THE PEOPLE YOU WORK WITH…

What I don’t envy about other positions on a film crew is that I work with a very select group of people and that I usually circumvent politics.

What, politics in film?  Yes, boys in girls.   Film can often be a harmonious display of artistic enlightenment, but it is also a business like any other. Boys and girls playing in the sandbox with multi-million dollar toys.

As a storyboard artist, Ionly have a few very important playmates in my sandbox.

The first one is of course the director, whom I discussed in my first blog.  They’re the ones I work with on most films.  The look of the film isn’t always created by the director, but a good one shapes the film.

I will often get hired by a director based of on a few things. My style, for one thinghas to be suitable for the project. A director won’t want someone overtly “cartoony” for a drama, nor will an artist who is very realistic and earthbound be good for a comedy.

An artist with poor or uninspired shot selection would not be good for a director who needs a little visual guidance or who values other opinions.  Your personality often must work with a director’s own. If you are overtly chatty, or too quiet, or just downright strange, you may have more time at home than you would like.  Directors often have to spend a lot of time with you and don’t want to be annoyed or creeped out while doing so.  You can only get away with this behavior if you are ABOVE the line.

On ZOOLANDER, Ben Stiller and I got along fine, as we are both from New York City and dig the original STAR TREK.  He said I was the only person who caught his in-joke of naming the villain, “Mugatu” after a Star Trek alien.

Hey, stop with the “geek” cracks.  I got the job and got paid!

Sometimes, the director will concentrate on other aspects of film, like the actors, the script, or the film’s look and will leave the shot selection to the D.P.

The first time I worked with my friend, Stuart Dryburgh (he shot THE PIANO and ONCE WERE WARRIORS, among others) was on ANALYZE THIS.  The director, the uber nice, ex-Ghostbuster Harold Ramis, concerned himself with the script and the actors, while Stuart did thumbnails (he can draw)and came up with the shots.  I was brought in to elaborate on Stuart’s sketches, and to come up with new shots and ideas.

Stuart and I repeated this on RUNAWAY BRIDE, where he once again provided me with sketches.  We also had input from the second unit director, Scott Marshall, who is now a director in his own right.  Scott and got along great, having shared a love of comic books.

When Stuart and I worked on SHAFT, he had to make a big adjustment in our relationship, as the director, John Singleton enjoys a direct relationship with the storyboard artist and will often come up with a detailed shot list on his own.

On my first “A” film, DIE HARD WITH A VENGEANCE, I worked with stunt legend Terry Leonard for the first time, and he was both the stunt coordinator and the second unit director.  My gig was to board scenes that Terry would direct.  Cars, and stunt sequences, but not necessarily footage with the lead actors., Terry would then take these boards to director John McTiernan for his input.
My family sat through that film’sextraordinarily long credits, just to see my name billed with the rest of the “second unit”.  We’re talking dedication, folks.

Terry Leonard was a great and knowledgeable guy to work with and is an amazing boost to any show he works on.  I know many stunt people and coordinators having worked with so many in my travels.

AT FIRST SIGHT and the remake of THE THOMAS CROWN AFFAIR were quick and for the latter, un-credited gigs where I never even met the director.  I provided needed shots for a hang glider sequence in THOMAS CROWN, while I boarded a highly visual Val Kilmer/Mira Sorvino in the rain scene for SIGHT.

On ZOOLANDER, I was brought in by production designer Wynn Thomas, who worked with me on ANALYZE THIS and later on A BEAUTIFUL MIND. Sometimes I might do a scene(s) to help a designer figure out the practicality of the sets. Other times, even a designer can be the point man for the director. Designer, Doug Chiang, the young prince of science fiction and fantasy films come to mind.

My most unique work situation I must say occurred on THE DEVIL’S OWN.  I was hired to work with legendary cinematographer Gordon Willis, who worked on a little indie called THE GODFATHER.  The first artist got fired (it happens) and I was number two.  Gordon laid out the scenarios for my boards, which were later given to the late, great director, Alan Pakula.  We miss you, Alan.

Doug Coleman, the practical joke loving stunt coordinator (I still owe you, Doug) told me that the movie’s star, Harrison Ford wanted to work with me on a scene.  Lo and behold, I was in Harrison’s personal bus which was about as large as The Millennium Falcon.  Most storyboard artists love science fiction and fantasy, and this guy was HAN SOLO, RICK DECARD AND INDIANA FREAKING JONES!!!!

Harrison wanted to change a dramatic action scene to be about “chaos” as he put it, and not just another “action” scene.  Harrison was relaxed and friendly, not quite as low key as he is on talk shows.  I tried very, very hard not to go into full blown geek mode – that’s why I work out and do martial arts – and I took notes as Harrison spoke about the scenewhile he traded cigars with Doug.  Having gotten paid about 20 million for the movie,  Harrison had a little say so in how things went.

Whomever I work with, my job is to serve the film and my “playmates”. If everything works out, I have fun, meet great and interesting people and get well paid to boot.