Latest / Bulletproof Screenwriting™ Podcast / BPS 476: The Cinematographer’s Secret to Making Actors Trust You with Jared Hess

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BPS 476: The Cinematographer’s Secret to Making Actors Trust You with Jared Hess · Bulletproof Screenwriting™ Podcast

• 0:03
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  Speaker 2: Welcome to the Bulletproof Screenwriting Podcast, Episode number four seventy six.
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  Speaker 2: Your dream doesn't have an expiration date, Take a deep
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  Speaker 1: It's the Bulletproof Screenwriting Podcast, showing you the craft and
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  Speaker 1: business of screenwriting while teaching you how to make your
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  Speaker 1: screenplay bulletproof.
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  Speaker 2: And here's your host, Alex Ferrari. Welcome, Welcome to another
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  Speaker 2: episode of the Bulletproof Screenwriting Podcast.
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  Speaker 3: I am your humble host Alex Ferrari.
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  Speaker 2: Enjoy today's episode with guest host Dave bullis my next
• 1:39
  Speaker 2: guest on this show, and I actually met by accident.
• 1:42
  Speaker 3: I actually reached out to him originally because I thought
• 1:46
  Speaker 3: he was the Jared Hess from Napoleon Dynamite, and he's
• 1:49
  Speaker 3: actually a another Jared Hess who's a cinematographer. So we still,
• 1:54
  Speaker 3: you know, we talked and uh, you know, we agreed
• 1:56
  Speaker 3: to come on. So you know, Jared's on location in
• 1:59
  Speaker 3: this so a few segments are going to be a
• 2:02
  Speaker 3: little noisy, so just bear that in mind, but it's
• 2:04
  Speaker 3: still very, very audible and without further ado with cinematographer
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  Speaker 3: Jared Hess. Jared is a cinematographer based out of Orlando, Florida,
• 2:13
  Speaker 3: and Jared has worked in the indie film television market
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  Speaker 3: for over ten years and has produced content for such
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  Speaker 3: clients as Bellatour w E and ESPN. Jared, how's everything.
• 2:23
  Speaker 4: Going, Buddy good Man out here in sunny Orlando?
• 2:26
  Speaker 3: So I can't complain.
• 2:30
  Speaker 4: About an eighty degree? So another rests the United States
• 2:33
  Speaker 4: happier quota right now.
• 2:34
  Speaker 3: So you know, it's it's here in Philadelphia. It's been
• 2:37
  Speaker 3: such a warm winter. It's been unbelievable.
• 2:40
  Speaker 4: Oh yeah, I've heard that. You know.
• 2:43
  Speaker 5: I was just out west and doing some cheering also,
• 2:46
  Speaker 5: so the you know, the weather's been great, like uh
• 2:49
  Speaker 5: for the most part. So nobody's getting hit too hard
• 2:53
  Speaker 5: by snow winner So so you.
• 2:55
  Speaker 3: Know, you know, Jared, just to begin, you know, the
• 2:57
  Speaker 3: question I always ask everybody is, you know, how how
• 3:00
  Speaker 3: did you get started? You know, you know, and what
• 3:02
  Speaker 3: does act? Who's your background?
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  Speaker 5: Well, my dad was actually a screenwriter, you know, before
• 3:09
  Speaker 5: I was born, and he had a business partner, Wayne Beach,
• 3:14
  Speaker 5: and he you know, my dad went into other things.
• 3:18
  Speaker 5: Wayne Beach kept going at it and he sold a
• 3:21
  Speaker 5: couple of films to Westers nine Yard of Quarterer sixteen hundred,
• 3:26
  Speaker 5: and then he directed Vetter on Slow Bird. You know,
• 3:29
  Speaker 5: so I kind of always looked up to him, and uh,
• 3:32
  Speaker 5: you know, I was always into doing telling stories and
• 3:38
  Speaker 5: thought I was going to be an actor for a while.
• 3:41
  Speaker 5: When I went to college, I decided to kind of
• 3:43
  Speaker 5: pursue the kind of film elment doing digital media video
• 3:50
  Speaker 5: putout Sheen and h Then the birth of the D
• 3:53
  Speaker 5: ninety came out, so I wasn't chasing down the film
• 3:56
  Speaker 5: stock and running expensive equipment and started making my own content.
• 4:01
  Speaker 5: I'm doing Gruller style filmmaking, producing some short films, and
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  Speaker 5: then I started getting picked up, you know, primarily by
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  Speaker 5: ESPN and then uh Spike Television shooting a lot of
• 4:16
  Speaker 5: their feature content and what have you.
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  Speaker 3: So, so how did they discover you at first? Did
• 4:22
  Speaker 3: you send them a real or did they maybe you know,
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  Speaker 3: happen upon your content online.
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  Speaker 5: Well, I've worked with a couple of individuals w i'd
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  Speaker 5: know I with and they kept pushing me and kind
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  Speaker 5: of exposing some of the things that I've been shooting,
• 4:37
  Speaker 5: and you know, I get a couple of short films
• 4:39
  Speaker 5: and was always looking to kind of self promote, and
• 4:44
  Speaker 5: you know, there came up with a couple opportunities where they
• 4:47
  Speaker 5: needed some people to d kind of a film style
• 4:51
  Speaker 5: look for some of the feature content and so kind
• 4:56
  Speaker 5: of created kind of that niche or fellow into that
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  Speaker 5: kind of sure kind of doing the film look for
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  Speaker 5: you know, features.
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  Speaker 4: For different clients, you know, whether they're usually short form.
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  Speaker 5: I've done a couple of long you know, long form
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  Speaker 5: hour long projects as well outside of features. And when
• 5:18
  Speaker 5: I meet features, I meant like, you know, short form
• 5:20
  Speaker 5: features for you know, different whether.
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  Speaker 4: It's fight or you know, a big events, those kind
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  Speaker 4: of things.
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  Speaker 5: The story, the backstory and the storylines that are primarily
• 5:32
  Speaker 5: used without within the actual live event.
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  Speaker 3: So now you know you've got to work with w W.
• 5:38
  Speaker 3: Uh you know, so so you know, what what did
• 5:40
  Speaker 3: you do for them? What did you shoot for them?
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  Speaker 5: Then a couple of you know, they've asked me to
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  Speaker 5: do a couple of different things where I've shoot e. G.
