True Grit

  I'm a huge fan of The Duke. True Grit, along with The Searchers and Big Jake, is one of my favorites (the dolly-in on Ethan's reaction in The Searchers as he enters the asylum and sees the women who have been brutalized by the Comanche has always stuck in my mind). So it was with some trepidation that I went to see the remake by the Coen Brothers (remake isn't entirely accurate. The Coens went mostly with the Charles Portis novel which has a different ending and a different point of view altogether) I just couldn't see anyone taking the place of The Duke in the role of Rooster Cogburn, for which Wayne won his only Academy Award. I was wrong, on many counts. It's good. It's real good. I knew going in that technically, a movie made in the sixties would be inferior to a modern retelling, but in my opinion, everything worked much better. The story flowed much more naturally (as it should if it followed the novel) And of course Matt Damon as LeBoef was light years ahead of Glen Campbell's stilted performance in the original.The star of the show, however is young Hailee Steinfeld as Mattie Ross. No one really liked Kim Darby in the original, but Steinfeld's Mattie Ross runs away with the show hands down. If she doesn't get an Oscar for this one, no one should get one. But enough about the cast. There are more than enough reviews out there to cover that sufficiently. Roger Deakins and company have turned out one of the most beautifully photographed movies I've seen in years. On a crisp digital projection, it's jaw- dropping in places. Dolly Grips Bruce Hamme, and Rick Marroquin did truly beautiful work with sweeping crane shots and understated push-ins. Gentlemen, this is the one we all wanted to work on*. Dollygrippery  salutes you. Your contributions helped make True Grit a beautiful piece of work.

* A buddy of mine heard that I was working on a Coen Brothers picture at the time this was being shot. After bombarding me with baffling texts wondering if I could help him get a spot on  True Grit, I made it clear that I was actually working on a Farrelly Brothers picture, and while I love Bobby and Peter, I would have gladly left for a Dolly slot on Grit.

Update

  Not much to report. It's TV, which basically means that you start every Monday somewhere between 6:00 and 7:00am, depending on how much of a precall you need to build cranes or load stakebeds, or whatever the puppetmasters have pre-ordained for you to do. By Wednesday, you're probably coming in by 10:00am at the earliest; and by Friday, it's either a split, or a straight night. Which is what we have. We seriously started on stage on Monday, worked on stage all week until Friday, which is a full night exterior in Long Beach. Now, those of you from Los Angeles will immediately know that Long Beach is a peel job. Those of you who aren't, will have to have it described to you. Long Beach is the one location, besides Palmdale, that all Angelinos roll their eyes and sigh wearily at when they hear it. It's far. From everything. There is literally nowhere in Los Angeles close to Long Beach except Long Beach. And if you happen to live in Long Beach, it still sucks because Long Beach, no matter how pretty it sounds, is a hole. You know those TV shows that always end with a shootout at the docks because a drug deal is going down on some boat of Liberian Registry? Long Beach. Every episode of NCIS or CSI:Miami that involves any kind of shipping container of dubious contents, whether it be kidnapped immigrants or Columbian White? Long Beach. So, tomorrow at around, oh, the beginning of the Los Angeles rush hour, I will begin my trek to Long Beach. To shoot the non-descript exterior parking lot of a bar that you could find replicated hundreds of times over in the environs of the San Fernando Valley. But I digress (because I have now had three rum and cokes). What I meant to say was that I sent my dolly in for servicing because three weeks of dusty, crappy locations had rendered it pretty near unusable. As most of you know, I generally prefer the Hustler 4. It's not really the best location dolly, but is the most versatile. For my show, a Hybrid with roundy -round would be ideal, but as it isn't available yet, the stoutness of the arm combined with the versatility of the roundy steering of the Hustler 4 make it the best choice for now. I'm going to digress here again- I love the Hustler 4. In my opinion, Chapman has created the ultimate dolly- for studio work. I can put an operator anywhere on it. I pushed a Hybrid for years but when the Hustler 4 debuted, it literally changed what was possible as far as where I could put a camera or an operator on a set. The biggest drawback in it is, its' low ground clearance, and the exposed rails the arm rides on. I could drag a Hybrid sideways behind a stakebed through the swamp for weeks (and have) and it just wouldn't stop. The Hustler 4, however, is more of a stage dolly. Anyway, I sent my dolly in for servicing and Chapman gave me a replacement. True to form, the replacement is better than the one I sent in for servicing. So here I am, Mr Big Time TV Show Dolly Grip, insisting to Chapman that I get my dolly back once it's serviced, and he sends me this one. Number 4* (yeah, like I'm going to tell you which one it is). It practically booms itself. I think I could call it on my cell phone and tell it when to boom up or down and it would do it. It's that good. So now I have to figure a way out to tell the Chapman tech that I want to keep this perfectly tuned machine after I've made an ass of myself insisting that I want the dolly that I'
ve done two shows on, that he's having serviced, back. The funny thing is, I m pretty sure I've had this dolly before. Back, long ago when I used to do movies. I remember you number 4*. And now you're mine again.
Anyway, I'm beginnig to ramble. But you get the general idea. That being, I made a big deal of insisting to my Chapman rep that I get "my" dolly back, and the temp replacement being better. Anyway. I 'm going to make another drink, so have a good night. See you in Long Beach.

