Saturday, April 4, 2015
Grimm
Monday, February 9, 2015
Grimm
How I got on the show
I am part of extrasonly. That is the website to sign up for to get onto Grimm in Portland. You can also give them some ideas of props that you have--like a car.
I submitted my name several times for parts. The reason they wanted me was for my car, but I'll take what I can get. :) In New York, if your an extra with a car, sometimes (if not all--I'm not sure) they will have you stay in your car. That is not how it works in Portland.
Seeing the Grimm and Hank
The PA, Amanda, had all five of us who brought cars, to wait in the holding which was in the back room of the restaurant where David Giuntoli and Russel Hornsby (Nick and Hank) were filming. I didn't get to see Mr. Hornsby other than behind the glass separating us, but I did get to see Mr. Giuntoli several times, walking through holding. During filming I was right outside the window of the cafe where they were talking.
I didn't get to hear any of their lines. But at one point, when we weren't filming, Mr. Giuntoli (the Grimm) looked out the window at the machine that washes the streets and sure enough, he looked exactly like he does in the show--all pensive and deep in thought. I smiled at him, but he was looking just past me so I don't know if he saw.
What surprised me
The extras on the show were all delighted to be on it, because it was Grimm. They happily said that they had set their devices to record it so they wouldn't miss the show that was going to be on that night. This is completely the opposite from the reactions of the extras in New York. Many there said that they didn't even watch themselves on the episodes they were on and didn't know anything about their shows. Between the two, I prefer the Portland excitement. I like the show too and it was fun to talk with fellow enthusiasts.
What I learned
Embrace the awkward. I rehearsed questions in my head driving up to Oregon City for the filming, I told myself that I didn't care how awkward I felt I was going to move forward and ask questions. Somehow giving myself permission to feel out-of-place and move past it really helped my determination to ask questions to the crew.
I received vocal permission from each of the following people to put what they said on my blog. That said, I did not record our conversations and hastily wrote down the general idea of what they said--so hopefully it makes sense.
Matthew Barbee, First Assistant Camera: "b" camera
Grimm is usually filmed with two cameras and with action scenes three. Actually, Matt did not tell me that, someone else did, but it gives some perspective.
1. What is an easy to camera to use when starting filming?
Canon 7D is good for beginners and if you want to spend more try a Canon C300 which is around $13K, but is rentable for somewhere around $200 a day.
2. I have two lenses at the moment--a kit zoom lens and a 50:1.4. What do you suggest would be the next lenses I should get? The 16-35mm; 70-200mm; and the 24-70mm, in that order. They are also rentable.
3. Many people I have talked to say that you just need to get making movies. I have been trying to make a 2-5 minute short a month. What do you think should be my next goal? Work with other creatives. People need to see that you can work with others. Watch other directors and learn from them.
Chris--whose last name I did not get and there seems to be three electricians with the first name of Chris, so if you see this Chris--you know who you are and if you'd like I can change this to your last name.
1. Please tell me what I can do to get the best results for lighting at the most basic level.
Natural light is the best and is generally the most forgiving. It can be soft. But avoid direct sunlight at noon. Don't be afraid of the shadows. Colored light is dramatic. Clear amber is basic Grimm lighting. (Note to self: Now, I'm going to really have to pay attention to the lighting and see if I can tell the difference when I watch the show).
Emie: Hair Stylist
1. How do you know how to do different period's hair? We are given several photos to use as inspiration.
Matt: Head Electrician: May be the best boy--but I could have misheard his name because I cannot find it. At one point he started doing the robot because the electricians had a running joke among them that when one of them was talking to a girl they do the robot.
What is your goal in the next five years? I think I need some ideas with that, could you tell me what would be some good goals? After your work gets better and better consider Public Access television. You won't be paid for it, but your work will be out there for people to see. Check it out in Salem, Gresham, MetroEast, Portland and Community TV. It must be the first showing of what you make.
Todd: Lighting or Grip
Use a reflector when light is behind the subject. It will diffuse light into the face of the actor. Grips shape light. If you get a reflection in the window of the lights you use a black sheet of paper. White reflects light. Black absorbs light. A good light to act like the sun shining through the windows is 4khmi-m40 .
Thank you so much to those who took the time to talk with me and to give me advice. You are doing great work and what you said meant a lot to me and to my readers!
I am part of extrasonly. That is the website to sign up for to get onto Grimm in Portland. You can also give them some ideas of props that you have--like a car.
I submitted my name several times for parts. The reason they wanted me was for my car, but I'll take what I can get. :) In New York, if your an extra with a car, sometimes (if not all--I'm not sure) they will have you stay in your car. That is not how it works in Portland.
Seeing the Grimm and Hank
The PA, Amanda, had all five of us who brought cars, to wait in the holding which was in the back room of the restaurant where David Giuntoli and Russel Hornsby (Nick and Hank) were filming. I didn't get to see Mr. Hornsby other than behind the glass separating us, but I did get to see Mr. Giuntoli several times, walking through holding. During filming I was right outside the window of the cafe where they were talking.
I didn't get to hear any of their lines. But at one point, when we weren't filming, Mr. Giuntoli (the Grimm) looked out the window at the machine that washes the streets and sure enough, he looked exactly like he does in the show--all pensive and deep in thought. I smiled at him, but he was looking just past me so I don't know if he saw.