• 5:47
  Speaker 5: Or do like some of their backstage kind of things. Yeah,
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  Speaker 5: I really wasn't able to commit to them because of
• 5:55
  Speaker 5: bellatur And then now I do Premiere Boxing Championships, which
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  Speaker 5: is too shows on Spike Television, so you know, I've
• 6:03
  Speaker 5: been on there. I do a lot of elements them
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  Speaker 5: almost thirty weeks with Spike and then uh, you know,
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  Speaker 5: so I do a.
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  Speaker 4: Lot of their stuff.
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  Speaker 5: Right now I'm shooting the project with Hoys Gracie Ken,
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  Speaker 5: Shamrock and can both slice for they're doing an upcoming
• 6:24
  Speaker 5: kind of fights that they're doing an hour long project
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  Speaker 5: with those four guys. Are those three guys primarily you know?
• 6:31
  Speaker 3: And then that's that's really cool?
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  Speaker 5: Yeah, it's it's you know, actually, I'm I'm not really
• 6:36
  Speaker 5: a violent person at all. It's funny that I actually
• 6:40
  Speaker 5: end up doing a lot of fighting.
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  Speaker 4: Kind of stuff.
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  Speaker 5: So I've I've kind of become just the go to
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  Speaker 5: guy when it comes to setting up shoots in some
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  Speaker 5: you know, undesirable locations. But some of these gyms aren't
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  Speaker 5: always the most flattering of places to be setting up
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  Speaker 5: very on location shoot.
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  Speaker 4: But since I've.
• 7:02
  Speaker 5: Shot in so many of them and become known a
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  Speaker 5: lot to the fighters, some of the more prominent ones
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  Speaker 5: that I guess you could say, I've kind of created
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  Speaker 5: a name in that environment.
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  Speaker 3: So, you know, are some of the more popular gyms
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  Speaker 3: are they are like I mean some of like the
• 7:18
  Speaker 3: rougher neighborhoods, And you know, is that maybe a challenge
• 7:21
  Speaker 3: of itself.
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  Speaker 5: Yes, recently, It's funny you mentioned that recently I have
• 7:27
  Speaker 5: shot in a.
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  Speaker 4: And it's pretty uh, I mean, Miami.
• 7:32
  Speaker 5: Florida has got several locations where you don't want to
• 7:34
  Speaker 5: be caught after dark. But recently I did a shoot there,
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  Speaker 5: and uh, when I was addressing my crew before we
• 7:43
  Speaker 5: got started, and I mentioned the first thing that we
• 7:46
  Speaker 5: want to make sure we do not do is get shot,
• 7:49
  Speaker 5: and that safety was number one issue because we were
• 7:52
  Speaker 5: clearly could be considered trespassing into enemy territory. It wasn't
• 8:00
  Speaker 5: a safe neighborhood by any need. So yeah, I mean
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  Speaker 5: recently I also shot at you know, Mayweather's Gym, which, uh,
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  Speaker 5: you know may arguably be one of the greater fighters
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  Speaker 5: of our lifetime. And you know, are you going to
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  Speaker 5: like locations like that? And people have shot so many
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  Speaker 5: times dps have left in.
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  Speaker 4: The photo ball.
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  Speaker 5: Sometimes you go into places and they're barely any electricity
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  Speaker 5: you've got, you know, it's you've got a garage door
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  Speaker 5: that opened, So you're often surprised pleasantly or not on
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  Speaker 5: what you're going to walk into, you know.
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  Speaker 3: So you know, on those locations, you know, I guess
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  Speaker 3: you know, a really challenge also comes because you can't
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  Speaker 3: do a real tech scout, right, so you basically, I mean,
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  Speaker 3: I'm sure the location scout, if even there is one,
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  Speaker 3: is basically probably just them just showing, you know, taking
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  Speaker 3: a photo with their cell phone. You know, probably somebody
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  Speaker 3: from like you know, an entourage or you know, an
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  Speaker 3: assistant probably taking a photo right, and then you probably
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  Speaker 3: just that's probably all you get, if even that correct?
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  Speaker 3: Am I correct?
• 9:01
  Speaker 4: Yeah?
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  Speaker 5: I mean yeah, absolutely, one hundred percent starting locations. It's fantastic,
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  Speaker 5: and it's a wonderful Uh, it's a wonderful thing to
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  Speaker 5: have if you can get it.
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  Speaker 4: But yeah, you're not. It's usually the.
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  Speaker 5: Lowest common denominator that's being sent out there, you know,
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  Speaker 5: So it's kind of one of those things that inn
• 9:19
  Speaker 5: after thought. So a lot of the times I'll do
• 9:21
  Speaker 5: the research myself and you know, kind of walking into
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  Speaker 5: situations where I'll have to just be ready, you know,
• 9:31
  Speaker 5: and and uh, you know, kind of rigging up things
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  Speaker 5: and having things set up easy enough where I can
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  Speaker 5: a lot of times I don't have a director and
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  Speaker 5: I'm producing out there and directing myself. So having knowing
• 9:48
  Speaker 5: every element and how to over you know, to compensate
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  Speaker 5: and to use certain things to my advantages.
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  Speaker 4: You know, if you've got.
• 9:57
  Speaker 2: We'll be right back after a word from our sponsor
• 10:03
  Speaker 2: and now back to the show.
• 10:06
  Speaker 5: Because you know, for shooting two hundred and forty frames,
• 10:08
  Speaker 5: I've got a guy who's citing twenty pounds in a.
• 10:11
  Speaker 4: Day and a half.
• 10:12
  Speaker 5: He's not gonna want to sit there and work out
• 10:14
  Speaker 5: for me for two hours so and and be patient
• 10:18
  Speaker 5: while I set up lights. So I've really got to
• 10:20
  Speaker 5: kind of be ahead of the game and uh and
• 10:24
  Speaker 5: be ready to go and be patient with these guys.
• 10:26
  Speaker 5: You know, the number one thing I'll say I think
• 10:29
  Speaker 5: I have going for.
• 10:30
  Speaker 4: Me is, you know.
• 10:33
  Speaker 5: What I try to tell people is that you've got
• 10:36
  Speaker 5: to be a really good people person es firstly interacting
• 10:38
  Speaker 5: with people and you know, showing that you're not stressed
• 10:42
  Speaker 5: even though you maybe you'll get the better through the
• 10:46
  Speaker 5: data on things.
• 10:48
  Speaker 4: And that's true. I think with any kind of on
• 10:50
  Speaker 4: location shoot.
