BEHIND THE SCENES: A GUIDE TO CAREERS IN THE FILM INDUSTRY

BEHIND THE SCENES A GUIDE TO CAREERS IN THE FILM INDUSTRY

INTRODUCTION Have you ever wondered what exactly it was about your favorite movie that made it your favorite. Was it the actor playing the lead, the music in the background of your favorite scene, or the beautiful gown worn by your favorite character. All of these end goals are the responsibility of a person, whose job you were probably not familiar with. Casting directors, composers, and costume designers are just a few of the many moving parts that go into making a movie.

When it came to compiling the information for this book, I was amazed at all that goes into making films. When the ending credits roll, there is always a long scrolling list that contains the names of people who put hard work into that film. This list has become a signal for people to get up and leave the theater or flip the channel, but it shouldn’t be. The work that those roles complete are just as important as the actors and directors’ jobs, so why is it that there is not the same level of praise?

As an aspiring graphic designer, I was searching for all of the different routes I could take with this degree. I stumbled across graphic designers for film, and was immediately interested. However, it made me wonder what other careers are available for people interested in the film industry. Actors, directors, and producers were the first to come to mind, however they are only one part of a much larger whole.

This book is a collection of lesser knowns paths for people who are interested in the film industry. This book shows the hard work people put into films that often goes unnoticed. I hope that this book serves as an guide to a greater appreciation of overlooked details in your favorite movie.

BEHIND THE SCENES 5

TABLE OF CONTENTS

ART DEPARTMENT HAIR & MAKEUP DEPARTMENT WARDROBE DEPARTMENT SOUND DEPARTMENT PRODUCTION DEPARTMENT

9 19 27 37 45 BEHIND THE SCENES 7

1

ART DEPARTMENT BEHIND THE SCENES 9

SET DESIGNER Imagine your favorite movie or TV show for a second – what is the visual you conjure up? Whether it’s Seinfeld, Game of Thrones or Wonder Woman, the set that actors perform around plays as much of a role as they do. The environment created by scenic designers helps set the tone, the era and the overall vibe of each scene. Without the proper backdrop, the story is incomplete. To become a set designer takes proper education and experience, often a bachelor’s or master’s degree of fine arts is a baseline requirement. But if this is your field of interest, the career upside is very high.

So, what is Set Design? If there is no background or some stage setup in performance, then the story becomes harder to believe, and there is nothing to bring to added feel or air to the production. Think Dunkirk without the battlegrounds and burning buildings. Not quite the same, right? Even the smallest detail in a scenic design can contribute to the imagination of the audience whether it is the eye picking it up or the unconscious mind.

So what exactly is it that a Set Designer does? Production designers (set designer) help create the atmosphere in a movie or play by setting up the scene. They don’t deal with actors or costumes, but they deal with everything else. The backdrop, the props, the painting, the flooring – every visual after removing the actors, is under the purview of set designers. When the set for the theater is designed, then there is less space to work with and no open air. This might set some limitations to the scene designers creativity.

The theater industry caters to a live audience, portability and details are important considerations when it comes to theater scenography. The only thing that might stand in the way of a film production designer is the budget. The sky is the limit, and they can build intricate sets to help sell their story.

The script defines the scope of the set. Is this project set in current times or a past era? Is it fantasy, or real-life? Is it an inspirational or a dark theme?All of these starting points are determined by the script and will influence the final product.

The production designer doesn’t work in a silo, making isolated decisions about the direction of the film. Instead, they are in constant contact with the director and work in a collaborative environment to create the ultimate vision. Lighting technicians, wardrobe designers, carpenters, prop masters and many others on set collaborate with the set designers to finalize each project. Being open to new ideas and flexible with your vision is a necessary quality to have a set designer. In the end, a set design that aligns with a directors vision is all you can hope for. To be accurate in their depiction of different periods in time, a set designer must conduct historical research. If a scene in a movie is set in a house from the 80s for example, the production designer would research the interior and exterior of a house in the 80s and

