Crispin Green has edited some of the top TV shows in recent times. It was a pleasure to site down with him to talk about the craft of editing and his career.
Interview with Crispin Green:
Matthew Toffolo: Tell us about the “Game of Thrones” experience. How is editing such a unique show where there are 4-7 plots occurring in a single episode?
Crispin Green: It’s an experience quite unlike working on other shows in that the editors are there for the duration of the shoot (about 6 months) rather than blocks of two or three episodes. This can help in the editing process as you get more of a sense of the season as a whole story.
MT: Will you be back to editing the series “Game of Thrones”? How does the process work? Who do you report to and collaborate with? The showrunners? The novelists? The director of the episode?
Yes I’ll be back if the opportunity arises.
CG: When assembling the dailies I work closely with the director, showing him or her cut scenes as the shoot progresses. He or she will give me notes as we go along if needed as they only have limited time for fine cutting when the episodes are complete. Some VFX heavy scenes have to be fine cut early so that the VFX team has a chance to get their work done in time (dragons take a long time to animate!), in these cases the showrunners will get involved with the cutting process. Once the director has presented a fine cut to the producers, the showrunners take over and I will work with them until picture lock.
PHOTO: Game of Thrones Season 5:
MT: I have to ask you about editing “Doctor Who”. Another iconic series. Were you a fan of the show before you began editing it? How was your experience working on the show?
CG: Yes I was a fan, I grew up watching the show and couldn’t quite believe it when I got to actually work on it! It was great fun to work on, the showrunners were very open to unusual ideas.
PHOTO: Doctor Who Season 4:
MT: What’s the key difference between editing a feature film in comparison to editing a TV episode?
CG: I’ve only cut one feature (and co-editor on The Great Rock n Roll Swindle – which wasn’t normal!) so I can’t really comment but I would imagine that TV shows have less time available due to pre-booked transmission dates.
MT: Besides “Game of Thrones”, and “Doctor Who”, do you have a favorite experience and film/TV show that you’re most proud of?
CG: Series one of “Bodies” was a ground-breaking medical drama written by Jed Mercurio where we got to try out some interesting stuff and equally “Misfits” was a pretty cool show to cut the first episodes of.
MT: What are the key qualities to be a great editor?
CG: The ability to get the story across in the most interesting way, understanding the director’s vision and being ready to adapt to what the writer/showrunners want.
MT: What is an editor looking for in their director/show runner?
CG: Someone who is good to work alongside (we spend many weeks together in a small room!) and who has an interesting vision of the project.
MT: What is a director/show runner looking for in their editor?
CG: Same answer as above but also it helps if the editor can second guess what the director wants while assembling the scenes.
MT: What film, besides the ones you’ve work on, have you seen the most times in your life?
CG: It’s a three way tie between “The Blues Brothers”, “Some Like It Hot” and “The Italian Job”!
MT: What advice would you have for people who like to be an editor in the film/TV industry?
CG: I started as a runner and worked my way up and I would recommend this route to anyone, you get to meet lots of people on the way who, more often than not, will be happy to help you on your journey. Also, try and cut as many things as you can to develop your cutting instinct, and watch lots of TV shows/movies to try and understand how to (or how not to!) construct an understandable story.
_____
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held at http://www.wildsound.ca and in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Piero Mura has worked in the sound department on over 100 films in the last 25+ years. His list of credits include Ben Hur, Fast & Furious 6, Skyfall, Warrior, War of the Worlds, and Training Day to name a few. It was an honor talking to him about his career and sound in general.
Matthew Toffolo: How would you describe what a Sound Effect Editor does in one sentence?
Piero Mura: A Sound Effects Editor directs the attention of the audience to what he/she believes is important in terms of story and entertainment.
MT: You were the Sound Designer on the the remake of Ben-Hur. A film that did not do well box office-wise. You work on months on a film that I’m sure you’re proud of and then it quickly goes away after it opens. How does that feel?
PM: Ben Hur 2016 did not go away after it opened. As I write it is still being released in the foreign markets and it’s doing reasonably well. There is always a bit of disappointment when a movie you work on doesn’t find it’s audience but it’s the nature of what we do. We put our work out there and we move on. If I think a movie is a good movie the fact that made money or not is irrelevant. I leave the commercial aspect of our industry to others.
MT: Were there some films you worked on that you thought would not do well financially and were big hits? Or, films you assumed were going to be a big success, but ended up not doing well?
PM: As I said I leave it to others to make this kind of considerations. But I was happy when “500 Days of Summer” was well received by a large audience. Probably larger than i thought at the time.
Zooey Deschanel & Joseph Gordon-Levitt in “500 Days of Summer”
MT: How has sound mixing changed from a technology and creative point of view from the year you started to today?
PM: Everything in post-production changed in the last twenty years. I believe that they were positive changes. Today the line between mixing and editing is not as well defined as it used to be.
Quite a few sound editors now seat behind the faders and a number of mixers do not hesitate to do sound design or supervise.
Personally I like the opportunity to bring to the stage coherent tracks where backgrounds, sound effects and foley are already balanced and pre-panned. Establishing spacial relations helps me to understand the sequence better and go a little deeper with my work.
MT: Where do you see the future of Sound Designing in film?
PM: Probably it will be a good future. It’s a fun thing to do and a lot of people would want to be part of it . MT: You’ve been working in the industry for 30+ years on over 100+ productions. Is there is a film or two that you’re most proud of?
PM: If I have to pick one I would pick Training Day. I believe is one of the best movies of the last twenty years. The late George Simpson was the sound supervisor. I cut the sound effects together with a few other sound editors. There’s an important creative line that connects Training Day with Harsh Times,Street Kings and Sabotage.
Denzel Washington and Ethan Hawke in “Training Day”:
MT: What makes a great sound designer? What skills does he/she need?
PM: Patience and endurance. Also humility helps. Never go for the esthetic qualities of a sound. If it is not helping the story it’s beauty is useless. As far as skills needed I believe that the best skill to have is to be open to learn from others. Actually this is the same advise I was given when i started.
MT: What film, besides the ones you’ve working on, have you watched the most times in your life?
PM: The Godfather. Characters and story are incredible in this movie.
MT: Where did you grow up? How did you get into working in the film industry?
PM: I was born and grew up in Rome. I started as an apprentice in the Sound Department of the Cinecitta’ Studios. After a couple of years I I got the chance to edit something. It felt good and I liked it. And I still do.
_____
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.
