains… And that’s another thing. No matter if it’s raining, snowing, storm, lightening storms, ice cold, freezing cold, or 110 degrees, we gotta be there and working because you guys are always working, always shooting.
KT: Always working.
JD: Always shooting. [both laugh] Then we go inside, if you guys want to go inside and check out our buffet and how that’s all…
[cut to inside of buffet]
KT: This is the cafeteria, so to speak.
JD: Yeah, the dining hall.
KT: … dining hall, where the whole crew eats in two shifts. The office and the transportation department comes in first along with casting and anybody else in the lot that happens to be here.
JD: Yeah, whoever comes through here.
KT: And then the shooting crew comes in about a half hour later so there’s enough room for everybody.
JD: This is our outside guy. This is Patrick.
KT: Patrick. Say hello. [camera pans to show Patrick]
JD: We like to call him the DOOR, you know, the Director of Outside Relations. If you don’t behave he’ll show you the door! But he’s responsible for the set up of our inside buffet. He will set up all the tables and chairs, make sure everything is wiped down and the machines and makes all the trays and all the condiments, and that’s a very important part of this job also, you know, is having a guy, especially Patrick who’s very strong at what he does, who can go into any sort of situational room and you see it and put it together so everything flows as best you can, depending on where you are.
KT: Because you have to feed… when the first man goes through the line, the clock starts, when the shooting crew gets up here, and when the last guy goes through, they start the 45-minutes lunch, so these guys have to be as quick as possible to feed everyone so they can get back to shooting, so it’s a kind of tenuous thing.
JD: Yeah, because time is money.
KT: Time is money.
JD: Right, yeah. And I think we had it down to 12 minutes from when the first to the last guy went through.
KT: We used to actually have to walk up to the tray and ask you, can I have this, can I have that, can I have that? And it took a long time.
JD: It took a lot longer.
KT: So then you guys went to this system, where you put all the food out buffet style... It moves.
JD: It moves so much quicker.
KT: And we’ll come out a little bit and we’ll show you this all filled with food, all the work you guys do in the next couple of hours. So, I’ll get that.
JD: Absolutely, absolutely.
KT: Alright, I appreciate your time.
JD: Thank you, yeah! I enjoyed it! And thank you ‘One Tree Hill’ for having me here! Hopefully another season.
[both wave]PróximamenteBientôt Disponible
January 1, 2011
[KT and Mark Graves are standing backstage of a set]
Kelly Tenney: Here we are, back on the stage, with Mark Graves, best boy electric. Mark, how long have you been in the business?
Mark Graves: Approximately 26 years.
KT: Wow. That’s a long time.
MG: [smiles] It has been.
KT: Tell us what ‘best boy’ means, at least in the electric world.
MG: Well, the best boy electric works for the gaffer, directly.
KT: Whoa, whoa. Slow down. What’s a gaffer?
MG: A gaffer actually is the man who takes his orders from the lighting designer, or the director of photography.
MG: The director of photography tells him what he’d like to see filming-wise, and the gaffer puts that into action setting lights in order to light the set for photography.
KT: Okay, so the gaffer kind of relays the message from the DP to the crew, the electricians.
KT: But you kind of are more responsible… I know you get the crew all set up in the morning, but you kind of have other duties and other responsibilities.
MG: Yeah, in an industry short, minute equipment is a quick summary of what I do, but it is actually quite a wide array of my duties. I act as… of course I coordinate the movements of the electric crew, the lighting crew, but I also coordinate those activities with other departments, the grips, transportation, the production office, accounting, those sorts of things.
KT: Gotcha, so it’s administrative, also.
MG: It is administrative, but mainly my duties are off set.
KT: Well, here we are in this part of the stage, and there’s just piles of cable, and every movie set you go to, you see all this stuff. You got [points to a cable with his foot]… what is this? 5 band?
MG: This is a banded 5 wire.
KT: A 5 wire. And why do movie sets have these? Why do films use this kind of cable?
MG: Well, all lighting requires electricity. On the stage here, we have house power, and we have to take that house power from the source along the wall here, bring it down to the distribution center, this thing.
KT: Is that what this thing is?
MG: This is a distribution box.
KT: This thing here. [taps a black box] Okay.
MG: It connects the transfers from one type of connector to other types of connectors in order to break it down to different requirements, such as this unit here. But, it steps the power down to useable instruments.
KT: Now, what’s this useable instrument or box here? [points]
MG: That’s commonly known as a lunch box and, as I was saying, from the larger distribution box, it breaks it down to a smaller distribution box, to where, in the case, 15 amp, 120 volt items can be plugged into it.
KT: This would be the stuff that most of us would find in our homes.
MG: That’s exactly what you find in your homes, correct.
KT: Now, this would be coming from the street [points to black box], this kind of power?
MG: This is coming from our state’s power, and it’s coming from the power company itself. We don’t use generators here.
KT: What is this? 220? 230?
MG: No, we use… this is a 120/208 volt system, and we step down from our main source, this camelot, and we come down to another type of connector called bates. And in this case, this bates connector breaks down into an adaptor, which breaks down into a smaller bates adaptor. In this case, 180 amp connector, down to a 60 amp connector, and onto the light itself.
KT: Okay. Give me a test later, guys and gals! I want you all to know this. Now, what is this ancient looking lighting instrument?
MG: This is an ancient light, but it’s well suited for a purpose. This is a Mole-Richardson SkyPan.
KT: It looks like it came out of ‘King Kong’ days.
MG: Actually, it has been around for a long time, but they, again, they’re perfect for what we need them for. It’s an open face unit. It’s more of a scoop light. It’s 5000 watts. This particular light is backlighting this backdrop.
KT: Okay, well before we run over there to see what this is doing, what are these lights up in here? [points toward the ceiling]
MG: These are far sights, another type of unit. Each one of these are 1500 watts. There’s four in this one. And they’re doing the same thing, but from above.
KT: So, you have both lights working when you’re using this?
MG: Yes, we need an even spread.
KT: I see!
MG: We could use, actually, we could use these [referring to lights on the ceiling] down here. You could use these [referring to SkyPan light] up here. Except these [SkyPan light] are permanently mounted, and these [ceiling lights] are very portable.
KT: Gotcha. Let’s go see how this works on the backdrop. [KT and Mark move to the front of the backdrop] Mark, now I see what’s going on here. When this is popping through, it really glows like you’re at the beach.
MG: Exactly. And we can, of course, bury that light and you will see the difference. [points to non-lighted part of the backdrop] This is an area that doesn’t have a light coming through it, and it does pop it out rather well. If we were fully lit, this would be rather brilliant.
KT: Wow. Now, we just ran into another instrument here. What is this huge…?
MG: This one’s purpose is entirely different from those behind us. This is a 20k, meaning a 20,000 watt, Fernel. Fernel is a designation for the type of lens in front of this. It has a rather large, very powerful 208 volt bulb inside, and the Fernel unit itself condenses the light down into a focal beam and it’s used for direct lighting as opposed to [referencing the backlighting lights] that’s very broad light, this is direct.
KT: Now, is this the largest lamp that you use?
MG: Largest Tungsten lamp.
KT: Tungsten lamp. What’s bigger than this?
MG: In our world, this is the biggest thing we have here.
KT: Okay, I see. And this is a two man lamp, right? Anytime this goes anywhere, two men on it, right?
MG: No less than two.
KT: Because they’re heavy.
MG: They’re very heavy. The particular stand that it’s on is one of the largest. It actually extends quite high but because of it’s weight, I usually… two men would move it safely. To actually dehead or take the lamp off to put it somewhere else, I require three men on it for safety.
KT: Now, here’s a thing that maybe you can explain to us that I always had questions that I always meant to ask you. The electricians actually put… [KT takes something out from next to the light] Can you explain what these are, Mark?
MG: Sure. These are scrims, what we call scrims, and what they do is… again, this is photography… if we need to bring this light down a stop, then this particular scrim is called a double. We know that it’s a double because of the red band on it. It’s a thicker mesh screen, and by putting it in front of the light, it will drop the light down by one stop. Then, if we only wanted to drop it down by a half a stop, we would use the green one. Now, in some cases, when we would want more light on one side or the other, we can go even more versatile by putting half on, just stopping part of the field.
MG: So, that’s what those are used for.
KT: Now, explain to me why the grips provide the gels, and do they provide the stands?
MG: They don’t provide the stands for the lights and, depending on the region that you’re actually filming in, more or less whether you’re in California or New York, grips duties can vary somewhat. Some grips do more light support than others. In our case, they do a lot of light support, whereas in other places, they’re more camera oriented.
KT: Okay. But the gels, which I don’t see one here… But they’re responsible… The gels change the color?
MG: The gels change the color temperature or the actual color of the light itself. So in our case, on this show, the grips provide the color for the light, only the larger lights. But both grips and electric carry the gels, but in the case of actually putting it on a frame to get an even coverage, our grips do that. I provide the material to them, they place it on a frame and provide that frame and the stand it uses. But, again, that varies from region. So it depends on where you’re at as to who’s gonna do what.
KT: I see. So you work pretty much hand in hand with the grips.
MG: Very much hand in hand with the grips.
KT: Cool. Let’s move on to… [they both move to another part of the stage] Mark, what do we have here? It looks like…
MG: Well, what we have here is just a very simplified homemade version of practical dimming, the lamps inside.
KT: The practical lamps. Now, what does that mean?
MG: Well, a practical lamp is sort of a lamp that you would put on a desk or a dress, exactly what you’d have in your home. They’re in shot, practicals. We do have to sometimes change the intensities. In this case, it’s a simplified device that we made ourselves, for very quick practical dimming, but we do use a rather large dimming system for our overhead lights.
KT: Let’s go see those.
[they both walk into the set]
KT: So, Mark, I’m looking up here at the grid here, and there’s all these lamps hanging down. How do you keep track of all these things? What are all these lights doing?
MG: Each lamp has a purpose. You’ll notice the yellow-backed one here, it actually bounces off of the muslin that’s hung down.
MG: The black one is called a Leico and it focuses a beam onto the fireplace. All of these lights are controlled by a central dimmer system, very unlike what I just showed you there, it’s a computerized system and each light has a number, and the gaffer can decide if he wants a particular light on or a light off. He radios to the dimmer board operator to operate that lamp there. He will change the intensity on or off.
KT: Now, I see this black tin foil wrapped around some of them, but not others. Is that some kind of light leakage?
MG: That’s exactly what that does. It keeps light leakage down. It’s very simple. It’s called a tinny wrap or a black wrap and that’s exactly what it’s purpose is.
KT: Now, how do you get rid of shadows?
MG: Get rid of shadows? You shine more light on them.
KT: You have to bring more lamps in.
MG: Right now, of course, we don’t have anything on, but if we brought everything on, you probably wouldn’t see a shadow.
KT: That’s why we have so many lamps. Now, Mark was telling us about these practical lights, like this here. [points to a lamp hanging about the counter]
KT: You control how bright, or the mood you want to set with these, right?
MG: Yes, exactly. You can start full-up at whatever the rated wattage of the lamp is, and bring it down from there.
