|
Transcript
of Live Chat
with Brian
J. Reynolds
March
2, 2002
Brian Reynolds (Mar 2, 2002 1:09:08 PM)
Hi, all. I'm in Santa Barbara attending the Santa Barbara Film Festival
with a feature film that opened last night here.
Danavision (Mar 2, 2002 1:10:19 PM)
How was it received?
Brian Reynolds (Mar 2, 2002 1:11:57 PM)
The film is Crazy Jones, shot 24P, high definition in 12 days,
and is a wonderful story about a 40-year-old with Tourette's syndrome
who meets a 12-year-old girl with her own special needs. We did an E
film, 35mm print off the high def, and it looks truly amazing. The film
was well received last night and tonight at nine o'clock there'll be
another screening here.
photo matt (Mar 2, 2002 1:12:35 PM)
How closely did you stick to Bing Sokolsky's vision when you took over
shooting NYPD Blue? Did you do anything to change his look?
Brian Reynolds (Mar 2, 2002 1:13:26 PM)
Bing and Greg Hoblit had established the look for NYPD Blue.
The "shaky cam" and point of view was somewhat proscenium
in nature. When I took over the show there were certain things I needed
to refine in order to make the schedule of an episodic series, and also
accommodate sound concerns.
Brian Reynolds (Mar 2, 2002 1:14:00 PM)
One of the big complaints about the show in the early days was that
people had a hard time watching it for a long period of time because
it was so shaky. We tried to eliminate some of that, using it more sparingly.
Brian Reynolds (Mar 2, 2002 1:14:27 PM)
Also, we turned the show which used to be all shot basically from
one direction we started to do more conventional coverage, overs,
singles. And I think I also tried to be a little kinder to the women
with the lighting in the show.
Stills of the Knight (Mar 2, 2002 1:15:07 PM)
I want to talk about your early experience with still photography. Do
you think that still photography is a good training ground for today's
cinematographers? One more question: Does it matter whether you use
a film or digital still camera?
Brian Reynolds (Mar 2, 2002 1:15:44 PM)
Absolutely. Still photography is, I think, the basis for most of my
training in the early days. I also did a lot of theatrical lighting
when I was in high school and some early college productions.
Brian Reynolds (Mar 2, 2002 1:16:24 PM)
I think still photography trains you to be able to create images that
can sustain someone looking at them for longer than a 24th of a second,
which is a great thing to help in honing your lighting skills. The big
difference from shooting stills from motion picture or video is that
in still photography you have to be much more careful about the lighting
because of the fact that your audience will be looking at the same picture
for an indeterminate amount of time.
Brian Reynolds (Mar 2, 2002 1:17:56 PM)
The beauty of film is you can let your audience see images for only
as long as you choose. And that lets you develop a little bit of shorthand
when lighting and setting your shots. When I got started there was no
such thing as a digital still camera. There were some small home video
cameras, but basically any medium that you can light and shoot and express
yourself in is only going to help you in learning your skill.
gino (Mar 2, 2002 1:18:08 PM)
You said in your interview, the talent lies in being able to interpret
the mood that a dramatic moment needs and knowing how to execute. Is
that something you are born with- or are those things you can learn?
Brian Reynolds (Mar 2, 2002 1:19:06 PM)
I don't think you're necessarily born with many skills. I think it's
something you learn through your life experiences. I tend to as I've
become more interested in visual storytelling pay attention to lighting,
natural lighting as well as kind of people watching, seeing how colors
affect me.
Brian Reynolds (Mar 2, 2002 1:19:49 PM)
I could be sitting at a restaurant, outside, and watch how car windshields
pick up the light of the sun and shine it on people's faces as they
pass. Those are the things I think it's important to file away in your
head, so when it's time to recreate that on the stage, you can accept
the challenge of doing it artificiality. By doing that you can create
an artificial reality, and I think that's what makes an audience accept
a location or a space or reality setting that's been recreated.
Brian Reynolds (Mar 2, 2002 1:21:01 PM)
A lot of what determines the mood in a scene has to do with the script.