• 10:52
  Speaker 3: You mentioned not having a director on some of these shoots.
• 10:55
  Speaker 3: So when you go into, you know, to to some
• 10:58
  Speaker 3: of these shoots, then is basically you just have that
• 11:01
  Speaker 3: shot list that you want to get and I'm guessing
• 11:04
  Speaker 3: you know you're basically that that basically is becoming you know,
• 11:07
  Speaker 3: you're you're the director. Then with just a shot list,
• 11:10
  Speaker 3: am I correcting that.
• 11:11
  Speaker 5: Yeah, a lot of the time we're.
• 11:13
  Speaker 4: Working with a certain story omens. You know, so if if.
• 11:18
  Speaker 5: You know, we have a certain backstory that's provided by
• 11:22
  Speaker 5: you know, uh, different producers or different pre interviews, so
• 11:27
  Speaker 5: I'll be provided a lot of that information, so you know,
• 11:31
  Speaker 5: we'll get certain I'll get certain shots and set up
• 11:33
  Speaker 5: certain things that will kind of kind of help out
• 11:39
  Speaker 5: and kind of captivate the story that we're trying to tell.
• 11:43
  Speaker 5: So because if you know, if we're shooting, for instance,
• 11:47
  Speaker 5: or somebody who's.
• 11:48
  Speaker 4: Uh, you know, tried to you know.
• 11:51
  Speaker 5: Try to escape Cuba or something like that, we don't
• 11:53
  Speaker 5: have any footage of him trying to you know, get
• 11:56
  Speaker 5: on a boat and come over.
• 11:57
  Speaker 4: From Cuba and come to the United States.
• 12:00
  Speaker 5: And and you know what, we also want to use
• 12:02
  Speaker 5: original footage as opposed to trying to dive into stock footage,
• 12:06
  Speaker 5: so you know, trying to recreate kind of emotional elements
• 12:10
  Speaker 5: that kind of tie in with the story.
• 12:14
  Speaker 4: It's always you know, not only an obstacle, but it's
• 12:16
  Speaker 4: it's kind of a.
• 12:17
  Speaker 5: Fun part because you know, it's a challenge and create
• 12:20
  Speaker 5: something that's still visually and pricing and but also ties
• 12:25
  Speaker 5: into the story.
• 12:27
  Speaker 3: You know, very true. You know, you know I've done
• 12:30
  Speaker 3: some you know, interview segments, not nothing of that caliber
• 12:33
  Speaker 3: what you're doing, and you know, usually you have that
• 12:36
  Speaker 3: you're the same question you know, the same questions that
• 12:38
  Speaker 3: you have to ask the subject. And uh, you know,
• 12:41
  Speaker 3: like like for instance, I put together like an educational
• 12:44
  Speaker 3: real educational package excuse me for for a couple of universities,
• 12:48
  Speaker 3: and you know, you have to ask the same questions.
• 12:51
  Speaker 3: And one of the things that I found was was
• 12:54
  Speaker 3: that basically, you know, they they want you to. It
• 12:56
  Speaker 3: starts off, you know, small, like you're just being the videographer,
• 12:59
  Speaker 3: and then suddenly you know, there's so many people having
• 13:02
  Speaker 3: different say you know, a different saying things that you've
• 13:05
  Speaker 3: got to you know, sort of please like you know, five, six,
• 13:07
  Speaker 3: seven or eight different people, you know, do you do
• 13:10
  Speaker 3: you find that is the instance in some of these cases.
• 13:12
  Speaker 4: One hundred percent you're always trying to please other people.
• 13:15
  Speaker 4: And not only that, you know.
• 13:17
  Speaker 5: You know, uh, some of the things that I shoot
• 13:21
  Speaker 5: get used on a million different things. I might be
• 13:24
  Speaker 5: you know, say, hey, this is supposed to be used
• 13:27
  Speaker 5: in this location, but at any given point it could
• 13:29
  Speaker 5: be used during the live show could be thrown in
• 13:32
  Speaker 5: with promotional stuff, so you're you know, and then you
• 13:37
  Speaker 5: always get the.
• 13:38
  Speaker 4: Hey, why didn't you do this?
• 13:40
  Speaker 5: Course, well, I had no idea it was going to
• 13:41
  Speaker 5: be used and that that's not why I shot it
• 13:43
  Speaker 5: that way. But yeah, I mean you're always trying to
• 13:45
  Speaker 5: kind of be ahead of the gang please people. Communication
• 13:50
  Speaker 5: you know is always cut, so yeah, you're always.
• 13:55
  Speaker 4: Trying to.
• 13:57
  Speaker 5: Kind of communicate with what what's what's going on? And
• 14:00
  Speaker 5: then not to mention you always wanted to make it
• 14:02
  Speaker 5: look good and how you want to make it look,
• 14:04
  Speaker 5: you know, not just some generic, you know, flat shot
• 14:08
  Speaker 5: of just coverage. You wanted to make it look cool,
• 14:10
  Speaker 5: make it look like if your own and kind of edgy,
• 14:14
  Speaker 5: you know, and it look like you really put some production.
• 14:18
  Speaker 4: Value into it. And you've got to do that within
• 14:21
  Speaker 4: a budget.
• 14:23
  Speaker 5: And so yeah, I mean the other thing is it's
• 14:26
  Speaker 5: always great to have a bunch of hands on set,
• 14:29
  Speaker 5: but it also can get too many hands and you
• 14:31
  Speaker 5: got too many people put in their two cents. And
• 14:35
  Speaker 5: you know, I feel comfortable enough where I can walk
• 14:38
  Speaker 5: into a gym shoot with a fighter, you know, especially
• 14:43
  Speaker 5: somebody that I know or account that I know, and
• 14:45
  Speaker 5: it could be myself and you know a PA and
• 14:49
  Speaker 5: in a shooter or you probably have to shoot and
• 14:52
  Speaker 5: something to do it. I'm completely confident that I can
• 14:55
  Speaker 5: get what I need to get done and communicate with
• 14:58
  Speaker 5: the fighter because I kind of is also just like
• 15:00
  Speaker 5: in anything else, because it's kind of a unspoken rule
• 15:04
  Speaker 5: book of what you're supposed to do within the gym
• 15:07
  Speaker 5: or within a certain environment, and you want to kind
• 15:11
  Speaker 5: of make it look like you've been there before.
