|
Transcript
of Live Chat with
Jamie Anderson
July
13, 2002
Jamie Anderson (Jul 13, 2002 1:32:45 PM)
Good morning and welcome to the Local 600 chat with Jamie Anderson
that's me. Fire away.
steadicamop (Jul 13, 2002 1:32:49 PM)
I know that Steadicam was used in Jay and Silent Bob Strike Back.
How much Steadicam was used and how do you feel about the use of Steadicam
in general?
Jamie Anderson (Jul 13, 2002 1:33:30 PM)
We used very little in Jay and Silent Bob, because Kevin doesn't
like to move the camera. I love the Steadicam.
Jamie Anderson (Jul 13, 2002 1:33:53 PM)
But... I've noticed people tend to use it when they really should be
doing something else. Especially in TV. But it's a beautiful instrument
that is the only way to do a great many, wonderful things.
Shmoe (Jul 13, 2002 1:34:20 PM)
Jamie, Are you shooting the next Kevin Smith movie, Jersey Girl?
Jamie Anderson (Jul 13, 2002 1:34:30 PM)
No. Vilmos Zsigmond is shooting that, so send all your resumes over
there!
2nd unit (Jul 13, 2002 1:37:50 PM)
Hello. Jamie, give us an idea what goes through your head after you
read a script that you are up for shooting. how do you assess whether
it is something you might want to shoot?
Jamie Anderson (Jul 13, 2002 1:37:48 PM)
Usually while I'm reading a script, I start to get ideas about how it
looks, and those are either interesting or not. And if they are, then
I start getting excited about the idea of shooting it. Then usually
Ill read it a second time and think in more detail about how it might
look and wonder
what the director is after.
ginodp (Jul 13, 2002 1:37:49 PM)
What do you think of the recent LA Times article on digital video that
more or less said that film is dead?
Jamie Anderson (Jul 13, 2002 1:38:36 PM)
Boy, that didn't take long!
Jamie Anderson (Jul 13, 2002 1:38:55 PM)
Gino, I thought it was long on cheap sound bites and short on information.
I thought it was very badly written, shouldn't have been published in
the form it was in, and certainly shouldn't have been on the front page.
Jamie Anderson (Jul 13, 2002 1:39:35 PM)
It was filled with half-truths and things taken out of context. And
it's the kind of writing that's designed to sell papers and not to inform
anybody about anything.
Macabee (Jul 13, 2002 1:39:49 PM)
What is the most important thing a cinematographer does on the set?
Jamie Anderson (Jul 13, 2002 1:40:25 PM)
That's a very difficult question to answer simply.
Jamie Anderson (Jul 13, 2002 1:40:44 PM)
I mean, you could say a cinematographer is there to photograph the film
with the director. Are you talking about a simple practical thing a
DP does? Or the general purpose of cinematography? I'm not sure I understand
the question.
Lenser (Jul 13, 2002 1:41:27 PM)
What is your take on runaway production and what can we do about it?
Jamie Anderson (Jul 13, 2002 1:42:06 PM)
I think runaway production is an economic and social scandal.
Jamie Anderson (Jul 13, 2002 1:42:18 PM)
And an affront to the history of Hollywood and motion
pictures.
Jamie Anderson (Jul 13, 2002 1:42:28 PM)
And, no, I'm not working right now.
DetroitDave (Jul 13, 2002 1:43:02 PM)
What words of advice can you give to someone just starting out in this
business?
Jamie Anderson (Jul 13, 2002 1:43:33 PM)
Have you finished school yet?
Jamie Anderson (Jul 13, 2002 1:45:01 PM)
Obviously, this business is changing rapidly, as so many businesses
are. And having a good and a broad base of education in literature,
art, history all the things we're all supposed to learn but we seem
to have tossed to the wayside is the best way to prepare yourself
for those changes.
Jamie Anderson (Jul 13, 2002 1:45:14 PM)
But if you go into this business and all you know how to do is shoot
pictures, you're going to have a very short career.