A production designer is the person responsible for the overall look of a film. They ave a key creative role in the creation of motion pictures and television.
What an honor it was to talk with the amazing Production Designer Michael Corenblith. His resume is filled with some of the best movies in the last 20 years, including: Saving Mr. Banks, The Campaign, Game Change, Dinner for Schmucks, The Blind Side, Frost/Nixon, Apollo 13.
Matthew Toffolo: You’ve worked as a Production Designer in 35 productions over the last 30 years. Are there one or two films that you’re most proud of?
Michael Corenblith: There are countless ways to measure my affection for all of these projects. There have been so many valuable collaborators and shared experiences that each film has its own special place. “Apollo 13” will always remain one of the most exciting, and I’m so pleased to see it aging so gracefully. Other times the work that we do on a film can have a benefit of bringing a good cause to the public’s attention, as we were able to do with “Dolphin Tale” and the Clearwater Marine Aquarium,and now with “The Finest Hours,” and the Coast Guard boat maintained by the Orleans Historic Society. After the release of “Saving Mr. Banks,” Disney fans enjoyed seeing Walt’s Office circa 1961, that The Disney Archives, after 50 years, have restored Walt’s office suite in the Animation Building to a remarkable effect. So sometimes the thing you can be proudest of is accidentally doing some actual good in the world.
Photo: Re-creating the 1970 Space Station in Apollo 13 (1996). Actor Ed Harris:
Apollo 13 movie image Tom Hanks
Matthew: What is a director looking for in a Production Designer?
Michael: Initially, a director is seeking a Partner who shares his passion for the project, and regards it from a perspective that adds visual continuities that help tell the story as a whole. Good Directors are always seeking the better answer, and asking the better questions, and it’s during this interaction that the film begins to take shape. Later on, a Director is looking for supportive team play from the Art Department, and good communication with the Costume Designer, Cinematographer,and their teams, ensuring that the shooting days are about performances rather than these Crafts.
Advertisement
Matthew: What is a Production Designer looking for in a director?
Michael: The Directors who I’m attracted to are gifted storytellers, with strong character and dialog skills. Because of their storytelling orientation, they are enthusiastic about making the visuals work in a more orchestral way. I’m looking for someone who is full of ideas, and then figuring out how to create an overall scheme that incorporates these individual ideas into a cohesive whole.
Matthew: When working on comedies, are your tones and styles different in comparison to working on dramas?
Michael: My philosophy is that comedies are best visually supported when the environs and decors create a plausible canvas for the comedic events to occur. In formulating a visual scheme for a film, it’s more important that the story’s entire arc be considered, and the audience be more involved with the comedic predicaments of our protagonists. Sometimes, the screenplay will call for the Scenery to become part of the Physical Comedy, which seems to support this theory by not “telegraphing” the gag or stunt. Other screenplays will call for the protagonist to interact with an unfamiliar or uncomfortable environment, and in this case I remain true to the overall arc, but increase the vividness of these new decors.
Photo: Dinner Scene in the comedy film Dinner for Schmucks (2010):
Matthew: You have worked on a lot of movies that were based on true stories. In fact, you just completed one that is about Ray Kroc, the owner of McDonalds. Do you enjoy the research process of re-creating historical times? How far can you go to stretch the “truth” in design for the sake of the story and themes that are being presented in the film? I’m sure it’s a fine line.
Michael: One of the great treats of being a production designer is the opportunity to explore such a variety of eras and remarkable true stories…..and meet people who brought great knowledge and insights either through their presence or their scholarship. Films that stand out in this regard are “Apollo 13,” ”The Alamo,” “Saving Mr. Banks,” and recently, “The Finest Hours.” Each of these films aimed not only toward archival re-creation, but also had to temper a finished look that communicated the film’s emotional truths. Ray Kroc and the story of McDonald’s offered another wonderful opportunity to research something that is so fundamentally American, and then create a wonderful replica of the 1954 Golden Arches franchise. But while being respectful of the archivists and historians, the fundamental idea is for the audience to experience the film’s real emotions and sense of place, even if it means measured and thoughtful deviation from some known historic truths.
Teaser Photo of “The Founder” starring Michael Keaton (left):
Matthew: You also like to work on political movies. In fact, you went back to back with director Jay Roach on Game Change (2012) to The Campaign (2013). Are you a political person yourself? How was it to re-create that infamous 2008 campaign?
Michael: Political films have always interested me, particularly Michel Ritchie’s “The Candidate,” which was really the first time that the confluence of Media and Celebrity and Politics came together in a modern way. And in many ways, “Frost/Nixon” was an intensely political film that played out in a different arena. “Game Change” and “The Campaign” were made more or less back to back, during the Republican primary season of 2011, so it was great to see the foibles in our screenplay occurring in real time on CNN. McCain’s 2008 was an absolute blast to re-create, as it was so well branded, and so well documented. The most interesting challenge was in re-creating the Vice Presidential debate with Joe Biden, which required great precision for the split screen between the archival footage and our new footage, but when we reached out for the drawings from the original debate, found them to be somewhat “classified,” and had to resort to a very deep bag of tricks to creating our matching set.
Matthew: I have a funny feeling that you and Jay will be back for Game Change 2 after this political season (and of course after the book is written). Are you looking forward to re-creating the campaign worlds of Hillary, Bernie, Donald, and Ted?
Michael: I’ve been a big fan of “Presidential Politics as a Contact Sport,” and enjoyed Mark Halperin and John Heilmann’s telling of the 2102 campaign, “Double Down.” So yes, absolutely, I’d love to see what the Game Change team would bring to telling the story of this Campaign.
Photo: Julianne Moore becomes Sarah Palin in Game Change (2012):
Matthew: How early do you come into pre-production before shooting starts? When do your hire and bring on the rest of your key team members?
Advertisement
Michael: Generally, in early pre-production, the location work has yet to begin in earnest, so my first priorities are getting the location scouting underway, and beginning to line up my team. I often have a couple of weeks to lay out a general scheme, and scout with the Director and Producers. My department generally gets about the same number of pre-production weeks as the shooting schedule, so the Art Department Coordinator is the next hire, to set the table for the arrival of the Set Decorator and Art Director, followed by the Set Designers, and Graphic Designer.
Matthew: What percentage of the budget generally goes to the Art Department when working on a Hollywood film?
Michael: This is always going to be Situational in relationship to a lot of other moving parts within any individual project. The scripted locations also play a major role, as shooting in a high school or in a submarine mean very different budget allocations for the Art Department.