• 15:14
  Speaker 4: So once they get the.
• 15:15
  Speaker 5: Feeling that they kind of know you or you kind
• 15:18
  Speaker 5: of have that cred I think you're you know that
• 15:22
  Speaker 5: kind of for the doubt, you know, you'll get the
• 15:24
  Speaker 5: extra twenty minutes to get some extra stuff. He may
• 15:28
  Speaker 5: you know, that's that fight er that that you may
• 15:31
  Speaker 5: be able to get some extra stuff where maybe the
• 15:35
  Speaker 5: initial interview didn't wasn't able to get because he was nervous.
• 15:39
  Speaker 4: That you know, you didn't want to relate that to anybody.
• 15:43
  Speaker 5: But because if you created that relationship, now you've gained
• 15:46
  Speaker 5: some information that hey, this would be a great storyline
• 15:49
  Speaker 5: to kind of add.
• 15:50
  Speaker 4: Into the piece. So and then at the end of
• 15:54
  Speaker 4: the day, you have a job to do.
• 15:56
  Speaker 5: It's as a producer that uh, you know DP or
• 15:59
  Speaker 5: you really got to kind of the guy is just
• 16:02
  Speaker 5: kind of sitting there. He's cutting twenty pounds, for instance,
• 16:06
  Speaker 5: and he's kind of a lump.
• 16:08
  Speaker 4: You gotta you gotta say, hey, let's just get this done.
• 16:11
  Speaker 4: Let's try to sell this fight and give me, give
• 16:14
  Speaker 4: me all you can give me for you know, fifteen minutes,
• 16:17
  Speaker 4: and we'll get you back to what you do. Get
• 16:20
  Speaker 4: yourself ready to this fight. Well let's get people with
• 16:22
  Speaker 4: the watch, you know. So it's a lot of give
• 16:26
  Speaker 4: and take, and uh, you know, at the end of
• 16:29
  Speaker 4: the day, I'm just trying to make.
• 16:31
  Speaker 5: Them look good. You know, That's one thing I try
• 16:34
  Speaker 5: to really do. So the talent, I want him to
• 16:36
  Speaker 5: look good. Ben, they will be the one to say, hey,
• 16:38
  Speaker 5: I want to work with this guy. He understands me
• 16:41
  Speaker 5: and makes me look good.
• 16:43
  Speaker 4: You know.
• 16:44
  Speaker 3: And you know, Jared, you mentioned being a people person
• 16:46
  Speaker 3: and how you know important that is. I know, I
• 16:49
  Speaker 3: think that is a great point to make because you know,
• 16:52
  Speaker 3: I've been on set sometimes where you know, even the
• 16:54
  Speaker 3: director's cinematography or even the director has just been a
• 16:59
  Speaker 3: conclude eat jerk to everybody, and you know they're yelling
• 17:04
  Speaker 3: you know, every everything is yelling at everybody, so you know,
• 17:07
  Speaker 3: by the end of the day, they're just praised katruing
• 17:10
  Speaker 3: that guy out.
• 17:11
  Speaker 6: Yeah, I mean it's it's like I said, if things
• 17:14
  Speaker 6: are gonna go wrong, dude, So if you know I've
• 17:18
  Speaker 6: had fighter, what ourory or I'm the same fighter, That's
• 17:23
  Speaker 6: what I'm working on right now.
• 17:24
  Speaker 5: But it doesn't matter if you're retirelet to you're working
• 17:27
  Speaker 5: with you've got things are gonna go wrong. If I'm
• 17:30
  Speaker 5: getting a point technically for getting missed, all that kind
• 17:35
  Speaker 5: of stuff. But if they you know, you've developed the rapport,
• 17:40
  Speaker 5: maybe not that guy, but maybe his body or something
• 17:43
  Speaker 5: like that.
• 17:44
  Speaker 4: You you're gonna get the benefit of the doubt. If
• 17:46
  Speaker 4: you tiptoe around him and make him feel awkward.
• 17:50
  Speaker 7: I think it's kind of create an environment that that's
• 17:54
  Speaker 7: not condused to not only to get your help you out,
• 17:57
  Speaker 7: but I think it just creates something like a like
• 17:59
  Speaker 7: a trust a mistrust situation.
• 18:02
  Speaker 5: Well, you just want to create like a really kind
• 18:04
  Speaker 5: of relaxed You want them to be themselves. You know, hey,
• 18:09
  Speaker 5: help me out. I promise I'll make you look good.
• 18:12
  Speaker 5: You want to give him the confidence that you're not
• 18:14
  Speaker 5: there to make him look bad. Ultimately, there's black and white.
• 18:18
  Speaker 5: As that sounds, that's really you know, these especially if
• 18:23
  Speaker 5: you're working with somebody who's you know, if you're working
• 18:27
  Speaker 5: with an Albert Poohole, so you're working with the hoist Gracie,
• 18:29
  Speaker 5: you're working with somebody who's always he's got a camera
• 18:32
  Speaker 5: in their face all the time. You want them to
• 18:35
  Speaker 5: kind of develop a trust with key so you know
• 18:38
  Speaker 5: they're otherwise they're they're just gonna be like, Okay, yeah,
• 18:41
  Speaker 5: I'm just gonna give you the same answer I will
• 18:42
  Speaker 5: give everybody out.
• 18:44
  Speaker 4: You want the new answer, you want the new look.
• 18:47
  Speaker 5: You want the the thing that somebody else is going
• 18:49
  Speaker 5: to get, you know, and and it comes with you know,
• 18:54
  Speaker 5: I think confidence, knowing what you're doing, being ready, but
• 18:57
  Speaker 5: also kind of developing that uh personal relationship.
• 19:01
  Speaker 3: Yeah, you know that's an excellent point.
• 19:04
  Speaker 4: You know.
• 19:04
  Speaker 3: I always find if you're going to interview somebody, basically
• 19:08
  Speaker 3: not if you could if you can talk to them
• 19:09
  Speaker 3: even through email beforehand, that's a huge bonus. But if
• 19:12
  Speaker 3: you have to meet them the day of which you know,
• 19:14
  Speaker 3: I've been in that situation too, you know, I find that,
• 19:17
  Speaker 3: you know, just talking with them for five to ten minutes.