Jamie Anderson (Jul 13, 2002 1:45:53 PM)
There are a million ways to get started in this business, and they're
all different. It's impossible for me to say what's right for any individual
who I don't know, don't know their situation.
Jamie Anderson (Jul 13, 2002 1:46:26 PM)
But again, if you're serious about cinematography, I would make sure
you have an education.
Shmoe (Jul 13, 2002 1:46:32 PM)
Jamie, Can you comment on the influence that Storaro had on your development
as a cinematographer? And also who else other than Storaro was an influence
on your career?
Jamie Anderson (Jul 13, 2002 1:47:17 PM)
Storaro is, of course, a gifted cinematographer, but also a wonderful
teacher and a challenging teacher, and an inspirational person to know.
One of his great strengths is his courage and commitment, neither of
which these days are easy to exercise. One of the most important things
I learned from him was to have an idea and then stick to it. Don't lose
your way; don't lose your mission.
Jamie Anderson (Jul 13, 2002 1:48:38 PM)
I've been lucky to work with many gifted cinematographers. Some are
just wonderful cinematographers. Some are also wonderful teachers, as
well as being cinematographers.
Jamie Anderson (Jul 13, 2002 1:48:56 PM)
Conrad Hall is certainly unique. Alan Daviau is a wonderful teacher.
I was fortunate to work a little bit with Jordan Cronenweth, when he
was alive.
Jamie Anderson (Jul 13, 2002 1:49:58 PM)
One of the things that happened to me by going through the ranks of
assistant operator and DP was that it allowed me to work with and watch
many other cinematographers which was just an invaluable education
about the craft and the business.
Jamie Anderson (Jul 13, 2002 1:50:20 PM)
And I think the apprentice system is still a very important method of
learning and, unfortunately, is something else that's being cast away
in the modern business.
Cheryl (Jul 13, 2002 1:50:28 PM)
Is there anyone behind the camera or in front of it that you'd like
to work with?
Jamie Anderson (Jul 13, 2002 1:51:48 PM)
I don't know. There are many talented, gifted directors I would love
to work with. And there are many talented actors I would love to work
with. I don't have a particular dream individual in mind this morning.
F-stop (Jul 13, 2002 1:51:53 PM)
Have you had a chance to shoot anything in 24p? What's your opinion
of the new technology?
Jamie Anderson (Jul 13, 2002 1:52:32 PM)
The whole digital question is obviously an interesting and important
one. I think digital projection is a very interesting solution to the
practical problems involved in distributing movies to theaters.
Jamie Anderson (Jul 13, 2002 1:53:01 PM)
They used to be able to show movies properly in theaters without scratching
the print and having a decent image on the screen. And they don't seem
to be able to do that anymore. So digital projection is a solution to
that problem. And as it gets better and better, it offers a consistency
in the image that studio economics don't seem to be able to provide
for release prints -- vis a vis laboratory cost-cutting, etc etc.
Jamie Anderson (Jul 13, 2002 1:53:48 PM)
Digital photography is another thing altogether. And it's not yet anywhere
near being as good as film.
Jamie Anderson (Jul 13, 2002 1:54:42 PM)
I like the idea of doing post-production digitally. Obviously, it's
vital for special effects. But it's also very useful for a photographer.
As anyone who has done commercials knows, and spends time in a telecine
bay, the things you can do electronically are miraculous.
Jamie Anderson (Jul 13, 2002 1:55:26 PM)
The 24P camera specifically, I have not used, and my worry about digital
cameras in general is that a system is being pushed into use before
it's ready because everybody thinks it's a panacea for the problems
in the motion picture industry today. But it is not.
steadicamop (Jul 13, 2002 1:55:34 PM)
Do you think that using Hi-Def cameras will increase the amount of time
it takes to get a shot. Making directors and crew less attentive to
getting the shot as quickly and as effectively as possible? I've worked
on low budget feature where we HAD to get the shot on the first take
because of money combined with logistics. I've also just recently worked
on my first Hi-Def shoot where we shot take after take because they
didn't have to worry about the cost of film and processing. I think
Hi-Def is a great invention but I see where quality can go down the
toilet in terms of performances by both camera crew and even the performers.