I intended this morning to do what I call my "MASR,"   pronounced like "laser" or "Morning After Sober Rewrite." But, I've decided that the Captain (Morgan)'s writing style has a certain creepy charm that I rather like. The run-on sentences and awkward examples give it a flavor all it's own. So I've decided to leave it as-is, with apologies to Long Beach, Palmdale, NCIS, CSI:Miami, my high school English teacher, and anyone else who reads this random, seemingly pointless post.

Ouch!

  As most of you know, we have a new addition to our little family. Jackson is now at twelve pounds. As I was sitting on the couch last Saturday with him, it occured to me that he would make a good workout partner. I could do three sets of twenty reps of lifting him straight armed off my lap to just over my head. So I did it. A few hours later, I bent down and turned to pick up something or other and BAM. It was like an electric cattle prod  was jabbed into my lower left back. I somehow made my way to the couch after several minutes in a frozen position. There I stayed. For two days. I have now missed two days of work and tomorrow will be my first day back (the doctor told me I could stay out until Thursday, but I think I can make it back tomorrow). I've probably missed ten days of work in twenty years. I hate missing work. I will now have to endure endless jokes and jabs- "You got that old man?"- and, of course next week's check will be a little lighter. I've carried three hundred pound dollies up stairs, lifted dollies onto track, hauled plywood into sets and rarely had a complaint. It took twelve pounds of lift to put me on my back. I blame the boy.
  As I was recuperating, I had occasion to rewatch The Ring. I saw it in the theatre when it came out and was impressed with the production value, but it soon fell out of my memory like so many things do nowadays (Where are my keys,? where is my car,? Where did I leave the dolly?). Watching it again, I was struck by how well it's made. Forget the story. The Ring kicked off the craze of American studios remaking Japanese horror flicks- The Grudge, One Missed Call, etc., most of which were inferior to the original, and at least one of which, I was Dolly Grip on. The story is implausible at best. The beauty of The Ring is the atmosphere. Every frame is infused with dread. Much like Seven, the rainy, dreary Northwestern American coast is used to full effect. The dolly work by Mike Brennan is beautiful and flawless. You won't see any clumsy crane finishes or bumpy push-ins here. And the dolly work adds to the dread. Watching it for the second time, I was able to see it purely on technical terms. They took a story which they had to know was clunky and made the atmosphere the star. So check it out if you get a chance.
 Anyway, I'm back to work tomorrow and hope I can fake my way through another day.