• 19:21
  Speaker 3: Shaking the hand is important, sort of getting that like
• 19:23
  Speaker 3: a physical contact, you know what I mean. They know
• 19:26
  Speaker 3: you're not going to be you know, pretty but basically
• 19:28
  Speaker 3: a jerk, you know. And you know, one thing that
• 19:31
  Speaker 3: I've I've learned is whenever I'm going to interview us
• 19:34
  Speaker 3: a subject, so if whenever I see they're nervous, I
• 19:37
  Speaker 3: usually just roll the camera and I begin talking to
• 19:41
  Speaker 3: them and I said, you know, okay, you know, we'll begin,
• 19:44
  Speaker 3: you know, whenever you're ready. So basically I'm just rolling
• 19:46
  Speaker 3: because you know, we're all shooting going digital now so
• 19:48
  Speaker 3: there's no film, but we're wasting, so you know, I
• 19:50
  Speaker 3: usually roll and just say, you know, whatever you feel comfortable,
• 19:53
  Speaker 3: you know, you could introduce yourself and start talking.
• 19:57
  Speaker 2: We'll be right back after a word from our sponsor
• 20:03
  Speaker 2: and now back to the show.
• 20:06
  Speaker 3: Basically sort of it makes them feel that they're in
• 20:08
  Speaker 3: control of the situation, which some degree they are, but
• 20:12
  Speaker 3: they aren't.
• 20:13
  Speaker 5: If you know what I mean, man, Yeah you wanna yeah,
• 20:17
  Speaker 5: if you if you if you're you want to make
• 20:19
  Speaker 5: them feel like you're ready, but you're you know, not
• 20:22
  Speaker 5: necessarily waiting on them. But yeah, you want to feel
• 20:24
  Speaker 5: like just I mean, I think it's creating an environment
• 20:27
  Speaker 5: where they feel relaxed.
• 20:29
  Speaker 4: If you know this, there's this sense of anxiety, whether
• 20:31
  Speaker 4: they would it or not.
• 20:33
  Speaker 5: So if you can kind of nip that in the
• 20:35
  Speaker 5: butt right away, like hey, listen, I'm gonna get out
• 20:38
  Speaker 5: of your way, you know, and and we're gonna get you.
• 20:42
  Speaker 5: We're gonna make you look good. Everything's taken care of,
• 20:44
  Speaker 5: everything's organized, you know whatever, let's chill. You know, maybe
• 20:48
  Speaker 5: you crack a joke something to kind of humanize yourself
• 20:52
  Speaker 5: because they don't want you think you're a robot and
• 20:54
  Speaker 5: kind of yeah, it's at the end of the day.
• 20:58
  Speaker 5: I feel like I've always been able to get the
• 21:00
  Speaker 5: you know, because you're always gonna get the oh we
• 21:02
  Speaker 5: need to get that or oh, by the way. So
• 21:05
  Speaker 5: if you develop a personal relationship, you know, you can
• 21:09
  Speaker 5: text or call these guys and just say, hey, man,
• 21:11
  Speaker 5: I hate to bother you again, but you know this, uh,
• 21:15
  Speaker 5: you know, I really need to grab this one extra thing.
• 21:17
  Speaker 5: I can't get five more extra minutes of your time,
• 21:20
  Speaker 5: and I rarely have that, you know, that time where
• 21:26
  Speaker 5: the talent is unless and less they're really doing something
• 21:30
  Speaker 5: where they said no.
• 21:31
  Speaker 4: You know, you say they're like, yeah, man, no problem.
• 21:33
  Speaker 5: Give me, you know, give me an hour, let's do
• 21:35
  Speaker 5: it right before dinner or something like that. So and
• 21:38
  Speaker 5: you know, like I said, that's kind of helped me
• 21:41
  Speaker 5: in that avenue, you know where I'm like, Okay, yeah,
• 21:44
  Speaker 5: no problem, man, thank you forgiving me your extra time.
• 21:47
  Speaker 5: I'll work around you. You know, I'm in your environment.
• 21:50
  Speaker 5: You're not in my environment.
• 21:51
  Speaker 4: You know that kind of thing.
• 21:52
  Speaker 3: So, uh yeah, yeah, they developed never poor. It is
• 21:56
  Speaker 3: very important, you know. I I great agree one hundred percent.
• 21:59
  Speaker 3: You know that that is something that I found over
• 22:02
  Speaker 3: the years as well. You know, and you know, I
• 22:06
  Speaker 3: know you also you know, as you mentioned before, you
• 22:08
  Speaker 3: work on films as well, so you know sort of
• 22:11
  Speaker 3: to transition to that. You know, when you're on a
• 22:13
  Speaker 3: film set, obviously you know there is going to be
• 22:15
  Speaker 3: a director you know, hope hopefully, right Jared. But uh yeah,
• 22:19
  Speaker 3: but but if you know you're you're working a film set,
• 22:23
  Speaker 3: you know, I I think you're building that that teamwork
• 22:26
  Speaker 3: and building that trust is sort of key because you know,
• 22:29
  Speaker 3: I've been on film sets where you know, there is
• 22:32
  Speaker 3: no teamwork, uh sort of everybody is off on their
• 22:35
  Speaker 3: own little island, so to speak. Sure, and yeah, and
• 22:39
  Speaker 3: you really don't feel like everyone's kind of working together.
• 22:42
  Speaker 3: You feel like everyone's working and doing their job, but
• 22:45
  Speaker 3: it's not to do the same goal, if you know
• 22:47
  Speaker 3: what I mean.
• 22:47
  Speaker 5: Yeah, I mean I would say that whenever I have
• 22:51
  Speaker 5: an opportunity to put together guys, or I walk into
• 22:54
  Speaker 5: a situation where, you know, whether I'm replacing somebody else
• 22:59
  Speaker 5: or you know, you're you cut everybody's crude already and
• 23:05
  Speaker 5: you're kind of brought into you kind of manage the team.
• 23:09
  Speaker 5: Uh you know, you you're you feel kind of like
• 23:13
  Speaker 5: you're walking into enemy territory or something like that. Tell
• 23:16
  Speaker 5: them once again, you know, I always try to nip
• 23:18
  Speaker 5: that in the butt, you know. And if you can
• 23:20
  Speaker 5: get along with everybody and kind of show them that
• 23:23
  Speaker 5: you don't have an agenda, I think that and your
• 23:26
  Speaker 5: agenda is just to do a good job, you know.
• 23:29
  Speaker 4: I think that that.