And most of the time after I receive a script, as I read it, and it's
usually the second pass when I'm reading, I'll makes little notes on
the pages as to what my mood is and what I think the lighting mood is.
As well as time of day. I think when you stand and watch a rehearsal
happen, you can get a lot from watching where the director stands and
watches the scene, as well as watching how the actors behave. And for
me, I think it's kind of an internal feeling I have about how dramatic
or how the lighting should take on and help the scene along.
okaydp (Mar 2, 2002 1:21:58 PM)
How did American Family end up on PBS? Was network not willing
to take a chance on the technology or ethnicity of the show?
Brian Reynolds (Mar 2, 2002 1:22:30 PM)
Good question.
Brian Reynolds (Mar 2, 2002 1:22:51 PM)
To be honest, I don't have all the details. I've probably heard as much
as you. But I did hear that CBS passed on the pilot, even though the
numbers were high in testing. And Gregory Nava, the show's creator,
decided that the show was too good to let it fall into the closet. So
they pursued PBS as an alternative.
eff-stop (Mar 2, 2002 1:23:22 PM)
Why was an American Family produced in 24P format? Did it save
a lot of money? Have your learned anything that you didnt know by shooting
An American Family in 24P?
Brian Reynolds (Mar 2, 2002 1:24:34 PM)
The reason 24P was chosen initially was strictly a cost issue. Within
an episode of TV it's estimated that you can save between $35-50,000
per episode by shooting on digital. The show, because it is on PBS,
has a much smaller budget than network shows. And yet Nava wanted to
put the money on the screen by having great cast and great production
design.
Brian Reynolds (Mar 2, 2002 1:25:01 PM)
And I think it was a great choice here. As far as what I expected, I
had previously photographed Crazy Jones in high def, so I pretty
much knew the new format would offer me great and creative challenges.
Brian Reynolds (Mar 2, 2002 1:25:39 PM)
I think 24P has a real home for filmmakers, especially if your initial
costs are such that you need to try to get something on the screen for
less money. I think the look of 24P is definitely NOT film. But it's
definitely NOT video either. And I think it has kind of a look of its
own. Really, as a cinematographer, I think it offers us yet one more
palette to paint with. By going to seminars and learning and understanding
the format, I think cinematographers will embrace it.
gino (Mar 2, 2002 1:26:16 PM)
There is a lot of talk about digital mastering today, and you address
the power of the telecine in your interview. Do you think cinematographers
can keep control over what happens in telecine, or will that be taken
away?
Brian Reynolds (Mar 2, 2002 1:27:20 PM)
I think it's about time that we are able to control our images better
in the digital realm. I think that one of the greatest things to happen
now is the ability to shoot film and control how the color correction
and mood of the film is finally delivered to the answer print through
digital manipulation. I hope that directors and producers when hiring
a DP understand that the job doesnt end at wrap when the film shuts
down, that a lot of our work sometimes has just begun.
Brian Reynolds (Mar 2, 2002 1:28:29 PM)
On American Family, though it's delivered in digital, not film,
as we have been on hiatus a number of weeks now. I have spent a great
deal of time over at Modern Video Film correcting, color correcting,
my shows as well as helping with certain things we're creating for the
look of the show in digital. The time I've spent has pretty much been
my own time, I haven't been paid for it, but it's been very gratifying
to be allowed to be involved in that part of the production.
Brian Reynolds (Mar 2, 2002 1:29:50 PM)
I think that what's happened in the audio world where basically most
audio for movies and TV is being done on computer and done digitally,
is going to definitely happen for motion pictures. I think within the
next five years, most post-production for motion pictures will be done
through some kind of digital manipulation/high definition process.
Mike (Mar 2, 2002 1:29:52 PM)
Congratulations on your 7th ASC nomination. That can't just be coincidence.
Is there anything you can share about what you're doing that gets the
attention of your peers?
Brian Reynolds (Mar 2, 2002 1:30:14 PM)
Thank you!