What surprised me
The extras on the show were all delighted to be on it, because it was Grimm. They happily said that they had set their devices to record it so they wouldn't miss the show that was going to be on that night. This is completely the opposite from the reactions of the extras in New York. Many there said that they didn't even watch themselves on the episodes they were on and didn't know anything about their shows. Between the two, I prefer the Portland excitement. I like the show too and it was fun to talk with fellow enthusiasts.
What I learned
Embrace the awkward. I rehearsed questions in my head driving up to Oregon City for the filming, I told myself that I didn't care how awkward I felt I was going to move forward and ask questions. Somehow giving myself permission to feel out-of-place and move past it really helped my determination to ask questions to the crew.
I received vocal permission from each of the following people to put what they said on my blog. That said, I did not record our conversations and hastily wrote down the general idea of what they said--so hopefully it makes sense.
Matthew Barbee, First Assistant Camera: "b" camera
Grimm is usually filmed with two cameras and with action scenes three. Actually, Matt did not tell me that, someone else did, but it gives some perspective.
1. What is an easy to camera to use when starting filming?
Canon 7D is good for beginners and if you want to spend more try a Canon C300 which is around $13K, but is rentable for somewhere around $200 a day.
2. I have two lenses at the moment--a kit zoom lens and a 50:1.4. What do you suggest would be the next lenses I should get? The 16-35mm; 70-200mm; and the 24-70mm, in that order. They are also rentable.
3. Many people I have talked to say that you just need to get making movies. I have been trying to make a 2-5 minute short a month. What do you think should be my next goal? Work with other creatives. People need to see that you can work with others. Watch other directors and learn from them.
Chris--whose last name I did not get and there seems to be three electricians with the first name of Chris, so if you see this Chris--you know who you are and if you'd like I can change this to your last name.
1. Please tell me what I can do to get the best results for lighting at the most basic level.
Natural light is the best and is generally the most forgiving. It can be soft. But avoid direct sunlight at noon. Don't be afraid of the shadows. Colored light is dramatic. Clear amber is basic Grimm lighting. (Note to self: Now, I'm going to really have to pay attention to the lighting and see if I can tell the difference when I watch the show).
Emie: Hair Stylist
1. How do you know how to do different period's hair? We are given several photos to use as inspiration.
Matt: Head Electrician: May be the best boy--but I could have misheard his name because I cannot find it. At one point he started doing the robot because the electricians had a running joke among them that when one of them was talking to a girl they do the robot.
What is your goal in the next five years? I think I need some ideas with that, could you tell me what would be some good goals? After your work gets better and better consider Public Access television. You won't be paid for it, but your work will be out there for people to see. Check it out in Salem, Gresham, MetroEast, Portland and Community TV. It must be the first showing of what you make.
Todd: Lighting or Grip
Use a reflector when light is behind the subject. It will diffuse light into the face of the actor. Grips shape light. If you get a reflection in the window of the lights you use a black sheet of paper. White reflects light. Black absorbs light. A good light to act like the sun shining through the windows is 4khmi-m40 .
Thank you so much to those who took the time to talk with me and to give me advice. You are doing great work and what you said meant a lot to me and to my readers!
Sunday, January 4, 2015
Top Ten Rules to Being A Great Extra
Having done this a number of times, I now feel somewhat qualified to write a list of rules for beginner background artist hopefuls, but in reality many of these rules apply to any job out there.
If you read nothing else remember to be polite and respectful.
1. Be on time. This is the first rule from every background artist and their dog (okay, maybe not their dog--but maybe their great-aunt Harriet). It's no joke. When late, the production assistant, PA may practically shout out "YOU'RE LATE," this may happen even when, technically you are on-the-dot-on-time (I've seen it happen). Also, even if the place you were given to go to is 4-5 blocks from holding and where you actually check in, you must plan ahead because late is late in any PA's language. One time I left for a shoot two hours early only to find that the address that they had given me at check in was bogus and that the shoot was in the middle of Prospect Park in Brooklyn, NY. I don't know if you have ever been to Prospect Park, but I want you to know that it is huge--beautiful, but huge. It took me that entire two hours to find the place where the shoot was. I was late because I couldn't find it and I still got the stink eye. . . so plan to be way early and guess what else, if you want a part or a bigger role being the first one on the set--bright eyed and bushy tailed, in a manner of speaking, showing that you are ready, prepared and willing is key.
2. Avoid gossiping, complaining or bemoaning. Yes, that expert SAG actor may be loudly groaning about the lack of . . . anything . . . the entire time you are on and off set, but don't join in. Even if your sentiments match theirs and then some--because a negative Nelly or Ned never add anything and often detract from the goal of the production. If you're there to learn or to actually become an actor in any league the choosers will hear your whining from a mile away (whining can be done in facial expressions/body language too). This may be challenging when you're feeling frozen and you desperately want to hop around to get warm. Don't whine. It looks like you desperately need to visit the nearest honey wagon (bathroom).
3. Act like the production means the world to you, because it may not to you, but it does to someone watching you and you will gain their respect by showing you care and want it to succeed. Respect goes a long way in any business.