PS- We recently crossed the hundred thousand hits mark. Thank you all for reading and contributing your knowledge and stories. As my wife reminds me- If I had a dollar for every hit.....

I Have To See It Once.

 I did a post a while back for camera operators showing ways that they could help make their Dolly Grip's life easier ( it's here). One of the points I brought up was I have to see it once. I did a show a few years ago where the camera operator would constantly verbally correct the first run-through. As in, "Too slow, too slow." or, "Boom up quicker when he stands, we didn't make it." This nearly drove me insane. Finally, I told him, "It's the first time I've seen it. I know how to do it, I just need to see it once." I think a lot of people don't realize that besides just seeing it, we also have to get the feel of it. We're getting upwards of 800 lbs of dolly, operator, and camera moving and stopping with a person* and often simultaneously booming up or down, and trying to get our timing right as well as hit a mark. Remembering how it feels to do a particular move is often just as important as remembering how it looks. Those first run- throughs are how we learn what is going to be required as far as how much strength to use to get the whole thing going and stopping again. If I'm too slow in one spot on the first rehearsal, that's actually a good thing because it tells me what I have to do to make it work. I can remember how much pull or push I used and tune it up on the next one.  The actors always do it differently than the stand-ins. This is one reason that I don't like to do too many rehearsals with stand-ins because the feel of doing it a certain way gets ingrained into your muscle memory and then you have to completely recalibrate it all with the actors. So if the first time with actors is a little off, you don't have to tell me. Believe me, I know when it's off, and where. I'm just figuring out what I need to do to fix it.
  * Or whatever we're tracking. In the last six months alone, I've had to keep up with an owl, a falcon, several cars, and fire. (yes, fire).

2010- What We Learned

"You shouldn't use the sun as a sightline. It will move."
                          - Day player to me earlier this year as I was working out a crane shot.

   2010 was a big year both personally, and at work. Our family lost a Mother, and gained a son, both within a week of each other. Work- wise, it was very busy. I did two series and a feature. Here's what I learned:

1. Although I am philosopically against cup holders on the dolly (that's all I need, one less seat receptacle and something else to lose just so you can have a place to put your coffee), a bicycle style one zip tied to the push bar is fine and completely unobtrusive. I take mine black.

2. When it comes to technocranes, the right tech is the difference between pass and fail. I knew this already, but it was reiterated on a very long day this year)

3. Keep extra wheel clips in the work box. The Hustler cart does a number on them.

4. In cold climates, be sure to run out the arm, and plug in the dolly at wrap or in the morning it's "No boom for you!"

5. Having a list of good Dolly Grips in your phone is invaluable. Unfortunately, they are always working.

6. Computers should have breathalyzers that you have to pass before you can get on the internet.

7. I need bigger cabinets for all the metal water bottles I now get as wrap gifts.

8. 1x8 dance floor pieces come in handy. Always cut one.

9. Don't lock yourself onto track if you can help it, or get away with it. Again, reiterated.

10. Soap works as well on dance floor as powder, and doesn't leave a mess. In fact, theoretically, it should clean it!

11. Luvs and Huggies leak. Pampers don't.

12. I don't let my friends know enough how much I appreciate them. Aww.

13. Cheaper ain't usually better.

14. When in doubt, use the force. It's better than the monitor.

15. Don't let well-meaning DPs who are used to working with crappy Dolly Grips talk you out of what you know. I love ya, but let go of my ears. I know what I'm doing.

16. If you convince said DPs to do it your way, you better damn well be right. I was.

Thanks to all of you for a great year and your inspiration and suggestions. Have a great New Year!
Dollygrippery.