“I ALSO THINK IT’S WONDERFUL THAT DIRECTORS MAKE EVERY INDIVIDUAL FEEL EQUALLY IMPORTANT. IT’S A TEAM-EFFORT AND -SANDY REYNOLDS WASCO THEY REALLY RESPECT ALL THE CRAFTS. WHEN LA LA LAND YOU’RE ON THE SET EVERYONE IS EQUALLY.” -SANDY REYNOLDS WASCO LA LA LAND

truly understand and appreciate the unique features of that era. If a production designer doesn’t take this step, anyone who grew up in or is familiar with that era will notice the inaccuracies and take the film less seriously. Once the set designer has gathered enough research and information from the other crew members, he will place his vision on paper. I always think of the Oscars when they give out the awards for set design, they show the original sketch first, and then show how it was transformed into reality. Those moments are a constant reminder that it all starts with pencil and paper, not hammer and nail. The budget needs to be kept in mind during this process. Don’t design higher than you can afford. Some sets will be easy to create, where only one room and some props are needed, and others might ask for a whole construction to take place. Scenes that take place in nature can also be quite easy to set up if the season is right. When the director approves of the sketches, then the build begins.

Production design is a crucial part of any movie, TV show or theater performance, showing off the creativity of the crew and the vision of the production. The crew involved in the design and implementation of the set are often the largest department in the film crew.If you are creative, innovative and not afraid to work under the pressure of demanding deadlines, then a career in set design might just be for you.

BEHIND THE SCENES 11

PROP MASTER A sword hanging on the wall is a set decoration, but a sword in an actor’s hand is a prop. The person responsible for scavenging and creating the dozens (even hundreds) of props for a stage production is the prop master. This person answers to the director, production manager, and stage manager, and may work as a freelancer or in a permanent position with a theatrical production company.

In preproduction, the prop master reviews the script and makes a list of all required items the cast must interact with. For periodspecific shows, this person will do research to identify the emblematic style of the era and ensure all props are period-appropriate. Next, consultation with the director and design team establishes the desired look and feel of the production; should the props have a faded, antique motif, or a modern, colorful appearance? The props must reflect the overall aesthetic of the show; the lighting, sets, and costumes all work to give the audience an immersive experience.

The prop master is responsible for providing the production manager with a cost estimate based on what can be purchased and any materials required for building new pieces, as well as the inevitable repair and replacement of damaged pieces. Shows that are intended to have a long run will be expected to stock several duplicate props and maintain an inventory of spare pieces and materials for new construction. On a touring production, the prop master must plan for the storage of materials during transportation and design a packing template.

This job can be a shopper’s dream; the prop master trolls garage sales, thrift stores, and shopping malls for bits and pieces to fill the properties list. Budgets vary widely from one production to the next, but it is always the goal of a good prop master to ask for as much

“I’VE ALWAYS FELT THAT IF YOU’RE NOTICING THE PROPS,YOU’RE DOING YOUR JOB WRONG” -ROBIN L MILLER

FORREST GUMP

money as they can get and use as little as possible. Period shows are notoriously the most difficult to supply; the prop master usually knows every local antique dealer by name and spends hours on eBay. When the script calls for a very specific item, the prop master leads a team of technicians in fabricating objects. Often stage props are analogues of the real-world object, made from lighter, cheaper materials.

These technicians are also skilled artists able to carve anything out of foam and perfectly simulate textures through faux finishes—they are welders, carpenters, sculptors, and painters.

During the show’s run, the prop master is tasked with supervising the props crew in pre-setting all the necessary pieces, leading movements during scene changes, and supervising the strike of the set. This person will also monitor the inventory for loss and damage. Where necessary, he or she will assign repair responsibilities.

Permanent installs and long-running Broadway productions will employ a prop master who is also a department manager responsible for managing the crew’s work schedules, position rotations, shop equipment maintenance, and other related administrative tasks.

A college degree or equivalent professional experience is required for this senior-level position. Training in fine art (drawing, painting, and sculpture) and carpentry is

necessary; you are expected to be the MacGyver of show production, capable of making anything out of minimal resources. You must be skilled in multiple faux-finish techniques like distressing and papier-mâché, as well as the use of materials like plaster, foam, latex, and fiberglass.

As a prop master, you will creatively interpret the script and the abstract vision of the director, effectively manage your department, and deliver on tight deadlines. You must be a team player who is willing to collaborate on a shared concept—not just your own.