4. Go above and beyond the call of duty. This means to help out when possible. It may not be in your job description to help pick up pieces of paper that flew off the set, or to catch a prop that is being blown away by the wind. But, it will show you are a dedicated person and willing to go out of your way. The head haunchoes may not notice, but it is likely someone on the production staff will--and they may be the future producers/directors/people of influence in the business and they may remember you. At another shoot I was the only one of 700 people (it was a cattle call) that got down and helped pick up fake money so we could get to the next take--think how much faster it would have been if we would have all helped. In fact, I helped so much that one of the people on the side asked if I wanted a job (but not in the acting department).
5. Always say thank you and look into their eyes when you say it. They may not have the time to answer, but it matters. It is always appreciated, even if it is for only a moment. This includes PAs, wardrobe people, crew, catering, other extras who move for you, etc.
6. When you want to talk to anyone on the crew, wait until you get the OK signal. They probably will not beckon you to them or come and talk directly to you, but, like the normal rules of social engagements--if they smile and make direct eye contact with you and do not turn away if you move toward them, likeliness is they won't have a problem talking for a moment. If they act busy, it is not the time to talk with them because they probably are very busy and even if they would like to talk to you another time, are striving to make the most of each moment on set--because each minute has a diamond filled dollar sign attached to it in their mindset (in other words time = money). Also, do not take up too much of their time.
7. If you want to talk to the principle actors, observe them. If they are talking, in a friendly way, to other extras, chances are they will be happy to talk with you for a few moments. I wish wish wish I had had the courage to walk up and talk to Tom Selleck on the set of Blue Bloods. He was talking with other extras and I think I could have learned a lot. But I did get to talk momentarily to Sela Ward as she was gearing up for a different take in CSI:NY
8. If you're on set--do not plan anything else. Seriously, some shoots can go up to 16-18 hours, especially if the directors are finishing up their last days of shooting. You can get some great overtime. This includes night shoots. If you get there at 5 p.m. do not assume that you'll be leaving at 6 a.m.
At one set, I had to leave at 7 a.m. because my husband had to get to work and I had to take the kids to school and be a mom. I was worried sick that if my husband was late, his boss would get really angry at him. I got the okay to go from one of the second assistant directors. I walked quickly back to check out, get my stuff, and get home. But when I got to the desk to check out there were three PAs sitting there chatting. The tall blonde one in the middle began to yell at me and yelled at me straight for 30-40 minutes, including calling the casting company and yelling at them to never hire me again because I was totally unprofessional and had no excuse to leave early. In most circumstances like that I probably would have broken down and cried, but I was so utterly exhausted from being awake and standing and trying to stay warm all night for the shoot that I must have had a stupid grin on my face and I could not say a word more than yes or no. If you know me, you understand that I smile a lot. Grinning, for me, is a coping mechanism. He yelled at me until the shoot was done and all the other background artists were coming back to leave. I checked out as quickly as I could, but he made it really hard for me even to get my stuff. The whole time, in my brain, all I could think, but not actually say, was something akin to what J.K. Rowling said, "If you want to know what a man's like, take a good look at how he treats his inferiors, not his equals."
I am telling you this, not to complain, but to impress upon you that being there for the whole shoot is really important (I had no idea) and professional. Boy, have I learned my lesson. I still stay awake some nights remembering it and feeling slightly traumatized. Never again, folks. Never again will I leave a shoot early--unless it is utterly dire.
9. Don't expect red carpet treatment. On set, the people that are getting you where you need to be. As far as I could tell PAs are desperately trying to show the big guys that they are capable of handling monumental tasks--like getting hundreds of people here and there with little to no glitches.
10. If they ask for volunteers to do something and you're serious about becoming an actor, be the first, if not one of the first to volunteer. You may get vouchers that could get you into the union (if you want to be in it).
You can do this. Some people say that being an extra is the best way of earning money because you're doing nothing. Let me tell you, folks. Standing all day and acting a part requires endurance. You can do it! You'll be great! Learn all you can and then tell me about your experiences.
If you read nothing else remember to be polite and respectful.
2. Avoid gossiping, complaining or bemoaning. Yes, that expert SAG actor may be loudly groaning about the lack of . . . anything . . . the entire time you are on and off set, but don't join in. Even if your sentiments match theirs and then some--because a negative Nelly or Ned never add anything and often detract from the goal of the production. If you're there to learn or to actually become an actor in any league the choosers will hear your whining from a mile away (whining can be done in facial expressions/body language too). This may be challenging when you're feeling frozen and you desperately want to hop around to get warm. Don't whine. It looks like you desperately need to visit the nearest honey wagon (bathroom).
3. Act like the production means the world to you, because it may not to you, but it does to someone watching you and you will gain their respect by showing you care and want it to succeed. Respect goes a long way in any business.
4. Go above and beyond the call of duty. This means to help out when possible. It may not be in your job description to help pick up pieces of paper that flew off the set, or to catch a prop that is being blown away by the wind. But, it will show you are a dedicated person and willing to go out of your way. The head haunchoes may not notice, but it is likely someone on the production staff will--and they may be the future producers/directors/people of influence in the business and they may remember you. At another shoot I was the only one of 700 people (it was a cattle call) that got down and helped pick up fake money so we could get to the next take--think how much faster it would have been if we would have all helped. In fact, I helped so much that one of the people on the side asked if I wanted a job (but not in the acting department).
 |
| Don't you love all the fake money? |
6. When you want to talk to anyone on the crew, wait until you get the OK signal. They probably will not beckon you to them or come and talk directly to you, but, like the normal rules of social engagements--if they smile and make direct eye contact with you and do not turn away if you move toward them, likeliness is they won't have a problem talking for a moment. If they act busy, it is not the time to talk with them because they probably are very busy and even if they would like to talk to you another time, are striving to make the most of each moment on set--because each minute has a diamond filled dollar sign attached to it in their mindset (in other words time = money). Also, do not take up too much of their time.