Crane Do's and Don't's

  Our last day on the show before we shut down for the holidays was a big crane day. We had a 17' Moviebird and the shots necessitated moving it around in a relatively small space among a lot of people. This always makes me a little nervous. Besides the obvious dangers of swinging an arm around, over, and among a crowd of actors, background, and the usual suspects (vanities, 2nd AC's and AD's) you have the added variable of quick extensions and retractions. And that's what a lot of shots boil down to.... the variables. You want to decrease the number of them as much as possible. A crane shot involves a lot of them. At the least, you have a Camera Operator, a Crane Operator, and an actor.With an extendable crane, you add in a pickle operator and now you've got four variables that all have to work safely together to execute the shot. A crowd of background actors increases the variables by that much more. Earlier this year, Greg Brooks did an excellent post on Crane Marking. As I was threading the arm through the crowd last week, it occured to me that we had never really done a post on crane ettiquite. I'm going to do it in list form, making it easier to read, and for me to keep track of the points:

1. Scout the location. If you're outside, know where any possible hazards are. This especially includes power lines. There are specific distances that have been set up industry-wide for crane operation. They are here:  http://www.csatf.org/pdf/25ADDENDUM_A.pdf.

2. Know the space. Know how much room you have to operate. Don't forget to include room for the bucket swing.
3. When you are building a crane, it's the nature of the beast for everyone to want to pitch in. Don't let them. Most cranes can be assembled with two or three guys. The more hands that are on it increases the chances that something will get done wrong. A bolt won't be tightened or a piece will get left out or put on backwards. It's standard operating procedure to designate one of the guys as a wrench man, meaning it's his/her resposibility to tighten whatever bolts are used.
4. Inspect your handiwork. Once it's assembled, go over it piece by piece. Is everything tight? Are all the levelling arms connected properly? Are any pieces missing? A lot of times, a rigging crew will put it together for you before you get there. Always check the work. There are some cranes and jibs that have the connecting mechanisms inside the arm or obstructed from view (the Aerocrane Jib, the Phoenix Crane). The levelling arms on the Phoenix are connected in such a way that if you don't know what to look for, you can't tell if they are properly engaged. The AeroJib is the same way. The connections are inside the arm. Make sure they are tight and that you know how to put them together. This is one reason I like the Lenny Arm. There's no mistaking whether a nut is tight on a bolt. Support the crane as you build it. This means, don't build the arm and then attach the support rods last. Add them as you go, especially on the bucket end, until the arm is fully built. An unsupported arm can break or buckle.
5. When you are rolling a built crane into position, approach any curbs or bumps head on, square to them, never at an angle. A crane can quickly become unbalanced and flip.
6. Check the bucket latch. Fewer things can cause a cardiac arrest quicker than seeing all your weights sliding out of a bucket. It's happened to me. It ain't pretty.
7. Safety the camera. Most head techs will hard safety it anyway but always ask them if they need a safety or if they have their own. Sometimes they don't. A daisy-chain webbing and a carribeaner to the head does the trick. Don't forget to safety the matte box. Don't send a camera up on a remote head without a safety.
8. People rarely ride cranes anymore, but some do. Many operators just prefer to look through the eyepiece for focus, bogeys, etc. Buckle them in. It's not only for their safety, but also to keep them from absent-mindedly stepping off the crane and killing your bucket man. There's nothing like diving to catch an arm to get your blood flowing. When the platform reaches the ground after the shot, step on it. No one gets on or off without your say-so.
9. Know where your weight is. Stay in contact with the camera department and let them know when you are weighing in a camera or operator. I've had at least one AC take the camera off after it was weighed in. He won't make that mistake again.
10. Level your base. It's not only for safety, it keeps the arm from swinging on it's own.
11. If you're on track, it's a good idea to but a clamp or bag at the ends, especially if it's well off the ground. A dolly going off is one thing. A crane makes a much bigger, and more dangerous splash.
12. Don't let people absent- mindedly loiter under the arm while it's up. People love to stand under crane arms. I don't know why.
   These are some basics. There are many more tricks to crane work which I'm sure I've left out. Please leave any you may wish to add in the comments.
Please have a safe and happy Holiday Season, a Merry Christmas and a Happy New Year. My year end round up is coming.
D

 
 