Every show presents a new challenge; one day you’re carving 15th-century battle axes from foam, the next you may be hunting all over town for a rocking horse. This job requires someone who is both artistically talented and a creative problem-solver. There is no such thing as “can’t” in show production. If the item cannot be bought, you make it. If it cannot be made, you beg, borrow, or steal—well, don’t steal. Besides theatrical productions, prop masters are needed on film and television sets, in the theme park industry, and even in venues like museums.

Experience in any area of the art department is applicable to this role, and many prop artists and technicians also find opportunities to apply their skills to makeup, special effects, and set decoration.

BEHIND THE SCENES 13

KEY SCENIC In film and television production, it is often cumbersome and costly to use authentic materials in set construction. Instead, wood paneling, marble countertops, or titanium alloy bulkheads are replicated and approximated with cheaper stand-ins. With help from the carpenters, scenic artists complete this illusion with the application of faux finishes and expert painting techniques. As highly specialized artists, these members of the paint department focus on disguising one material for another and tricking the camera’s lens.

The key scenic artist is one of several crewmembers under the supervision of the paint coordinator and must adhere to the design specifications as set forth by the production designer and art director.

He or she will also supervise a crew of painters delegated to applying special paint treatments. This one-person crew may be responsible for painting set pieces, as well as backdrops, cutouts, props, or permanent structures and will receive creation instruction based on drawings and other reference materials provided by the art department. Specific to each project, the key scenic artist’s concentration is generally in the recreation of authentic surfaces, as well as ageing and breakdown.

Common tasks include simulating wood, stone, brick, metal, or stained glass. He or she may also be responsible for the execution of portraits, murals, and similar pictorial assets. It will be the artist’s task to test techniques and different types of paint in order to accomplish the desired look, then submit those small-scale samples to the paint coordinator before proceeding on the final product.

According to the production schedule established by the paint coordinator, the key scenic artist will delegate assignments to his or her paint crew and oversee their work to ensure quality and adherence to the art director’s vision. This person will actively participate in painting activities, while simultaneously supervising the work of others, providing instruction and critique. On one-off productions such as a feature film, music video, or commercial, the key scenic artist’s work is wrapped at the end of pre-production. In episodic television, this person may be retained through the life of the show. In such cases, this person is rarely on set during shooting but will work for several weeks through the production’s season.

A college degree in film and television production is recommended, though majors in theatrical design or fine art are applicable. Courses

“WORKING IN THE FILM INDUSTRY AS A SCENIC ARTIST, MY JOB IS TO MAKE REALITIES FROM FALSITIES, VISUAL TRUTHS THE EYE WILL BELIEVE AS TRUE.”

-KERRI MCGRIL

KNIVES OUT

should include art history, traditional drawing, painting, sculpting, and still photography. Classes in basic chemistry are also beneficial, as scenic artists are required to mix numerous chemical compounds in an effort to create unique faux materials. Training in faux finishing techniques is necessary and can be obtained through apprenticeship or the study of scenic design as part of a college major.

An understanding of lighting for film and television, as well the use of lens filters is helpful, because translating a convincing replica will depend greatly on how the camera perceives the surface. There are significant differences in these variables between standard film and digital video. As an artist, this person must be capable of recreating a look

with great precision but should also display creativity and ingenuity in solving complicated artistic problems.

Depending on the scale of the production, the key scenic artist may also serve as the paint coordinator and must therefore take on the responsibilities of that position.

This person is a particularly skilled member of the paint department with evolved talents and additional experience.

Previous employment may include work as a lead painter or paint foreman, and a career typically begins as an entry-level painterprepping projects and assisting senior crewmembers. A typical workweek is 40 hours, spent in a paint shop or on location, and will include dirty work in the use of paint, as well as hazardous chemicals. Artists are required to provide a minimal collection of their own tools, as instructed by the paint coordinator. Employment as a scenic charge artist in theatrical production is also applicable. Key scenic artists may work as freelancers or as permanent employees at a scenic studio that caters to the film and television industry. These artists are also eligible for membership in IATSE, the union that represents professionals working in the entertainment industry.