KT: Now, you work… I mean, this doesn’t just magically show up here. You have a crew that goes ahead of the shooting crew called the rigging crew. Now, because this is a stage, you’ve done all of this months ago, but, however, if we were coming in here for the first time, you would have the crew in here putting up these instruments, and you guys would pre-light, so when the company got here from wherever they’re coming from, it would be half-lit?
MG: It would be half-lit. We actually need a DP here, a director of photography here, to light the set. We can pre-light as best we can. It depends on the relationship between the director of photography and the gaffer as to how far we actually go. If the gaffer knows exactly what the DP is going to expect, we can get a lot closer. But we do cut down an enormous amount of time if we move into a location for the first time as to how long it actually takes to light and shoot.
KT: Gotcha. Now, every light is controlled by you guys, even in this refrigerator. You guys can control this light, right?
MG: That is correct.
KT: You open it, it’s not turning on! But, Mark has… [Mark begins to take a wire out from the bottom drawer] Look at this. See that? Movie magic!
MG: This is a simplified version of what’s in your wall at home, and what you saw on the wall out there. So, I can turn the lamp on, I can change it’s intensity easily, hide it behind camera, because, of course, the light that’s in there now is inadequate, so we have to put something much more powerful in there.
KT: Right, and you are also working hand in hand with sound because lamps give off a bit of a…
MG: Lamps do make noise. Not so much the Tungsten units, but our HMI units. Of course, we don’t have any in here. The bigger issue on location is where I place my generator.
KT: Oh, the generator.
MG: The generator is a loud machine, even our quiet generators can be loud, so I try to keep about a 250-foot distance from the set itself to the generator.
KT: But that creates another problem for you.
MG: It can. It can depending on the load I’m going to put on the set, load meaning how much power I’m going to use, as to how much voltage I use. If I try to draw too much, my voltage drops, my HMIs may not come on. So I have to balance out the distance between the generator and the set. I have to please the sound man. At the same time, I have to ensure that my lights will come on when I expect them too.
KT: That’s a lot of responsibility going on here.
MG: And I can control that too by the size of the cable I use. Electricity follows a path of least resistance. If I use a larger cable, less resistance, and I can get more power to the set, but there’s a lot of factors determining what I’ll use in that case.
KT: And your crew has to carry these heavy, 50-foot lengths… 25, 15, maybe even 100… and lay them down in the road…
MG: Correct, and I can show you some of that heavier cable.
KT: Let’s go see it.
[They both walk around to the outside of the set again]
KT: [points to something on the way] Now, you guys don’t do these things do you? That’s grip, right?
MG: Grip. [stops at some cable] This is a good example. This is the largest cable that we carry on this show. It’s 4 watt welding cable. We carry it in 100-foot lengths, 50-foot lengths, and 25-foot lengths. More commonly we use the 100-foot lengths. It weighs about a pound per foot, so every piece, it requires 4 pieces and a smaller piece to run as a ground. All of our equipment is grounded at all times. But we commonly use this first, it’s our primary source from our power source, and it weighs about a pound a foot. So, each 100-foot coil is 100 pounds, and we probably put out ten pieces at each location.
KT: Every day.
MG: Every day, and then we need to pick it back up again. And then we use a smaller cable from there.
KT: Gotcha. Now, how many crew members does a typical TV show run with in the electric department?
MG: I carry 4 permanent guys, and then I use what’s called day players. If I have the need for additional men because of the amount of work that we have to do, I will bring in what’s called a day player. He’s booked for that day or two days, however long I feel necessary. But we run with 4, myself, and a gaffer.
KT: A gaffer. And you have, what, two men on your rigging crew? 2 to 3?
MG: Two permanent on the rigging crew. The rigging gaffer and his best boy.
KT: And they’re always running just slightly ahead of the shooting crew.
MG: And, as soon as we leave, behind us.
KT: Oh, that’s right. They have to come back.
MG: They have to set-up and clean-up.
KT: So they work pretty long hours, don’t they?
MG: They can. They can, actually, but it works and it keeps the hours, actually, down.
KT: For everybody.
MG: For everybody, including the entire shooting crew. The faster we all move, as a team…
KT: The faster we go home. Yeah, it makes sense to me. So, Mark, you told us you worked in the business for 26 years. Tell us one of your favorite stories. What’s one of the movies you liked the most? Or maybe one of your commercials? Because Mark, for many, many years, did the Marlboro commercials? You know, the cowboys…
MG: …the photo shoots.
KT: The photo shoots. Unbelievable stories, and you enjoyed them! But, do you have something better than that?
MG: Well, the bigger features are always the more interesting.
MG: Well, you do much more grandiose lighting set-ups. You go different places. You meet a lot of new people and you see different ways of doing things. And you get less and less enamored by stars, but there are some that stick with you that you’re impressed by. My favorite being Sidney Poitier, one of my favorites, quite a gentleman on set.
KT: What movie did you work with him on?
MG: That was a movie called ‘Jackal.’ It’s with Bruce Willis and Richard Gere.
KT: Oh, that’s a big film. But did you go with them everywhere, or did you just stay here?
MG: No, I started in Chicago, Washington D.C., Richmond, VA, Charleston, and here.
KT: They treated you really well, too.
MG: They did. But they have the budget to go the extra mile for you.
KT: How big was the truck you had?
MG: I had a 53-foot trailer and a 48-foot support truck, with me.
KT: Wow. What do you ride on on ‘One Tree Hill’?
MG: [cut to a shot of the trailer] We have a 48-foot box on ‘One Tree Hill.’
KT: And we’ll get some video of that too, because that’s pretty interesting stuff, when you’re back in town. So, working on features is your favorite, and then stills, and then episodic?
MG: Episodic is great. It’s a much more steady job. It does tend to be repetitive after a while, but you can’t fault a good, steady job.
KT: That’s right.
MG: And we work for some great people, and that makes it palpable.
KT: What don’t you like about your job?
MG: What don’t I like? My job can be rather political, but that’s part of the Best Boy’s job. I don’t particularly care for that. You have to deal through that as part of it.
KT: And you’re very good at it. I’ve worked with Mark for over 12 years. [laughs]
MG: Well, I appreciate that. You learn, that’s how you survive. But, I think… As far as negative aspects, there aren’t any much worse than that, I guess.
KT: Just the political…
MG: Just the political part. Because I do answer directly to a gaffer but I also, because of the length of this job, I answer to a lot of people in the same day, and I hold each one of them equal respect, so I will do whatever I can to satisfy their needs as well as that of my gaffer. By doing that, I cut the friction out for my gaffer. My primary sole is the gaffer… or primary sole use here is to make the gaffer’s job easier. And, of course, I need to make the job for my crew easier. If they have the extra help they need, the material they need, and the equipment they need, their job is going to be easier, so all around it’s going to help everything. So I have to make sure we move in unison with where the producers want us to be, and where the other departments need us to be, and that’s what I try to concentrate on every day.
KT: Mark also answers his phone, because… I don’t know why he does, but he does, and it’s great because I can reach him. No one else answers their phone on set, except him. [laughs]
MG: It’s important. Communication is…
KT: Communication is everything.
MG: It is everything, especially on a job where we’re moving to two or three locations a day, and your production office itself is vital to me. The transportation office is very vital to me, so we’re in constant contact and things flow rather smoothly here.
KT: Well Mark, thank you for taking the time to come visit with our fans and website viewers and we look forward to talking with you again! [to camera] Send your comments, questions. Maybe we can get Mark to answer a few of them next time. Talk to you all later!PróximamenteBientôt Disponible
December 20, 2010
[Kelly and Tym are seen sitting on the couch on set of ‘One Tree Hill’]
Kelly Tenney: Hey guys! Tym has joined us again [Tym waves] for some more questions and answers, and today the first one is from Kasia. I think I might be saying it right. I might not be. I apologize either way. ‘What is more challenging and why? Working on ads, doing makeup on celebrities, or doing TV/movie makeup?’
Tym Buacharern: [to camera] Ya’ll are nosy! [KT laughs] You know that? This is the second time I’ve done this thing. Ya’ll are nosy! [laughs and turns to KT] Anyways, the challenges in each one of them is totally separate because the challenge in doing movie and TV is basically bringing realism into the project so you don’t look like, you know, somebody’s not wearing a racing stripe in the face when they basically wake up in the morning!
KT: [laughing] Right.
TB: You know? God bless her soul, but Tammy Faye Baker, I loved her to death. [KT laughs] Love her to death but, you know, I’m not going to do that for somebody’s who’s just waking up. And then also, if I’m doing a period piece on a TV show or a movie, I have to make sure I translate the period makeup onto the cast, like what we did in the 40s, so when the is out there watching it, it’s actually… it’s supposed to take you back through that era. And doing ads, there’s really…
KT: Is that the hardest?
TB: Yeah, none of it’s really hard, it just depends on what it is. You know, the hard part about the ads is you’re dealing with a… Let’s say you’re doing a Guess campaign, you’re dealing with the art director, you’re dealing with the photographer…
KT: A lot of egos.
TB: A lot of egos and a lot more egos in that genre than anything else, whereas in film and TV are concerned, they kind of let you have your way to an extent.
KT: Yes. You’re your own boss.
TB: And then, working on celebrities… it’s really not a challenge either because it’s one of those things where… to get to the point where one of the celebrities hires you for an album cover or whatever it may be, they go through an interview process type thing where we have, you know, a portfolio which is all the stuff that I’ve worked in the past and they call in all these books before and they look through all the books to see who they like the makeup on the most, and then that’s when they do the hiring. So at that point, they kind of know what you’re about already, before you walk in the door.
KT: Pre-screen, right.
TB: You want to prescreen, but at the same time, it’s my job to go… okay, well let’s say if I’m working on Tina Turner. You know, Tina always had those really beautiful, luscious red lips that’s kind of not natural, but it’s not overly red… So you kind of have to keep an element of her. If, like, you’re working with Mariah Carey… Mariah Carey likes to be bronzed up and sheen and lip glossed, you know? And that’s the type of thing you need to figure out, and if you’re working on Lady Gaga… Hell, if I knew what to do with her! [laughs]
KT: I have a question for you, Tymmy, and I’ve often wondered this. You know, when the actor hits your chair, what they did last night, don’t you?
KT: Now, how do you fix that? If they’ve been out playing a little late and then had a little too much fun?
TB: Then I put a little more makeup on them. [KT laughs] You know, it’s not even so much drinking, it’s not even so much anything late night drugging or partying, you know, but some casts come in still drunk! [KT laughs] I’ve encountered on shows that the cast comes in still drunk, pretty much haven’t slept, and still wearing the makeup from the night before, and it’s really hard. And, you know, you kind of try to be PC because you are the first person they see, but at the same time, when you come in reeking of alcohol, and I don’ drink! [winks at camera and both he and Kelly laugh] And I don’t drink, so it’s one of those situations where I don’t… you kind of have to go, ‘Okay, I think you might need to go to the trailer and just clean up a little bit.’ Because, a lot of times a lot of people don’t realize that when you drink a lot of alcohol, when you try to put your makeup on the next day, nothing sticks to you.
KT: Do you hear that ladies? No drinking at night! [laughs]
TB: I mean, you can drink, but make sure you’re not… don’t get all Lindsay Lohan on us!