7. If you want to talk to the principle actors, observe them. If they are talking, in a friendly way, to other extras, chances are they will be happy to talk with you for a few moments. I wish wish wish I had had the courage to walk up and talk to Tom Selleck on the set of Blue Bloods. He was talking with other extras and I think I could have learned a lot. But I did get to talk momentarily to Sela Ward as she was gearing up for a different take in CSI:NY
8. If you're on set--do not plan anything else. Seriously, some shoots can go up to 16-18 hours, especially if the directors are finishing up their last days of shooting. You can get some great overtime. This includes night shoots. If you get there at 5 p.m. do not assume that you'll be leaving at 6 a.m.
At one set, I had to leave at 7 a.m. because my husband had to get to work and I had to take the kids to school and be a mom. I was worried sick that if my husband was late, his boss would get really angry at him. I got the okay to go from one of the second assistant directors. I walked quickly back to check out, get my stuff, and get home. But when I got to the desk to check out there were three PAs sitting there chatting. The tall blonde one in the middle began to yell at me and yelled at me straight for 30-40 minutes, including calling the casting company and yelling at them to never hire me again because I was totally unprofessional and had no excuse to leave early. In most circumstances like that I probably would have broken down and cried, but I was so utterly exhausted from being awake and standing and trying to stay warm all night for the shoot that I must have had a stupid grin on my face and I could not say a word more than yes or no. If you know me, you understand that I smile a lot. Grinning, for me, is a coping mechanism. He yelled at me until the shoot was done and all the other background artists were coming back to leave. I checked out as quickly as I could, but he made it really hard for me even to get my stuff. The whole time, in my brain, all I could think, but not actually say, was something akin to what J.K. Rowling said, "If you want to know what a man's like, take a good look at how he treats his inferiors, not his equals."
I am telling you this, not to complain, but to impress upon you that being there for the whole shoot is really important (I had no idea) and professional. Boy, have I learned my lesson. I still stay awake some nights remembering it and feeling slightly traumatized. Never again, folks. Never again will I leave a shoot early--unless it is utterly dire.
9. Don't expect red carpet treatment. On set, the people that are getting you where you need to be. As far as I could tell PAs are desperately trying to show the big guys that they are capable of handling monumental tasks--like getting hundreds of people here and there with little to no glitches.
10. If they ask for volunteers to do something and you're serious about becoming an actor, be the first, if not one of the first to volunteer. You may get vouchers that could get you into the union (if you want to be in it).
You can do this. Some people say that being an extra is the best way of earning money because you're doing nothing. Let me tell you, folks. Standing all day and acting a part requires endurance. You can do it! You'll be great! Learn all you can and then tell me about your experiences.
Monday, January 21, 2013
Moovie Mic Miller. Star Security. Part 2
Me: What is something that you wish people knew about being security?
MMM: Most people look at you and say you're lucky, I wish I had that job! You don't just get what you wish for. Not everyone can handle the stress, no matter how much it pays. You can't just be 6'7" and 300 pounds or have some certificate and think you can do this. You have to be very militant. It's hard. There are long hours! Usually I am there about 14-15 hours a day. I get there at least an hour before call and stay an hour after wrap.
Me: How do you know when you need to be there? Do they call you and tell you every night?
MMM: We get a call sheet that tells us all the information; like the actors that are going to be there, what is the call time, what scene we're shooting, how many pages, where we will be and everything you need to know is on the call sheet. It is the most important piece of paper on a movie set, other than the script. If you have a call sheet you don't need to ask any questions.
Me:You always arrive an hour early?
MMM: It depends on the time the talent comes in. If they have to have make-up done it can take up to two hours and I stay near them. I am always at least an hour early.
Me: How many days a week do you work?
MMM: I could work every day. I can be on several different movies in a day. You can't always give everyone what they want, because a movie may want me one place and my boss needs me in a different place to help a star that is filming in a difficult place, because of my experience. I can't please everyone, because there is only one of me. I am just finishing a three week break because I wanted to, but before Christmas I haven't had more than three days off at a time in about four years. During the movie Salt I worked every day for five months, I did not miss a single day. In fact I once worked on three different sets in a 24-hour period: Men in Black 3, Extremely Loud and Incredibly Close, and The Dictator.
Me: Your next job is on The Amazing Spider Man 2?! Have you worked with them before?
MMM: I didn't work on the first one. They just came for a week or so for the last one. They only filmed outside. For this one, they are filming at the stages here.
Me: Which stages do you work at the most?
MMM: They can make anything a stage. I don't do a lot of work at Steiner Studios because Steiner has a lot of TV shows, but not a lot of the big movies that will only be there six months whereas the TV shows could be there years. We just filmed Noah inside the Armory in Brooklyn. That's what they're doing in New York because they use the space where they find it and build a stage, as long as the fire marshals approve every thing. In Long Island, they use airplane hangers.