Dealing With Surge

  I've done posts on choosing your surface before, but some of the work I did this week gave me the idea to do a refresher post. It was going to originally involve surging, the bane of all creep moves. The choice of what surface you roll on for a creep has a huge effect on the execution of the move. The more I thought about it, I decided to go ahead and include other moves as well.
  As I've stated before, and every Dolly Grip knows, creeps are the hardest, most grueling moves you can do. There's nothing quite like trying to make two feet of push-in last for two pages of dialogue. It can be mind numbing. And one thing that can make it harder is surge. Surge is the point in your beautiful, dramatic push-in where you meet an imperfection in the surface you are rolling on that causes the dolly to pick up speed or stall. It can really draw attention to itself, especially if there is a prominent foreground piece that suddenly seems to move faster or slower in the frame. Do yourself a favor, pick your surface wisely. I always try to do a creep on track. A lot of Dolly Grips use planks (usually 1x12 clear pine for example) for simple moves. I'm not a big fan of planks. In fact, I rarely use them. They just have too many imperfections that can ruin or make a creep harder. I always try to go on track when possible for a creep. It eliminates the variable of steering, and has the least imperfections of your choices, cutting out surges and stalls and allowing you to concentrate on the move and your timing. Always try to use the surface that suits each move and what you're trying to accomplish. If a lot of actors are walking through my trajectory, I'll go with floor. If the existing floor is flat and even enough, I'll go with just plastic. If it's not in the way and is just a move on a fixed plane, I'll go with track. I did make a conscious decision on my current show to go with floor in almost every case on interiors. The shots just evolve too much to get locked onto a piece of track. Foreground actors move around too much and directors always want to change the shot a couple of takes in and go tighter or wider at one point and a floor allows me to accomodate this. If the shot is a "special," though, and I know it won't change, such as a push-in on an object, or a solitary actor doing a long speech, I'll almost always go with a rail. As I've said before, one of my favorite shortcuts is to use two of my 2x8 dance floor pieces as planks for shorter moves. They have lower surge, they are easier to get in and out of sets than a 4x8, and still allow for versatility if the shot changes a little bit.
  I'm now three weeks into my show and it's been exhausting, so I haven't posted as much lately, but keep checking in. Stay safe. Till next time, and in keeping with our ongoing series of pretty actresses with dollies, this comes to us by way of Wick. It's European actress Justinia Sieniawka with a Fisher 11. Thanks Wick and Justinia! Keep 'em coming!

D

Back to Work

   I mainly wanted to get the Thanksgiving turkey off the top of the page, because the longer it's up there, the more neglected the page looks. I'm still in the midst of semi-invalid wife/ infant care, only now I've added the responsibility of work to the pile. My series started back this week. They always like to do an episode or two before the holidays to get a jumpstart on the year and provide us all with Christmas/ Hannukah (diaper) money. So I'm back in the land of dance floor and night exteriors for the time being until we shut down for the holidays. I've got some ideas for columns planned, I just need time to get to them, and maybe this coming year we'll get around to that podcast we've been planning forever. (and maybe even some t-shirts). Till then, I've got a 3PM call time and a baby screaming downstairs, so I've got to run, but I'll be back very soon. Thanks for still tuning in.

D

Happy Thanksgiving!

I'm still dealing with a screaming infant most of the day and night so posting time is still scarce. But I do want to wish everyone a happy and safe holiday. Don't let the TSA get you!

PS- Don't forget to use our forum on the right. Just click and start a conversation.

A Brief Pause

I will be away from the computer for a few days to handle some family responsibilities. Talk among yourselves. Here's a topic to help you get started..."Luma Beam Levellers-Friend or Foe?" on second thought, that one's putting me to sleep already. Let's try "Beer- The Great Equalizer." Be back soon.
D

Everybody Wants to Be a Dolly Grip

Including the lovely Laura Dern. Thanks Laura.

All right. Who's next?

