You’re going to start by becoming extremely experienced with the camera. It’s just a big, hairy monster.
As if.
It’s not as if you can get some quick pointers. I’ve had people walk in asking me about all the lighting things and I don’t know enough about it to tell you what to do with the light.
So you need to learn how to light? So you need to become the light?
Yeah, I try to stay away from the cameras and try to stay out of the frame as much as possible. Then I come and try to light the frame.
How does it differ from making a film?
What’s amazing is that once I’ve gotten used to seeing the frame, when we start shooting the scene, it’s hard to ever come back out and see the camera, so we shoot a long long shot. I’ve always worked on film. I shot a lot. I worked on every major studio in the world. And I shot a lot with the Arri Alexa for six years. I shot a lot with a lot of lenses, and I used a lot of lenses, so it’s not hard to come up with a really good scene. But you need a lot of gear, you need a lot of experience, and a great lighting team and a great DP.
So you’re going to go into a film and you’ll need to make sure you learn how each of those pieces worked for you?
Yeah. You need all those pieces to come together and be consistent and be consistent in the scene, on set, off set. But you need that lighting crew – they need all those pieces to be right – in the right order, and be consistent in the scene, when you’re shooting.
Do you have that team? Is that person there on every day?
No, it’s not. They’ve got one day, a couple of days off, and a week’s break, and then they switch. You’ve got a lot of different people on those days.
So you are not working that day?
No. I’m always there, but I don’t have a crew. I’d love this job for years, but if I’d had a crew, they’d be very, very excited – and not just for being there and shooting, I’d love working with them, and having their support, helping them out.
Okay. Did you need a team to do
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