The most amazing thing about the movie business, to me, is seeing some of the amazing sets they build. They can build a place that looks like the inside of the trump tower, or the Ark from Noah. They built an outside and inside ark for exteriors and interiors. That's one of the most exciting things to see is them building sets.
Me: Do you feel like, if they needed you for another part of the crew you could step in and do their work because you've seen it done so many times?
MMM: I can set up the whole electricity for the campers because I have seen them do it so many times. You do learn other people's jobs. If you pay attention, you learn. When I started I wasn't doing star security, I watched the equipment and I watched them set up and learned how to do it during my first movie. A lot of getting into this, is who you know. I got the job through a mutual friend of my boss. He gave me a shot and I have been promoted and promoted, and learned and learned.
Me: How did you decide on Moovie Mic?
MMM: It was actually given to me. A couple of people started calling me it and it got picked up. My boss started using it and it stuck with me.
Me: Would you ever consider acting/directing/producing?
MMM: Honestly, I am comfortable. Financially, I am comfortable with what I'm doing now. I've never really wished for anything more, but if the opportunity ever came I would definitely jump on it. To be able to act or actually make your own movie, being around it; it could be really really exciting. I don't that is an opportunity that many people would pass up.
MMM: Most people look at you and say you're lucky, I wish I had that job! You don't just get what you wish for. Not everyone can handle the stress, no matter how much it pays. You can't just be 6'7" and 300 pounds or have some certificate and think you can do this. You have to be very militant. It's hard. There are long hours! Usually I am there about 14-15 hours a day. I get there at least an hour before call and stay an hour after wrap.
MMM: We get a call sheet that tells us all the information; like the actors that are going to be there, what is the call time, what scene we're shooting, how many pages, where we will be and everything you need to know is on the call sheet. It is the most important piece of paper on a movie set, other than the script. If you have a call sheet you don't need to ask any questions.
Me:You always arrive an hour early?
MMM: It depends on the time the talent comes in. If they have to have make-up done it can take up to two hours and I stay near them. I am always at least an hour early.
Me: How many days a week do you work?
MMM: I could work every day. I can be on several different movies in a day. You can't always give everyone what they want, because a movie may want me one place and my boss needs me in a different place to help a star that is filming in a difficult place, because of my experience. I can't please everyone, because there is only one of me. I am just finishing a three week break because I wanted to, but before Christmas I haven't had more than three days off at a time in about four years. During the movie Salt I worked every day for five months, I did not miss a single day. In fact I once worked on three different sets in a 24-hour period: Men in Black 3, Extremely Loud and Incredibly Close, and The Dictator.
Me: Your next job is on The Amazing Spider Man 2?! Have you worked with them before?
MMM: I didn't work on the first one. They just came for a week or so for the last one. They only filmed outside. For this one, they are filming at the stages here.
Me: Which stages do you work at the most?
MMM: They can make anything a stage. I don't do a lot of work at Steiner Studios because Steiner has a lot of TV shows, but not a lot of the big movies that will only be there six months whereas the TV shows could be there years. We just filmed Noah inside the Armory in Brooklyn. That's what they're doing in New York because they use the space where they find it and build a stage, as long as the fire marshals approve every thing. In Long Island, they use airplane hangers.
The most amazing thing about the movie business, to me, is seeing some of the amazing sets they build. They can build a place that looks like the inside of the trump tower, or the Ark from Noah. They built an outside and inside ark for exteriors and interiors. That's one of the most exciting things to see is them building sets.
MMM: I can set up the whole electricity for the campers because I have seen them do it so many times. You do learn other people's jobs. If you pay attention, you learn. When I started I wasn't doing star security, I watched the equipment and I watched them set up and learned how to do it during my first movie. A lot of getting into this, is who you know. I got the job through a mutual friend of my boss. He gave me a shot and I have been promoted and promoted, and learned and learned.
Me: How did you decide on Moovie Mic?
MMM: It was actually given to me. A couple of people started calling me it and it got picked up. My boss started using it and it stuck with me.
Me: Would you ever consider acting/directing/producing?
MMM: Honestly, I am comfortable. Financially, I am comfortable with what I'm doing now. I've never really wished for anything more, but if the opportunity ever came I would definitely jump on it. To be able to act or actually make your own movie, being around it; it could be really really exciting. I don't that is an opportunity that many people would pass up.
A happy thanks goes to Moovie Mic Miller, for the interview and the use his photos off of his Facebook wall.
And that; ladies and gentlemen, as is said at the end of a long day filming; is a wrap!
Wednesday, January 16, 2013
Moovie Mic Miller, Star Security. Part 1.
Have you ever wanted to have a job that would allow you to watch today's best actors and directors do their work, all day, nearly every day? Have you ever wanted to have a conversation with a movie star? Have you ever felt the need to defend a movie star? Here is an interview with one of New York City's best security men, Moovie Mic (pronounced Mike) Miller about his experiences on the job.
Me: Why do you do what you do and what makes you good at it?
