Day 4-- Monday night
In order to get us excited and enthusiastically pantomiming, one of the PA's this night hollered, with exceeding gusto in a Croatian accent,to the nearby background actors, "Be like you see da Rollin' Stones. Be excited . . . like you see da Pope. I don't know! Just be excited."
While this was the day I had the opportunity to ask a lot of questions, it was also the day that we worked really hard and there were only two breaks other than lunch. They were trying to get everything in they possibly could because it was the last day of filming. I had a lot of different question for the different departments.
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| Mark Ruffalo |
There were 700 people there. We had to look to several different parts of the set and it was really challenging at one point to keep us all focused. But, I was really impressed as Mr. Letterier, the director used a green pointer light, that when on the roof shone all the way over to the Empire State Building. He shone it where we were supposed to be looking and it kept us focused like a charm (now if it will just work with my kids).
Being an extra is not always an "easy job." I know. A lot of background actors will scoff at their own profession stating, "Where else can I get paid for doing nothing?" And yet, you try staying up all night, acting like you're having the best time of your life--the entire night--imagining something so amazing that,
if it was real, you know you'd have kicked yourself for the rest of your life for missing. To me, and to the people there that night, it falls under the heading of hard work, especially if it is freezing and you're hungry and the bathrooms are well, let's just say, less than desirable.
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| Behind that million dollar crane are some of the head-iest haunchoes in the movie making business. Exciting, |
But, then most extras are not me and peppering the amazing people that worked there with questions. People that are at the top of their field. People who's paychecks probably . . . are more than descent. My theory is, when such people are about I'm going to take advantage of the moment and find out all I possibly can.
I was writing as fast as I could so my notes may be eclectic and not make sense, to anyone.
Electric Eric:
Me: Let's pretend I had an almost no-budget film filming in the middle of a park and I needed enough power for my camera and maybe a couple of small lights (like the ones I mentioned previously).
EE: You'll need a 12 volt battery. Find a DC kit rental; M. Richardson 12 volt lighting package. You can rent from Paramount in Long Island City. If people don't mind the sound you could use a Honda 2000 (suitcase sized) with 30 amps, but you'll need a permit if it is in the park because it is very loud.
He may have told me a lot more, but this is all I wrote down and I don't remember if I had the brainpower at that hour to ask any more questions or remember anything else for that matter. :) Eric, if you ever see this, thank you so much! If I ever see you again I'll probably have more questions. You were great to answer the ones I had.
Chris, the Camera Man
The moment he knew he wanted to be a camera man began when he tried to get his then-girlfriend interested in photography. The more he pressed, the less interested she became and the more interested he became. He knew he wanted to do it as a career when he found he could make a living at it. Practice with regular cameras and then move on to high def when you get better at it. The story boarding (which I did not personally see) looked almost exactly like what they were filming that night, which is really great. Almost every time they are filming at night at about 4:30 they have the steady cam--with the apparatus attached to him for his video camera. It's like wearing a 70 lb. vest--not fun, but amazing results. If you ever see this, thank you Chris! You were really helpful!
Anthony, the camera man assistant
Shot stills and then moved on to video cameras. He suggested that
The Godfather had superior filming and focus as does
Transformers, but not the
Twilight series.
To make a good film, look at scripts, specifically the building tension, conflicts and resolution. Simple stories will prevail. Movies run in cycles; technicolor, action, natural disasters, underdog. Film is all about communication and learning about life. Thank you Anthony, for what you said and for helping me clarify things in my mind about the film I want to make by asking me key questions about my film and why I want it the way I want it. And then acting like my ideas have potential (very validating). :)
Moovie Mic Miller--Security Guy
Good scenes are good scenes because stories are good. Stay true to characters; in every area, what they say, how they act; must always apply to that character. This guy is the security for a lot of stars. He's in a lot of tabloids looking incredibly official and hey-bad-guys-stand-back-ish. Thanks Moovie Mic Miller!
Andrew--Camera Man
Read a lot of filming books. The movies that you see are the final version. Watch the commentary. Come up with your own style--good directors adapt from different styles like Stephen Speilberg, Michael Bay--Mitch loves the 360 degree steady cam shots.
Every era has it's own style.
Go to art museums--look at the way the painters frame the painting, how they used light and shadows. Go to St. Patrick's Cathedral and look at the art.
Note to self. I knew there was a reason I felt drawn to those places and that art. :) Thank you Andrew for your advice! I'm going to follow it.
Some of the other background actors that were there have asked me if I have photos of a certain part of the filming. . . see comments of the first
Now You See Me post. I do, but I think I may wait until the movie actually comes out (as well as actual fake moolah). . . you'll like that!