BEHIND THE SCENES 15

GRAPHIC DESIGNER Across the full spectrum of the entertainment and media industries, there is a need for graphic designers to produce original art to be used for advertising, marketing, promotions, and PR materials. From movie posters to album covers and video game packaging to websites, striking visual collateral is essential to culling an audience.

The graphic designer typically works under the direct supervision of the art director, and is responsible for producing art assets and graphic page layouts according to design documentation and notes provided by the client. He or she will participate in concept meetings to understand the product or brand, and collaborate with the art director to come up with a design brief. Some research may be required before determining how to best visually represent a product, and the graphic designer is expected to work within given parameters, which could include mimicking an existing branding style, incorporating existing photos, or integrating required content like logos or specific wording.

“EVERYTHING INVOLVES DESIGN, YOU SEE IT EVERYWHERE. THIS FONT, THAT FONT, THEY’RE ALL SELECTED FOR A REASON. SIGNS ARE EVERYWHERE—THE INFLUENCE OF DESIGN IS EVERYWHERE. [HARRY POTTER] JUST OPENED IT UP TO A NEW AUDIENCE.” -MIRAPHORA MINA AND EDUARDO LIMA HARRY POTTER

Working under strict deadlines, this person must deliver several comp versions of the design to the client, which will be reviewed and returned with notes for improvements. When a final design has been approved, the artist will produce refined samples for each medium (billboards, posters, etc.) that will then be reproduced for distribution. With one client satisfied, it’s on to the next project, and the design cycle repeats.

Artistic talent is a necessity, as is skill in the use of design software like Photoshop, InDesign, and Illustrator. Though finished products are delivered in digital format, the graphic designer is expected to be proficient in traditional art as well; drawing ability should be the core foundation of any graphic designer. A college degree in studio art or graphic design is highly recommended, as are courses in photography, art history, and advertising. Proficiency in web design or graphic design for online media is also a considerable asset. You must be capable of prioritizing multiple tasks, as numerous projects may be dumped in your lap at once. This career demands an individual who is highly organized, detail-oriented, and an excellent communicator.

efforts on companies that service that sector. Many companies offer internships or entry-level positions in the art department that can lead to full-time employment as a graphic designer. Variety in your portfolio and the ability to work in multiple styles and genres will make you a more valuable asset. A graphic designer is expected to produce material to fit the changing needs of the client, not simply to serve his or her own artistic compulsions.

There is tremendous freedom and variety in a career as a graphic designer; artists have the opportunity to work full-time or freelance, dabbling in film, television, music, games, and live entertainment. Permanent positions exist within advertising and public relations firms, or in-house at a production company, film studio, game developer, or record label. If there is a specific area of the entertainment industry that appeals to you, concentrate your job-hunting

BEHIND THE SCENES 17

2

HAIR & MAKEUP DEPARTMENT BEHIND BEHINDTHE THESCENES SCENES19 19

MAKEUP ARTIST Everyone wears makeup in the movies. Seriously, everyone. The work of a makeup artist on a film or television show is not limited to glam-ing up the leading lady or turning a walk-on actor into a decaying dead body on the autopsy table, the job is also utilitarian and necessary to counteract the negative effects of intensely bright production lighting. Without makeup, all performers on screen would appear pale, washed out, and with facial expressions barely visible.

Answering to the director and production designer, the key makeup artist is a department head that is responsible for planning the makeup designs for all leading and supporting cast, to include cosmetic makeup and facial/body hair applications. When a special effects makeupartist has been hired on to the production, the key makeup artist will consult with this person on the execution of all prosthetics and SFX makeup. In production, the key artist will perform most of the daily makeup applications, while delegating additional responsibilities to subordinate crew. It is common that the department head performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles, depending on seniority. The department head will execute especially complicated or important makeup processes that are to be featured on camera. The key makeup artist and crew remain on set or in the makeup trailer throughout the entire shooting day to perform touchups as needed and to remove makeup from performers.

In support of the function of the makeup department, the key makeup artist is ultimately responsible for recording continuity of makeup during shooting. The task of making notes in the script and photographing the cast may be delegated to another crewmember, but the department head will closely supervise these activities. This is to ensure that if re-shoots must be done, the crew can accurately recreate the look to match the previous footage. This person is also

“THE BETTER YOU GET, THE HARDER YOU WORK.”