Moovie Mic Miller: It is a perfect job for me. I grew up in a rough area of Jamaica, Queens. I had a lot of cousins and siblings that I protected. It was natural that I am good at protecting other people. Plus the fact that I can get up and love my job, every day. I look forward to my job!
 |
| Moovie Mic Miller being interviewed on MTV News. |
Moovie Mic Miller: It is a perfect job for me. I grew up in a rough area of Jamaica, Queens. I had a lot of cousins and siblings that I protected. It was natural that I am good at protecting other people. Plus the fact that I can get up and love my job, every day. I look forward to my job!
Me: How long have you been doing this?
MMM: I've been working on movie sets for five years, six years in the spring.
Me: What is your official title?
Me: What is your official title?
MMM: Moovie Mic. My job title is set security, but it can depend. If it is a big movie sometimes I am star security, which happens a lot because nine times out of ten I'm with a star.
Me: How does it feel when the movies you helped with come out? Do you go see them?
MMM: Not always, but if I get put in them, I'll go see them. Like in Now You See Me there is a scene with Isla Fisher, Woody Harleson and Jesse Eisenburg. I had a scene in Times Square where I followed them into a huge crowd of people dressed normally, not in all black like I usually wear (so if the camera catches me, I'll blend better). A lot of times I might see myself but I tend to not really care about seeing the movies. As time goes by I'll catch it if I catch it--but I always know what is going to happen. No one likes to go to the movies with me because I will talk the whole time and ask, "Why did that do that, here?" "They cut that part?! Why?! It was so good!" "Look, I'm standing behind that tree." It can disappoint me a lot. The last one I went to see was The Dictator with Sacha Baron Cohen, I'm in a scene where all you see is the top of my head. It's not as exciting as it used to be.
Me: What has been your favorite thing about doing movie set security?
MMM: It's the relationship you build with the stars. You may see their bad sides. But you're around them around a lot so you chat with them a lot. They know your name and a lot of times they like to talk with you and that makes it pretty cool.
Me: Do you keep in contact with some of them?
MMM: I have numbers for a couple of them. But sometimes we stay in contact through email, like Jeremy Renner. You know he's a big 49er's fan, I'm a Giants fan so when I was working on Bourne Legacy we had a little rivalry thing going on. I keep in contact. They always remember me because a lot of them I work with over and over like Ben Stiller, Eddie Murphie, and Mark Walberg. I don't really try to keep in contact, but I do keep in contact with a lot of their assistants.When I see them out of work, out on the sidewalk, they'll come and talk to me and say "hi."
Me: How does it feel when the movies you helped with come out? Do you go see them?
MMM: Not always, but if I get put in them, I'll go see them. Like in Now You See Me there is a scene with Isla Fisher, Woody Harleson and Jesse Eisenburg. I had a scene in Times Square where I followed them into a huge crowd of people dressed normally, not in all black like I usually wear (so if the camera catches me, I'll blend better). A lot of times I might see myself but I tend to not really care about seeing the movies. As time goes by I'll catch it if I catch it--but I always know what is going to happen. No one likes to go to the movies with me because I will talk the whole time and ask, "Why did that do that, here?" "They cut that part?! Why?! It was so good!" "Look, I'm standing behind that tree." It can disappoint me a lot. The last one I went to see was The Dictator with Sacha Baron Cohen, I'm in a scene where all you see is the top of my head. It's not as exciting as it used to be.
 |
| Moovie Mic with Morgan Freeman during Now You See Me. |
Me: What has been your favorite thing about doing movie set security?
MMM: It's the relationship you build with the stars. You may see their bad sides. But you're around them around a lot so you chat with them a lot. They know your name and a lot of times they like to talk with you and that makes it pretty cool.
Me: Do you keep in contact with some of them?
MMM: I have numbers for a couple of them. But sometimes we stay in contact through email, like Jeremy Renner. You know he's a big 49er's fan, I'm a Giants fan so when I was working on Bourne Legacy we had a little rivalry thing going on. I keep in contact. They always remember me because a lot of them I work with over and over like Ben Stiller, Eddie Murphie, and Mark Walberg. I don't really try to keep in contact, but I do keep in contact with a lot of their assistants.When I see them out of work, out on the sidewalk, they'll come and talk to me and say "hi."
 |
| Moovie Mic with Eddie Murphy. |
Me: What can be the most challenging thing?
MMM: It depends. A lot of people would say that it is the paparazzi That's not always the case. Sometimes it is the elements. Sometimes I feel like I am a robot because I can't always go to the bathroom when I want to. Sometimes I'm sitting outside a camper for an hour or so while they are in there, especially if there is rain. It can be challenging.
Me: Which set has been the most challenging set to be on and why?
MMM: The most challenging set would definitely be Tower Heist. It was a cold winter and we had very long days, especially the last month. We had a bunch of 20 hour days, not being able to go to the bathroom, standing all day, at least half of it in the cold. It can get a little challenging like that. Brett Radner, he's no joke!
MMM: It depends. A lot of people would say that it is the paparazzi That's not always the case. Sometimes it is the elements. Sometimes I feel like I am a robot because I can't always go to the bathroom when I want to. Sometimes I'm sitting outside a camper for an hour or so while they are in there, especially if there is rain. It can be challenging.
Me: Which set has been the most challenging set to be on and why?