• 23:31
  Speaker 5: Whether it takes time more time than other times than not, uh,
• 23:36
  Speaker 5: you know, it seems to kind of work. That's kind
• 23:38
  Speaker 5: of worked for me. Is that, Hey, guys, are just
• 23:41
  Speaker 5: you know, not that that's the situation. I understand. I
• 23:44
  Speaker 5: don't know you guys, I'm sure you guys are all talented.
• 23:47
  Speaker 5: Let's do a good job here. There's any confusion, I
• 23:50
  Speaker 5: promise you. Or something goes wrong, you know, I'll stick
• 23:54
  Speaker 5: up where you. We're not here to throw anybody under
• 23:55
  Speaker 5: the butt, and let's just do a good job and
• 23:58
  Speaker 5: get and and make this look good and kind of
• 24:01
  Speaker 5: go over what we what you can and the allotted
• 24:05
  Speaker 5: time because it's never enough time, you know that.
• 24:07
  Speaker 3: So yeah, it's always time and money, right, Jared.
• 24:10
  Speaker 4: Oh are you kidding?
• 24:11
  Speaker 5: The Yeah, I'm learning more and more as I do
• 24:15
  Speaker 5: things to keep asking for even more time than I'm
• 24:19
  Speaker 5: giving because there's always the ode by the way, and
• 24:22
  Speaker 5: there's always the you know, I've changed my mind, you
• 24:26
  Speaker 5: know so, And is as much as you want to
• 24:30
  Speaker 5: get aggravated and get angry, it's just but it doesn't
• 24:33
  Speaker 5: really help, you know. You just want me to get
• 24:35
  Speaker 5: on and I hope the guys that are around you
• 24:39
  Speaker 5: I can can I have the same mindset and ready
• 24:42
  Speaker 5: for it as well.
• 24:44
  Speaker 3: Yeah, you know, I I find that you know the
• 24:46
  Speaker 3: shooting schedules where you know you're working like sixteen, eighteen
• 24:50
  Speaker 3: twenty hour days and you're you're trying to smush all
• 24:54
  Speaker 3: of this shooting schedule into a very short window. I
• 24:58
  Speaker 3: found that, you know, over the years that not only
• 25:01
  Speaker 3: I think is that, well, I just feel that that's
• 25:04
  Speaker 3: not the right way anymore. And I think more more filmmakers,
• 25:06
  Speaker 3: more indie filmmakers are coming to their to their senses
• 25:10
  Speaker 3: that you know, we don't have to emulate the big
• 25:12
  Speaker 3: guys and and shoot, you know, an entire script in
• 25:16
  Speaker 3: you know, this little tiny window if we can, let's
• 25:18
  Speaker 3: get a little more breathing room in here, and you
• 25:21
  Speaker 3: know that way, we're not you know, burning ourselves out
• 25:23
  Speaker 3: within the first week. I mean, is that something you're
• 25:25
  Speaker 3: finding out as well?
• 25:26
  Speaker 5: Yeah, it's you know, it's stretching. It just depends, I
• 25:30
  Speaker 5: think where the lines are drawn as parts what you
• 25:33
  Speaker 5: are and aren't doing, you know, especially in regards to
• 25:37
  Speaker 5: budgeting and that kind of thing. Uh, you know, I've
• 25:42
  Speaker 5: got a lot If everything is laid out and everybody
• 25:45
  Speaker 5: and everything's very transparent and you kind of see from
• 25:49
  Speaker 5: beginning to end all the you know ab CD.
• 25:53
  Speaker 4: You know, everything is led out.
• 25:55
  Speaker 5: Pre productions done, you should be pretty ready right on
• 25:59
  Speaker 5: page and not really kind of burning yourself out. But
• 26:03
  Speaker 5: as you know, uh, that never happened, so you you know,
• 26:08
  Speaker 5: but that's cool, and uh, you know, for the most part,
• 26:12
  Speaker 5: that's kind of what I was brought along in that hemsphere.
• 26:16
  Speaker 5: So it's it's not comfortable for me. It's not the
• 26:22
  Speaker 5: most ideal situation, but I excel at it, and uh,
• 26:26
  Speaker 5: you know it's at the end of the day, you know,
• 26:30
  Speaker 5: I still still get the job done. I get it
• 26:33
  Speaker 5: the way I wanted to look, and uh, I think
• 26:36
  Speaker 5: that which counts. And so yeah, telling a good story, right,
• 26:40
  Speaker 5: that's what you're there to do.
• 26:42
  Speaker 3: So yeah, exactly, and you know that. That's actually one
• 26:46
  Speaker 3: of my next questions for you was, you know, you know,
• 26:48
  Speaker 3: what advice would you give to directors who who who
• 26:53
  Speaker 3: work with cinematographers. You know, maybe there's something they do
• 26:56
  Speaker 3: that you know, is grading on cinematographers or some directors
• 27:00
  Speaker 3: where you know, maybe they're they're sometimes they're not clear enough.
• 27:02
  Speaker 3: So you know, if you you know, what advice would
• 27:05
  Speaker 3: you give to directors when theyre working with cinematographers.
• 27:07
  Speaker 5: Yeah, I mean I think number one, you know, if
• 27:11
  Speaker 5: you bring in a cinematographer and where you do a
• 27:14
  Speaker 5: good job, you know, uh, you look at their work,
• 27:18
  Speaker 5: you said, wow, this guy's good, and you brought them
• 27:20
  Speaker 5: in to do something. I think you just trust them
• 27:22
  Speaker 5: with it, you know, especially I turned on to carry
• 27:28
  Speaker 5: an ego with me, so I can't you know, I don't.
• 27:30
  Speaker 4: Know if that's a good or bad thing sometimes, but.
• 27:35
  Speaker 5: You know, go in, just try to do a good
• 27:37
  Speaker 5: job and and once again develop rapport with you're a director,
• 27:43
  Speaker 5: and see how he likes to, you know, and get
• 27:46
  Speaker 5: on the same page with him, and and really do
• 27:49
  Speaker 5: as much free production if humanly possible. So you when
• 27:53
  Speaker 5: you walk in it it's something that you're you're ready,
• 27:56
  Speaker 5: you're ready to go. You know exactly how you wanted
• 27:58
  Speaker 5: to look that matches up with the end product, and
• 28:02
  Speaker 5: so that when they're going through daily they're looking for it.
• 28:06
  Speaker 4: Hey, I think it shortens your days, you know.
