Hi guys, it's Daniel the filmmaker here!
Now that I'm in preparation and about to develop what is going to be one of the most important projects of my filmmaking career-- my first feature film, I often find myself thinking back to my past experiences on set and some the crew people I've worked with.
So, here's a somewhat provocative question for you, which wants to be also a deep reflection about this profession...
As a director or filmmaker or producer, have you ever worked with crew members or Heads of Dept that were very calm, meek and affable on set- the perfect collaborator, shall we say- but that had many limitations to their knowledge or skills? So much so in fact, that in some instances you had the impression they didn't know what the hell they were doing and you had to compensate for their lacking abilities?
And by contrast, have you ever worked with people who were a real pain in the a-- to work with?... Primadonnas with big attitudes that made the set a really edgy place to be in, but that were real geniuses when it came to the job they did and absolute aces for the skill set they possessed?
And if yes, which scenario did you find most problematic? And how did you balance that?
Because, if it's true that you cannot spend all of your time compensating for the lackings of others or pay for their mistakes, it is also true that it's impossible (and unhealthy) to always be working with self-absorbed dicks & troublemakers.
Thanks for your feedback guys... You absolutely rock!!
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Hey Dan, a feature awesome, good luck, do you have a script already?
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While I agree with David Santo , I have worked with people generally considered terrors, and quite smoothly with a few keys, some of which are (a) they are looking for respect and acknowledgement, (b) they are terrified of being blamed or taken advantage of, and (c) you can't fight fire with fire except in an emergency. The dealbreaker is scruples. Without them, soft and sweet or surly sour, they are no part of sauce. Rebecca James , Becky, you have NO idea how lucky you are to think that question can be asked and may it always be that way.
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Billy Kwack
Hey Billy, tnanks a lot my friend! Yes, I do. I'm in the process of formatting my first draft right now.
Keep following our progress, if you like.
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Rebecca James
Of course I do and I've even worked with many of them in my projects, Rebecca! But, while that is the ideal scenario, sometimes, when into a project, you don't have the luxury to choose the perfect crew people, and quite often it's not even possible to get to know them fully beforehand, until you're on the set together.
And in those cases, you've got to make the best with the people you have.
And since that happened to me (and to others I'm sure) quite a few times, I thought it could make for a nice reflection.
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Sandeep Gupta
Well said, Sir! And I totally agree with your point.
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Daniel Latteo please don't let my years say the world @Rebecca James posits isn't.somewhere out here, or can't be created. Actually what I mentioned is from years before. I've only met the kindest folks around Screenwriting. Also, even in the remotest chance I am knighted, filmmmakers don't have to call me Sir, we are all twelve : )
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Hey Dan, again awesome my friend, can't wait to see already
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The guy with the AMAZING SKILLS, because at the end of the day those are the results I'm looking for... minus all the other BS!
Daniel Latteo Are you sure the guy with "amazing skills" hasn't just cowed you into believing his BS is amazing? Because... has his stuff sold appreciably more than the other guy? If not... you know. Be objective.
Shadow Dragu-Mihai, Esq
No Dragu, only because, in this case, the proof is in the pudding, or shall we say, in the movie.
Meaning that, if you only "act" as a talented person, you can only fake it for so long because your work will be seen eventually.
Besides, I was meaning that in a number of different ways-- the skill to remain calm and calculated in the storm. Skill to deliver under enormous pressure and time constraints. Skill to easily perform something that is excruciatingly hard to perform for others in the same field.
All these to me are special, amazing talents as well!
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Re @Daniel’s start question, which character is most problematic on set? And how to deal with it? I’ve worked with meek, do anything for you but sometimes get it wrong artists and bombastic anal egotists who spin artistic pearls. The bottom line is I prefer who is best for the “Film” and does a proper job irrespective of how I “Feel” about them. It is crucial to choose who serves the film best so I learned to go into denial mode around people’s personalities. It’s as though the only .two entities are myself and the malleable film footage that needs me to keep my head to collaborate with any third party. I wasn’t always peaceful about these situations and used to rise to the bait by arguing.
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Hi all! We have a great community here and great upcoming education if you want to check that out here: https://www.stage32.com/education or reach out for any questions! edu@stage32.com!
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Debbie Croysdale
"The bottom line is I prefer who is best for the “Film” and does a proper job irrespective of how I “Feel” about them."