MMM: The most challenging set would definitely be Tower Heist. It was a cold winter and we had very long days, especially the last month. We had a bunch of 20 hour days, not being able to go to the bathroom, standing all day, at least half of it in the cold. It can get a little challenging like that. Brett Radner, he's no joke!
Me: What is the scariest/most exciting thing that has happened to you while being security and why?
MMM: During Men in Black 3, Will Smith ran into a crowd of 300 people and that made me nervous. I mean, I have to watch the stars like I watch my four year old daughter. How would you feel if your child ran off into a crowd of 300 people?! I had to fight my way through to keep my eye on him, that was kind of scary. Not a lot of people do that, but Will Smith, he's that type of guy. He shows a lot of love.
Me: Speaking of Will Smith, remember a few months ago when that guy ran up to him at a premier and tried to kiss Will Smith and Will Smith kind of slapped him?
MMM: I wasn't there for that, that's the stuff we go through. It's like the CIA a bit, because those people don't want to hurt the actors, you know, they're fans, they're just weirdos; a little too obsessed with these actors. I wasn't too surprised. People are just crazy.
I was doing Noah and we were filming out in Long Island and my home girl, Emma Watson was there. She had a stalker that followed her from her mom's house in Great Britain to Toronto and to Long Island. We actually caught him in the woods, where he had walked up to her with a note. We got him away and I asked him, "What's the problem? Are you okay? Are you alright? You don't sound very normal, following someone from country to country. He was like, "I really felt like I just wanted to give her some advice. She's making some decisions in life and I thought that I needed to let her know she was making some bad choices." He's just an over-fan. People like him, feel like they know the actors because they watch them on TV. I feel very sorry for some of them. Some actors don't mind if fans want have their picture taken with them, just don't come up and try to run up on them and try to kiss them.
MMM: During Men in Black 3, Will Smith ran into a crowd of 300 people and that made me nervous. I mean, I have to watch the stars like I watch my four year old daughter. How would you feel if your child ran off into a crowd of 300 people?! I had to fight my way through to keep my eye on him, that was kind of scary. Not a lot of people do that, but Will Smith, he's that type of guy. He shows a lot of love.
Me: Speaking of Will Smith, remember a few months ago when that guy ran up to him at a premier and tried to kiss Will Smith and Will Smith kind of slapped him?
MMM: I wasn't there for that, that's the stuff we go through. It's like the CIA a bit, because those people don't want to hurt the actors, you know, they're fans, they're just weirdos; a little too obsessed with these actors. I wasn't too surprised. People are just crazy.
I was doing Noah and we were filming out in Long Island and my home girl, Emma Watson was there. She had a stalker that followed her from her mom's house in Great Britain to Toronto and to Long Island. We actually caught him in the woods, where he had walked up to her with a note. We got him away and I asked him, "What's the problem? Are you okay? Are you alright? You don't sound very normal, following someone from country to country. He was like, "I really felt like I just wanted to give her some advice. She's making some decisions in life and I thought that I needed to let her know she was making some bad choices." He's just an over-fan. People like him, feel like they know the actors because they watch them on TV. I feel very sorry for some of them. Some actors don't mind if fans want have their picture taken with them, just don't come up and try to run up on them and try to kiss them.
Me: Who were/are the people you were most excited to meet?
MMM: It's funny, because I'm not really excited to meet anyone because I see them as regular people. Maybe it is my professional attitude. I'm not a movie buff or a star struck type person. I have been around some really good, kind-hearted people that made me excited to be next to them. I can stand up for them and let people know, that some of them are genuinely the kindest people on the earth. Like Russel Crowe has a reputation, I guess because of the phone incident. One my friends thought he was awful, and I told him that he's one of the kindest people I've ever met. A lot of people don't realize they're every day people like us. They just have bigger bank accounts. They're only human and they work very hard. It's not all as glitzy as everyone thinks. They work long hours and a lot of times they work in all kinds of weather, out in the cold. It has been a pleasure to meet them.
Me: If you could advise people who are interested in pursuing your career, what would you tell them?
MMM: It's funny, because I'm not really excited to meet anyone because I see them as regular people. Maybe it is my professional attitude. I'm not a movie buff or a star struck type person. I have been around some really good, kind-hearted people that made me excited to be next to them. I can stand up for them and let people know, that some of them are genuinely the kindest people on the earth. Like Russel Crowe has a reputation, I guess because of the phone incident. One my friends thought he was awful, and I told him that he's one of the kindest people I've ever met. A lot of people don't realize they're every day people like us. They just have bigger bank accounts. They're only human and they work very hard. It's not all as glitzy as everyone thinks. They work long hours and a lot of times they work in all kinds of weather, out in the cold. It has been a pleasure to meet them.
 |
| Moovie Mic and Russel crowing during the filming of Noah. |
MMM: It's not as easy as it seems. You have to be really tough. You have to stay in shape. You have to be ready and militant. You must stay focused and watch. You have people coming and asking questions all day. You don't want to be rude, but sometimes you tell them you can't talk right then and they get offended, but you have watch the talent, even if people get offended.
Me: What has been your favorite set so far and why?