Brian Reynolds (Mar 2, 2002 1:30:23 PM)
I was really excited when I got the nomination this last time. I think
my work is such that I am able to put a little bit of myself into it.
And I think I try to step over the edge and beyond the norm to create
images that satisfy me.
Brian Reynolds (Mar 2, 2002 1:31:43 PM)
I think that if you can work to create visual images that are really
interesting and unusual, that other people will sit up and take notice.
I think in TV the most important thing is that you need to temper the
idea of being creative, as well as fitting into the mold of schedule.
I seem to have found a formula for that, and I'm really happy that I'm
able to do the kind of work and work for the kind of directors and producers
that I've been so fortunate to work with. Who understand that the visual
storytelling is as important as conventional storytelling.
The Beholder (Mar 2, 2002 1:32:26 PM)
You've talked about the importance of building your reel. Is that still
important today? Could you talk about how you would go about building
a reel today?
Brian Reynolds (Mar 2, 2002 1:32:46 PM)
Yes, it's very important. 99.9 percent of the jobs I get are based solely
on interviews that come from people who have viewed my reel.
Brian Reynolds (Mar 2, 2002 1:33:29 PM)
I think the single most important thing in making a reel is to be able
to not fall in love with your work. You need to be able to be as SHORT
as possible. You should always leave producers and directors wanting
more that will get you in the door for the interview.
Brian Reynolds (Mar 2, 2002 1:33:40 PM)
I also think a big mistake a lot of people make is trying to make their
reel too organized. The best thing that has worked for me is finding
a piece of music and cutting a montage and not worrying about telling
a story. Just giving them an appetizer plate of your work.
Brian Reynolds (Mar 2, 2002 1:35:16 PM)
Remember one thing about a reel you will always be judged by the weakest
image on your reel, no matter how great the other images are. So only
put the best images there. The other thing to remember is that producers
and directors are very limited with the amount of time they have to
look at a reel. You need to grab them in the first 15 seconds and the
reel cannot go on and on; they have a limited time to watch. Again,
if you dazzle them with something short, they'll want to bring you in
to see more.
Brian Reynolds (Mar 2, 2002 1:35:47 PM)
The other thing I've found recently that really works if you have
beautiful footage with known movie stars or actors, it always helps.
People are not that interested in seeing images of actors they don't
know.
Sandman (Mar 2, 2002 1:35:50 PM)
How do you suggest going about picking an agent? And what do they do
for you?
Brian Reynolds (Mar 2, 2002 1:36:19 PM)
Today most agents pick cameramen. It's kind of a buyer's market. You're
really not you don't have that much freedom in choosing your own agent.
Brian Reynolds (Mar 2, 2002 1:36:42 PM)
I think if you have a good reel and you're working, that's the time
to try to shop yourself around. The best way to do that is to call and
get your reel over to whatever prospective agents you want to see. If
you have an idea who the best is, start at the top of your list and
work down.
Brian Reynolds (Mar 2, 2002 1:37:28 PM)
I think what an agent can do for you I think what lets them deserve
the 10 percent of your salary is that they introduce you to new people,
new producers, new filmmakers you might otherwise not get to meet. I
think basically that's the most important thing an agent can do for
you.
Brian Reynolds (Mar 2, 2002 1:38:15 PM)
Secondly, once you get the job, an agent can be great to negotiate.
It's very hard these days, as a creative person to try to negotiate
money and deals yourself. It's very easy, because it's so competitive
out there, to sell yourself short. And I think the great thing about
an agent is they can be the "bad cop" for you.
cinerama (Mar 2, 2002 1:38:18 PM)
Tell us about the life of a cinematographer. Is it tough to maintain
personal relationships with such an erratic schedule?
Brian Reynolds (Mar 2, 2002 1:38:35 PM)
Oooh. You must be my ex-wife.
Brian Reynolds (Mar 2, 2002 1:38:48 PM)
It is very tough because we are sort of like circus performers. We travel
to where the work is. In the last few years, unfortunately, a lot of
the work has gone to Canada. It's been great to be able to travel there
and do the projects. Luckily they're still letting DPs come in. But
it has been tough for all of us.