Matthew: What film, besides the ones you’ve worked on, have you seen the most in your life?
Michael: Without a doubt, Francis Ford Coppola’s “The Godfather,” with Kubrick’s “Dr. Strangelove,” and Mike Nichols’ “The Graduate” coming in distant silver and bronze. All wonderful, complex, human stories, each with its own beautiful visual signature…..each designed by one of the greats of my generation…Dean Tavoularis, Ken Adam, and Richard Sylbert. Each film left a very lasting impression on my cinematic development.
Matthew: Do you have a Production Designer mentor?
Michael: I am blessed in having two gurus. When I first had the opportunity to hear Richard Sylbert speak of the Craft of Production Design, his concepts and theories immediately resonated, and I suddenly understood that designing films could be so much more than simply reflecting what was already on the page. Years later, I came upon the work of USC Professor, Bruce Block, and his book “The Visual Story: Seeing the Structure of Film, TV, and New Media.” After hearing Bruce speak, I felt that he had brought order to a multitude of concepts that I’d been employing, and through his teachings could now employ them in a coordinated way.
Matthew: Do you have any advice to kids currently in high school or in university who want to be a Production Designer?
Michael: This is probably indicative of my generation being one of the last analog skill-based one, but in general my Old School Advice would be to develop some basic non-digital ways of conveying visual information. Come to classroom with some ways to express your ideas that can be simple as chalk on a blackboard….and don’t require a laptop.
Photo: Re-creating Walt Disney’s office in Saving Mr. Banks (2013) starring Tom Hanks:
This image released by Disney shows Tom Hanks as Walt Disney in a scene from “Saving Mr. Banks.” (AP Photo/Disney, François Duhamel) ORG XMIT: NYET626
_____
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
I really enjoyed chatting with Stunt Performer/Actor Hannah D. Scott about her profession. She was very open about everything and you can feel her passion for the industry and what she does in her answers. Enjoy!
Matthew Toffolo: What job has been your most valuable experience?
Hannah D. Scott: I think that part of the answer lies in not actually working, but watching people work. The set is such a massive machine and being able to take a step back to listen and learn is priceless. I was once asked, a long time ago, to step in as kind of intern of sorts. Understanding the camera, understanding how the director communicates with actors in order to get the right result, what cues to give to help them understand and so on was incredibly valuable. I could see how different lenses worked, how framing could make or break a shot, how timing is essential as are reactions. I watched how gags were set up and every detail that goes in to even the simplest of stunts. Even for a small trip to the ground, the area has to be checked for hazards like glass for example, but someone outside of stunts might not think of those things because they never have to be the ones hitting ground.
Perhaps the most valuable experience was making a mistake on a job an realizing that that sort of stunt is not something I want to do, and being honest with myself about it. Why try and do something and risk not only yourself but others. We all have things we thrive at and fail at.
PHOTOS of Hannah fighting. Swords & Training:
MT: Have you suffered a lot of injuries doing stunts? If so, what has been your worst injury?
HDS: Funnily enough everything has been outside of work. My Mirror fell off of my windowsill and went through my foot when I was at home…doing nothing. I always expect to get a little bruised even though I have pads for safety, but it comes with the territory. There have been some terrible accidents, perhaps some were avoidable and some were just simply tragic accidents, but we are all aware in going to work that we stand the chance of being hurt and maybe seriously. Everything in our power and the power of those working with us is done to keep things safe. I don’t think the general public realize how much danger there is involved and how much of the physical stuff we actually do without it being CGI or some such thing.
MT: Has there been a stunt that you love to perform that you haven’t performed yet?
HDS: I haven’t done burns yet, being set on fire. There are full and partial burns, each with their own skill set and risks. For some reason that’s high on my list of things I’d like to learn and have the opportunity to do.
MT: How did you get into the stunt performer game? Was there extensive training involved?
HDS: This is always a hard one to answer as there in no one ‘way’ in. Personally I was picked to work on a film as I had a background in martial arts, gymnastics and fighting. I very much had to learn as I went that day because the most I had was stage combat for a base in understanding reactions and so on, but it’s a whole different world with a camera, pretty much polar opposite. I was lucky enough to be hired, do a good job and keep connections in order to find out how to progress once I’d made a choice to commit to stunts.
There is no ‘training’ for stunts in a way, you can’t go to a school and then come out with a range of skills and find recruiters. There are workshops available and they’re certainly more frequent in NY now. It has been very hard in the past to attend workshops without already being ‘in’ the working community and without a resume. Most were private invites and with good reason. Things are becoming more open to those starting out now and giving people a chance to learn. It’s a catch 22. How do you get into stunts without training but how do you get training and invited without already being in stunts? Who should even be teaching it is another story and sometimes cause for friction, but at the end of the day it’s about keeping each other safe and using the best skills we have individually, working together to make the best picture possible.
We all train regularly at various sports complexes and in teams. You have to keep the muscles moving, work reactions and timing and watch yourself back all the time on video to make sure you’re not catching yourself for example, putting a hand down being shot in the head where in life you’d just collapse…if that makes sense. Conditioning is always important so you’re fit enough to do multiple takes and have the ability to take the impact, are prepared for it.
MT: Where do you see the future of green-screen stunt performing in the motion pictures?
HDS: I’m not sure I”m experienced enough to answer that, but I think that technology will obviously continue to grow in ways we can’t even imagine yet. Look at animation, it’s mind-blowing. But, I do think there will always be a need for physical bodies and work, so hopefully non of the advances will take jobs away.
MT: What’s the biggest high risk stunt you’ve performed to date?
HDS: I’ve done a dog stunt, which could easily go wrong should the animal decide he wants to do what he wants, but I’d say high-fall holds some of the highest risk. Falling off buildings, cliffs, over balconies and so on into boxes, airbags or porta-pits. There are so many factors that could go wrong either from the miscalculation of the person jumping or the people on the ground spotting or prepping the air-bag, it’s a very risky stunt and a speciality. It’s certainly not for everyone.
MT: Do you have a stunt performer mentor?
HDS: Yes, I am very lucky and honored by the people I’ve been surrounded and guided by. I think it’s somewhat essential in this part of the entertainment industry as it can be so hard to navigate. I was incredibly lucky on the first major job I did having the chance to work with some of the longest working members of stunt community, their generosity astounds me.