The Indurberator

   "Indurberator" is what a DP I worked for many years ago called the "RO" or "rotating offset." This piece of equipment which we all take for granted goes a long way in saving our butts in a lot of situations. If you are against a wall and need that extra six inches to the left, just loosen a knob, or flip a lever if you're a Fisher guy, and BAM!, problem solved. It's really an ingenious idea that most of us never really think about. You just automatically factor it in when laying track or a floor and don't often even realize the stream of consciousness reference to it: "Ok, if I offset the RO to the right, I can set the track a little more to the left and get around that corner and still hit the number two mark. Now, where'd I leave my tape measure?"  I usually set it at about 45 degrees to the right on the inside if I'm on the big dolly and the same on the Peewee, only to the outside, to keep the operator more centered over the dolly. I have, over the last few shows, however, had some camera operators complain about the Chapman ROs'. You know, the new style (not really so new anymore, just the "newest") Hustler 4 and Peewee ROs' with the center knob and the pin under the levelling head. I'll admit, they are a pain, and light years harder to deal with than simply flipping the lever on a Fisher RO. I've turned quite a few operators on to Chapman dollies in the past few years, but this is the one sticking point: they don't like the RO.  I was at Chapman today loading in a show and spoke with an engineer about it (Leonard and Christine weren't there) and told him what I needed. He scratched his chin for a minute and said, "We'll take care of it for you." That's what I call service. So hopefully, we'll soon see a different option for the Hustler and Peewee in the Indurberator department. I'll keep you posted.

Dear Paul Maibaum, is it strange that I still remember this word after 15 years? You've coined a term!

The Last Supertechno 100 Pics

Ok, I know some of you are tired of seeing them, but I'm getting more emails asking for more. Vladimir with Supertechno sent these. Thanks to him, and all who've taken the time to send pictures. We all appreciate them and are extremely interested to see how this thing works.
Meanwhile, the series I'm presently working on is winding down. I'll have more to say about that later. I'm still debating whether or not to go back to my old standby series. They did come through with more (a lot more) money and it's 7 months of work, so I'm torn between wanting to leave myself open for feature work and the promise of a steady long run of paychecks, especially with a son due any day now. It's a great show to be on with a crew that I love, but if I gave you a list of some of the movies I turned down last year because I was committed to this thing, you would immediately write me off as a moron or a liar. Anyway, I'm tired. Bone tired. Tired of being on a movie set for as long as I can remember and in need of some time away from all of it. And I'm about to get it, thanks to the State of California and their paid family leave program (and we wonder why California is bankrupt). I hope all of you Sled Dogs out there are doing well and staying safe. (At this point in the post, I always look for some really cool, appropriate sendoff line, but I got nothing, so if you think of a good one, leave it in the comments).

More Pics

This time from Wick.

Another Techno 100 Pic

This one from Onno. You can get a better idea of the height of the post with this one. Also, a representative from Technocrane left a comment when he couldn't find the email address. It is dollygrippery at gmail dot com. Thanks for any pictures or info you may send us. We appreciate it.

What Supports You?

Pure and simple - we're on our feet all day. We aren't lucky enough to be able to come to set and plunk our set chair in a nice in the way spot and set up our magazines. We are running up and down stairs and gravel driveways - trying to find grip to start the 200ft running in parallel or Flintstoning a stop in an office hallway. I always feel it trying to do crane lock offs while trying not to move my feet from their planted spots.

I'm starting a new show this week and am trying to get into the tradition of purchasing new shoes with the start of each new show.

Generally I go through 3 - 5 pairs of runners a year. I'm a stickler. I've got wideish feet, so I've had to stay with a brand that I can get a 4E width. I've been wearing New Balance's 600 series for years. They're reasonable in price depending on where you shop. While I was waiting for the salesperson to return, I started looking around at other options (the buy one, 50% off the second pair was also tickling my wallet). I like the Merrell's, but once again, I get into an issue with finding my size and width - I've stopped wearing Nikes and Reeboks because of lack of widths - forcing me to buy larger sizes than I need (think Clown Shoes…).