Brian Reynolds (Mar 2, 2002 1:39:39 PM)
One of the reasons I decided to do episodic TV again was because I really
missed my kids and I wanted to stay in town for a while. That's been
great.
Brian Reynolds (Mar 2, 2002 1:40:12 PM)
Also, I'm on a show and I have a work ethic of trying to get the work
done in a 12-hour day. I think the DP on a series has a lot of control
over that. And producers appreciate getting the work done and getting
out. And that's been good in being able to spend time with my family.
JJ Fad (Mar 2, 2002 1:40:14 PM)
What was your relationship with Tupac like? Was his music a true reflection
of him or just one side of his experience?
Brian Reynolds (Mar 2, 2002 1:41:10 PM)
When I shot Gang Related with Jim Belushi and Tupac it was a
wonderful experience. Tupac was really a great, great man. And I was
very saddened by his demise. He really inspired me because of his playful
freedom on the set. And I think that sometimes he was misinterpreted
in the media. He truly was one of the greatest guys I had worked with
and really a sweetheart.
Norm van Leer (Mar 2, 2002 1:41:44 PM)
NYPD Blue was a total breakthrough that changed the look of TV.
Looking back, did you realize then how much of an influence the look
of that show would have on future shows?
Brian Reynolds (Mar 2, 2002 1:42:31 PM)
When I took over NYPD, I knew that we were shooting something
very special. It was very free form and the wonderful thing about working
at Bochco was that they very, very rarely gave me any kind of note as
to my creative input on the show. Basically, I had total creative freedom
to light and help directors shoot the scenes. I didn't really think
about changing the face of TV, but I knew that we weren't really shooting
a normal TV show.
Brian Reynolds (Mar 2, 2002 1:43:55 PM)
I've tried in my whole career to break the mold with the work I've done.
I did a show earlier for Bochco called Civil Wars, which I was
also ASC nominated for. And I tried to really break the mold of conventional
TV lighting. I think what had happened in TV for a long time was that
some DPs were not taking full advantage of the new technology in telecine
transfer. I just took what I knew and had learned from shooting music
videos and commercials and tried to apply it to this long form medium.
Kendra (Mar 2, 2002 1:44:05 PM)
Do you work with a regular crew or does it depend on the project? What
do you look for when you're hiring a crew?
Brian Reynolds (Mar 2, 2002 1:45:23 PM)
I try to work with the same people as much as possible. I have a wonderful
crew now on American Family. Great guys and gals that really
work hard and really try to be creative in each one of their jobs. I
think the most important thing to remember about being on a crew is
to not become complacent with your work. I've filmed all over the world,
and I think American union crews are the best.
Brian Reynolds (Mar 2, 2002 1:45:55 PM)
Any DP who says he or she can do this job alone is mistaken. This is
a business that requires a well-oiled machine, especially in episodic
TV. I hold myself to a very high standard when I work, that's what keeps
the work fresh and great. I'm glad my crew is the best and they really,
really try hard to make the work be exquisite.
cinerama (Mar 2, 2002 1:46:23 PM)
Who in the creative community are you really anxious to work with: directors,
actors, writers, editors, etc?
Brian Reynolds (Mar 2, 2002 1:46:37 PM)
Good question.
Brian Reynolds (Mar 2, 2002 1:47:07 PM)
What I really like is the challenge of working with new directors who
come in with new ideas. I like to work with young, fresh filmmakers
with a talent for shooting the unusual.
Brian Reynolds (Mar 2, 2002 1:47:44 PM)
Many times I have worked on projects, including Crazy Jones,
that have been done for very little money, and basically I've cut my
rate to work on them. But it's wonderful and refreshing to go back to
my roots, so to speak, and be creative on a shoestring.
Brian Reynolds (Mar 2, 2002 1:48:30 PM)
I think it keeps me honest. And those are the people I like to work
with. Sometimes in TV the focus becomes schedule and budget. And though
I try to stay on schedule, and do. And most producers are very happy
with the speed at which I work, I hope to always work with people who
want to put the money on the screen, not in their pockets.
okaydp (Mar 2, 2002 1:48:36 PM)
How are you using the HD monitor on An American Family?