Performers can only do so many takes before it becomes stale. You know
what I mean?
Jamie Anderson (Jul 13, 2002 1:56:40 PM)
Yes. It's interesting the whole on-set procedure vis a vis film vs digital
vs video.
Jamie Anderson (Jul 13, 2002 1:57:19 PM)
Even going back to time code, the introduction of time code, which I
realize is a valuable tool in post-production. But I've never known
a single movie where they stood out with a slate but didn't hit the
sticks.
Jamie Anderson (Jul 13, 2002 1:57:53 PM)
But technically, there's no reason for sticks any longer. My feeling
is that without somebody banging the sticks and somebody saying action
the ritual and the rhythm of a set would be missing something very
important. And the same is true of actually reloading film cameras
it injects a rhythm in a set that is part of the process of shooting
a scene. In a practical sense, although people say how great it is you
don't have to reload in a practical sense, reloading never takes any
time and never holds up anything.
Jamie Anderson (Jul 13, 2002 1:59:03 PM)
The number of times people shoot 10-minute takes and are frustrated
because they can't keep shooting, I could count on 2 fingers of 1 hand
it's just now how movies are made. Now, if you're making a documentary
that's another thing.
Jamie Anderson (Jul 13, 2002 1:59:42 PM)
Yes, I think running a camera endlessly on a set would be an unproductive
method of getting a scene on film. Sometimes, with new tools, there's
an attraction to tools that allow you to avoid making a decision. Or
allow you to easily change your mind. And sometimes those things are
counterproductive to good filmmaking.
Jamie Anderson (Jul 13, 2002 2:00:23 PM)
So the short answer to your long question is yes.
Stills (Jul 13, 2002 2:00:26 PM)
Is it a good idea for aspiring cameramen to shoot anything they can
get hired for or is it important to be choosy in the kinds of films
you add to your resume?
Jamie Anderson (Jul 13, 2002 2:00:45 PM)
Very interesting question to ask me.
Jamie Anderson (Jul 13, 2002 2:01:05 PM)
You must have seen my resume which is all over the map. But I think
in the beginning any experience is good experience. At some point in
your career, and only you know when that is, you've reached a point
where it's now important to do interesting work, instead of just taking
any job. That has become such a difficult part of this business because,
to be frank, very little interesting work is offered. It's very tough
finding scripts that make you say, God, I'd love to shoot this picture.
Because more often than not, you read a script today and are prompted
to say, Why are they making this?
Jamie Anderson (Jul 13, 2002 2:02:42 PM)
But that has become one of the more difficult parts of filmmaking
no matter what your job on a movie is, trying to find good projects
and still supporting a family, because you have to work eventually.
But, as much as it's possible, it's very important to pick and choose.
1st AC (Jul 13, 2002 2:02:45 PM)
You really covered a lot of historical ground in the Temptations.
How closely did you work with the production designer and wardrobe department?
Was there any era that was more interesting to create than others?
Jamie Anderson (Jul 13, 2002 2:04:27 PM)
The Temptations was a fabulous project. Alan Arkush, the director,
is an encyclopedia of music, as well as loving music as much as anyone
can. So his awareness of the history of everything was very high. I
worked very closely with the designer, and I always do.
Jamie Anderson (Jul 13, 2002 2:05:04 PM)
Of course, the periods covered in that story were largely coinciding
with my own growing up, too. So, it was a fascinating re-living of my
teen years, as well as a fascinating study of Motown Records, which
is such an interesting company historically. I think my favorite periods
are always the older ones. But it's difficult to choose. That picture
was just an incredible amount of fun to do.
Moderator (Jul 13, 2002 2:05:37 PM)
Regarding your earlier comment about the latest LA Times article marking
the death of film and
the demise of the cinematographer...is there anything
we can do to pursade the newspapers like the Times to do better research?