KT: Oh! [makes a whip noise]
TB: Oh, did I say that out loud? [both laugh] No, but you know, it’s one of those things that you really have to be mindful, you know, of drinking a little bit here and there. And also, when you overly drink, it ages you really quickly and you do not want to do that. It ages you. It’s alcohol! You know, anything that can cause an addiction is always going to be…
KT: Well, let me ask you… this might segway into this question quite well, [reads off sheet] ‘How do you handle the ol’ diva moment?’ And I may not have anything to do with you, it usually doesn’t, but it has something to do with production. Now, how do you handle that little freakout?
TB: Honestly, I ignore them.
KT: You do?
TB: I ignore them. When somebody is at that stage emotionally, the more you feed into it, the more it’s going to fuel it up. So what I do, I kind of ignore it. I don’t really give into it, and you know what, the way I look at things is that’s your problem. Okay? Now, did you bring that problem into my trailer? So, I have to find a way to kind of…
TB: … neutralize it and kind of bring it down so they can go… you know, is it something they have to deal with the producer? I go, you know what? Let’s get your makeup done right now, and the faster we get done, the faster you can go to the producer, and you guys can have a sit down moment and a conversation.
KT: Right, and not cut off production time.
TB: Yeah, and that’s part of being a production head, that a lot of people, you know, as far as makeup artists are concerned, a lot of people said, ‘Oh, you know, you guys are like a psychiatrist.’ We are in sense.
KT: You really are.
TB: We are in a sense. They come in and it’s a safe zone. You know, there’s a lot of things being said about each other, about the crew member, about whatever it may be, but it cannot leave that trailer.
KT: It really doesn’t.
TB: No, because it’s a comfortable place. You want the actors to come in and be comfortable.
KT: And if they do, if that information actually does get out, usually that person is replaced.
TB: Pretty quickly.
KT: I mean, it’s happened on several of the shows that I’ve worked on, when some of these moments that they’ve told you in confidence gets out.
TB: Yeah, and the whole thing for me is my reputation and I’m not gonna jeopardize that.
KT: Right. Absolutely not.
TB: You know, I work hard to get to where I am in my career, why would I want to do that?
KT: And a lot of things work themselves out by themselves. It doesn’t need your help or my help or anyone’s help.
Woman off screen: It’s just a vent.
TB: A lot of times it’s just a venting place. You vent, and then you… sometimes you kind of help them talk it through, you know? But in the meanwhile, they are talking it through, and you are still doing your work.
KT: You’re working on them.
TB: You’re still working on them. It’s like ‘Really? Close you’re eyes.’ [pretends to talk and work on Kelly’s face and KT laughs] ‘Yeah, okay, they’re assholes.’ [gasps and covers his mouth] Oh, wait a minute, this is not TV!
KT: Alright, [reads off paper] ‘Who’s your all time inspiration?’ This is going to be a heavier one. I mean, you’ve kind of told us why you got in to this field, makeup, and what was your all time inspiration? Who motivates you when you’re not feeling it?
TB: I mean, as far as what? Like, career wise?
KT: Yeah, let’s say career wise.
TB: I mean, I motivate myself, and it’s one of those things where, you know, a lot of times people say, ‘Oh, this person is motivating me…’ You have to be a self-motivator to be in this business, I feel, or any business. Because, you know what? I mean, everything I do, to me, is fabulous, but at the same time, if I don’t believe it’s fabulous, it’s not going to be fabulous.
KT: Like, I mean, any artist. You’ve probably worked… I mean, you followed someone.
TB: Oh, yeah, you always have to follow somebody.
KT: Who was it that you might have followed or picked up some of their techniques?
TB: I think, as far as technique is concerned, and everything like that, one of the foremost is Way Bandy, who was a huge makeup artist back in 1970s. He was one of the first to kind of coin the term ‘celebrity makeup artist.’ You know, you have the Max Factor who created the makeup and the first one who made eyelashes and things like that, and then, you know, in the 90s we had Kevin Aucoin who was one of the first makeup artists. But the thing with Kevin was that… The thing that I learned from Kevin was more on a business end because he was the first makeup artist to ever make $10,000 a day.
KT: And you’re the second.
TB: [sarcastically] Yeah, okay!
[KT laughs and nods and winks at the camera while pointing at Tym. Tym shakes his head no and winks at the camera, laughing]
TB: No, he’s one of the first. It’s kind of like, you take different things from different people. Like, Fred Cooper is an amazing artist. You know, you got new… Not so much new, it all depends on what I’m working on in a project is where I get the inspiration from. You know, if I’m working on something where it’s a creature oriented project and I have the Ve Neils and Rick Bakers and Stan Winston, so there’s a lot of things that motivate me to do what I do and a lot of things that inspire me to do what I do.
KT: So, you’re always learning.
TB: I’m always learning! I just did an interview yesterday with Elusyion Cosmetics. They have a little podcast and I kind of jumped in there to just kind of say hi to the girls but it turned into an interview, but you know, it’s like, on Facebook, a lot of people friended me as far as makeup art is concerned, and I actually go look at their work. I take a look at their work and sometimes that stuff that they did inspires me to do something else. So you never know. You never know. Just a bunch of things. I don’t know. That’s a tough one.
KT: That’s a tough question.
TB: That’s a good question.
KT: There’s an easier one. This one’s from Annie. [reads] ‘I thought the makeup on Brooke in the beginning of season 6 after the attack was fabulous.’ Yeah, it really was. ‘…really realistic, and I loved how the bruising and cuts gradually cleared up over the first episodes’ That’s a big deal you talk about all the time. ‘How do you keep track of the makeup over the different episodes?’ How do you make sure it’s…
TB: … it’s a continuation? It’s continuity. You know, we have to sit down and talk with… like, on that one there it was purposely done that she healed kind of fast. But, in between episodes, there’s weeks in between, so it’s something that myself and the writer and Rocky, my assistant, who’s fabulous at all the effects stuff, you know, we all sit down and try to figure it out. And what we do is, as far as the bruising and the beating up looks, we actually have a chart to show a progression of each day, a real one of each day, and we put that up and we go, okay, she’s at this stage now so we kind of turn into that, but then twist into the Hollywood.. for the camera to see. Sometimes, to get a black eye… you’ve seen people walking around with just black on the eyes, and it looks like you just took black pain and painted on their eyes, but for camera purposes, that doesn’t work.
KT: Back in the twenties it did…
TB: Yeah, but now it doesn’t work anymore because the cameras, the technology nowadays, are amazing at picking up everything, so you have to turn it down, turn all the blacks into the blues, and the yellow…
KT: … yellows and greens. Sure.
TB: Things like that and it’s a really good thing, so it’s one of those… in order for me to keep track of it I have to basically talk to the writers and figure it out.
KT: Right, and how much they want to see on camera.
TB: And obviously, our show is… you know, we don’t want…
KT: We don’t want Brooke to look ugly.
TB: We don’t want Brooke to look ugly for a long time, or have bruising or anything like that.
KT: Exactly. Alright, here’s another really hard one from Annie. [reads] ‘If you could pick anyone in the world, living or dead, to do their makeup, who would you choose and why? And by dead, I mean some of the greats, not talking about actually making up a dead person.’ [laughs] That would be someone else’s job.
TB: I know! I’m like, no, I don’t do that anymore.
KT: Anymore? [laughs]
TB: No, I never did that. Actually, one of my old assistants does that. I mean, he went and got a job in a mortuary and makes up dead people. I’m like, I don’t know if I could ever do that.
KT: I don’t think so either.
TB: Yeah, I was really shocked when my girlfriend, Karen Faye, who does Michael Jackson, actually did his makeup for the thing.
KT: Whoa. You heard that here first!
TB: If I had to pick people… obviously, Marilyn Monroe would be one of the faces that I would love to do because, you know, the whole thing is like the classic bombshell. It’s just a beautiful bombshell. Oh, and a tidbit that nobody would know was that, you know how Marilyn always has that really soft glow to her skin? It is actually facial hair. She has like fuzzy hair, little baby hair, on her face, so what they used to do, what Max Factor used to do was… Was is Max Factor? It was somebody who was doing her makeup at the time. They would bleach the hair on her face to blend in to match her skin tone to actually act as a diffuser.
KT: How hairy was she?
TB: She wasn’t hairy, hairy, but she has like little fuzzies on her face, so they just… you know.
KT: Oh, okay. That’s interesting. I didn’t know that. So you would like to do…
TB: I would like to work with her. Gosh, who else. I would love to work with Liz Taylor, you know? I thought she was one of the most beautiful women in the world.
KT: I hear you.
TB: And Greta Garbo. I would have loved to have been around in the 20s to work on the…
KT: On the movie stars.
TB: Yeah, on the movie stars back then. I would have loved to when the studio system was the studio system.
KT: Maybe not Humphrey, but…
TB: You know, not really. [both laugh] Well, maybe, I don’t know. [laughs]
KT: He looked pretty rough all the time.
TB: And it’s just one of those things, you know, I would have loved to have worked in the old Hollywood system where actually the celebrities are put together before they even walk out the house.
KT: Is that true?
KT: So they did makeup at their house?
TB: To go shopping, to go to the grocery store, they had to be put together before they go out because it’s a contract.
KT: Right, an image.
TB: It’s an image thing. One interesting thing is, one person I worked with was Joan Rivers.
TB: And, you know, many people want to say all this stuff about her surgery and things, she’s one of the most amazing people in the world, and one thing that I’ve always asked her is, ‘why do you always dress up just to go down the street?’ And she’s like, ‘You know what? My fans have an illusion, an image of what a star is, and I put myself together for my fans so that when they see me, they’re not disappointed.’
KT: That’s right, because she’s one of the older…
TB: …one of the old timers, yeah.
KT: She’s from the studio system. Wow.
TB: You know, which is really interesting. I was like oh, okay. I was like, don’t you want a pair of jeans? She was like, no.
KT: [laughs] I didn’t know that!
TB: Yeah, so you know…
KT: Joan Rivers or Joan Collins?
TB: Joan Rivers.
KT: Wow, Joan Rivers!
TB: Yeah, [pulls face tight like plastic surgery] Joan Rivers.
KT: Yeah, well you got me there. I didn’t realize she was a movie star. I didn’t realize she acted.
TB: No, no, she wasn’t acting, she was the comedian and host, but as far as I’m concerned, you know, she has a huge following and fan base, so she…
Woman off camera: She’s funny!
TB: She’s a star in her own right. She’s a star in her genre.
KT: That’s right.
TB: You know, and I think she was one of the first female comics that came up in a big, big way.
KT: Yeah, into the men’s world.
TB: Yeah, into the men’s world. She was the first woman who ever hosted ‘The Tonight Show.’
KT: That’s right! She was a sit-in for Johnny a couple times. She sat in for him. That’s right. I actually thought she was going to get that spot until I think they had a falling out of some sort.
KT: Wow. There’s so many beautiful women that… movie stars… Doris Day… The list just goes on and on.
TB: Oh, yeah. Bridget Bardot, oh my gosh, come on. There’s so many that I would have loved to have worked with. And so many of the current ones that I would love to work on.
KT: There are many.
TB: There are many. But you know, hey, there’s only one of me! But I’m here now!