Brian Reynolds (Mar 2, 2002 1:49:07 PM)
Shooting high definition is quite a different animal from shooting film.
I've found you really can't light by eye on the set the way you do shooting
film. So the monitor becomes very important as a lighting tool. When
I used to shoot stills, large format especially like 4x5 and 8x10, we
relied heavily upon shooting Polaroids to check lighting. I think shooting
high def and using the monitor is somewhat like that. I can walk on
the set and look at the lighting and it looks pretty good. But when
I get to the monitor I can really refine the look quickly, and I think
that's one of the great parts of shooting this new format.
Fill light (Mar 2, 2002 1:50:30 PM)
Is there any advice you were given when you first got into the industry
that still holds true today?
Brian Reynolds (Mar 2, 2002 1:51:12 PM)
Before I get to that, I wanted to thank Bob Fisher for being here online
today. He has been such a great help to all of us cinematographers.
And Bob, I'm not just buttering you up, I really do mean it. You're
the greatest.
Brian Reynolds (Mar 2, 2002 1:52:13 PM)
Something I've always said to people in this business it's kind of
a greeting for me when I see other people and cinematographers. Shoot
the unusual. I think it's very easy to fall into the status quo and
complacency. I think it's important to always find the next new angle,
the next new device, the next new trick. And I think that's part of
growing with this industry.
Brian Reynolds (Mar 2, 2002 1:53:24 PM)
I also think it's very important to keep up with technology. Don't be
afraid of it. Technology is only a tool, and if you can add it to your
toolbox, it gives you just one more avenue to explore and exploit. I
think the best thing for people to do is shoot anything they can get
their hands on. If they have to work for free if they have to shoot
in mini DV or have the opportunity to shoot in Panavision 35mm. Shoot
as often as you can, whether it's still, video, Super 8, or even digital
stills.
Brian Reynolds (Mar 2, 2002 1:54:08 PM)
Keep your eyes open. Watch movies. Especially now because DVDs have
really become such a great tool for the filmmaker. Especially pay attention
to framing, lighting, scene construction. And try to watch the behind-the-scenes
movies that are usually included in the DVD. They can be wonderful learning
experiences.
bob (Mar 2, 2002 1:54:09 PM)
What do you think cinematographers should be doing today to prepare
for the future especially with digital timing becoming an issue on
features.
Brian Reynolds (Mar 2, 2002 1:55:15 PM)
As I said before, keeping up with technology is the single most important
thing we can do today as filmmakers. And I think a lot of young filmmakers
don't realize what a wonderfully helpful business we're in. I know many,
many post houses, as well as companies like E Film and Film Labs and
camera manufacturers, are all thrilled to have questions asked of them.
Brian Reynolds (Mar 2, 2002 1:55:54 PM)
I know most of these businesses will gladly open their doors for you.
You need only to ask. And most engineers love talking about their processes.
All of this is great stuff to learn about and start to understand how
the process can be manipulated to great your vision.
radfilm (Mar 2, 2002 1:56:02 PM)
Hello Brian, This is Dana G and I just want to say that American
Family is the best 24P work I have ever seen. What make the look
so different from the rest-is it depth of field or a combination of
that and post? Your exteriors give me hope that 24P can have a real
place in Drama.
Brian Reynolds (Mar 2, 2002 1:56:38 PM)
Thanks, Dana, appreciate it.
Brian Reynolds (Mar 2, 2002 1:56:58 PM)
I really did put a lot of thought and effort into the work I do on American
Family, even though most episodes we only have 5-6 days to shoot.
The biggest thing I did on the show was work with John Keesee at Bexel
to create five different looks in the Sony 900 camera. I tried to create
some different film looks for the camera and engineer the black levels
and camera settings accordingly. You can't just rent one of these cameras
and expect it to make pretty pictures. You need to sit with it and the
engineer to try to come up with the look you want.