Jamie Anderson (Jul 13, 2002 2:06:44 PM)
I'm going to write them a letter and I would urge anyone who has an
interest in the subject to write them also debunking everything in
the article, which will be easy to do for anybody who's been paying
any attention to this question.
Jamie Anderson (Jul 13, 2002 2:07:38 PM)
It's really important for cinematographers, and all of us, to take an
active role in this transition from film to digital, which, to some
as yet unknown extent, is inevitable, but must be done carefully and
not too quickly.
Jamie Anderson (Jul 13, 2002 2:08:39 PM)
Organizations like this one, this union, the ASC, the SMPTE, and because
of the importance of political power, it's important to enlist the help
of movie stars, big directors, producers. It's a difficult thing. It's
not easy living in a democracy. But if we don't get involved in this
question, you can be guaranteed it's going to be botched.
2nd unit (Jul 13, 2002 2:08:43 PM)
Jamie, years ago when you were shooting 2nd unit did you have an agent?
How did you find your first agent?
Jamie Anderson (Jul 13, 2002 2:09:13 PM)
Agents, what an interesting subject. How timely!
Jamie Anderson (Jul 13, 2002 2:09:33 PM)
I was a camera operator doing a lot of commercials with a company called
River Run Films, where Jordan Cronenweth was a director/cameraman. And
an agent who had her office near their company was Judy Marks who was
and is a very good commercial agent. And I signed with her.
Jamie Anderson (Jul 13, 2002 2:10:19 PM)
So, by the time I was doing second units, yes, I certainly had an agent.
When I started in this business, I don't think any cameraman had agents
yet. Now, they all do. And it's just become part of the system. The
whole agent topic is another swamp.
steadicamop (Jul 13, 2002 2:10:52 PM)
Did Judy approach you or did you approach Judy. I know some operators
are sought out by agents.
Jamie Anderson (Jul 13, 2002 2:12:20 PM)
I honestly don't remember. I probably approached her. But yes, operators
are sought out by agents today. DPs are sought out by agents. I get
calls from other agents all the time. I'm now with the Mirisch Agency,
a terrific agency that handles DPs, costume designer, production designers,
editors. The whole question of what sort of an agent should somebody
try to get is a difficult one.
Jamie Anderson (Jul 13, 2002 2:13:32 PM)
The simple answer is of course you want someone who is going to work
hard for you, but figuring how who that is, is not always so easy. Fortunately,
I find myself at a very good place.
What I find generally is that agents can't really get
you a job. Although there are always exceptions. But they are just a
tremendous help in dealing with and communicating with production companies
and studios.
Philosopher (Jul 13, 2002 2:13:45 PM)
Do you think movies are responsible for setting social mores? Or do
movies just reflect them? And where do DPs fit into the picture?
Jamie Anderson (Jul 13, 2002 2:14:33 PM)
I think art and society interact with each other. I think by and large
movies, or storytelling of any kind, are based on and a reflection of
life experience.
Jamie Anderson (Jul 13, 2002 2:15:21 PM)
But what's happened since the proliferation of TV is
that the television view, i.e., society, has come to regard what they
see on the screen as real. Whether it is or not. And this gets into
a whole separate question about TV in general which is yet another
swamp.
Jamie Anderson (Jul 13, 2002 2:15:26 PM)
How do DPs fit in?
Jamie Anderson (Jul 13, 2002 2:17:05 PM)
Well, a DP is there to visualize a director's story, a writer's story.
If you mean should a DP not do projects because he or she feels it may
have a bad influence on society? I think, yes, that's true of anybody,
a director, a studio, a DP, should be careful of the images they present
and the stories they tell.
Jamie Anderson (Jul 13, 2002 2:17:52 PM)
One can only hope that stories are told so that we all may learn something
more about life. And not simply told because we think it's a story people
will pay money to see.
Jeff M (Jul 13, 2002 2:18:26 PM)
Several of your films seem to utilize cartoons as part or all of their
visual language. What type of animation background do you have?
Jamie Anderson (Jul 13, 2002 2:19:33 PM)
Like any cinematographer worth his salt these days, I grew up watching
television. And watched every cartoon that came across the screen. That
is the extent of my animation experience.