KT: Tymmy’s working all the time, so you should follow him, continue to follow him on his site, and as the time goes on, you will see his name…
TB: Oh, oh! I’m on Twitter now! [subtitle reads: ‘twitter.com/makeupbytym’ ‘www.makeupbytym.com’]
KT: Oh, here we go, why don’t you start following him on Twitter, okay everyone?
TB: Twitter! And I really don’t have much to say, though.
KT: You don’t?
TB: I don’t know…
KT: I think every once in a while he takes pictures and puts them up and you get to see some of the cast and fun people that he hangs out with.
TB: It’s just ‘makeupbytym.’ T-Y-M. [does sign language for ‘y’] Y-M. [changes signal] Oh, that’s ‘y.’
KT: Alright ya’ll. Thanks again, Tym, for joining us, and keep your questions coming!PróximamenteBientôt Disponible
December 18, 2010
[Karen is sitting at her desk, KT talks off camera]
Kelly Tenney: Here we are again, in the production office of, you guess it, ‘One Tree Hill.’
Karen: [waves] It’s me again!
KT: Hey KG!
KT: We have a question for you today. Who’s it from? Anneliese?
KG: Anneliese. Where’s Anneliese from?
KT: What’s she asking? She wants to know, basically, can you be a slacker?
KG: Yes… No! But her question was, ‘If I had to give you guys one task from a part of my job that continually finds it way to the bottom of my to do list, what would it be?’ And I figured that I don’t really have anything to put at the bottom of my to do list! Pretty much, everything that I get is time sensitive or needs to be done right away. If I get PRs that are signed, I have to get them out right away because accounting is waiting on stuff or the studio is waiting on them. We have memos, you know, that wardrobe or something is waiting on, who was cast for certain parts so they can call them. Workers’ comp has to be turned in by a certain time or it’s null and void, or something. So, as far as our job, everything that comes in needs to be put out right away. You can’t get caught, like, checking the internet and have PR’s DMOs in my basket, so when I get something, I do it right away, and once it’s done then you can play!
[Camera cut to show Kelly at a desk, smiling]
KG: [off screen] Hey guys! This is Karen. I have Kelly right here. He is going to answer some of these questions that you guys sent in. These are from Anneliese also. She asks, ‘KT, in a normal 9 to 5 job, I guess the normal drink after work happens from time to time, but a person’s day job and social life are very different, as the work that you all do is so much more centered on cohesion and teamwork, with the long hours you need to shoot, do you find that work colleagues become a bigger part of your circle of friends?’
KT: Yeah, actually, the circle that you have when you first get into the film industry is basically outsiders or people that don’t work in the industry, and you slowly lose them because of the hours that we put in, and you just find that you don’t have enough time to keep up with those relationships, unfortunately. So, because we all work together 12-14 hours a day, you end up playing at the end of the day, going out and having a drink, or like we do in the office, have a drink here or two, and hang out with each other and get to know each other pretty well in a business environment and we kind of get to know each other’s personal lives, I mean, there’s not many secrets in the film industry. If you have one, somebody knows about it pretty quick. So yeah, the circle of friends does get smaller unfortunately, and you have to work really hard to keep up with the friends that you had before. It’s kind of like… I’ve said it before, the film industry is like a mistress. It does suck up most of your time, and when you go home you’re tired and you kind of don’t really want to do anything and it’s a chore. I mean, Karen knows that getting me out of my house is a pretty difficult feat. So anyway, I hope that answers your question. What else do you got for me?
KG: Alright, the next question is, ‘When you see actors that you work closely with for a number of years, branch out and evolve, do you find it easy to believe their new character or does it take awhile to come to terms with the change?’
KT: Unless I really have strong feelings toward an actor or actress in a negative way, I do suspend… what’s the word?... belief. I mean, I do believe that they’re that character, if they’re a good enough actor. Like many of you, I go to the movies and I can watch a movie a lot of times and be involved with the story and the characters and they tell me the story and I’m excited about it. But, yes, there are actors that are just horrible people, and you have a hard time even watching them on screen, I do. So, yeah, I love watching Hilarie in her new show ‘White Collar.’ I have worked with John Travolta, every time I watch his movies, I enjoy them. I enjoy the characters that he brings to the screen, and the list goes on and on and on. I mean, Jodie Foster and Jamie Lee Curtis, and so many of the other starts. Buscemi… I could watch them and totally have hung out with them in s social way, worked with them on a certain movie, and then watched them in another movie and said, ‘Wow, they really killed it!’ So yeah, I hope that answered your question!PróximamenteBientôt Disponible
December 18, 2010
[KT and Kathy are standing in front of the camera]
Kelly Tenney: Hey, it’s KT and my very good friend, Kathy Rayle, here to tell you about the production office. We’re both coordinators. We’ve worked on many, many, many productions together, and…. So what usually happens? You get a phone call from the UPM and they say…
Kathy Rayle: We are shooting a move in… Let’s just say, Wilmington, where fortunately we have a production movie studio called Screen Gems, which means it just makes life easier for production people because there are, of course, existing soundstages to do shooting, but that also means that there are existing production offices. You don’t have to go out and find a warehouse or an abandoned office building to set up production. So here at Screen Gems, you walk into this place, [camera pans to show office] and we would kind of decide who would go where, what department would go in which office, and here is where the actual production office personnel would be. Say, Kelly, his APOC, which is the Assistant Production Office Coordinator, his secretary, and his PA sit in here. We would call the studio, get some phones set up, get some wi-fi set up…
KT: Fax machines…
KR: Fax machines…
KT: Copy machines…
KR: …just everything you need to have a functioning…
KT: …file cabinets…
KR: Yeah, all the basics.
KT: There’s nothing here. I mean, when you walk in here, this is all you got. Every pencil, every pen, every pad of paper, every computer… Everything, we bring in.
KR: Now, if it were to be… If you’re shooting a movie in a city that doesn’t have a studio, you really have to start from ground zero.
KT: And that means you have to call the phone company, you have to set up an account, you have to get copy machines in here, you have to do everything. You do all that, [snaps] that fast.
KR: [nods] Quickly, yeah.
KT: Because they call you, and then they’re like, ‘We want our offices tomorrow.’ And other departments don’t realize that it takes a fair amount of work to get up and running. They expect a phone to work when they walk in the door.
KR: Right, and that’s an undertaking, but we do it!
KT: So, that’s the first thing we do. The second thing we do, we actually, like you said before, we hire our crew that we’re going to have in here, then we assist the UPM in finding the shooting crew, which means you get on the phone, see who’s available, get resumes, and other departments. Accounting usually comes in when we do, and we assist them also setting up accounts and with vendors. Getting vendor lists, we are the people.
KR: Yeah, right.
KT: We know everyone in town. That’s one of the reasons why we function.
KR: And that’s why, if we go to a strange town, a new town, we start immediately making those contacts with telephone people or even restaurants, just everyone to let them know we’re here and we’re going to be doing business and doing it quickly, and you know, just to make the production as comfortable as possible, as quickly as possible. And once we’re up and running, once we got all that done, that’s when the crew starts to be hired, that’s when Kelly, the coordinator, and the UPM begin renting the equipment. We have to think about housing all the crew and the cast members and, you know, getting all those logistics down.
KT: Hotels, big homes for bigger actors.
KT: Cable, making sure that everything works. Cleaning people. It all goes through this office, no matter what it is, no matter what… Even a phone call from the studio to the director or the UPM, everything goes through here. Everything feeds through us. Information is one of the things that’s part of our title.
KR: Yeah, if there’s a production meeting, which his a huge part of pre-production, everyone finds out the time and place of a production meeting through the production office. We make the phone calls or we send the emails to let everyone know if there’s anything… If there’s a location scout. If the department heads have to get together to drive in a van to scout a location, it’s just coordinated through this office. Any bit of information that you need is through the production office. Okay, so then we would essentially just call the studio production office and have some furniture brought in, get the phones put in, get the wi-fi started. You know, get things going. It’s essentially where everything happens. The script initiates here, the schedules, any meetings, any production meetings, everything is coordinated through this office. We would walk down the hall here. [camera pans to show hallway with offices] We would set up all the department heads. [to Kelly] Wanna walk down?
KR: This office just off the side of the production office would generally be where the UPM is, the production manager. He needs to be pretty close to the production office so he can make his demands.
KT: [continuing down the hallway] And then you have all these other offices for, like, accounting and…
KR: … ADs. And the director would have an office.
KT: … director offices and so on. Art department is usually much bigger. Everything all the way down the hall. But as you can see, it is very empty. Now, we’ll go back there. [both walk back to production office and sit down on a desk] And that’s when we’re lucky enough to actually have a studio set up the offices. We’ve done jobs in Charleston where it was a hospital. Remember the old hospital? It was really creepy. But we set up for a show called ‘Leo…”
KR: ‘Leo Bloom.’ It came out as ‘Leo.’
KT: That was a pretty good show, except halfway through we had to change offices. What was it, some kind of health problem in that building? And they made us go to the post office, remember?
KR: We had to go to the old army base.
KT: Yeah, navy base, and then they told us we had to move our whole production office which was totally set up all, like you just saw, all the way down the hall, into another building on a weekend because we were actually filming.
KT: And that was a little tougher because we actually had to bring in furniture, we had to bring in a phone line, we had to do faxes, we had to bring in the filing cabinets, I mean everything has to come in. It was this huge, I guess it was post office offices. And we had to put these little dividers… room dividers, remember? And then everybody had a desk being it. That was awful.
KR: Yeah, it was. [KT laughs] It was huge, but it was awful. I mean, we had plenty of room to work, but it was unusual for a production.
KT: Because we always have to be functional. On every job, the production office is responsible, really, for the information, and if there’s a hurricane, guess who the two last people are out the door?
KR: [laughs] That’s right.
KT: It’s us. We make sure that everyone else has gotten to safety and we’re the ones that book the hotel rooms, we’re the ones to make sure all the babies and everything are comfortable. Nobody really cares about us! [both laugh as camera shakes back and forth]
KR: And after 9/11, actually…
KT: Oh, remember that show?
KR: September 11th, the day after, of course there were no planes flying…
KT: And we were doing reshoots for ‘Domestic Disturbance.’
KR: Yeah, for ‘Domestic Disturbance.’ And we had to find ways of getting people to and from and we actually, I guess it was a couple days after… Even before any commercial flights were flying, we were able to get people to and from L.A.
KT: We had to get Paramount… Paramount flew a jet, Travolta flew his jet with his people… Yeah, and we were set up in offices that we will go to next, down in the annex but, yeah, this is where all the information flows. It’s a little quiet right now, but…
KR: Yeah, this activity level is nothing like it normally is, but it’s exciting and it’s fun and it’s an addictive energy, and it’s for some people, and it’s not for some people because it is stressful and you have to think on your feet and there’s not much room for error, because you can mess up a lot of people if you mess something up.
KT: And they’re not shy about calling you!
KR: No! They, in fact… [laughs] Some really kind of relish in the fact that it was a mistake and they can jump on you, but you know, I can say that after all these years of working together in Kelly’s current production office, if there is a mistake, you can kind of fix things and that’s kind of the well oiled machine that is becomes after a few years together, so you learn to work together well, you have to, because you spend a lot of time together, a lot of hours in a small space, and yeah, you get to know eachother.