Brian Reynolds (Mar 2, 2002 1:58:53 PM)
I also shot a lot of video over the years again, keeping up with the
technology, learning about all the paintbrushes we have to use. The
exteriors are created not unlike what I would do for film. But I think
the camera settings, which we've engineered into the camera, are most
of the reason why it looks so good. I do still use polarizers on occasion,
outside, as well as grad filters. And as usual, with high definiton,
I try to keep the F stop as wide open as possible. This really helps
to create more of a film look. Thanks.
Dru (Mar 2, 2002 1:59:36 PM)
Do you ever shoot commercials? Do they help keep your skills fresh?
Brian Reynolds (Mar 2, 2002 2:00:46 PM)
I used to shoot commercials when I first got in the business. I was
actually a director cameraman for many years with a company called Zephyr
Films in Hollywood. I think that the commercial process, especially
as a director-cameraman, really helped me get to know the digital and
electronic post process because I would telecine all of my work as well
as follow through the electronic editing process.
Brian Reynolds (Mar 2, 2002 2:01:26 PM)
It's hard for me these days to get commercials because if your demo
reel is even six months to a year out of date, agencies don't usually
respond. So in order to go back into that business, I would need to
shoot some new demos, and I haven't really needed to do that. I enjoy
telling stories that are longer than 30 seconds.
Brian Reynolds (Mar 2, 2002 2:01:38 PM)
And I think that's one of the gratifying things in shooting long form
TV or feature films.
JJ Fad (Mar 2, 2002 2:01:43 PM)
What's the most appropriate analogy to describe the craft of cinematography?
Brian Reynolds (Mar 2, 2002 2:02:26 PM)
I think the most important analogy is to pay attention and listen and
watch. There are many things that happen in life and on the set. And
I think maybe not always looking at a scene from the same perspective
is good. I always try to walk around a scene as actors rehearse and
it really helps to try to see new angles and new frames that can be
created to help tell the story better.
Qadry (Mar 2, 2002 2:02:59 PM)
Can you talk about your approach to lighting actors and actresses? What
did you do with Raquel Welch and Edward James Olmos?
Brian Reynolds (Mar 2, 2002 2:04:56 PM)
Lighting is very important as a storytelling tool, I believe. Remember
when I said that I read a script and try to envision the look of each
scene while I'm reading the script? One of the things I try to do is
have sets pre-lit so that when the actors rehearse they do it with the
lights on, and the way I want to see the scene lit. When I watch the
rehearsal, it lets me see how the light falls on the actors' faces and
is actually a great timesaver. I'm able to make minor adjustments and
get quickly into shooting the scene. I also try to spend very little
time lighting close-ups. I think the worst thing you can do to a director
or an actor is to send them back to their trailers while you light close-ups.
Brian Reynolds (Mar 2, 2002 2:05:14 PM)
All the energy and the "juice" the director and the actors
have brought to the room vanishes and it takes a while for them to get
that mood back.
Brian Reynolds (Mar 2, 2002 2:06:19 PM)
I try to work very quickly with close-ups and design my master lighting
in such a way that with very little tweaking I can get right in to close-ups.
I've worked with many actors and actresses who have been around for
a while and have a great idea of how to hit a light and what kind of
lighting they need and want in order to make their character come to
life on the screen. Raquel has a very specific idea of how she needs
to be lit.
Brian Reynolds (Mar 2, 2002 2:07:03 PM)
And I think, as a camera person, you need to really respect an actor's
wishes. When we first met, we shot a couple hours of tests before we
started American Family with Raquel. I was able to play round
a little bit and show her what I have in mind. She gave me her notes
on how she would like to be lit, and we recorded them and played them
back. She seemed very happy with the results.
Brian Reynolds (Mar 2, 2002 2:08:06 PM)
I did a similar test when I shot Guarding Tess a few years back
with Shirley Maclaine. I think it's a great way to break the ice with
an actor or actress, and I think it takes a load off their mind as to
knowing they've put themselves in good hands. I think it's easy to integrate
a particular actor's lighting requests into your own style. The most
important thing is to ensure the actor or actress knows you're taking
them seriously and paying attention to what their needs are.
camille (Mar 2, 2002 2:08:20 PM)
You are using color in very interesting ways on American Family
- are you achieving most of it in the telecine process or are you trying
to get the look mostly on set with filtration?