Whenever I’m confused about anything from a contract to what I might need to work on or where I can find who and what I need, they are all there. It’s never too much to check in and there’s never a question that’s too silly to ask. I feel like they all remember what it’s like to have had that first day and remember where they started. I would love to name them, should I name them? Manny Ayala, Elliot Santiago, Chazz Menendez and Joanne Lamstein are all those I consider it an absolute honor that I have them in my life.
MT: What movie, besides the ones you worked on, have you seen the most times in your life?
HDS: Oh boy…honestly? Probably ‘Pete’s Dragon’, no kidding. I know every part of that script and gutted they have made a new one. I’ve never wanted dragons to be so real in my life!
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival online, and in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Ute Bergk answered the set of questions I emailed her on the airplane on her way to Budapest, Hungary to complete the television mini-series “Emerald City”. Based on the “Wizard of Oz” universe, Ute promises that the series is “going to be something else” and that director Tarsem Singh is a delight. Two months in Hungary and they are wrapped.
She was happy to answer these questions on the plane and send them my way. In fact, I might have this interview posted before she lands.
Matthew Toffolo: You were the Set Decorator on the action/comedy “Grimsby”, which is currently at a cinema near you. How was your working experience on that film?
Ute Bergk: Yes ‘Grimsby’ came out a few weeks ago. I have been working with Sasha BC before- we build the stage for ‘FunkyZeit’ in Berlin for him /for the movie ‘Bruno’. It’s was just an introduction to the madness of a comedy. Sasha is very mesmerising – it’s more like a life event working with him , really. ‘Grimsby’ was scripted like a feature film, but that didn’t mean anything. The writers were on set all the time and creatively made changes continuously. Now- in hindsight- I can say, that one needs to have quite a team in the background to serve the needs. There is a lot of running around! My experience- interesting but very stressful and full on speed!
MT: Is there a difference when doing set decoration on a comedy film in comparison to a straight up action or drama film?
Ute: Yes- I guess there is. Every comedy I have worked on is always reassuring the moment (of laughter) and rightfully so. But on film all has to be managed the same way like a drama / action pic. The Set Dec. Challenge with Sasha was to decorate cool as always but at the same time having in mind, that certain furniture or dressing actually have a ‘role’ too. A sofa needs to be big enough to walk on or a curtain strong enough to swing from..
PHOTO: Sasha Baron Cohen and Mark Strong in GRIMSBY:
MT: How was the Batman Begins and The Dark Knight experience? You helped create a more grounded and unique comic book world that set the tone for this genre. When working on #2 specifically, did you know that you were going to be a part of such an iconic film?
Ute: Well, well – I am very thankful to have had the opportunity!
When we first arrived at the ‘stage’ where we build ‘Gotham City’ on “Batman Begins”, it took 15 minutes for the door to slide open. I was aware that this is going to be …big. But the process is the same ..you take your piece of chalk and start outlying the sets onto the stage floor. ..Here is we’re the monorail will cross, here it’s ‘leg’ , a little further down ( a few mins walk..) the entrance to the opera.. We walked a lot!
On #2 we mainly did all stunts and action sequences there – the ‘stage’ was big enough to allow that. Not to forget the iMax cameras zooming by on wires every now and than.
PHOTO: Gotham City in BATMAN BEGINS:
MT: “Enemy of the Gates” is such an underrated film as the production design felt so real, almost like we were in 1940s WWII Russia fighting off the Nazis. What are your memories working on that film? Was the entire Art Department shocked that you didn’t receive an Oscar nomination?
Ute: I am really glad you are asking me this! It’s a long way down on memory lane but this was the greatest experience so far. I was very early into my career and it just happened that I was asked to join the team. We shot it in Berlin and the former East Germany. The set was enormous! Well… I thought so being a youngster. But truly it was. It was the biggest movie in Germany at the time. The logistics required to make it happen were just ..thrilling ..I would say now. The whole art department worked together and I can not recall any ‘counterproductive activities’ amongst us. I developed a close bond to the Russian community and still maintain friendships from those days. The Designer Wolf Kroeger came up with these amazing designs all drawn on paper – sometime a drawing would be up to 4/5 meters long ..on a paper roll. We had to create Stalingrad , destroyed by the war and did a lot of research on bricks and rubble. Wolf insisted to have bricks from a special factory in Russia and so we had lorryloads after lorryloads coming in. Container full of rubble! I earned my nickname ‘rubble-queen’ there- and if I may go to question 10 from here- if you find it thrilling to find yourself in freezing conditions somewhere far from home trying to explain to a Russian speaking lorry-driver on overtime to dump his bricks carefully – I guess you would make a reasonable good member of the art department!
PHOTO: The grand set design in ENEMY AT THE GATES:
MT: Describe the working relationship between the Production Designer and Set Decorator?
Ute: The Designer works very close with the Director. The Decorator works very close with the Designer, but the roles are quite different, I’d say. The Designer has a passion to create using his vision. The Decorator depends more on actual facts than fiction. Is a decor ..available. Do we need to make? Fabricate? What are the practical lighting requirements ? In what I am doing now this has become quite a concept..as ‘Emerald City’ is lit by the ‘Two Moons..’ But generally the Decorator has to be quite ‘realistic’ at some point and the Designer occasionally has to compromise , which they normally don’t like doing.
MT: How soon before production begins does the Set Decorator begin working? What is your initial task?
Ute: At least 3 months prior to the shoot and not long after the Designer is on board.
Initial task? Doing the job with full passion and ability.
MT: What does the Art Department look for in their Production Designer?
Ute: Not always does the Art Department choose with whom to work. An Art Department sometimes can consist of a lot of people and I cannot answer on behalf of all those involved. For me the person I work closely with has to be artistic, visionary, funny, entertaining, always switched on and human. At the end of the day it’s just a movie.
MT: What does the Production Designer look for when working with their Set Decorator?
Ute: You have to ask a Production Designer this .
MT: Besides the films you’ve worked on, what movie have you seen the most in your life?
Ute: Movie seen the most- u mean more than once? Probably “Mulholland Drive” cause I tried to figure out the architecture (there is none..!)
After having worked on “13 hours” – I thought the movie “Timbuktu” is just wonderful, but I have only seen it once- the soundtrack in on my Spotify playlist!
MT: Do you have any advice for high school and university students who want to work in the Art Department in the film industry?
Ute: If you enjoy all things weird and wonderful you have found your space. But only experience can tell if you succeed. It’s competitive and not easy to break into – if there is no other place in the world for you than go for it. Just like the Giant in ‘BigFish’ – see if you like it.
____ Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Film Festival on http://www.wildsound.ca and also held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.
It was an honor chatting with Emmy Nominated editor Allyson C. Johnson. She is currently editing the critically acclaimed series “The Get Down”.
Matthew Toffolo: You edited two episodes of “The Wire”. How was this working experience? Did you realize that you were a part of one of the great TV shows in history?
Allyson C. Johnson: The Wire was my first TV series so I didn’t know what to expect. I had been cutting features and docs and everyone kept telling me TV was soooo different but it was HBO so we didn’t have to deal with the commercials and other restrictions put on you by Network television. I think we all knew it was a really good series but when you’re in the trenches it’s hard to step back and actually see the bigger picture. So, no, I had no idea it was going to be as big as it is. It was a great experience because the Producers were smart, creative and trusting of the editors and it’s always a pleasure to work with a talented cast like the one on the Wire.
MT: What film that you’ve worked on has been your most valuable experience?
ACJ: I think Monsoon Wedding was my most valuable Feature experience so far. It was my first film and I learned so much from working with a great Director like Mira Nair. She has an amazing talent for making a performance as good as it can possibly and giving a film real heart.
PHOTO: Still from the film “Monsoon Wedding”:
MT: What is the art to being a great TV SHOW editor? How is working in TV different than working on a feature film?
ACJ: I really don’t think there is a difference between a “TV show editor” and a Feature or Doc editor. Now that there’s streaming and cable TV not all TV has the issue of having to stop the story every 8-12 minutes to add a commercial break. The big difference for me is that in TV it’s not a given that the editor will be at the mix. I still don’t quite understand why that is since the editor knows the show inside and out and can be a huge help during the mix. Network TV tends to want more close ups and to be on the actor’s face when they’re speaking plus having to find spots to put commercial breaks that will not be intrusive can be a challenge. Also, working on a series, although the director does the first cut, he/she doesn’t end up having the final say as they would in a Feature film because the Showrunner is the one who must make sure the series has one look and one feel.
MT: Have you ever been surprised after wrapping a production on the success or non-success of a film/TV show? I’m assuming you’ve experienced both pendulums – a film that you assumed was going to be a hit and the audience/critics didn’t respond. And a film that you assumed wasn’t going to do well and then ended up doing very well.
ACJ: I am ALWAYS surprised at the outcome. There are so many different opinions and tastes in this world. I think we just have to make sure we are working on a show or film we believe in and enjoy and not worry about what everyone else thinks. Unfortunately reviews can make or break a show and these days so can social media so I hope people will give a show a chance before they let someone else decide for them.
MT: What is an editor looking for in their director? What is a director looking for in their editor?
ACJ: Big picture? We spend so much time in the editing room together it’s imperative that we can laugh together. More specifically? I always hope for shots to cutaway to so we are not forced into performances that might not be the best and/or continuity issues. I would imagine a director would want an editor who is open to trying new things without complaining.
MT: Is there a type of film that you would love to edit that you haven’t edited yet?
ACJ: I was a musician in college and have always been drawn to musicals. Although I’ve worked on many Rockumentaries in addition to the NBC series Smash and The Get Down for Netflix, I still haven’t cut a musical Feature Film and would love to do that.
MT: What film, besides the ones you’ve worked on, have you seen the most times in your life?
ACJ: Aside from the films you watch a thousand times when you’re a kid I think I have probably seen Cabaret, Broadcast News, Sleeper, To Kill a Mockingbird, Harold and Maude, Minority Report, A clockwork Orange and The Heat. Sorry, couldn’t just pick one. That doesn’t mean there aren’t other films that I loved but some films you just can’t watch over and over again even if you love them.
MT: What suggestions would you have for people in high school and university who would like to get into the industry as an editor?
ACJ: Get a job in a cutting room, any job doing anything. It’s important to be exposed to the process as much as possible and to meet people in the business. If you’re an assistant already cut scenes on your own in your spare time using the footage for the show you are working on so you can get some practice and show them to the editor and ask for pointers. Learn the AVID.
MT: Where did you grow up? Was working in the Film Industry something you always wanted to do?
ACJ: I grew up in Great Neck on Long Island. I always wanted to be a musician and ended up going to college for that. However, I was very involved in Theatre at my High School too and I had a great love for film when I was growing up. Unfortunately it never occurred to me that I could do that for a living. We didn’t have phones that we could use to shoot our own movies and I didn’t know anyone who worked in the business so it seemed a little too out of reach until I got to college. I went to SUNY Purchase and it had a great film program. While I was there I took a few film classes on the side. That was the beginning for me.
_____ Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the Daily Film Festival every single day downtown. And also held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Award winning Director, Animator and Illustrator and Storyboard Artist Robert Castillo discovered his passion for art and illustration at the tender age of five. Nicknamed “Sketch”, Castillo would draw his way through his difficult transition of returning to the US from the Dominican Republic, mastering English, and acclimating to the mostly white environment of Chelsea, Massachusetts.
It was an honor sitting down with one of the more sought out storyboard artists in Hollywood. In just the last year, Robert has worked on “Star Wars”, “Fifty Shades of Black”, “Ride Along 2”, “Keanu”, “Captain America: Civil War”, “Bad Neighbours 2”, “X-Men: Apocalypse”, and “Teenage Mutant Ninja Turtles”.
Matthew Toffolo: You have worked as a Storyboard Artist on over 60+ productions in the last 15 years. Do you have a favorite experience?
Robert Castillo: I think that there are a few experiences but the one that sticks out to me would be working on the Ant-Man special features for Marvel. In the DVD extra example, they use my drawing of a Court room scene. It was great to do this job because I am a big Marvel fan and grew up with the comics.
Close second would be working on The Sopranos with Steve Buscemi.
MT: You are credited many times as being a Storyboard Artist: Promo Team. What does promo team mean?
RC: The Promo team would be whatever company is doing promotional commercials and advertising for the film. networks like VH1, MTV, TRU TV, Viacom etc.
Advertisement
They have me storyboards any advertising for the Film or TV show.
MT: You worked on three films that are about to being released for the 2016 summer movie season (Teenager Mutant Ninja Turtles 2, X-Men Apocalypse, Bad Neighours 2). Three different movies in terms of tone and genre. Did you have a positive time working on these films?
RC: Yes I did! I have the greatest job in the world! I read a script someone wrote and try to visualize what they are seeing in their heads. I get to use my imagination all day, as I am doing this interview I am working on a commercial. I am always drawing everyday and I can’t complain. Some jobs are tougher than others and more demanding but at the end of the day I am drawing.
