The Collaborators
by Michael Frediani, SOC
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It has been said that the working relationship
between a cinematographer and a director is akin to that of a
married couple living in a house together while it is being remodeled.
Within that creative and energized process what may emerge is
a beautiful vision or a critical endeavor that leads to a tarnished
relationship fraught with misgivings.
This human bond that exists between a cinematographer
and a director was the subject of a seminar presented by the
International Photographers Guild and the Directors Guild of
America entitled "P.O.V.: Directors & Cinematographers;
Discussions for Creative Collaborations."
The auditorium at DGA headquarters was filled
to capacity with both DGA & Local 659 (now Local 600) members
wishing to widen their respective horizons. The assembled panel
consisted of accomplished cinematographers William Fraker ASC
("Rosemary's Baby," "Father of the Bride II"),
Woody Omens ASC ("Harlem Nights," "Coming to America"),
John Bailey ASC ("Nobody's Fool," "In the Line
of Fire") and director Alexander Singer ("Glass Houses," "Star
Trek Voyager"). The panel was moderated by director/cinematographer
Bradford May ("Darkman II," "Madonna: Innocence
Lost") who stated in his opening remarks: "The ability of
the director and cinematographer to be able to see eye to eye
on all issues would be the ultimate collaboration."
While such collaboration is not always a reality
on the set, a thorough understanding of each other's needs is
key to a successful relationship. This understanding may begin
during the interview process and according to the panel, that
can be one of the biggest hurdles to jump.
"I don't believe in personality interviews;
I must read the script first," states Woody Omens. "I let the
director know that I am a ready collaborator and explain what
I am able to supply to the project. I don't go overboard by saying
too much because that can make a director uncomfortable.
"It's a very delicate line—you don't
want to steer the ship, you're more of a co-pilot. Having an
open conversation with the director, being able to share openly
and freely in the beginning," says Omens, "is the most important
aspect of the initial interview.
"If we can't begin a dialogue that's open,
how can we last under the pressure of time and money on the set."
According to Fraker, the director of photography
goes into an interview with a common denominator, the script. "After
you have read the script and you like it you must bring forth
a lot of enthusiasm. Basically that's what they want to hear
and see; how interested you are in the project. Then you can
discuss the points that you relate to or don't relate to. It's
a starting ground."
A DIRECTOR'S PERSPECTIVE
From a director's perspective Alexander Singer
is most concerned with how much of a total filmmaker the cinematographer
may be.
"Response to a script is a very real index
in choosing a director of photography; however the game is not
a simple one to play and some are better at it than others. It
is not your index as a director of photography or a director
that you handle that situation well; it's more complex than a
simple interview. As a director you are measuring a response
to intelligence in filmmaking; what works, what doesn't and where
problems may arise. First instincts are very important and so
is chemistry."
As Singer explains, these initial instincts
carry on into the project. "On a crew that literally rubs up
against each other for unbelievable hours, under great tension,
sharing and not sharing ideas, we can make mistakes...we misread
each other. So what we learn in the interview process is that
we are all performers and it is sometimes hard to separate your
performance from your real feelings."
Relating to what Omens stated earlier about
not saying too much Singer notes, "If during an interview a cinematographer
feels that a certain scene might have a weakness where the actors
just sit and chat for 12 pages...well that just might be the
director's favorite scene. So it is best to tread cautiously
on that ground."
John Bailey feels that there is also a flip
side. "It really is a two-way street and I don't mean any hubris
by this, but a cinematographer with a body of work to his or
her credit coupled with the change of balance that has happened
with so many new directors on the scene...well I am equally interested
in trying to analyze and understand the director, as he is me,
in the presentation of my interest and enthusiasm for the job."
THE INTERVIEW
Bailey states that over the years he has had
two qualitatively different kinds of initial meetings with directors:
Those who have written the script vs. those who haven't.
"The two most important relationships that
I've had as a cinematographer were those with writer/directors
Paul Schrader ("American Gigolo") and Lawrence Kasdan
("The Big Chill" and "Silverado"). I've found
that in my initial meetings with these directors, who by virtue
have lived with the material, the interviews were fraught with
specific ideas and reference points and not just visually, but
for character, the narrative line and its relationship to the
photography."