Jamie Anderson (Jul 13, 2002 2:20:17 PM)
Do you mean these movies are cartoon like? Or literally employ animation?
Jamie Anderson (Jul 13, 2002 2:21:37 PM)
Obviously, Jay and Silent Bob has a certain comic book quality
to it, Batman and Robin (which I only did the second unit) is
a comic book, and there's a strong impulse in the industry right now
to emulate comic books with movies. As digital manipulation becomes
more widespread and cheaper, the degree of animation in every movie
will only increase.
Moderator (Jul 13, 2002 2:21:41 PM)
You made several references in your interview to digital mastering -
do you think that's the way of the future for features and if so,
are cinematographers going to stay in control of their images?
Jamie Anderson (Jul 13, 2002 2:22:54 PM)
I think that's virtually here. No longer the wave of the future. I think
that's pretty much in our laps. The whole problem of the cinematographer
staying involved is an important one now, because so much of the look
of a film can be established, or altered, in post-production. It used
to be you might see a print of a movie you shot and think, God, that's
so bright who made that print?
Jamie Anderson (Jul 13, 2002 2:23:22 PM)
Now, you can change fundamental things about an image colors, the
entire contrast range, you can remove or add things from images. So
it is more important now than ever for a cinematographer to staying
connected with a project in post. And unfortunately, it's a very difficult
thing to do. Because somehow in this industry, cinematographers have
put themselves or been put, in a position of timing movies for free.
I guess because studios didn't care if the cinematographer timed it
or somebody at the studio did it. But the studio certainly wasn't going
to pay somebody to do it.
Jamie Anderson (Jul 13, 2002 2:24:42 PM)
So now that our role in post production really needs to be even stronger
than simple timing of a release print would indicate, it's important
that we, as a group, get involved in establishing this procedure.
Jamie Anderson (Jul 13, 2002 2:25:00 PM)
Is the cinematographer the only one who can do this?
Jamie Anderson (Jul 13, 2002 2:25:10 PM)
No, but he's the one who should be doing it, because the images are
his, or hers.
Jamie Anderson (Jul 13, 2002 2:25:48 PM)
There's a tendency nowadays to trivialize images. People think that
because the digital age is here, making movies will be as simple as
shooting home videos of your kids. And that reflects a complete lack
of understanding of what movie making is all about.
Jamie Anderson (Jul 13, 2002 2:26:14 PM)
Yes, anybody can go up to the monitor and turn the knob and make it
darker or lighter. But the person that should be turning the knob is
the person who created the image and had something to say with that
image in that story.
salim (Jul 13, 2002 2:26:49 PM)
Kevin Smith gets a lot of flack for being visually limited filmmaker.
How did that criticism affect your approach to Jay and Silent Bob?
Jamie Anderson (Jul 13, 2002 2:27:51 PM)
Kevin gives himself a lot of flack for that, which is why everyone else
feels entitled to pile on...
With Jay and Silent Bob it was a simple matter
of trying to tell a story in interesting ways and putting the camera
in interesting places. One of the main challenges was making Kevin feel
comfortable with moving the camera.
ginodp (Jul 13, 2002 2:29:11 PM)
It's been said that DP's are a combination of artist and engineer. How
do you see yourself within that range?
Jamie Anderson (Jul 13, 2002 2:29:23 PM)
Yes. It's important for any artist to know their craft whether he's
a painter, musician, sculptor.
Jamie Anderson (Jul 13, 2002 2:30:00 PM)
The craft of cinematography is a little more technically complex than
many others and changing rapidly. So it's even more important now for
cinematographers to keep informed as we shepherd the digital avalanche.
Jamie Anderson (Jul 13, 2002 2:30:55 PM)
I've always been a gadget person, a tinker, a builder and have always
loved doing things with my hands as any grip who works with me can
tell you. I like to build stuff or at least tell someone else how to
build it. But nothing quite compares with creating an image out of nothing
but an idea, so I guess I'm more of an artist.