MT: You have worked on a lot of action films. How important is the creation of the storyboard to the production team for the action and fight scenes?
RC: It is super important and crucial to storyboarding action scenes or fight scenes. It helps everyone to be on the same page. Storyboards also have a psychological effect in that when its on paper its just one step away from being a reality.
MT: What’s the general working relationship and process between a storyboard artist and the director? How early do you meet before production begins?
RC: I wish I could say we always meet early but sometimes they call me a day before its due! It can be a very stressful lifestyle but I try and do the best job possible.
When things go right I meet with the director at least a week or a few days before I start drawing.
MT: What are you looking for in a director?
RC: I look for a storyteller, someone that has a clear story in their mind and they know what they want to see on the screen but sometimes I get directors that don’t know what they want and it’s up to me to find that something they are looking for.
MT: What advice would you have for people who would like to do what you do?
RC: If you want to do storyboards for a living make sure that is what you want to do! Don’t do it just for the money! Take a lot of drawing classes or at least practice. Watch movies like Citizen Kane and Kurosawa films to learn composition and pacing. and practice everyday. I am still learning believe it or not after all these years.
MT: What movie have you watched the most times in your life?
RC: The one movie that I have watched the most in my life would have to be the first Star Wars movie, because in 1977 when i came back to the U.S. from Dominican Republic it was the most amazing thing I had ever seen on the screen.
_____ Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held in downtown Toronto on the last Thursday of every single week, and an online daily festival . Go to www.wildsound.ca for more information and to submit your work to the festival.
What an honor it was to chat with composer Mateo Messina. Such a talented and positive guy. I was inspired after our 30 minute chat, I have to admit. A total pro who teaches you in this interview many things, including that it’s not a bad thing to sneak into buildings in order to forward your career when you need to!:
Matthew Toffolo: When did music enter your life?
Mateo Messina: When I was 3 years old, I started playing the piano quite a bit and just remember really liking it from a first memory. At 5 years old, I starting coming up with my own compositions. My brothers used to play a game with me where a commercial jingle would play on the radio and I was able to go to the piano and play the song.
So you were a child prodigy then?
I don’t think so. Music was something I liked and was good at.
So you’re in your early years practicing on the piano. Getting better etc… I’m assuming you kept at it into your teens?
In my early teens I started playing at hotels, fancy restaurants, coffee shops. I had my CDs for sale at Starbucks. Had 30 copies to sell. I used to have fun playing these gigs where I would do jazz versions of any piece imaginable to set up the night. Then during the dinner hour, I would play popular heavy metal and alternative music on the piano. Soundgarden, Metallica, Pearl James. Many people didn’t notice where the song came from. It was a lot of fun.
Then I went to University and played drums in a lot of bands. One day a guitarist in a band suggested that we make a record. So we snuck into the school recording studio and….well, by the time I was 21 I made 3 solo piano records. I was about to graduate and I penned out a symphony. And this became a success as I would sell out events with 350 plus people. And I’ve been creating and doing symphony events every since.
When does composing enter your life?
In 2000, a young director asked if I would compose their short film. I didn’t know anything about it, but took a stab at it. I loved it right away. So in my mid-20s I moved to Hollywood to attempt to get into the industry.
Do you remember your first paying job?
Yes. It was a short film for MTV. I got paid $500. But for rent and to survive while I looked for my big break, I actually wrote music for commercials. It was never a passion of mine but it kept me in the loop and kept me busy.
What else were you doing to make connections?
I would do things like sneak on the Fox Studios lot and would try to take meetings and offer my music to studio people. Just do anything to get my music heard.
At that time you were composing a ton of short films!
Yes. A ton. I became the guy who composed shorts. That’s how I met Jason Reitman – which lead to JUNO (2007).
So it’s safe to say that JUNO was your first big break?
Definitely. It started everything.
I was actually at the premiere of the film at TIFF in 2007.
No way. I was there too. I remember standing behind the curtain while the film was playing with the cast and crew and hearing the audience roaring in laughter at all the right times and that energy of engagement. Michael Cera gave me a huge hug of “It’s a success!” feel.
Yes, I remember that day really well. It was a day time premiere at one of the side cinemas at the Ryerson University campass (in downtown Toronto). Usually that’s not a good sign that the festival or the distributors are really “pushing” this film, or believe that it will be successful. I guess they were wrong.
I remember that day too. Great feeling.
And you were on your way!?
Yes.
Let’s talk about the film that’s coming out this weekend: BLOCKERS. How did you get the job?
I didn’t know Kay, but I knew we had similar comedic sensibilities. I watched the film before we took our meeting and told her what I thought of it and what I would do in terms of tone with the music. About a week afterwards, I showed up to a screening of the film. There was about 60-70 industry people there. Just a screening for comedians and others to give their notes on the film. I was introducing myself and people kept telling me, “You’re the composer.” “Nice to meet you.” I didn’t know what was going on and I called my agency. They told me that I was hired but Kay forgot to tell me.
Listen. I work on a lot of comedies and I can honestly say that BLOCKERS is a very, very good film. Must see. Very proud of it.
I went to one of the previews. Sat at the back of the cinema, and there were scenes where the audience was roaring – like a rollar coaster. This film is the “American Pie” for this generation.
It all came together. One of my favorite films I’ve ever worked on.
How was your working relationship with director Kay Cannon? Her directorial debut, right?
Yes, her first time out, but come on, she’s a pro. From creating the “Pitch Perfect” films to helping running the show on “30 Rock”. She is a comedy expert. Kay is very smart. very funny. Patient. Thinks things through. She’s comes at things with so many angles. She’s super funny.
You’re also working on the film LITTLE ITALY, directed by Donald Petrie, who is a comedy pro (Grumpy Old Men, Miss Congeniality, How to Lose at Guy in 10 Day). So you go from a first time director to a veteran director of over 30 films.
LITTLE ITALY has a 90s sensibility and feel to it. There was an interesting moment working on this film. I didn’t want to dumb down the film and be on the nose with the tone of the music and was worried I was doing just that. One of the Producers told me, “NO, be on the nose. We are here to entertain.” It’s good to be reminded of that.
There are many ways to play the TONE. BLOCKERS and LITTLE ITALY are different tones but they are both comedies. Great to go from one extreme comedy to another.
In BLOCKERS, there are big percussions. Lots of drums. Horror tones. Sentimental tones. All kinds of emotions. We’re all over the place with it. With LITTLE ITALY you set the tone and let it play throughout.