KT: We are people managers. You have to have a lot of people skills because we are dealing with, like, 200 people. I mean, from post, to the studio, to the people on the shooting crew, so you have to really handle them in different ways.
KR: That’s true. And you also… One thing that I learned through the years is, you know, of course you also have to deal with the cast and sometimes that’s challenging. I mean, sometimes they’re the greatest people that you will ever meet, but there are some that are, of course, ruled by their egos, to say the least, and you really have to learn to work around that.
KT: Do you remember the actress in…
KR: You can’t say the name.
KT: I won’t say the name!
KR: You can’t say the name of the production because it can be deciphered.
KT: It will come back… just totally decided, I’m not going to fly today! Remember that phone call?
KR: Because she was still in L.A.
KT: Yeah! ‘What do you mean you’re not coming today?’ ‘I’ve decided not to come today.’ That causes implosion. [both laugh] That was rough.
KR: Elizabethan proportions.
KT: Yeah, but we had to solve that problem because we had to get her here.
KR: Yeah, it just takes… It gets psychological sometimes. You just have to get the right person on the phone to kind of talk it down and have to rearrange schedules and you have to spend a lot of money and it costs a lot of money when someone, on a whim, just decides they don’t want to do something, someone who’s that, what they call, above the line. They can really cause some problems.
KT: I remember on another film that we did together that one of our actors got hurt and we had to fly him home on a private jet and we had to call his wife, which was not a… [Kathy puts her hand over her mouth] Yeah, it was not a comfortable situation we were in, but we had to do it.
KR: Yeah, so it’s a people person job, to say the least.
KT: [laughs] In a big way. We really do interact not just through paper and emails but one on one. So, I didn’t talk about you. Let’s talk about Kathy Rayle. Kathy, where are you from?
KR: I’m originally from South Carolina.
KT: Yes, very hot, hot, steamy state.
KR: Indeed it is!
KT: Where? Columbia?
KR: Columbia. Columbia, South Carolina.
KT: And when did you get into the film industry? You were actually in the music industry first.
KR: Yeah, I worked for Elektra Records in New York, and I was in both worlds up there because I was in music video production, so we made music videos for the bands that were signed to Elektra and so that got me into film production, because it is essentially making a small film in three weeks, and of course now… I mean, it’s very different now, but at the time, which was a few years ago, it was a movie production.
KT: Big budgets… Girlfriend [signals to Kathy] had a gold credit card. She was at the top!
KR: [both laugh] No, I didn’t. Yeah, it was cool, it was cool. But anyway, moved down to Wilmington to start making films down here and got into production here. I had moved up to a manager for Elektra video production and it was all the same coordination for the music videos that I was doing down here for feature films and for television.
KT: And a seamless, kind of, step right in.
KR: I had to kind of work my way up again, once I came down to Wilmington, but it was pretty quick because, you know, I met you and Kelly kind of taught me… well, he did, he just taught me everything that I needed to know to work in film and television, so here we are!
KT: Here we are.
KR: Yeah, it’s been good.
KT: Groovin. Been trying to get her back in the film industry, she got out for a little while, and hopefully soon we’ll be working together.
KR: Yeah.PróximamenteBientôt Disponible
December 15, 2010
[KT and Karen are sitting at an office desk]
Kelly Tenney: Hey everybody.
KT: KT, here, with the lovely Karen, who’s agreed to, once again…
K: Wait, can I be KG?
KT: Okay, with KG, [Karen smiles] who’s here, once again, to answer some questions. Or, actually, I think this would be the second or third time she’s agreed to do this and we’ve had a few technical problems.
KG: It’s alright.
KT: For some reason, I don’t know how to use the camera. Or, at least, the camera works, but the sound is off.
KG: Nobody wants to hear my voice anyhow. They can probably read lips, or we can just, like, type it out.
KT: Or maybe we could have done some, you know…
KG: Closed captions?
KG: Oh, ADR?
KT: Yeah, that would have been interesting!
KG: Oh, interesting!
KT: That would cost, about, a thousand dollars a minute!
KG: It’s in the budget.
KT: I forgot about the budget. Anyway, let’s talk about these questions.
KT: Let’s see, our first question is from Ashley Martinez, who came to visit us this Summer with her mother, took a little tour of the stages, I think she had a good time, and the first question is, ‘Why are you so cool?’
KG: That’s not really a question…
KT: It isn’t?
KG: … and I’m not cool.
KG: You know I’m not.
KT: [to camera] She’s cool. [looks at paper] Second question, how did you get the job of being a production secretary?
KG: Oh, right. Well, I started as a production PA, which I got because… Once I graduated college and moved to New York City and did an internship at PR and one of our clients was the one and only Hilarie Burton ,who I think you all know, right? [KT gives a thumbs up] We like, we like. And so that was when she was doing ‘TRL,’ and was flying back and forth from Wilmington and New York City, so we were in touch with you a lot, figuring out which plane she was on, which schedule she was on, so we could try and get her during some cracks and stuff like that.
KT: Driving me crazy, I might add!
KG: Yeah, I think he hated us. [KT nods] Did you hate me? Well, you didn’t really hate me, you probably hated my boss.
KG: So anyway, I decided to leave New York and PR because I didn’t like it.
KT: What part? Why didn’t you like it?
KG: I hated it.
KT: [laughs] Why?
KG: I don’t know. It’s just not fun, sitting back and doing all this work for a bunch of… [starts laughing]
KT: Now, I mean, you got to go home early on Fridays…
KG: We did work really long hours from about 10 to 6, [KT sarcastically mouths ‘Really long!’] and coming from college, to me, that was like [sighs]. Like, if had to stay till 8, I would call my mom and be like, ‘Mom, this is such a long day!’ [laughs] And we had a half day Fridays so everybody could leave and go to the Hamptons, but I didn’t go to the Hamptons, so I would just go home!
KT: You hated doing that and you decided that you wanted to change your career.
KG: Yes, and I had no idea what I was doing, but I thought, ‘Hey, I’ll try Wilmington because it’s entertainment.’ And that was all that was on my resume, and I lucked out like no other and there was a position open in the office and so my boss, Melissa, back in New York called you and said, ‘Hey, can you just give her an interview?’ So I came in for two interviews, and you guys hired me for some unknown reason. [KT shrugs] You and miss Kathy Rayle.
KT: And to just touch on that, of course, everybody gets a job in this industry by knowing somebody. It’s kind of one of those deals, you really do have to know someone, and the timing and luck have to work out for you. It’s an unfortunate combination because, when the stars all align, and yay, you get a job as a PA…
KG: Because I wasn’t qualified… like I didn’t know what a call sheet was or anything.
KT: You were qualified.
KG: Well, I mean, I had half a brain so I mean I could hang in there, and I mean it was more of a…
KT: You learn…
KG: I just got lucky.
KT: And you’re like a sponge, you absorbed everything. You had a great attitude, which is the biggest deal. You have to have a great attitude. People will lose interest in you and not give you a second chance. So that’s how you got here.
KG: Yeah, I started as a PA.
KT: And you’ve been with us. You’ve moved up to secretary and eventually you will be moving up to APOC. And the third question is ‘Did you apply to different places or did you specifically want to work at Screen Gem Studios?’ I’ll answer the first half of that.
KT: Screen Gem Studios is a rental house. They rent space. 4 walls, and in between the four walls is emptiness. Production companies come in and rent from Screen Gems. All they are is a landlord. They have nothing to do with producing anything that gets done at Screen Gem studios. We send them a very, very large check every Friday for that very reason, so you can work at Screen Gems your whole career and never make a single movie. So you kind of answered with the second one, you really have to apply to productions to get a job.
KG: Yes. Not the studio.
KT: Not the studio. So, that answers Ashley’s question. So, Astrid’s… I love Astrid’s questions because she…
KG: I don’t know where they are…
KT: Yes, wonderful questions. Yes, wonderful questions, always paying attention to what SoGoPro is doing, one of our largest fans and contributors, so let’s see what she has to say. ‘Fun Fact: Ellen Rouche was a character name on Veronica Mars.’ But where did we come up with the name?
KG: Like, how did we get her?
KT: Like, how did we get that name? Why do we use it? Sorry. Why do we use it?
KG: Oh, because she is our executive out of Warner Bros. and she is the one we have to report every… well, I say rouche… when we complete a scene we need to rouche, so she knows every step we are doing.
KT: And when she came out for the… Was it the 100th party? What did she come out here for?
KG: I think she was working on a show in Florida or something and made this a pit stop because it was over Christmas.
KT: Gotcha. She heard for the first time about the AD staff calling in the rouche. And she was actually okay with it. We weren’t sure how she was going to take it. [looks at the sheet] Okay, here we go. [reads] ‘What was the best part of Capetown, South Africa?’ We’re going to go a little off film.
KG: Well, I have to say my favorite part of South Africa was called Kruger Park for the animals because I love animals.
KT: We have some pictures we are going to throw up here while Karen’s talking.
KG: [laughs] So that was amazing, just being out in the log and the bush and going out on animal drives. [Pictures of zebras, elephants, oxen, giraffes, and wild dogs]
KT: Did you see elephants?
KG: Uh, yeah!
KG: Uh, yeah! And wild dogs, which are very rare, can I just say.
KT: That’s right, you showed me a picture of a couple which I thought were hyenas but you were like, ‘No!!’ [laughs]
KG: No, there is a difference! And if I could purchase one, I would.
KT: Well, why can’t you purchase one?
KG: I don’t know, it’s probably illegal. Maybe I can have a parrot. Anyways, Capetown… I really love the water, so I loved being at Capetown and going out into Stellenbosch, which is wine country, which is what you would love! [pictures of wine shown] I just loved it. I just loved being on the water and going to Penguin beach, lay out with some penguins, all of it.
KT: Pretty cool. So your favorite part was that. Not the bungee jumping? That was in another country, I believe, with guns and borders…
KG: There were guns and borders and…
KT: Still, she jumped off a bridge. Crazy! [looks at sheet] Oh, here’s a film question. ‘What’s the best part of your job?’ What do you like the best?
KG: Am I being honest?
KG: Or am I being political?
KT: You should be honest.
KG: Craft service. [both laugh]
KG: No, I’m just kidding, because it makes us fat! No, the best part is just hanging out with everyone.
KT: [whispers] She really hates catered food!
KG: [whispers] No, I hate catered food. [KT laughs] I hate it. But I’m a really picky eater. They do a great job.
KT: Yes, they do.
KG: The best… but I don’t know if that’s really part of my job…
KT: No. What’s the best part of your job? It better be me…
KG: Oh, well, I was going to say the people, but that’s not really part of my job…
KT: But, you know what, you do have to interact with everyone, 150 to 200 people that actually work on this show interact with you.
KG: Thankfully, everyone, for the most part, is very very cool, fun to hang out with and goof off with, and we have a lot of fun. So, I would say that’s the best part, just the people and being able to hang out. I mean, you’re here 12+ hours a day, for the most part, so thank god we like each other.
KT: And we are all friends… We hang out with the crew outside of here.