• 28:09
  Speaker 5: I think at the end of the time, at the
• 28:10
  Speaker 5: end of the day too, it keeps them on budget
• 28:12
  Speaker 5: because you're not sitting there sleeaking with things consistently or
• 28:16
  Speaker 5: doing pickups and.
• 28:17
  Speaker 4: That kind of thing.
• 28:18
  Speaker 5: And uh yeah, I mean, number one thing, it's just trusting,
• 28:22
  Speaker 5: you know. Really, if you bring in somebody to do
• 28:25
  Speaker 5: a job and you see and you or or you
• 28:28
  Speaker 5: know you've worked with.
• 28:29
  Speaker 4: Them in the past.
• 28:29
  Speaker 5: It's just trusting their their eye and and that they're
• 28:33
  Speaker 5: going to be there and do what you uh want
• 28:36
  Speaker 5: them to do. Actually, they've got a director here calling me. Now, yeah, line,
• 28:41
  Speaker 5: did you take it? I can call them back here
• 28:44
  Speaker 5: in a moment. Are we almost wrapping up here?
• 28:47
  Speaker 4: Uh?
• 28:47
  Speaker 3: Yeah, probably like three minutes? Is that right? Uh? So,
• 28:52
  Speaker 3: you know, uh, you know, is there any advice then
• 28:54
  Speaker 3: you have for first time cinematographers.
• 28:58
  Speaker 5: I mean, uh yeah, I would say, you know it,
• 29:04
  Speaker 5: you know, developed develop relationships with with with people in
• 29:09
  Speaker 5: the business. You know, networking is always great. No, I
• 29:13
  Speaker 5: think doing things the right way the first time and
• 29:16
  Speaker 5: getting off on that foot in regards to you know,
• 29:20
  Speaker 5: showing what you can do but not stepping on people's
• 29:23
  Speaker 5: toes kind of give you because you're going to develop
• 29:26
  Speaker 5: a reputation one way or another, so it might as
• 29:28
  Speaker 5: well be a good reputation.
• 29:29
  Speaker 4: You know. And you know, making things look you know,
• 29:35
  Speaker 4: scratch that itch man. You know.
• 29:37
  Speaker 5: That's the one thing I started doing was I was like, man,
• 29:40
  Speaker 5: this looks so great. How do I do this? And
• 29:43
  Speaker 5: how can I do this? Uh with what I have?
• 29:45
  Speaker 5: You know, how can I attain this look? With what
• 29:48
  Speaker 5: what I have to use, and you know, trying to
• 29:53
  Speaker 5: recreate certain looks.
• 29:56
  Speaker 2: We'll be right back after a word from our sponsor,
• 30:02
  Speaker 2: and now back to the show.
• 30:06
  Speaker 5: And certain ways of shooting and always trying to you know,
• 30:12
  Speaker 5: change things up so it's not always the repeat. You know,
• 30:15
  Speaker 5: it's not not everything you do with the same you know,
• 30:18
  Speaker 5: because I think everybody who's picking up a camera and
• 30:20
  Speaker 5: he's trying to be a VP is really just uh,
• 30:24
  Speaker 5: you know, it's really just uh, it's an outlet for creativity,
• 30:27
  Speaker 5: you know, So that outlet of creativity, you're trying to always.
• 30:31
  Speaker 4: Come up with new looks.
• 30:33
  Speaker 5: You may not be the first person to do that,
• 30:36
  Speaker 5: but it's always a I think it's self satisfying when
• 30:40
  Speaker 5: you are able to accomplish something that you know, you
• 30:45
  Speaker 5: pull off a look that you're like, man, I I
• 30:48
  Speaker 5: wanted to look this way. I've got my mind's eyes,
• 30:52
  Speaker 5: got it. And when you when it's in the can
• 30:55
  Speaker 5: and everything looks just the way you want it to
• 30:58
  Speaker 5: be and the delivery was right there, you know, you
• 31:01
  Speaker 5: get that that self joy and if you're able to
• 31:04
  Speaker 5: do it the right way without stepping on his and
• 31:06
  Speaker 5: herst toes and you know, pissing off this guy and
• 31:10
  Speaker 5: that guy. You know, I think that that's really it's
• 31:13
  Speaker 5: really cool, really cool Mohammed that I have. It's like, hey,
• 31:19
  Speaker 5: actor was happy, the producer is happy that, you know,
• 31:24
  Speaker 5: the talent loves working with me.
• 31:28
  Speaker 4: You know, the PA was happy just to be there.
• 31:32
  Speaker 5: You know, that kind of thing when everybody just like
• 31:34
  Speaker 5: I love being there and you kind of helped be
• 31:38
  Speaker 5: a part of it.
• 31:39
  Speaker 4: And then you also get that that end project that
• 31:43
  Speaker 4: looks fantastic. It's really gratifying.
• 31:46
  Speaker 3: Yeah, and you know, I concur you know, it really
• 31:49
  Speaker 3: is great when everyone sort of uh you know, comes together.
• 31:52
  Speaker 3: You know, I just to I know, you have to go.
• 31:54
  Speaker 3: So just just to sort of close this out, you know,
• 31:56
  Speaker 3: I recently was on a I was working with m
• 31:58
  Speaker 3: Night Shaman's producer, and we got to go to this
• 32:02
  Speaker 3: post production house and it was a beautiful theater. And
• 32:05
  Speaker 3: the guy who works there was saying, you know that
• 32:09
  Speaker 3: the track lighting that they use on the floor there,
• 32:12
  Speaker 3: there's floor lights.
• 32:13
  Speaker 4: He said.
• 32:14
  Speaker 3: As soon as they started screening footage of another movie,
• 32:17
  Speaker 3: the director's cematography was like, wait a minute, he goes,
• 32:19
  Speaker 3: this color is off down in the bottom left here.
• 32:22
  Speaker 3: What the hell is going on, and then he turned
• 32:24
  Speaker 3: off the lights and now it's like pitch black except
• 32:26
  Speaker 3: for the screen, and the director photography was like, okay,
• 32:29
  Speaker 3: now this is now, this looks good. I remember this
• 32:31
  Speaker 3: looking like this now, and you know, and everyone's sort
• 32:34
  Speaker 3: of you know, you know obviously you know, some people
• 32:37
  Speaker 3: probably wouldn't even notice that, but obviously you know he
• 32:40
  Speaker 3: did because you know he has that.