How many instruments do you play?
Well I can write for a vast amount. I can play piano and any percussion.
I write everyday. Written everyday for the last 17 years of my career. Always play. Used to writing for all instruments. Can try anything someone throws at me.
What movie have you seen the most times in your life (besides the ones you worked on)?
National Lapoons Vacation.
I love films with heart.
What advice do you have for people wanting to be a composer?
Day dream. Set yourself up to succeed. What I mean by this is write, write, write and write some more. Find a film and write for it even if it’s already done.
Advertisement
Persistance is key. Relentlessness is key. Time and time again I’ve found the people I’ve worked with who are on top of their game are the ones who stayed after years and years struggling. Just keep at it.
And, you don’t play baseball unless you’re on a field. So you have to move to Hollywood, or a city that’s about making movies where you can land jobs.
Matthew Toffolo: Is there a project to date that you’ve worked on that you’re most proud of?
Not really. I do love all the things I have worked on. I put my best effort into all of them.
Sometimes they turn our great, sometimes they are less successful (according to my personal opinion) but I have yet to have a bad experience making a movie (knock on wood).
What was the biggest thing you learned working on the many shorts that you DP’d?
Shorts can be a great opportunity to try things out. They have a very different rhythm from features and are less forgiving than a longer project can be. You need to find your groove on set a lot faster because the schedule is shorter and the same goes for what you are shooting.
Everything is a bit tighter and you can’t slip
What suggestions would you have for up and coming cinematographers who want to be where you are?
Just keep working.
Keep your expenses low so you can afford to take on projects that don’t pay much but are projects you feel strong about.
Be nice to everybody, stay curious and excited about the work
You have been in a unique position where you were the Director of Photography on two seasons of “Mozart in the Jungle” and the current 1st season of “Imposters”. How have those experiences been like working with different directors for each episode while being the driving force for the look and tone of the television series?
Both of those shows are pretty intimate affairs.
In both cases the majority of episodes are directed by the creators and over the now 3 years of “Mozart” we have grown into a bit of a family.
Outside directors are usually pretty good fits into the existing group. In both cases the creators of the show have a lot of control over the show and the hiring.
I have only had great experiences with the “outside” directors.
In prep the first AD will also give them a good idea of where the challenges are and we then tackle those together as a group.
Most of the time the directors will have a very good idea what the show and are there to play and all of us, cast and crew, are open to play as well.
What are you looking for in your director when working on narrative shorts or features?
Mostly whether I can imagine spending a lot of time together with that person and enjoy it.
What is a director looking for in you?
If I knew… it’s probably different every time.
Is there a project that you love to work on that you haven’t worked on yet? (genre, style etc..)
Anything Azazel Jacobs is going to make in the future.
Where were you born and raised? What becoming a successful DP something you always dreamed of doing?
I was born and raised in Frankfurt, Germany.
No one in my family worked in film or media related jobs and I also didn’t watch much TV or go to the movies as a child and young adult.
I always had jobs as a teenager and ended up being involved in a little music/theater venue. There were a few par cans and a little dimmer board there and one day a friend who also worked there asked me if I could imagine working with him and 2 other guys at a much bigger venue in the summer for an annual theater series. I said yes and I ended up working there for 3 summers.
In that period of time the audience number grew so big that they had to hire someone who was certified. I was 18 at that time. That person took me on as an assistant and introduced me to film. Somehow I liked what a DP did and started exploring anything visual. I did internships/apprentice ships at a post production, editing and animation and worked as a electric and grip and ultimately applied for film school in Berlin, Germany.
After that I went to AFI where a met a lot of people who I still friends with and work with as well.
In short it was a bit accidental and I am still learning as I try to catch up.
What film, besides the ones you’ve worked on, have you seen the most time in your life?
Perhaps Harold and Maude. Not sure. I do like american movies from that time for sure.
In general I gravitate towards older movies. Often international movies.
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held in downtown Toronto, and Los Angeles and every day at home. Go to www.wildsound.ca for more information and to submit your work to the festival.
Alex Armbruster is one of the most sought after stunt performers working in Canada today. When Hollywood makes an action film, Alex is generally on-set working is various stunt skills and expertise. He has worked on over 60 movies and TV shows in just the last 7 years along.
It was an honor to chat with him about his career:
Matthew Toffolo: How did you get into the stunt game? Was this something you’ve always wanted to do?
Alex Armbruster: Looking back, I suppose it all started when I was 12 years old. One day I saw a Disney movie called “Brink” about competitive aggressive inline skating, and immediately after the movie, I strapped on my skates and started jumping around outside; little did I know that this sport would become my passion that got me into the world of stunts for film and television. Fast forward a few years, I had been very competitive in the inline skating world and had been part of a live action sports group called the “Craz-E-Crew Stunt Team” that took me all over the world including Saudi Arabia, India, and all around North America. One day I happened to visit a skatepark in Brantford, Ontairo where I met these two brothers who happened to be stuntmen in the business already with their father being a stunt coordinator. We hit it off and started hanging out on a regular basis where I would see how much fun they were having and how much money they were making. I remember thinking to myself “I need to get in on this!” So eventually I convinced them to give me a shot on set; which they did. It was on an MTV show called “Skins” to basically be the buffer between the stunt and background performers to make sure they didn’t get hurt from the fight scene we were doing. From the moment I stepped on set, I was hooked. I ended up doing lots of extra and background work to meet other stunt coordinators in the business; always bringing my resume and demo reel with me. I was constantly training different skill sets, getting as good at everything as I could. Eventually, they also gave me a shot and I started to make a pretty decent reputation for myself. Six years later, here I am today!
Getting into stunts was definitely not what I always dreamed of doing when I was younger. Growing up, I always wanted to be a professional rollerblader. As time went on, the sport unfortunately started declining and learned that I couldn’t really make the living i wanted from it. I also went to school for business and thought at one point that I would open up a skateshop/skatepark instead. It was around this time (2008-2009) that I had met my stunt friends and began to see my future that satisfied me the same way that rollerblading did. Stunts became my new passion and allowed me the free time I needed to continue rollerblading to my hearts content.
PHOTO: Alex does some “fire” work on set:
MT: You work a lot on Toronto based sets. How is the crew experience in Hollywood North?
AA: Yes, I work mainly in Toronto and Montreal at this point. The crews are usually quite good here in the sense that everyone is very organized, kind and for the most part, efficient. I’ve only got the two locations to compare, but I imagine they would be very similar to the crews in the states as well given that we have to cater to American and other international actors’ as well.