Just in the last year, I've also come over to the Blunnie side. I finally plunked down the cash for a pair of Blundstones last year and have slowly been working my feet into them. I find depending on the store, the folks that sell Blundstone are a different breed of salespeople. Mind you, for the price I'd hope so, but it makes the purchase of the boot a lot easier on the pocket book, but they really want to see you happy wearing Blunnies and will do most anything to help - cleaning, stretching, footboards, etc.

All this opens another door to posture - the right shoe can go a long way to help with back trouble. Wrong shoe and you'll be in pain everyday.

What are you wearing to set?

People You Should Visit...

I'm a little short on time and inspiration this week, so I'm going to try and send some business to some friends. These are all companies owned and operated by Grips throughout the world. They've put themselves and their talent on the line to build successful businesses. Check 'em out.

The Gripworks. Sanjay Sami has built one of the largest Grip shops in Asia. If you need it, he can make it. And he's a helluva nice guy. Visit him at thegripworks.com,

Grip411. If you need it, these guys know where to get it. Rick Davis has the info on anything grips use from clamps to cranes. Need answers? Visit grip411.com.

The Gentlemen Grips. I have been affiliated with these guys for almost my entire career, first as a hammer, then as a Dolly Grip. They're my family. Key Grip Alan Rawlins is one of the best in the business and can equip any size production. Check them out at gentlemengrips.com.

Solid Grip Systems. Onno Perdjic is a genius. Check out his Truss Dolly System and you'll know why. Visit them at solidgripsystems.eu

GI Track. Developed by Dolly grips for Dolly Grips, this innovative track system is generating a lot of interest. It's well thought out and extremely well-built. Check out Gil Forrester's company at gitrack.com.

Life of a Fill-In B-Camera Dolly Grip

  I arrive at the backlot at a large metropolitan studio at 6:30 am, tired because I worked a 60 hour week, slightly edgy because I know absolutely no one on the crew, and pissed because it's a Sunday. I take the waiting van from the parking structure to catering and quickly wolf down a bowl of oatmeal and a non-descript muffin. The air is slightly chilly this early and I shiver as I find the still-closed grip truck. I am a fill-in B-camera Dolly Grip.

   My friend Jerry had called me last Thursday and asked if I could fill in for him  on Sunday for a splinter unit he was pushing B- Camera on. As I am already in the middle of a rather difficult tv show, the last thing I wanted to do was take a B-Camera job, especially on a Sunday. Now, you have to know that Jerry is no ordinary B-Camera Dolly Grip. In real life, Jerry is a Key Grip who does very big movies with temperamental directors, DP's whose names sound vaguely European, and lavish catering. I have turned Jerry down for the last two jobs he's called me for because of previous bookings and my IMDB page is much the poorer for it. He is also a great guy and a truly phenomenal Key Grip. So, I told him if he couldn't find anyone else to do it, I would. I congratulated myself on my ability to be caring and selfless, as well as clever. Then, secure in the knowledge that in a town lousy with Dolly Grips, someone would take the call, I promptly forgot about it and went on about my business. Then Friday came and I noticed the text message recieved light blinking on my fantastically stupid Blackberry. "Couldn't find anyone to do it. Can you?" My heart dropped. But, I resigned myself to it. I couldn't turn this one down. If you turn down too many the calls stop coming.