Brian Reynolds (Mar 2, 2002 2:11:37 PM)
No, actually, most of the color is created on set. Color begins in the
planning stages of a scene or a setting, with the production designer
and costumer. It's very important for all of you to be on the same page
with the director as to what he or she wants. Gregory Nava is a big
fan of warm lighting and bright colors in his films, and expressed that
in the initial interview. Again, as DPs or cameramen, we are facilitators
for the director's vision of the film. It's all part of paying attention
to what they want and helping them interpret their look. Most of the
lighting and the look and the color is very close to the way I shoot
it.
Brian Reynolds (Mar 2, 2002 2:13:20 PM)
In fact, in color correction, we are usually making very few changes
to the look of each scene. So the digital is very close when I shoot
it. It's important to protect yourself as the DP and make sure your
dailies, whether film or tape, are as close to what you want to see
in your final as possible. If this means spending time with the telecine
colorist who's going to be transferring your work, then do it. Give
them an idea of what you want. Let them know you will live and die by
the work that they do. Get them involved in the creative process of
your work. It's a great way to keep your film or video looking great.
And also, it gives you more time in final color correction to play.
radfilm (Mar 2, 2002 2:13:45 PM)
Brian, The camera seems to drift through the scenes in a very pleasing
way on American Family Is this a steadicam and if so is this
part of your approach to the feel of the show
Brian Reynolds (Mar 2, 2002 2:14:23 PM)
We do have a steadicam, as well as dollies. And I've been very fortunate
on the show that Gregory Nava is a big fan of the techno crane.
Brian Reynolds (Mar 2, 2002 2:14:43 PM)
We've been able to produce some really stunning images using this tool.
Greg is a big fan of moving the camera as part of his storytelling process.
And again, as a facilitator, it's part of my job to make sure he gets
the shot he wants.
Lensing Las Vegas (Mar 2, 2002 2:15:01 PM)
Do you have any ambitions to direct?
Brian Reynolds (Mar 2, 2002 2:15:24 PM)
That's a tough question. As I said earlier, I did direct commercials
and it was really fun.
Brian Reynolds (Mar 2, 2002 2:15:38 PM)
I think it's difficult for cameramen who move up to director to go back
to just being shooters again. And I think once you make that decision
it needs to be a life decision, so I'm going to wait for a while before
I make that move.
Brian Reynolds (Mar 2, 2002 2:16:16 PM)
I think a lot of us want to direct and be in control. But remember:
collaborative filmmaking is the best. And the old saying, two heads
are better than one, holds true in this business as well.
photo matt (Mar 2, 2002 2:16:24 PM)
Is there a secret to visual storytelling that you're willing to share
with an aspiring filmmaker?
Brian Reynolds (Mar 2, 2002 2:17:05 PM)
I think the best thing to remember about visual storytelling is that
you are telling a story not trying to impress people. I think great
cinematography should be invisible.
Brian Reynolds (Mar 2, 2002 2:17:18 PM)
I think 90 percent of what we do is enable the writer, director, and
actor to put their point across.
I think a good scene makes you realize you are emphasizing with the
story and not how pretty the cinematography is. I think we are augmenters.
We help the storytelling process by creating a mood, along with the
production designer and the director. I think as long as we keep that
in mind, we will be successful at it.
Brian Reynolds (Mar 2, 2002 2:18:26 PM)
Remember, great movies start with a great script and great actors
and that's the single most important part of this process. The rest
is just icing on the cake. Great talking to you all. Hope to see you
soon. I think I'll be probably doing another lighting seminar this year
with Local 600.
Brian Reynolds (Mar 2, 2002 2:19:31 PM)
Remember very important. Attend seminars, be in chats, learn like
sponges. And shoot the unusual.
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