MT: What job has been your most valuable experience so far?
AA: My most valuable stunt job has been stunt doubling for Jay Hernandez who played “El Diablo” in Suicide Squad. It was such an amazing experience working alongside actors like Will Smith and Margot Robbie and just being apart of the DC Comics world. I knew right away when I got the job that it would be a pivotal point in my career in the sense that it would probably be one of the most unique experiences that many stuntmen wouldn’t receive. Getting all dressed up in the makeup, getting the tattoos and shaving my head every morning for this role was very cool and definitely made me feel like a super hero (or villain). Although there were only a handful of stunts for this character in the film, there were a couple of really good ones including when he gets flushed out of the water tank and when Incubus kicks him backwards 60ft over a flight of stairs into a shop window and into a wall in the last train station scene. I’ve now developed a bit of a collecting habit for any Diablo-related merchandise I can find…after all, it’s probably the closest I’ll get to having an action figure of myself!
PHOTO: With actor Jay Hernandez – Suicide Squad stunt double for Diablo Ratchet
MT: What are the differences between working on a big budget movie (X-Men: Days of Future Paste, xXx) in comparison to working on a television series (Dark Matter, Designated Survivor?
AA: The difference between working on a big feature film and a smaller TV show basically comes down to two things: time and money. On a big feature film like Suicide Squad, they have hundreds of millions of dollars to work with while trying to create a film that’s around 2 hours long in about 4-5 months. On a TV show, they have a few million while trying to create 1 hour episodes every week or two over the course of 3-4 months as well. As a result, the big features move a lot slower on set since they’re usually only trying to get a couple scenes shot everyday. Since the budgets are so big, everything is a little more relaxed and casual since they don’t have to get everyone off the clock so soon. On a TV show, they’ve got usually around 5-6 scenes to film in one day with set shifts in there as well so they tend to move along a bit quicker and more efficiently to get that all accomplished on time.
MT: Is there a type of stunt that you haven’t performed yet that you would love to work on?
AA: One of the things I actually haven’t done yet is to do a full body burn (to be set on fire). It’s just one of those things where the opportunity doesn’t come around too often and when it does, it often goes to someone who has done it already. Even if the opportunity doesn’t come up in film this year, I’ll definitely be getting my friends to set me on fire just so I can experience it and put it on the resume.
MT: What makes a great stunt performer? What skills does he/she need?
AA: A great stunt performer should first off, have a great positive attitude. The film business can be quite tough to break into and even to make a living in and it takes a very special breed of person that is willing to persevere through all of the ups and downs. They need to be okay with not knowing when they’re going to work next, where they’re going to be working, what they’re going to be performing, etc. They need to be comfortable with being uncomfortable for extended periods of time on set; for example, wearing a prosthetic costume in extremely cold weather for over 14 hours overnight gets pretty tough mentally. Another huge asset that every great stunt performer needs to have is the ability to take and follow direction; even if the stunt performer is one of the best in the world in terms of skill, if they can’t take direction and do what the director or stunt coordinator is asking of them, then they’re essentially useless to the production. In terms of skill required, it is to the performers’ maximum benefit if they are as good at as many skills as possible. Most stunt performers break into the business by having some sort of specialty skill that they excel in, but this skill alone won’t keep you working all of the time. Most of the stunts you see in films include skills such as precision driving, high falls, fight choreography, gun work, wire work, gymnastics, parkour, horsemanship, acting, etc. A great stunt performer should be relatively well-rounded in most of these areas so that they can confidently accept any type of job opportunity that comes their way.
PHOTO: Doing wire work on the TV show Minority Report:
MT: What film, besides the ones you’ve worked on, have you watched the most times in your life?
AA: Good question. I’ve always been a huge fan of the Back to the Future trilogy with Michael J. Fox. Every year I usually watch these films a few times. Everything about the trilogy is so well done that it’s just one of those classics that you never really get sick of; the story telling, the music, the characters, the stunts, the one liners… it really is a “timeless” movie… pardon the pun. A career goal would be to be apart of a film as good or even better than that… which these days is pretty hard to come by.
MT: What’s the biggest high risk stunt you’ve performed to date?
AA: The biggest high-risk stunt I’ve performed to date is probably the one on Suicide Squad which i mentioned earlier where I went flying on a wire (we call it a ratchet) backwards 60ft. over a flight of stairs, through a window sill and into a wall. The reason why this one was such high-risk was because of the huge distance that I had to travel backwards and the speed that it was being done at. When the distance is that big between your take-off and your landing, there’s a lot of room for error; it’s very easy for your body position to change into one that’s not very favorable for your landing. The wardrobe I was wearing ( a tank top and jeans) also didn’t allow me to wear any pads on the upper half of my body which was a concern considering I wasn’t landing on any mats. We were planning for me to launch backwards, hit and break through the window sill and then hit the wall with my back pad, landing safe and sound. Here’s what actually happened: from the take-off, everything was going very well until I hit the window sill (which was breakaway so I could go through it easily). Once I hit the window sill, my body position changed unfavorably and my legs swung back behind me and smashed into the wall first before my back which ended up giving me a nasty spiral fracture on my left fibula (ankle). Although the rest of my un-padded body was somehow unscathed, I found myself healing for a good 6 months after that. Sometimes these things happen, and these are the types of risks we take as stunt performers but it definitely could have been a lot worse if I hit my head instead of my leg. However, I did make a full recovery and I’m 100% again.
MT: Where do you see the future of green-screen stunt performing in the motion pictures?
AA: With the steady increase in visual effects technology, there’s without a doubt going to me more green screen stunt performing in the future. Using green screens in the background for stunt performing typically isn’t a big deal since they usually use it to simply put a different background image in the scene which keeps all of the stunts real and authentic. Where we might get into trouble later on is increased CGI replacing stunt performers. For example, even now in some films instead of actually lighting a stunt double on fire, they’ll simply CGI the fire on the actor which eliminates the need for a stunt performer completely in that case. Luckily at this point, CGI only works for certain types of stunts and there’s still a need for real people performing real action. It’s also very costly to involve CGI and it still remains less expensive to pay a stunt performer who will make the stunt look better in the end anyways.
_____
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the Daily FEEDBACK Film Festival held in downtown Toronto, and online. Go to www.wildsound.ca for more information and to submit your work to the festival.
Festival Reviews 