• 32:42
  Speaker 5: I details are always something that you're especially you know
• 32:49
  Speaker 5: you're looking. Now it's even more difficult, I think, because
• 32:53
  Speaker 5: you have you know, everybody is shooting. He's shooting in
• 32:57
  Speaker 5: conctantly because it's cheap, and you don't have you know,
• 33:00
  Speaker 5: my name's not Quitting Chantino, so don't have yet the
• 33:04
  Speaker 5: ability to shoot on film. So uh, you're just constantly
• 33:08
  Speaker 5: shooting because it's cheap, and you're just taking another director
• 33:11
  Speaker 5: maybe watching them this monitor, you know, so if they're
• 33:15
  Speaker 5: not calibrated.
• 33:16
  Speaker 4: Correctly, who knows what they're seeing?
• 33:18
  Speaker 5: You know, who knows what they're Maybe they're looking at
• 33:21
  Speaker 5: as the raw without a lut dropped in and you're
• 33:24
  Speaker 5: just you know, you're looking at nonsense essentially.
• 33:27
  Speaker 4: So yeah, there's it's it's it's an interesting.
• 33:31
  Speaker 5: Thing where you never know who's going to be looking
• 33:35
  Speaker 5: at it and where they're going to be looking at it,
• 33:37
  Speaker 5: and uh and what lightings you know set up. Are
• 33:41
  Speaker 5: they sitting there a dark room, they sit in a
• 33:42
  Speaker 5: light room with it looking at a vino monitor.
• 33:45
  Speaker 4: Are they looking at it's twenty four K monitor? They're
• 33:47
  Speaker 4: looking at it oled you know.
• 33:49
  Speaker 5: So it's that's another thing I would say, especially with
• 33:53
  Speaker 5: the old thing, that's that's dp's best.
• 33:58
  Speaker 4: Friend, is no lead monitor if you can have one
• 34:01
  Speaker 4: on set.
• 34:01
  Speaker 5: But all the times I was just doing that because
• 34:05
  Speaker 5: then you know exactly what you're seeing and at the
• 34:08
  Speaker 5: end of the day.
• 34:10
  Speaker 3: Yeah that that post production house recommended that as well,
• 34:13
  Speaker 3: because they actually had their workflow recommendation and that was
• 34:16
  Speaker 3: on there. The monitor.
• 34:17
  Speaker 5: Yeah, I mean, yeah, an O lead monitor is it's
• 34:23
  Speaker 5: especially for running gun stuff. You're walking into floors and
• 34:27
  Speaker 5: you woke it into uh you know, Jeff who knows
• 34:32
  Speaker 5: you and you're trying to set up you want to
• 34:35
  Speaker 5: make sure that you've got one of those on on.
• 34:37
  Speaker 4: Site because there's a couple of them out there.
• 34:41
  Speaker 5: The Odicity now has one where you can drop on
• 34:45
  Speaker 5: a lot and match it up, so it's pretty close
• 34:50
  Speaker 5: to what your editor is going to be looking at
• 34:54
  Speaker 5: or your colors, it's going to be kind of looking
• 34:56
  Speaker 5: at so uh you know, correct your black and those
• 35:00
  Speaker 5: kind of things, which is just, i mean just incredible
• 35:04
  Speaker 5: to have on site. You're not guessing and hoping that
• 35:09
  Speaker 5: the guy you know the colors decides to go this
• 35:12
  Speaker 5: way or that way. It's it's just I mean, I
• 35:14
  Speaker 5: can't tell you how much that saved me and saved
• 35:17
  Speaker 5: my probably my careers.
• 35:19
  Speaker 4: You're having one of.
• 35:20
  Speaker 5: Those on on site all times, you know, is not
• 35:25
  Speaker 5: as the able to see you close to end product on.
• 35:29
  Speaker 4: Specially low budget type stuff.
• 35:32
  Speaker 3: So yeah, that's you know again, like one of the
• 35:35
  Speaker 3: things they were saying was, you know again like these cinematographers,
• 35:38
  Speaker 3: they they always tell them how important that the the
• 35:42
  Speaker 3: that particular monitor is. So anyone listening to this, I'll
• 35:45
  Speaker 3: make sure it links to it in the show notes.
• 35:46
  Speaker 3: The monitor we're talking about. Jared, I you know, I
• 35:50
  Speaker 3: know you have to go. So you know in closing,
• 35:52
  Speaker 3: you know where you'll find you out online.
• 35:54
  Speaker 5: You can take out Jared has video dot Com. I
• 35:59
  Speaker 5: also do I'm doing the new show with for Bellator
• 36:03
  Speaker 5: for the upcoming fight of February nineteenth with GRAYCI and Shamrock,
• 36:07
  Speaker 5: so you can check out my work there. The show
• 36:11
  Speaker 5: will be released the leak prior. Yeah, and I'm actually
• 36:15
  Speaker 5: doing some stuff this week for ESPN Phil. We're doing
• 36:18
  Speaker 5: a couple of Bowl game type stuff.
• 36:20
  Speaker 4: So yeah, I'm all over the place. Yeah, I would
• 36:24
  Speaker 4: stopped working since the tenth.
• 36:26
  Speaker 3: So you're on Twitter as well, right?
• 36:29
  Speaker 4: Yeah?
• 36:29
  Speaker 5: Twitter Dared had zero six and Instagram Jared had zero
• 36:34
  Speaker 5: six as well, but it's usually just basis of my son.
• 36:39
  Speaker 3: I will link all that in the show notes everybody. Jared,
• 36:41
  Speaker 3: I want to say thank you very much for coming on.
• 36:43
  Speaker 4: Hey, thanks for having me man, good talking.
• 36:46
  Speaker 3: Good talking to you too, buddy, Take care are you bye?
• 36:49
  Speaker 2: I want to thank Dave so much for doing such
• 36:51
  Speaker 2: a great job on this episode. If you want to
• 36:53
  Speaker 2: get links to anything we spoke about in this episode,
• 36:55
  Speaker 2: head over to the show notes at Bulletproof Screenwriting dot tv.
• 36:58
  Speaker 2: Forward slash four. Thank you so much for listening to guys.
• 37:01
  Speaker 2: As always, keep on writing no matter what.
• 37:04
  Speaker 4: I'll talk to you soon.
• 37:05
  Speaker 1: Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproof
• 37:09
  Speaker 1: Screenwriting dot tv.