Hi everyone (if anyone is still out there). It's been a while. I'm currently trying to turn around from days to nights so I'm forcing it by staying up as long as I can. I usually accomplish this with copious amounts of vodka and Copenhagen, but since I have a doctor's appointment for a physical in the morning, I'll try to push on through with coffee. The writing will probably suffer.
Everything is cool here. Work has started back on a regular basis now. I actually get a couple of calls a week looking for Dolly Grips and I just tell them, "Good luck." Other than that, not much to report. I'll try and get back to more technical stuff in the future so if anyone has any ideas for things they would like to see covered, please drop an email or leave something in the comments. I plan to revisit operator/ dolly grip relationships in the future as a kind of supplement to the Dolly Grip Q and A's that Sean Devine and I did over the summer. We had a great turnout and some very interesting guests. If you want to hear some Dolly Grips and Operators at the top of their game, see some video with commentary on how they accomplished some cool shots, and hear my dumbass drone on for an hour, click the link. I also listened to a podcast on the way home from work called Protecting the Frame. I listened to the episode featuring my friend Casey Hotchkiss, one of the funniest people on earth. They have several interviews with great Operators including Chris Mcguire, whom I'm working with now. It will give some great insights as to how Dolly Grips can be more effective in working with your Camera Operators and Focus Pullers.
In the meantime, I'll try to get my thoughts together on some new material. Actually, maybe something about Focus Pullers would be the way to go. As a start, there is an article in this edition of ICG Magazine featuring interviews with Dolly Grips and 1st AC's about their working relationships. Give it a look!
Till next time (I'll try not to take as long),
Nights. Ugh. I enjoyed working nights early in my career - back then, night work felt more exciting than working days, and to be fair, turning a series of dark streets or alleys into a great looking set was as fun as it was impressive. With so much cable to run and so many lights to set, there was a palpable sense of mission, and the euphoria of wrapping as the sun came up packed a bigger endorphin rush than any drug I ever tried. The 3:00 a.m. to dawn part wasn't great, but as soon as the sky began to turn gray in the east, all the pain was forgotten.
But that was then, and the older I got, the less appealing working movies''til-dawn became, which is one reason I went into sitcoms.
That said, I have good memories of those early days ... er, nights.
I hope this siege of nights goes well for you.
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