Lenser (Jul 13, 2002 2:32:13 PM)
Do you think there's an analogy between the craft of cinematography
and architecture?
Jamie Anderson (Jul 13, 2002 2:33:05 PM)
Very interesting question. I have met several cinematographers over
the years who have begun their careers either studying, being interested
in or practicing architecture.
Jamie Anderson (Jul 13, 2002 2:33:18 PM)
When I went to college, my intention was to be an architect. After my
freshman year, I became sidetracked into filmmaking, but have never
lost my love and interest in filmmaking. My oldest childhood friend
is an architect. There have been many times that I have wished I had
become an architect myself. My life's dream is to build myself a house.
Jamie Anderson (Jul 13, 2002 2:34:52 PM)
So I think there is a very close and interesting relationship between
these two crafts but I haven't figured out what it is yet!
Jamie Anderson (Jul 13, 2002 2:35:17 PM)
Architecture is probably the most practical and useful art form because
after all, you can actually live in the piece. And it determines so
much about our own living environment. It's a fascinating art.
steadicamop (Jul 13, 2002 2:35:55 PM)
So you feel having an agent is an important one to you. I know several
operators that swear by agents and others that claim the agents can't
get them any better deals on their rates than what they could get themselves.
I guess it's up to the individual and where you are in your career.
I for one would love to have an agent because I HATE negotiating rates...
I hate it!
Jamie Anderson (Jul 13, 2002 2:37:07 PM)
Yes, that's exactly why you have an agent. Because the sensibilities
you bring to the job of cinematography have no relation to the sensibilities
necessary to negotiate a contract.
Jamie Anderson (Jul 13, 2002 2:37:36 PM)
Operators having agents is a new thing. I didn't have one when I was
an operator. I think it grew out of the Steadicam guys feeling they
needed one. But whether or not they can get you the same rate or a better
rate, if you can avoid starting a project without the feeling that you've
just been beat up, that's a good thing.
Jamie Anderson (Jul 13, 2002 2:38:27 PM)
It's important to have a constructive relationship with the production
department of any project.
And that's harder to do if you start a job feeling
pissed off at them.
Victor (Jul 13, 2002 2:38:54 PM)
How does your approach differ when you're shooting for TV versus when
you're shooting something for the big screen?
Jamie Anderson (Jul 13, 2002 2:39:34 PM)
In some ways, the approach is the same. You're still telling a story
with images. In a practical sense, of course, you have to work faster
in TV. But I have found that having to work faster can be a very stimulating
prod to creativity. It forces you to identify what's important in a
scene. It forces you to tell a story simply, which is usually a good
thing to be forced to do. It's also very exciting. You're working constantly.
You're solving problems every minute of the day. The amount of the time
you spend waiting for something to happen is nothing compared to what
can happen on a feature film.
Jamie Anderson (Jul 13, 2002 2:42:16 PM)
The hardest thing for me in TV is the shape of the screen. I've fought
so hard to get this last show I did get put on the screen in letterbox
because it was the perfect opportunity for it and they wouldn't do it.
Soon all television will be wide screen anyway, but until now we've
been handcuffed with this square image that was born out of the simple
scientific accident that the first picture tubes were round.
Jamie Anderson (Jul 13, 2002 2:43:27 PM)
Which gets back to the whole problem of rushing into a new technology.
F-stop (Jul 13, 2002 2:43:28 PM)
In your opinion, what's the worst development or change that's happened
in filmmaking?
Jamie Anderson (Jul 13, 2002 2:43:51 PM)
That's a tough choice. There are so many.
Jamie Anderson (Jul 13, 2002 2:44:28 PM)
I think the single biggest problem is that the studios have been taken
over by multinational corporations who now find themselves in a business
they don't understand. Until the studios can return to the hands of
moviemakers, we run the risk of the whole art form of motion pictures
being threatened. So I guess you'd have to say that's the biggest problem.
Jamie Anderson (Jul 13, 2002 2:45:50 PM)
Thank you all for your wonderful questions. I was surprised how good
the questions were. Thank you. Over and out.
|