MMM: My favorite set I have ever worked on was Extremely Loud and Incredibly Close. The people were so kind. Sandra Bullock is one of the nicest human beings on the face of the earth. Tom Hanks is very down-to-earth and very funny in real life too. A lot of people don't get to see how funny he is. Some actors are only funny on the screen, but he's got a great sense of humor. Max Von Sydow is very kind. It was Thomas Horn's, the one who plays the young boy, first movie. Scott Rudin, the producer, found Thomas Horn on Kid's Jeopardy. That combination of cast with the crew, everyone from the producers to the crew was the greatest possible fit because it was a really long movie--about six or seven months. With all that talent we all became very comfortable together.
Me: What are the most common questions/answers that you get from curious people?
MMM: People always ask first, "What's the Name of the Movie?" If the movie title is really long, like Extremely Loud and Incredibly Close I may shorten the title for those people to Extremely Loud. "Who's in it?" and in some neighborhoods "How long are you going to be here?" I always get that one on the Upper West Side.
Me: Which neighborhood in the five boroughs has been the best and worst to work in.
MMM: Midtown Manhattan, from below Central Park/59th St. to 42nd St. from 8th Avenue to 5th Avenue are the worst because they are so crowded. The best are the easiest ones, like the mansions--especially the mansions in Long Island. I have to go all over the mansions and look at all the area before I take the stars there, like the CIA with the President.
Me: What is one of the most surprising things you have learned being security?
MMM: The whole movie experience. Yes, I am security but being around the set in the beginning, it surprised me how many different groups that have to come together to make a movie. It takes lighting and security and props and set and everyone to make a movie work. It shocked me how much work it really is to make a show. Everybody's job is important in its own way. If one person is slipping everyone has to make up for it on set.
MMM: My favorite set I have ever worked on was Extremely Loud and Incredibly Close. The people were so kind. Sandra Bullock is one of the nicest human beings on the face of the earth. Tom Hanks is very down-to-earth and very funny in real life too. A lot of people don't get to see how funny he is. Some actors are only funny on the screen, but he's got a great sense of humor. Max Von Sydow is very kind. It was Thomas Horn's, the one who plays the young boy, first movie. Scott Rudin, the producer, found Thomas Horn on Kid's Jeopardy. That combination of cast with the crew, everyone from the producers to the crew was the greatest possible fit because it was a really long movie--about six or seven months. With all that talent we all became very comfortable together.
 |
| Moovie Mic and Tom Hanks during Extremely Loud and Incredibly Close. |
MMM: People always ask first, "What's the Name of the Movie?" If the movie title is really long, like Extremely Loud and Incredibly Close I may shorten the title for those people to Extremely Loud. "Who's in it?" and in some neighborhoods "How long are you going to be here?" I always get that one on the Upper West Side.
 |
| Moovie Mic and Sandra Bullock during Extremely Loud and Incredibly Close. |
MMM: Midtown Manhattan, from below Central Park/59th St. to 42nd St. from 8th Avenue to 5th Avenue are the worst because they are so crowded. The best are the easiest ones, like the mansions--especially the mansions in Long Island. I have to go all over the mansions and look at all the area before I take the stars there, like the CIA with the President.
 |
| Moovie Mic filming Deception in Long Island, photos by Moovie Mic. |
MMM: The whole movie experience. Yes, I am security but being around the set in the beginning, it surprised me how many different groups that have to come together to make a movie. It takes lighting and security and props and set and everyone to make a movie work. It shocked me how much work it really is to make a show. Everybody's job is important in its own way. If one person is slipping everyone has to make up for it on set.
Wednesday, January 9, 2013
Moovie Mic Miller--Security to the Stars
Now, for those of us that are really interested in movie making (not just talk shows), I may have the opportunity soon to interview Moovie Mic Miller. He is one of the people that you'll often see around film sets because he is the muscle behind the stars. You've probably seen him and not known it. He often ends up in gossip magazines/blogs/websites and the like behind or next to the stars, protecting them.
I first met him on the set of Now You See Me (by the way, the preview is out), then again later on the set of The Secret Life of Walter Mitty.
He probably has a lot of stories. I am not sure he can share very much, but hopefully he'll give us the run down on what he does, how he does it, interesting/exciting experiences, and some photos.
Here are a few of the photos. :)
Here are a few of the photos. :)
Megan Fox and Moovie Mic Miller
Moovie Mic Miller and Megan Fox and her husband, Brian Green
Moovie Mic Miller and Tom Hanks in Extremely Loud and Incredibly Close
I used some of the photos Moovie Mic Miller posted to his facebook wall. I am not sure of the photographers and their companies, but I would love to give them credit--so please, if you know let me know so I can put their name by their work!
Friday, October 19, 2012
Uncommon Goods
My children were invited to be professionally filmed product testers for Uncommon Goods. They were ecstatic! They used the amazing Bike Chalk Trail Kit!
My children had a blast testing it. The kidlets put the chalk holder on the bikes and added the chalk all by themselves (which is very empowering for any child). They chose the colors (there are four different ones to pick from). Then they rode the bikes around the park. It even worked on S's bike with training wheels! They still talk about how much fun it was!
It was filmed by the very talented Adam Grimshaw, an amazing NYC photographer. The colors are so vivid and inviting. Doesn't it just make you want to attach chalk to your bike and ride around?
And we got paid. . . that was super! Thanks Adam!
And we got paid. . . that was super! Thanks Adam!
Subscribe to:
Posts (Atom)