KG: No, I don’t have friends outside of here. I have to work on that.
KT: It dries up, doesn’t it?
KT: That’s another negative part of the film industry, is that it kind of takes over your life.
KG: Yeah. Well, it’s hard to meet people!
KT: Yeah, it is, isn’t it?
KG: Let’s not get into that, Kelly.
KT: Maybe that’s another question. We’ll talk about our love life. [both laugh]
KG: [joking] I’m 5’11”… I curse like a sailor… [both laugh]
KT: [reading] ‘Does meticulous documenting occur on film as well as just television?’ Well you worked a little bit on ‘Houndog’… It’s the same, isn’t it?
KG: Yeah. Everyone wants to know what’s going on. Although, we didn’t have an Ellen Rouche..
KT: No, we needed one, though.
KG: [laughs] Yeah!
KT: But, the volume of paperwork is probably a little higher on this show because you are constantly getting scripts…
KG: Yes. Provisions, and new scripts to fix. Yeah.
KT: We’re getting a script for the next episode, we’re shooting a script, and the previous script we’re wrapping out, which is a ton of information coming and going at all times.
KT: So, I think that’s it for the questions. Thanks for being so cool and hanging out with us.
KT: We’ll talk to y’all later. See ya!
KG: Bye!PróximamenteBientôt Disponible
October 20, 2010
[Kelly Tenney stands outside of a set trailer]
Kelly Tenney: Hey, it's KT with another installment of industry interviews. Today, we will be visiting Tymie, who works in this trailer. Makeup and hair. They call them the vanities. There's a reason for that. Let's go inside and find out. Come on. [cut to Kelly inside the trailer] Hey guys, here we are in the makeup and hair trailer with key makeup artist, Tym.
Tym Buacharern: [waves] Hi, I'm Tym… key makeup artist of ‘One Tree Hill.’
KT: Tymie is from… where are you from?
TB: Actually I'm from L.A. They can't find anybody out here so they flew me out... I'm just kidding. I'm joking! Pretty much, I'm from L.A., and they found me right after I finished doing a movie called ‘The Secret Life of Bees’ and I've been here ever since, pretty much.
KT: You're originally from Thailand..
TB: Yeah, I actually was born and raised in Thailand. Moved to L.A. when I was 10 years old and... so I'm pretty much an L.A. boy but…
KT: So how'd you get into business to begin with? You’re a dancer.
TB: I originally was a dancer.
KT: Tell us about that!
TB: That was a long time ago... [rubs his stomach] a few pounds ago. One of the things people most remember me from was... I used to be on ‘The Tonight Show with Jay Leno.’ One of the gigs I used to do was… you guys probably don't even know anything about this... during the O.J. Simpson trial there was a spoof on ‘Jay Leno’ called the "Dancing Itos" in which five Asian guys dressed like Judge Ito and we just danced like a fool and that was me. [smiles and waves]
KT: [laughs] I like that. That’s funny. So, what made you… how did you get into the makeup industry?
TB: Well, what happened was I got hurt. I was injured. I hurt my knee and my back and during that time I… literally was just out-of-shit boredom and I went through one of those little trade school catalogues…
TB: .. .just to see what's out there... and makeup was one of the stuff that intrigued me so I went into... I didn't really do anything with it. I went back to Thailand, did some work over there, came back here and I'm like, 'you know what, I'm just gonna go sign up and be an extra.' And I went and did some extra work on a bunch of different movies and then, I hated the way the extras were being treated so I stopped, you know, and about four months after I did that, the first lady that I met… her name was Betty Kahn. She was working on a low, low budget movie and she was like, ‘Hey, listen. I have a job and if you want it it's yours, but I'm gonna tell you all of it up front. You get paid fifty dollars a day, and you're working pretty much about…’
KT: Do you think he is he working for only fifty dollars today? [mouths ‘no’ as the camera shakes as well] His kit's worth more than that!
TB: [laughing] Yeah right! Well... yeah [both laugh]. No, so pretty much, she was like, ‘fifty dollars a day. You're working about sixteen or eighteen hours a day and six days a week.’
TB: So, let me put it this way. If you work at McDonalds, you were getting paid more than I was. So, you know… if you break it down per hour… but just like anything else, you know, you have to pay all your dues, you know... do all the grunt work before you can…
KT: move up.
TB: ... move up.
KT: Right.. that's cool. And that's the first time I've heard that story by the way and that's a good one.
TB: Yeah, so… you know…
KT: So, you worked your way up to key makeup.
TB: I moved pretty fast and, you know, started in film, and went to commercials, and what happened was that then you just started doing little celebrity things. The first celebrity I worked with was Charlize Theron and... but that was, like, at the beginning of her career. So, I built my portfolio and things like that. You know, one day I was doing a photo shoot for a friend of mine and one of the dancers that was coming…one of the models that came in was one of Janet Jackson's dancers. So I did her makeup, Janet saw the pictures, and she was looking for another makeup artist to go...
KT: on tour…
TB: … to go on tour and do the stuff with, and that was back in 1997, so… Pretty much from that day on, I went in to work with her and that was on and off for over ten years now, so…
KT: … now you're doing this.
KT: So tell us a little about what your responsibilities are, besides making our actors and actresses look beautiful.
TB: … Boss Rocky around! [laughs and points to the man sitting next to him]
KT: Good luck with that!
TB: I know. Pretty much what we do is… we get a script every single episode, obviously. I have to sit down, and break it down, trying to figure out what is… what we need, what we don't need, as far as like any kind of special makeup that we need to look into… if there's tattooing, if there's cuts, bruising… you know, all that stuff needs to be done and basically... organizing everything. You know, a lot of people, they think being a makeup artist on a show, your job is just to paint the faces…
TB: …But at the same time, people don't realize, that on the days that we have one actor, two actors… only one of us is working on the set but the other one is breaking down the script, running around, shopping, getting stuff done. So basically, our trailer becomes like the little store, we stock it up and then whatever we need we just… we'll be able to pull it out at that point.
KT: So, every script you get, you just break it down and, for instance, if it's heavy in like… you need medical. Do you guys order?
TB: We order the pieces. We get the pieces custom made, and that's kind of Rocky's specialty so that's why I get his expertise on, you know, finding out what's what and he does all the research. He does all the ordering for all of the special effects stuff.
KT: Now, what's the difference between special effects blood and makeup blood? Where's that line?
TB: Well, it's pretty much the same it's just the blood that we have now as far as the… there's not so much more staining.
TB: I think the stain... The odor affects blood that a lot of people use, or the effects department uses. If you put it on his skin, you’re going to get stains.
KT: The blood that goes on the skin though, you guys use.
KT: The blood that they shoot out when they... you know, an arm gets cut off and it gushes blood... who is that? Is that you guys? Or is that special effects?
TB: Both of them would be special effects, but on our show we work together with them, trying to get things done.
TB: … like I said it's like any kind of other pieces that most of the time we'll take it over.
KT: And you guys find this stuff all over the world and you bought a piece, I think, for the last episode…
TB: …from Norway.
KT: From Norway. Just doing research online?
TB: Just doing research online. Also connections that we have with the companies. We find out what companies are good at what and it’s not necessarily all the time that the great companies are here.
TB: You know, and it’s like, we have a lot of amazing, amazing houses here but we go to different houses for different products. Like we go to one for the scar... when James has a scar we go to that, you know, and it just all depends, really.
KT: Now you work closely with the second A.D. in times.
KT: Figuring out when actors have to be in here and how long it takes. How do you decide how long it takes to do makeup on someone?
TB: You know, pretty much you get to know the actors. Some of them like more makeup than the others and some of them, you know. They'll pretty much try to schedule about an hour and a half for hair and makeup for female actors, and the majority of the time it's about half an hour for male actors. And you know, we know it's like… the thing for me is that my job and Rocky's job and everyone's job in here is... pretty much we make pretty people prettier. So like it doesn't really take that much time.
KT: No hope for me, I take it… But that’s nice.
TB: Yeah. I don't know if I have enough cover up for you.
KT: See? Thanks. Show us some of your tools in the trade here. What do you got?
TB: Oh my god!
[camera zooms on his the desk behind them]
KT: There he is breaking down a script here, guys. See that. [camera zooms on script] Hard at work...
Karen: [off camera] But you can’t read it! [Kelly quickly shuts the script]
KT: Episode 4. What do you got out here? What is that?
TB: That's just a palette. One thing that we do is to make things a little more easily accessible. A lot of products come in a tube like this, so what I do is I cut it down and put it in here so that way if I need to take it to a set, I don’t have to have the little tubes with me.
TB: So that's what I do. And powders, you know… press powders and things like that and... the other thing we do is... I hate when we have to open up every single package, so what we do is we buy, like, little palettes here and…
KT: So you can..
TB: ... so I'll pop it out and just put it in here.
KT: Is this specialty makeup just for the show or do people buy this?
TB: You can buy this. We use everything! We use everything from…
Karen: Do you use Covergirl for real, Tym?
TB: Yes, we do! We use everything from L’Oreal to Prestige, to all the way up to Chanel to Christian Dior, and you know, we have stuff from… some of our favorite primers is from Perfect Beauty, that is available out there, but a lot of people don’t know about it. I mean, we got L’Oreal here, and we got… you know, one of my favorite concealers…
K: That’s what I use.
TB: Exactly! You know, it’s one of my most amazing products.
KT: [holding up a makeup sponge] Now, what is this, Tym?
TB: This is a sponge. [Karen laughs and Kelly smiles] This is called a sponge. Basically, what it does is… we apply your makeup on with it.
K: Do you cross-sponge? Or does everyone have their own?
TB: No, everyone has their own sponge. Pretty much, after I use a sponge, I throw it out!
K: Oh, lord!
TB: So, I just toss that much money…
K: [camera focuses on trash] What’s in your trash? Coffee…
KT: [camera turns back to the desk] Now, what is all this stuff? I mean, we got hundreds of brushes!
TB: The brushes… one of the reasons we have a lot of brushes is that we have so many actors, and we don’t use the same brush on all the actors.
KT: See this? Look. They have little bags. I didn’t see that. [Tym takes out a bag] Now I understand.
TB: So, it’s a little pouch. It’s a little thing. It’s sensibility. One of my really good friends who’s an Academy Award winner of four or five Academy Awards created this. Her name is Ve Neill. So, you know, I mean, it’s… we have everything. Right now, you see here, one of my new favorites is Dior Foundation.
[a man walks across camera]
K: Hey Sean!
Sean: How are you doing? [begins to talk but Tym jokingly pushes him out] Bye-bye! [leaves]
TB: Over here, we have stocked in here baby wipes and facial wipes, cue tips, sponges, and things like that. [goes to next drawer] This is Rocky’s territory, make-up effects. Tym don’t go in there because Tym would probably lose everything and wouldn’t know what to do with half of it. [laughs] That all goes in here. [Points to shelfs] Each of our actors has containers. This is Sophia’s container, Joy’s container, and we’re still setting everybody else’s up. I got mascara. For sanitation purposes, what we do… you know, when you have actors in as day-players, instead of cross-contaminating products, we use disposable products so…
K: [referencing to the brushes Tym is holding] That’s a mascara brush?