Great point Debbie!! Very relevant and goes straight to the heart of the post.
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Can the affable guy demonstrate that he can learn quickly?
Karen "Kay" Ross
Oh yes, he sure can Karen! But I've found out (at least in my experience) that sometimes it is more than quick learning... It is about tons of experience acquired in the field, the vocation for the job and a sort of innate talent, all key elements to me, especially for Heads of Dept.
I have worked with some guys -just a few honestly- who were real pain in the "ace" on a personal level, but they possessed all these qualities and they made a quite complicated job look real easy.
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Folks on sets being difficult is nothing new. Typical human management issue. One factor is the relative importance to the production of the person in question. Divas sometimes get away with being awful because of what they bring, when they bother to do their jobs. They can get away with being quite awful while a bit player would be out very quickly. However, someone who is viewed as difficult because they are demanding higher quality better work, needs to be seen differently. Regardless of which side of that equation you are on. It is not now, nor has it ever been fair.
Chatting with my gaffer and some crew members during a lunch a while back. someone was talking about a Second Assistant Camera they met who was really great, but then it arose they are very difficult to work with. When asked my opinion, it was pretty simple, “what do you call a 2AC that is difficult to work with?…unemployed”.
Nice but not knowledgeable pretty much fits with almost all Film School grads. Their degree indicates they are potentially trainable. Maybe. I look for those who are bright and wish to learn, it is a pleasure to see them grow. Just can’t have such people make up a large percentage of folks on the set.
I believe that sets should be made up of a range of people that fit together. During a shoot we spend far more time with co-workers than our families. Lots of patience may be called for. But if everyone wants to be there, wants to contribute, and is trying, the shoot is always a pleasure to do.
Andrew Sobkovich
Great comment there Andrew!! I especially like and agree with the end.
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Hey Dan, how is everything going?
Billy Kwack
Hey Billy, my friend!! Everything is good. Of course, developing your debut feature film ain't easy... but I'm hanging in there. And I'll keep on going, no matter what!
See you around here man & take care!
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Awesome good luck Dan, I'll be around
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Great comment, Andrew Sobkovich. I highly agree with every word. The level of tolerance should be proportional to the combination of talent+necessity of that person. Not necessarily only the level of his/her talent. A super talented 2nd AC with attitude can go.
Many people with attitude or prima donnas are like this because they are irritated by people without skills, or because they have lacked attention and support. I was an arrogant know-it-all-better-than-you when I was a kid, so I know, lol. People like this often had to fight through a sea of useless but better connected morons to get their talent appreciated and recognized. They progressively settle down in a more zen attitude when they feel confident and trusted.
I'd rather try to understand someone's attitude and intoxicate that person with my great mood and personality, trying to have a positive impact on him/her. That's what great people did with me. They tried to understand where I came from and saw my talent, instead of being put out by my arrogance; They were patient, and in return, I gave them everything.
Nice people without skills are useless and irritate me because they can't be trusted and make me paranoid. I have no use for them, and they don't make me a better director. A crew member is supposed to bring something to the film and take off work from your shoulders, not add more work. His vision and energy is supposed to take your film higher. Anton Furst was a difficult, egomaniac production designer. He was a driven, impulsive and passionate man who made spontaneous decisions. But he took Tim Burton's Batman to a cosmic level.
Surround yourself with the best, the really talented guys. Take your game higher. Filmmaking is often difficult, but I'd rather suffer from creative conflict with someone with a vision that pushes me into making better choices and taking better decisions, than waste my time and nerves with someone who can't get a shot right or who forgot the camera case on the sidewalk (it did really happen to me.)
Use the nice, useless guys to carry heavy shit, park the truck and make coffee. Don't make a pleasant, easy film. Make something strong and passionate.
And Rebecca James is right, they exist with both qualities. I know many.
And good luck with your film, looking forward to it.
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Lewis Martin Soucy
Well, what can I say Lewis-- great comment!! Very insightful & very relevant to the post.
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Thanks for bringing it up Daniel Latteo this is a topic that can never be discussed enough. One of the hardships of this business is developing the right attitude and building self-confidence. No one teaches you that in film schools, and no one has the same issues to deal with when they grow up. Virtually no one decrypts arrogance as a symptom of poor self-esteem.