On the other side of the interview process
Bailey says, "A director who may have come onto a project not
much earlier than me, may be involved in substantial 11th hour
rewrites and in many of those cases may have his or her back
against the wall and so there is a high level of anxiety and
frustration. That kind of initial meeting would be more exploratory--you
would take a different tack because the material is not locked
down yet."
Woody Omens feels that most directors are looking
for a cinematographer who can be flexible and adaptable. He hopes
that directors will look for one thing in a cinematographer's
work: Versatility. "If I were a director I would want to see
how different his pictures are and most importantly, how appropriate
the cinematography is to the given subject."
Brad May feels that, "In the 1990's we're looking
at a business that is changing and it is all being run by numbers
today. With us as the creative force it is getting very difficult
to be able to get what we need when the producers want to do
the shows cheaper. The networks are unfortunately still giving
$2.5 million for a movie of the week and independent producers
in an effort to make them for the buck are trying to break the
unions. They want to hire what I call '$100 a day longhairs'
to be assistant cameramen who will drive the truck, double as
the first aid man and make coffee in the morning."
Bill Fraker opines that another problem exists
where there is "an undercurrent in Hollywood that 'they,' whoever
'they' are, have taken the position to pigeon-hole cinematographers;
if you do episodic television you do episodic television and
if you do movies of the week you do movies of the week. It seems
as if they need some sort of work pool to draw from. I have to
fight, to fight to do television or a pilot. The networks won't
let me do it," Fraker bemuses. "Too old, too slow, too this,
too that...an entourage. So they say to you, stay where you are!"
CHEMISTRY AND EGO
In the book "Film Lighting" by Kris
Malkiewicz, the author talks with noted cinematographers Conrad
Hall ASC, Allen Daviau ASC, Haskell Wexler ASC, and director
Robert Wise about the director and cinematographer relationship.
Conrad Hall ("Butch Cassidy and the Sundance
Kid") advises that "the one important ingredient to the
filming chemistry by which a project will succeed or fail is
chemistry and the handling of ego. When ego gets involved it
destroys.
"Now that doesn't mean you do not have
an ego. And it doesn't mean that your ego is not manifesting
your artistic decisions; but like being in the army there is
definitely a law of involvement that should be respected.
"The director should direct, the cameraman
should shoot and the art director should 'art direct.' As soon
as we start introducing our egos to take over jobs from one another,
we malign the chemistry from which films are made."
Relating a story about his working as a new
cinematographer on a Richard Brooks film he was asked by the
director if he would ever like to direct and Hall answered, "Well,
I think so, but I'm not sure yet, I will see."
And to that Brooks responded, "Everybody should
direct a film. You probably want to direct one, but direct your
own damn film, don't direct mine!" Hall says, "I respect that
attitude and I want it respected when I'm directing. I am an
aide to that man. I am not somebody who is trying to take anything
away from him."
Robert Wise ("West Side Story") when
interviewing a cinematographer, requests his input, without much
guiding as to the texture and quality that the picture requires.
Wise sometimes refers to sequences of other films he likes or
in some cases to certain painters. On "Mademoiselle Fifi" they
turned to Daumier and his caricatures, not only for the cinematographic
look but for wardrobe and props.
When Allen Daviau ("E.T.," "Avalon," "Congo")
first reads a script he does so strictly as a film viewer and
tries to be as open as possible: How would he enjoy seeing the
film and having his name connected to it? The second time through,
reading it as a cinematographer he asks himself, what are the
problems and the challenges? Does it offer things that he hasn't
done before or something he has done before and maybe can do
better this time?
PRE-PRODUCTION
Once the decision has been made to hire a certain
cinematographer the all important task of pre-production lies
ahead. In many cases the art director has been hired earlier
on by the producer and in some instances, crucial decisions have
already been made which will affect the lighting design. How
a set is built, its scale, design, colors, the positioning of
doors, backings and most importantly the windows are of utmost
significance to a successful lighting concept.
According to Haskell Wexler ("Bound for
Glory," "Rolling Stones IMAX"), "Any work which
the cameraman can do with the art director is money in the bank,
because basically an art director is giving you what you will
photograph." Conrad Hall agrees but adds, "There are many producers
who try to keep the two of you separated, for financial reasons
they say. What a mistake! We should be the closest of collaborators."
With this very thing in mind, Woody Omens has
devised a plan that seems to bridge the gap that exists between
the hiring of the art director and the hiring of the cinematographer.
He terms it non-consecutive prep days.