TB: No, that’s lip brushes. Yeah, somewhere in here… here it is! [holds them up]
TB: And we do use store brand.
KT: Save a couple bucks.
TB: Atleast we try to!
K: Hey, sometimes they work better.
TB: Yeah, see, look. Even Covergirl!
K: ‘Because you’re worth it!’
TB: Because I am worth it!
K: Oh, I got a laugh out of Rocky!
TB: That’s rare. That’s really rare. You know, we have this side here. And this is the hair side, you know, just like we have all our supplies and things like that, same thing with hair! There’s all the things for the coloring process, but none of our girls have gray hairs or things like that, so we don’t go in here that much. It’s all for me. See? Look. [points to his hair and laughs]
KT: Oh, I’m sure, I’m sure.
K: You’re young at heart!
TB: I am young at heart, damn it.
KT: Tymie, you’re also writing a book.
TB: I’m in the middle of writing a book right now. It’s going to be a how-to book that is… I think the easiest way to describe it is a how-to book on crack. It is how to do makeup, how to apply makeup, but it’s also an interactive book. It’s going to be the first of its kind, so I hope nobody steals that! [laughs]
K: Trademark that!
TB: It’s been done. Finished. So, we’re in the process of finishing that.
KT: Tell us about your website. You have that up and running.
TB: My website is up and running.
KT: What is it?
TB: It’s called makeupbytym.com. I’m sorry if you guys have seen it before. It’s kind of old now, for me. It’s new, but I haven’t put anything new up in a while. It’s there and there’s stuff to look at. And I just got on Twitter, ya’ll!
K: How do we follow you?
TB: Follow me on makeupbytym! T-y-m.
K: I feel like I’m Chelsea Handler right now.
TB: You are! But you’re prettier!
K: [gasps] That’s the nicest thing you’ve ever said! That’s not true.
TB: It’s her birthday that just passed. I’m being nice. [laughs] You know, so yeah! So pretty much, this is our little home. We have a mysterious guest [refers to girl getting her makeup done] over there but we won’t reveal who she is. [the girl laughs] And she laughs… she has a very distinct laugh.
KT: Alright ya’ll. Here we go, saying goodbye. Tym, thank you so much.
TB: [holding up a peace sign] Peace!
KT: Thank you, Karen.
TB: Thank you, Karen!PróximamenteBientôt Disponible
September 6, 2010
[camera panning the production office]
Kelly Tenney: [behind camera] Inside the production office. [makes a noise and focuses on Karen sitting at her desk] Woah. Karen!
Karen: [waving] Hi!
KT: Street team! Karen, [she waves again] production secretary extraordinaire.
K: That's me.
KT: Karen, has been on ‘One Tree Hill’…
K: Season 3, Kel.
KT: Season three. Are you sure?
K: It was memorable, I know.
K: I mean, those first two you just blanked out.
KT: [turns camera towards himself] I did? [turns camera back to Karen]
K: Yeah, I mean, who cares? [both laugh]
KT: Karen keeps us happy. She keeps us sane.
K: Not sane.
KT: …and she's a lot of fun to be around. But more importantly, she works very, very hard. [Karen mouths ‘No’ while shaking her head]. Karen's going to tell us a little bit about herself, I hope. She hates this, but, she's being a good sport. She also travels the world. Unbelievable. [turns camera to himself] She's one of the bravest people I know. [turns camera back to Karen who mouths ‘No, I'm Not’ while shaking her head] So, two years ago you went to where?
K: [said in odd accent] Africa.
KT: Africa. [turns camera to himself] Who goes to Africa? [turns camera back]
K: You know what, Kel, it was actually my second trip to Africa.
KT: What do you mean?
K: Because first I went to Egypt! I know nobody thinks that's in Africa, but it is.
KT: See what I mean?
KT: Everywhere. Tell us a little bit about Africa 'cause we have a really good friend there, Astrid. Tell us about what you did there.
K: I heart Africa. I went to South Africa and did the whole tour of Cape Town and the southern tip. And then went to Kruger and had the best time of my life at a safari camp.
K: Then we went to Victoria Falls…
K: ...and we jumped off a bridge. See [points to picture on the wall behind her] I have pictures to prove…
KT: Oh! [focuses camera on pictures]
K: …and a video! But nobody needs to see that... because I screamed like a little girl.
KT: [focuses back on Karen] But didn't you also cross borders without a…
K: Yeah, no passport.
KT: …passport and armed guards…
K: That was not smart. Don't tell my mom. Yeah, you could call them guards. They had guns. But everybody was very nice. I loved them all.
KT: And you want to go back?
KT: And you saw... What was the best story? When a monkey stole your pizza or…
K: A monkey stole my pizza. I saw it coming and I thought: there's no way it's going to actually jump on the table and steal that out of my hands, and it did. I sprained my ankle because I was carrying my bags and I'm an idiot
KT: [laughs and turns the camera to himself] No she's not. [turns the camera back to Karen]
K: No, really, I am. I'm tall and clumsy, but it's alright. Can you see my zits?
KT: No. And in last season… or actually, after last season, you went to where?
K: We went… my friend, Kristen, and I went to Asia and we traveled all around. We started in Japan and then went through China and Hong Kong, Singapore, Thailand, and Jap… oh, I already said Japan.
KT: [turns the camera to himself] We have a street team in all those countries! [turns the camera back]
KT: Alright, where'd you go to school?
K: NC State. North Carolina State University. Go Wolfpack!
KT: Didn't you go to NYU?
K: Summer school, Kel. Thanks for bringing that up. [laughs] Had to graduate in four years. Out of state tuition!
KT: Alright, what was your major?
K: Business management. I have no film experience at all. No idea what I'm doing.
KT: What do you mean?
K: I don't know how... I didn't know what a call sheet was my first day of work.
KT: What's a call sheet?
K: [holds up a call sheet] Kelly probably sat me down and said, ‘How the hell did this girl get hired.’ A call sheet tells you everything you're doing in the day.
K: Everyday. A pre-... what's this called? A preview of what's coming up the rest of the week.
K: All the scenes you're gonna do, who's in those scenes. So when the producer asks, ‘Karen, what scene are we on?’ I can say, ‘Oh, we're on scene 23. Scene 31's coming up next.’
KT: Very nice. So, why in the world are you in so early! [focuses on clock that reads 7:15 a.m.] What do you gotta do in the morning? [focuses back on Karen]
K: You don't understand. My first morning duties are... I receive the football. [holds up a large folder] The all important football from the AD department, which has all the information that we did the day before. So... it has.. very exciting stuff. [opens up the folder] We get the production report.
KT: What's that?
K: The production report talks about... or explains everything that we actually shot, how long it took, how much film we used, all the shots…
KT: We sure do use a lot of film, don't we?
K: Heck yeah, we do! Times that everybody was in and out, everything, every move, is recorded...
KT: And this information goes…
K: …and kept track of.
KT: Yeah. And this information goes to... which departments? [pause] Karen…
K: What? Oh.
KT: Come on. Karen! Work with me!
K: [laughs] Yes. Roger gets a copy, account... Roger, our payroll guy. Because he has to know what to pay everybody! Make sure they aren't lying on their time cards.
K: Roger, and then Gary, our head accountant, and David Hartley, our UPM. [whispers] I don't think he looks at it though.
KT: And then... who else. The studio, right?
K: Then the studio also gets a version. But Kelly, you're speeding me up. I have to attach the SAG sheet!
KT: What's that?
K: … Because the SAG sheet has cast times in and out. So this also goes to payroll, cast payroll in L.A.. So they know how much to pay these guys.
KT: What is all those... is that signatures on the side? What is that?
K: They're autographs. Look at Jackson's.. how cute. [camera zooms in on signatures] Right? So this gets shrunk and put in this perfect little rectangle here. [points to open space on a different paper] So everything is all together and then it all goes off to Warner Brothers. It's faxed to Warner Brothers. And, I don't know, they look at it. They tell us if it's wrong. If it doesn't make sense. And I don’t know what else. I just give it to them. They also receive these tickets are extra vouchers, all important extras. That go over there. Out of here. Okay, I also receive Neoni's, our script supervisor's... [to Kelly] Don’t get my profile it's pretty bad. [Kelly changes angle] Our script supervisor's daily progress reports, which tell us which scenes we completed, how many pages they were, how long the day took, all of our shots. Very exciting stuff. Very exciting. Very exciting.
KT: Well, what do we do with those now?
K: These notes go, along with the sound reports... are sent to our Post Department, which is in L.A. So Post receives these, our camera reports…
KT: What's in a camera report?
K: I don’t know… These are our camera reports. You can't read anything, it's like a doctor's prescription.
KT: But that actually tells Post which roll, what's on each roll, what scenes, what takes on each roll. So that's why they have that stuff. It also goes on the can itself. This is a backup.
K: So all this will then be faxed to Post. So then they have all the information today. So when the all important film arrives, they can work it out.
KT: They what do you do. What else do you have going on? This is what you call morning paperwork, every morning.
K: Right. This is my morning paper work that I mostly do at 6am in the morning. So I'm half asleep still. So it might be done wrong. Yeah... what?
KT: Yea, that's what you do in the morning.
KT: And what other responsibilities do you do all day.
K: I feel like I should create more responsibilities considering you're my boss. So I look really important.
KT: Well first of all, we all know that that instrument right there [focuses camera on telephone] rings incessantly.
KT: Because everybody wants to talk to everybody and they don't know how to call directly.
K: Yes, we are the middle person. I'm not sure... it's probably good there's a middle person because we are supposed to know everything that goes on. So we're supposed to know what electric needs, what the groups need, what the cameras are doing, what the producers are doing… if they're on a scout, where they are.
KT: At all times.
K: So everything kinda comes to us. So when electric calls and says, ‘Where's David Hartley?’ I can say, ‘Oh, he's on a scout!’ Or something like that.
KT: And every...
K: And I'm really nosy so it goes well.
KT: And everything goes through this office as far as…
KT: …paper. Like the ADs give us a schedule.
KT: Which we are supposed…
K: Oh, I got one right here! We just got a new one! [makes noise]
KT: That tells us about the episode. Each episode. Every seven days we shoot an episode. And that shows the crew, and the actors, what order we're shooting and what day. We must distribute that.
K: Distribute. Make sure everybody knows.
KT: We are responsible for that.
K: We also are responsible for getting all the scripts in. Are we going there yet?
K: Okay, we receive the scripts via e-mail from the writer's office in L.A. We do not e-mail out to them. It's very important not to. So, we receive the scripts and make sure they also get out to everybody. We keep a script check-off sheet. [camera focuses on the check out sheet] Every script is labeled with a name.
KT: Why is that?
K: Because we're tired of crew members in season 1 and 2... before me... saying they didn't get their script. So we label all the scripts. They're very important labels... not really. And then the cast is also labeled. And we keep a check-off list to know that we... when we sent the cast their script.
KT: At one time, when were we in Charlotte, having breakfast... and somebody gave us a script with someone's name on it that was left behind.
K: Yes! That is also a very important question because some of them, not so... not so smart. I mean all you have to do is take the label off. They leave the label on it and then leave their script around, so we get to bust them.
KT: And who found that script?