  First impressions: I knew absolutely no one on  this crew. Ok, I did know the A- Camera Dolly Grip in passing and by reputation and we had mutual friends. Oh, I remember the Key Grip. Same deal, though I had worked with him before.  A nice guy. The rest? Never seen 'em before in my life. I shake hands with the guys, mumble a "Nice to meet you" and unload my Peewee from the truck. Next came a whirlwind of track laying, over-holding, helping the A -Dolly Grip build a deck for a dance floor, and then, at the 8 hour mark, a company move. It went by in a long, harshly sunlit blur. It's always a little discomforting to work with a completely unfamiliar crew. They all know each other. They all know where the extra wedges and the turnbuckles are. They all have nicknames or call each other by their last names. I on the other hand feel a little lost and not a little addled. Between the long week, little rest, cumulative burnout from endless work, and just being tired of movie sets in general, I'm more than ready for this day to end, and not a little relieved when the last half of the day consisted of mostly A- Camera only shots. I had a 6:30 am call on Monday and wanted to get home in time to get at least 8 hours of sleep. At hour 16 I began to realize that tomorrow was going to suck even more than my most fevered dreams could even approach. Finally, they decided to cut the last scene and after thanking all the guys, exchanging phone numbers with the A- Camera Dolly Grip (I had lost his in a phone that I washed in a washing machine a while back) I wearily headed toward the parking structure.
  The next day, running on three hours sleep I-  yelled at the camera operator (twice), barely restrained myself from yelling at the DP and getting fired, drank too much coffee, and went through a whole tin of snuff. Was it worth it? Well, in the process I also- helped out a guy who needed it, hopefully earned myself  a little more time in the boss' s phone list, met some cool people who are really good at what they do. Oh yeah, I made a little money in the deal too. One thing I've learned is that as bad as it sucks now, that check next Thursday tends to make it all a little more worthwhile. Thanks, guys for the opportunity. It was a pleasure meeting and working with you all. Now, I've got to go apologize to my camera operator.

SuperTechno 100

Our friend Ian sent us pictures of the new 100' Technocrane being tested in Germany. Thanks to the guys at Supertechno for permission to post them.

One Piece At A Time

  I can remember as a young Dolly Grip how nothing got my palms sweating more than a big dance floor move. It was hard enough doing one where all the points are known and you got a chance at a couple of decent rehearsals. But the really scary ones were the ones that evolved as you went through a rehearsal, with the director shouting out a new instruction at each point. "Tighten up when she leans in here" or "Boom down when he goes around" were added to the pile of instructions you already had in your head and before you knew it, the whole scene was a useless muddle while you broke out in a cold sweat wondering how you would ever remember it all, much less execute it. Over time I learned the secret: Take it one piece at a time. If you try to think about the move as a whole, it'll scare the hell out of you. Think of it in chunks, one building upon the other, until soon  it all comes together. Here's another secret. The actors will tell you what to do and where you should be. No, I don't mean to go up to Robert DeNiro and ask him where number three is. I mean that if you understand the shot, and move with the actors, it's a lot easier to remember what happens when. It's all about understanding the actors movements in the scene in relation to the camera as opposed to a bunch of mechanical "okay, now I go here" movements. Generally, in Dollygrippery, the camera moves when someone in the scene does. Watching where they go will tip you off quickly to where your next mark is. Recently I did one of these moves that just builds and builds with every rehearsal. The director was Jonathan Demme, a great guy but not afraid to challenge you. What started out as a simple half-circle around a desk countering an actor turned into a five point move with a boom from the bottom to the top of the arm and a couple after that. As the move got more complex, the old sweaty palms started. Then, I took a deep breath and remembered to watch the actors and think of it one piece at a time. I nailed it on the first take, except for a minor blockage on a line, and by the third take I had it down. This is the secret that will save you these pregame jitters. Don't make the mistake of trying to shoehorn the whole sequence into your short-term memory all at once. It doesn't work. Watch the actors.

On a totally different note, I'm missing some of my old buddies I used to hear from pretty regularly. Where are you guys? GHB has been silent, as well as Wick and my old friend Megamoose. Just drop me a line and let me know you're still out there.

 On a happier note, Dollygrippery would like to congratulate Sanjay Sami and his beautiful wife, Tara, on the birth of their baby boy. Mother and son are doing fine. Get some sleep, Sanjay. I'm not far behind you.