When possible he makes an agreement with the
producer to join the prep earlier than is usual, at a special
reduced pre-production rate. Because the project means so much
to him he wants to become involved with the look of the film
as soon as possible.
Omens believes there is some room for give
and take on this concept but that directors should insist that
a cinematographer is hired on earlier. "Producers will find that
there won't be the kind of antagonism that sometimes exists with
the production designer and you'll be able to shoot faster." And,
adds Omens, "The project will look better ultimately."
THE LOOK
The look of a project can come from the script
pages, the imagination of the creative people attached to the
project and the locations themselves. For ideas to come from
the imagination there must first be a wellspring that produces
a flow of consciousness that only then can be interpreted by
the camera.
On this, the panel agreed that art generates
an ultimate source of inspiration. John Bailey speaks of a time
when he had the fortune to visit the museums of Venice, Italy
with one of his mentors, the famous contemporary cinematographer
Vittorio Storaro ("Apocalypse Now," "The Last
Emperor").
"Vittorio took me to a place that was the
most important to his entire development. We went to a small
church off the Piazza San Marco and inside there was a painting
cycle on the lower level, very small and intimate. It was the
narrative story of St. George and the Dragon painted by Vittore
Carpaccio and it was very dimly illuminated. Ever since Storaro
first saw that as a student it has been a constant touchstone
for him."
He told Bailey that most of the ideas that
he had for the film "The Conformist" came out of that
painting cycle. Bailey continues, "Now you'd look at that and
its 15th century Venetian art and wonder what does that have
to do with 1930s fascist Italy? But for him it did. And I think
that wherever I am, the things that I read whether it is literature
or art, paintings or photography, all of that somehow starts
to condense into a critical mass. At that point somehow or another,
as soon as I become involved with a project there seems to be
something brewing inside of me that usually gets infused into
that process with the production designer and the director. In
a way," concludes Bailey, "pre-production is always going on."
Director Singer relates a pre-production story
whereby he and his art director on the series "Ghost Story" set
out to scout a building facade at the Columbia Ranch. The chosen
site had to convey from the outside the ghosts, ghouls and horrors
contained within. So when they came upon the only facade available
to use the two of them stood there for a long while, just contemplating.
"Albright did a painting called 'That Which
I Should Have Done And Did Not Do,'" recounted Singer. "It's
the painting of a door and it has a funeral wreath on it and
the door is painted in the colors of a human bruise, greenish-purple."
As Singer related his ideas in great detail
for the facade to the art director, he noticed that the man had
tears welling up in his eyes. When asked why he was overtaken
with emotion the art director replied that this was the first
time that a director had ever given him what he really asked
for. And so says Singer, "I must ask all of you, cinematographers
and directors alike, to expand your horizons throughout the whole
range of art."
Cinematographer John Hora, ASC at a lighting
workshop that was sponsored by "International Photographer
Magazine" stated that in addition to visiting museums there
are other sights that have expanded his horizons.
When he was asked to photograph a segment of "Twilight
Zone--The Movie" he had to help devise a setting where a
strange little boy brings adults back to his weird and mystic
house. For this Hora related back to a visit he once paid to
the Winchester Mystery House in San Jose.
The multiple and twisting staircases, unbalanced
scale and architecture inspired him in conceiving the look of
the interior. In this example the visual component is the story.
John Bailey in directing the film noir "China
Moon" chose colors from a number of Francis Bacon paintings
that he viewed at the L.A. County Museum of Art. Those colors
were used as a basis for a set where a murder occurs. Although
there was no direct reference made to the art, the feelings derived
there were used to convey texture and feeling.
SCOUTING LOCATIONS
The choice of locations can also set the tone
of a project and must be considered crucial to the story, as
the locations are the reality that you must deal with. When John
Bailey was scouting locations with John Schlesinger he noted
that the director would stand on a proposed location site and
read the script aloud there in order to judge whether or not
it served the story. From a cinematographer's standpoint, natural
light and its various directions during the course of a day is
paramount in telling a story visually. When scouting locations
director of photography Julio Macat ("Home Alone," "Miracle
on 34th Street") feels that you must be sensitive to the
natural location and suggests taking a still camera along without
lights or a flash while scouting. In this way he feels there
will exist a reference as to the original look of the location.