K: I don't know. I know a couple of tours have found scripts hidden in bushes on our set.
KT: But that day, I think Mark Schwann found it.
K: Interesting. [Kelly laughs] I don't remember.
KT: That was not a good day.
K: But I believe you.
KT: And then what happens?
K: So all scripts are distributed depending on… oh, let's see what episode we have here. We have not been cashed. Everybody has not been cashed yet. So all these scripts have been distributed if they have a check mark. You know if they've been FedEx'ed or sent out or if they live here. Will has not been cashed yet so he does not have his script. So I would keep his scripts here for when they come in. And I can FedEx them out. Joy is not working today so her revisions will go to her. Nightly after the show, or when she works.
KT: What are revisions?
K: Oh revisions. Scripts... [rolls her chair over to another desk] So this... it's a very interesting thing I had to learn during my 'I had no idea what I was doing when I first arrived'. Revisions go in colors. An all-white script is very rare… unless Mark Schwann writes it. And when we get a revision, we have to know what was changed. So rather than just stars, we change the paper color. So, blue then comes next. So, this is the second revision. Then pink, then yellow, then green. Well, so you have a whole array of colorful scripts. So we get revisions in, which depending on how great the script is and how many revisions and yeah. We make sure all the cast gets the revisions, all the crew gets the revisions. You got to track cast down all around the country to figure out where they are. FedEx them out. And yea... then they know their lines.
KT: So during the day you also, not only keep track of what everybody is doing and where they are, but you also have to communicate with the studio.
KT: And you do a lot, with your own personal cell phone.
K: Which I do not get reimbursed for. [holds up her cell phone] What we do is, every time we get this thing… a daily report, which goes with the... this is today's daily report which goes with today's call sheet. So every time we finish a scene, the AD Department will call in and say, "Hey, we have finished scene 29." So we e-mail out to the producers, to Ellen Roche, our studio exec and her assistants, and let them know that we have finished scene 29 and at what time. Now if there is a company move, which today there will be, then we will e-mail the Roche and the company move... [to Kelly] Was that your stomach?
KT: [turns camera to himself] That was my stomach.
K: Damn! Eat some food! [KT laughs]. Alright so, if there's a company move then we text the whole crew that… with my own personal cell phone... [referencing her cell phone background] Hey! See, I took that in Hong Kong [camera focuses on her phone] for you all... [background changes] Aw, see now I ruined it. [brings pictures back up] Wait, it's a cool picture you should see it again. Kristen took it. [shows camera] It's the big Buddha. Anyway, so we e-mail out to the whole crew that we are on the move as... today we start at Airlie Gardens then we go to Hugh Mac Rae Park so we will text the whole crew so... set dressing needs to know we're on the move, make sure your shit is done. You know, just so everybody knows where we are, to keep everybody in the loop of where we are during the day, what scene we're on, and we're supposed to know that.
KT: I would say that you have to be very tentative.
KT: Get all details.
K: Yes, you would think. No! Yes, I try. And since there are four of us, you know, Lee, our lovely office PA, who I adore. She's not here. She gets to come in later. She will get a call and say ‘Hey, we're on the move.’ So it's also very important that not just I know what's going on, but you scream to all four of us... or the other three... so that everybody knows what scene we're on. Or at least to write it down on the all-important daily report. So, when somebody asks what scene we are on we can take a look and let them know instead of going, ‘I don't know.’
KT: You're pretty much the information…
KT: Everything goes in and out of this office.
KT: Good, now…
KT: You and I... [turns the camera to himself] Karen and I… [turns camera back to Karen] have gone on many trips with One Tree Hill. [Karen cheers] We've done Honey Grove
K: [with accent] Texas.
KT: Texas! We've gone…
K: We've gone to Raleigh twice.
KT: Raleigh twice.
K: Wolfpack. [fist pump]
KT: And we've gone to... just recently…
KT: Utah was cool. We had a good time there.
K: Fabulous time. I think I might move there.
K: I mean once the show's over. I really liked it there.
KT: Oh, okay. There's no film work though.
K: Yeah, well... there's snowmobiling and the bobsled. We did the bobsled.
KT: Yeah, that was cool.
K: Yeah, well you know, I almost died.
KT: Going off location means…
K: A lot of work.
KT: 'Cause we have two offices running…
K: Yeah. Yeah.
KT: …at the same time. We get to travel a hundred people plus cast.
K: You have to do all the hard work though.
KT: And producers and keep them... and what about the housing?!
K: The housing.
K: Yes. Well, you and Lizzie take care of that. You do very well on that. [phone rings and Karen gasps]
KT: Oh look! We have a call.
K: New call.
KT: Who could it be?
K: I don’t know! [picks up phone] Production, this is Karen. Hey Chad! [whispers to camera] First AD... [back to phone call] Good, how are you?... Okay... Okay, good... Alright, Bye! [hangs up phone]
KT: What's the least favorite part of your job?
K: [with fervor] FedEx! I... Well, unless it's a hot FedEx guy, I hate FedEx. I hate when they roll up because, you know, we're nice in here. So we decide, [cut to Fedex Man walking into the office] hey I'll help you unload the 40 pound, 80 pound, 90 pound boxes off the FedEx truck. [cut back to Karen who is shaking her head] I don't get paid for that. I don't get Union benefits. So we help pay... or, we help unload and then you have to log every FedEx or UPS or formally DHL packages, [whispers] but they're all gone.
KT: Why is that?
K: [cut to Karen signing for the Fedex Man, voiceover] Because when somebody... although it very rarely ever happens... Actually, I don't think it's ever happened… that somebody says, ‘Hey I didn't get my FedEx but it says you signed for it,’ and we can pull out the log and say, ‘Yeah, we signed for it and so we put it in your office, so go find it yourself.’ [pauses and smiles] No I'm not a bitch I swear. [laughs]
KT: Last thing, film, [focuses on the box of film in the office] most important…
KT: ...job that we do in the office…
K: Oh yes. [opens the box]
KT: …protecting, shipping our day’s work.
K: [cheers] Because if this gets ruined it's very... [pretends to slice her throat with her hand] So...
KT: It’s happened, by the way.
K: Yeah, but it was not our fault! Okay. So every film box comes with a P.O. [holds up P.O] I'm not sure why it says 'for Pacific' because it doesn't go there anymore but they want it on there. So, I don't know. But it explains what we shot, how many feet we shot, the sound rolls... so they can charge us... because, heaven forbid! Now, here's all the sound information in a nice little ziploc bag. Word. And then, tightly packed and bubble wrapped, is our film. The cans are labeled so everything is something special.
KT: Now, where does this go?
K: We take it to US Air Cargo at the big metropolis airport of ILM to Kevin. Hi Kevin! And then they get put on a plane, USAir Cargo, to L.A... to LAX and it gets picked up by our Post Department and then they send it to the lab and it gets processed and put in a bath.
KT: How excited does everybody get when the film doesn't arrive?
K: Oh yeah, it's bad. ‘Track down USAir, find out where that plane is, why is it an hour late?’
KT: Who says that?
K: [whispers] Maureen. I hope she doesn’t go on your website. [Kelly laughs]
KT: Yeah, Post gets very excited when the film doesn't arrive… which, because we don't control airlines…
K: The weather.
KT: …or the weather. And Delta doesn't give us any information on weekends.
K: No, you can track this box on USAir. Delta not so much.
KT: So, it may not show up 'till Sunday.
KT: Not good.
K: Not good.
KT: You started off in that seat, then you moved to that seat, and now you're going to be moving up to that seat…
K: Oh lord!
KT: ...on your next job, aren't you?
K: One day.
KT: And then you'll probably have that job. Or you'll get married.
K: Or just pop some babies out. Are you going to interview Lee? I think you should. She can tell you all about slides.
KT: Yeah, we'll let Lee tell us about slides. Alright Karen, what else can you tell us... anything going on? I think you've done a really good job explaining what a production secretary does.
K: No, I haven't.
KT: And we appreciate it. And the street team appreciates it. And we'll talk to... oh no!
KT: Anybody having any questions for Karen, please e-mail us and we'll get Karen to answer them. Until then, signing off.
KT: See you later Karen.
K: Bye!PróximamenteBientôt Disponible
September 2, 2010
[Kelly and Carol are talking in the wardrobe closet]
Carol Cutshall: A lot of the times they have libraries where you can go and do all of your research, and so you can find all these amazing images. Like, say you’re doing something… Like, what if you’re doing a science fiction project but you want it to reflect the 1930s style, you know, kind of a steampunk looking or something like that.
Kelly Tenney: Oh, right.
CC: You can go in and just, like, look up any kind of tag reference of any time period or anything like that and it’s the top of the line images of clothing.
KT: So you can design your show…
CC: Then that’s your research. You can go to a costume house not just to get the physical clothing but to get your research. You can pull clothing that is not even meant to be worn, it is only meant to be studied or patterns cut from.
KT: Wow, I never thought of that.
CC: Yeah, because there’s clothing that is way too old to be used.
KT: Yeah, it’s valuable. It’s only one of a kind.
CC: Yeah, so you photograph it meticulously, do measurements, sometimes they’ll let you take it out under the… what’s the word? I don’t have words anymore. The… whatever. Knowing that you are not actually going to be putting it on an actor, but having something made from it.
KT: Oh I gotcha.
CC: Like when we did the 1940s on this show and Hilarie’s in that blue gown…
KT: Oh yeah, that was beautiful.
CC: What I tried on her was a peach gown that was actual 40s, and it was stained and the fabric was a little old and kind of, you know… so we gave that to Alice, the seamstress, to cut a pattern. We marked it. For it to fit Hilarie perfectly, it needs to be like this, like this, and so then she cut the pattern like that. She remade the dress for Hilarie.
KT: Nowadays, whenever you do any kind of historical pictures, you guys go to the studios and…
CC: You can get research anywhere, everywhere. There’s just so many awesome libraries.
KT: But there, you actually physically touch.
CC: Yeah. The research is… Well, the thing too is that the images, typically, in the research libraries of these costumes houses, have been selected because they are good resources for clothing, so you’re not sifting through a ton of things going, ‘Oh, but you can’t really see the cut of the jacket.’ Or that kind of thing. It’s like, wham! Wham! Really good, really good information and you do a ton of it.
KT: Now, is that the only place in the United States that has all that at your fingertips? I mean, does Britain, like does England have…
CC: Oh, gosh, yes!
KT: They have their own…
CC: Yeah. They have the Victorian Albert Museum, which is unbelievable. And you got to think, like, gosh, places in Europe… When I was in Paris a couple years ago, I was at the… I can’t remember which museum it was, but the exhibit… all Marie Antoinette’s clothing. [pause]
CC: Her actually clothing.
KT: They still had it?
KT: That’s great.
CC: And it was a huge exhibit. That museum that’s on the river, that’s all glass… I can’t think of the name of it.
KT: In Paris?
KT: Oh. Where on the grounds? The Luve?
CC: It’s like right at the end of the river…
KT: It’s not the Luve?
CC: No. It’s the… I can’t remember.
KT: That’s alright.
CC: I can’t remember anything!
KT: That was good!
Cameraman: Yeah, we got a lot of information. Let’s go interview!PróximamenteBientôt Disponible