THE SCRIPT
"In pre-production there are many stages that
unlock what the look of the picture will be," relates Bailey. "The
script is the bible and the more that you read it the more you'll
find that the clues to it are already in there. You must read
all of the interlinear stuff over and over and over again and
even if the details that suggest the montage, the building of
the shots and suggestions of the image size are not in there
broken down in a shot by shot listing you must read and study
it and then the ideas will start coming to you." In doing this
Bailey may find in the text ideas there that may not be apparent
even to the writer. Once after viewing dailies, Bailey was approached
by the screenwriter who asked him where a particular shot had
come from and Bailey replied, "It was right there--well, it was
sort of right there." He concludes wryly, "It's amazing how those
things can happen."
Keeping a crew informed by allowing and encouraging
everybody to read the script is an important factor in creating
a successful film or television project. "The script is the game
plan," says Woody Omens "and should be shared. As Ingmar Bergman
once said, 'In my country we make a film with 30 friends and
in your country you make a film with 60 enemies.' Well, why does
it have to be that way?" wonders Omens. "We have all worked with
actors who love the camera crew, loved the whole crew and we
become one family. But what I see a lot of and what I despise
is a 'them vs. us' attitude, and that includes production also.
I think that the director and cinematographer must get with production
and let them in on the game plan so that they know you are spending
the dollars wisely. Then they won't shoot the budget, they'll
shoot the script that you defined is the one worth shooting."
WORKING WITH THE CAMERA OPERATOR
A question arose from one of the many directors
in the auditorium concerning the apparent lack of communication
between the director, cinematographer and the camera operator.
She felt that the operator is sometimes treated as a second class
citizen and is left out of the equation in terms of defining
the look of a scene's elements. Regarding focus and framing decisions
as important as the lighting is to a director, she feels that
Hollywood is particularly guilty in this regard. She went on
to state that the camera operator is the director's and cinematographer's
eyes, so great trust is placed in that person.
At a seminar held at DGA headquarters entitled
'Painting With Light; The Art of Cinematography Demystified,'
this topic was addressed briefly by cinematographers John Alonzo,
ASC ("Chinatown") and Reynaldo Villalobos ("Urban
Cowboy"). Although both men feel that they work with very
good operators, they are occasionally confronted with a director
who asks that the cameraman operate the camera on certain sequences
in a film. To this Alonzo adds, "Sometimes a director feels that
the cameraman understands the scene better than the operator.
Also a cameraman can get away with a little more sometimes in
reaching for 'cutaways' which an operator might get into trouble
going for."
Woody Omens feels that this is a very sensitive
issue. "First of all I believe in the camera operator position
and I don't feel that it should be eliminated because I can argue
in dollars and cents in addition to artistic reasons that it
pays and it is faster for production. Artistically speaking,
if you have an excellent operator the cinematographer can address
himself to the actors and lighting completely. I don't need to
be on the camera all of the time. I like to watch the rehearsal,
select a lens with the director and then 'forget' the camera
because the image is in my head. I find that I don't have to
work out a shot unless it is particularly problematic. I'm into
doing what I can for the actors." For this to work, Omens includes
the operator in as much of the discussion with the director as
possible. "When you're talking to me you're talking to both of
us. There is no separation."
Singer feels that the variations and possibilities
of things going wrong, of miscommunication and of conflict between
the camera operator and the director of photography are very
real concerns to a director. Yet it must be realized says Singer.
"The role of the camera operator is a very
complex one requiring him or her to make decisions that no one
else can make. Besides framing, the operator is making decisions
as to how things work within the frame. If you calculated the
number of elements in a fairly complex shot that an operator
has to evaluate, well there is no combination of supercomputers
around that can do it."
Not only involved in the physical elements
within the frame, "the operator must also be cognizant of the
psychological elements of everybody on the crew as well as the
front office," states Singer. "He's fighting time and judgment
after completing a shot while deciding whether the shot had worked
or not."
Omens agrees and illuminates his point by saying, "That
line, 'I need another' isn't even challenged. An operator has
a gift which I call 'instant replay' that is very important.
Three seconds after the director says 'cut' the operator must
think and so you give him his space and he may respond, 'Yes,
I think it's OK.' and the director says, 'Yes, it's good, but
what did you mean by OK?'
"At that point the operator goes back,
recalling the elements of the scene and says, 'Well at the point
where she stands up, I clipped her a little bit, but not into
her eyes.' The director will consider this and may say, 'We'll
live with it, it's OK, let's move on.' If there are no secrets
kept there will be no surprises in dailies; but directors and
cinematographers must invite open discussion."
These elements in addition to the matter of
head room, lead room, what is included in the background, as
well as reaching for light sources in the frame must all be discussed
freely in advance, feels Omens.
PREPAREDNESS
Relating to the question of a camera crew not
always divulging technical specifics to a director as to why
a shot was unsuccessful and is needed again, or in a case where
a novice director does not comprehend certain vagaries of a shot,
Singer replies, "This is the price that you pay for inexperience.
As a director you had better know enough to make a critical judgment.
All of us have been inexperienced at one point. Photography isn't
quantum mechanics that you have to learn in order to understand
the basics. Directors who don't have the pervasive knowledge
of picture making and what cinematographers do are really ill-equipped.
As more inexperienced directors join our business there will
be an increasing demand to be well-prepared."
Collaboration in sync with preparedness can
evolve into a causality creating the ultimate desire on film. "Organic
unity," states Storaro, "is the symbiotic relationship between
the light, the movement in the shot and the constantly shifting
composition." Bailey adds, "If you look at Vittorio's work you
will see the integration there. If you think of the camera operating
and the lighting as separate entities that aren't fused spiritually
then there is no way that you can achieve aesthetic unity. If
the camera operator understands the material and has an emotional
connection to it you are going to get a magical seamless flow
in the camerawork." Singer concurs. "An operator in this instance
can protect both the cameraman and the director because he will
see elements that are important to the story."
THE CINEMATOGRAPHER AS DIRECTOR
Bill Fraker tells of his experience of crossing
the line from cinematographer to director on the film Monte
Walsh. "As the director I could choose my cameraman for the
film, so I naturally looked toward someone that I knew and respected.
So I chose my camera operator David Walsh and he accepted the
job. During the first 2-3 weeks I found myself staying on the
set all of the time where everybody was involved; grips, electricians,
camera crew, etc. Well, after about 3 weeks I found that David
had stopped talking to me...and I didn't realize it right away
but the relationship that we had built up was slowly disappearing.
So I asked David to join me for a drink after wrap one night
and I asked him what the problem was? And he said to me, 'Bill,
you're hanging around the camera too much.' Well I began to think
about it and I realized that the camera had become my security
blanket; as long as I could touch it or lean on it or see it
peripherally I was very secure in what I was doing. So finally
I learned to say 'O.K. David, I'll give you the set-up and I'm
walking away,' and it worked out very well."
"Dealing with the actors and the story are
the things that we as directors sometimes avoid," says Singer. "So
we'll fool around with the picture and hang around the camera
because it's so comfortable, so right. We realize that there
are those people out in their motorhomes and they're in trouble
or they think they're in trouble or I'm in trouble -- and that
part for most of us, is the unknown and most intractable of problems."
HOW LONG WILL THIS TAKE TO LIGHT?
The equation of money added to the lack of
sufficient time to do the job equals pressure on the set. Time
is a precious commodity throughout all aspects of a production.
Writer-director Daniel Petrie, Jr. raised that all encompassing
question to the panel. After a rehearsal, having given the set
over to the director of photography, the director receives a
response as to how long it will take to light the scene; and
the accuracy of this response is of utmost importance to the
director, says Petrie. "Where I've died on sets is when the DP
says it'll be 20 minutes and it's 40 minutes; or he says it'll
be an hour and it's only 30 minutes. The problem is, I get my
actors geared up and they're getting to an emotional place in
preparing for the scene then they just can't because the lighting
isn't ready yet--or the actors aren't ready because the lighting
is early this time." In his frustration the director asks, "How
can you judge your day knowing that you're going to have to either
give up something or have unexpected extra time?"
Omens replies that sometimes a cinematographer
does not really know the answer to the question of time. "But
I've got a system in which I'll say to the director, 'If you'll
just give me 10 minutes I will give you a more accurate estimate
than if you ask me right now because I'll budget long if you
ask me now, to cover myself.' I'm not just estimating camera
readiness, focus marks, dolly moves, and lighting. Any good cinematographer
does not leave his brothers and sisters in sound, make up and
wardrobe hanging out to dry. Part of my estimate is that of the
entire family's readiness."
"There is a dual responsibility here," according
to Bailey. "Unfortunately I've walked onto a set in the morning
and encountered a director who has no idea of what he wants to
do, or doesn't have a terribly strong relationship with the actors,
so they are confused. In that case the director is using up valuable
time as well. So it seems to me that communication is really
the essence of it. The minimum that a director of photography
owes a director and vice-versa, is to ride out to the location
in the morning or to have a drink together the night before in
order to talk about the next day's work and what goals, intentions
and priorities the director has. In this way they can decide
how much time each scene is worth. Time becomes a shared responsibility."
A plan that Woody Omens uses very effectively
is called his three-part system: 30-30-30. Thirty percent of
the project will be done as fast as humanly possible, bottom
line and commercially acceptable. The middle thirty percent will
be done very well, a cut above. The last thirty percent is going
to be done like "Dr. Zhivago" or other great films. "You
have to decide where your priorities are. Now if there is time
wastage it's because we're not all working together at the same
metabolic rate for a given scene. So if you can decide which
are the exposition connectors that aren't as important (as other
scenes) you don't dilly-dally with lots of dolly moves, fancy
camera work and lighting--you just get it and accept it and you
move on." On the other hand says Omens, "Where the script demands
performance and perfection perhaps it's time for both the cinematographer
and director to put some heavy time in. But you've earned the
right to be slower because you've been good elsewhere. The final
ten percent of the plan is for a "little slush." Omens feels
that it is essential for cinematographers to relate to a director
who is pressing to get a scene lit, what he will lose in terms
of lighting compromises in respect to the actors within the scene.
He adds that if a cinematographer is just painting with light,
at that point it might be inappropriate based on the time at
hand.
COMMUNICATION
Communication between the director and the
cinematographer is paramount toward achieving the ultimate end.
John Bailey has discovered as a director that the actors and
actresses' anxieties, feelings and phobias on the set may be
only nominally related to the film. "With a cinematographer virtually
trapped on the set while many things are coming down on a director's
head off the set he can only be aware of these things intuitively
at best and therefore might not be able to help solve certain
problems of the director. If there is a problem with an actress
who is concerned either justifiably or unjustifiably with how
she is coming across, well the cinematographer can take cues
from the director to find ways to make that actress more comfortable
in how she is photographed." Bailey feels that the actors can
infuse magical power into the cinematographer and the icon that
is the camera. "Directors can think of the cinematographer as
a potent ally and a supportive voice if they aren't already doing
so." During an interview for a film John Alonzo was asked by
the director who knew of Alonzo's past directing experience, "Do
you think that you and I could get along?"
It is Singer's belief that a cinematographer
with directing experience is sometimes more accessible and valuable
to him on the set. "Half of me wants desperately to relate to
a total filmmaker, one who understands the whole process. The
other side of that is that the director's ego is combined, in
my case, with the cinematographer's sensibility and so I'm always
divided because I really want to do that, do the whole thing."
When others contribute to solving problems
on the set Singer sometimes wonders, "Why didn't I think of that,
I should have thought of that." Though as he says with a grin, "It
really doesn't matter." On the flip side of this issue says Fraker, "When
someone asks me a question and I don't know the answer, I say
'I don't know.' There is nothing wrong with that because none
of us know it all. So as soon as you say you don't know you put
yourself in the position whereby everybody can help. And I think
that's what is important; as soon as you can become collaborative
you can have a better time." "Being defensive about not knowing
is immediately defused by saying, 'I don't know,'" agrees Omens.
Collaboration, especially in the fast-paced
realm of some features and most episodic television where a director
comes onto a show as a "7 day guest" is important according to
Brad May because they are dealing with many preordained principles. "When
a director comes onto a show with his fresh new tennis shoes
trying to make his own movie, he has to show energy to a crew
that may already be burned out after 7-8 months. You have to
get them involved. If you're beating them up and you're missing
shots or you're telling the cameraman that he has to light a
set that he has already struck, then you're not doing your homework--that's
the most important thing; communication."
CONCLUSIONS
Bill Fraker concludes, "I think that we have
to put ourselves in the position of becoming filmmakers and work
together. It doesn't bother me that a director has experience
or doesn't have experience as long as he is involved with what
he is doing and has a passion for the material."
In a business that has evolved so many times
and in so many ways both technically and artistically that they
seem to pass each other in the 'hallway' with little acknowledgment,
there comes a time when all creative people must pause and reflect
together, their present and future needs. Only in this way can
we become a bonded collaborative force.
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