-JOHN CAGLIONE JR THE DARK KNIGHT

tasked with tracking and purchasing makeup materials and equipment, scheduling crew, and fabricating special prosthetics. Again, these tasks may be assigned to subordinate crew but are ultimately the responsibility of the department head.

A formal degree is not required for a career as a key makeup artist, but training and practice are essential.

Education can be gained through attaining a degree in film and television production or theatrical design with an emphasis on makeup, or through attending a traditional cosmetology school. Many working makeup artists learn in part by mentoring under a veteran of the industry. Basic techniques can be taught in a classroom environment, but continuing education under a seasoned master is necessary to pick up those individual trade secrets. While it is not a requirement that a makeup artist be a chemist, a basic understanding of chemistry is beneficial in adapting and innovating how different products are used. Many professionals are known to work up their own proprietary blends for use on set. Furthermore, as production cosmetics can vary widely from consumer products, a makeup artist must be aware of how the makeup will react to specific conditions of heat, moisture, and other cosmetics. Specific training in applying makeup for film and digital video is essential; this should include an in-depth course in production lighting and cameras.

Like most creative and skilled trades, makeup in film and television production is a field that requires constant and continued re-education. Each time you have mastered a particular technique or found a product to swear by, someone has innovated a newer, better version. At the very least, it keeps the work interesting. On the job, makeup artists can anticipate to work irregular schedules and long hours, depending on the production schedule. While the trailers on set may look familiar, shooting locations may vary from a production lot in LA to unpredictable terrain in the middle of the desert or a rainy tropical region. The key makeup artist must plan for all eventualities that can affect the function of his or her department; that means accounting for weather, electrical needs (in coordination with the generator operator), and ensuring that there is a sufficient quantity of extra supplies. When on location in a remote setting, there is no sending an assistant out for more Q-tips or concealer. As makeup artists often find themselves in very intimate settings with the cast in the application of facial and body makeup, a good artist should be discrete, polite, and always gentle with the mascara brush. It should go without saying, but a breath mint and good dose of deodorant go a long way in a small trailer.

BEHIND THE SCENES 21

HAIR STYLIST With the flick of a comb, a hairstylist can characterize, set a time period or even illuminate a theme. Successful hairstyles can evoke a sense of drama or even comedy. They can be tied to certain eras and even to certain celebrities. Because of this, it cannot be understated how important hair is to a star’s image, and subsequently, the films and television shows in which he or she appears. Just imagine the actor playing Wolverine with a Justin Beiber cut. To make sure that actors, actresses, and the characters they portray are properly done up according to the project’s needs, hairstylists are on the job.

The job duties of a hairstylist seem pretty straightforward: to take care of the hair of actors and actresses in film, television, and commercials by washing, drying, cutting, and otherwise styling. However simple this may seem, there are many intricacies that make the job slightly more involved than merely combing and brushing. Hairstylists work closely with the directors, as well as with makeup and costume departments, to help create a seamless image for characters through all their physical characteristics. They prepare the scalp and skin of actors and actresses, work with wigs, hairpieces, and extensions when needed, and often turn to chemicals and scalp treatments to achieve the desired hair effects. Another important part of the job is maintaining hair continuity throughout the shoot, which includes a great deal of touching and retouching during the shoot itself. Hairstylists work within the hair department and are often brought in during pre-production to determine how they will be performing their tasks during the shoot.

Often, hairstylists will also work exclusively with the principal actors or actresses on the film, following them during the shoot to make sure their hair is always the way it needs to be. In addition to making sure an actor’s or actress’s hair is perfect for what is needed on set, the hairdresser also sees to it that all products, chemicals, and other funky do’s are washed away and dried at the end of the day.

Hairstylists for film and television must first have strong skills. There are many cosmetology and beauty schools that give hairstylists the opportunity to learn and perfect their craft, and many film hairstylists get their starts in salons. Obviously, a talent for hair styling is paramount and this often necessitates knowledge of hair design, coloring, technology, and artistry. All are equally important to become a successful hairstylist. The ability to communicate well, understand

“DON’T WORK FOR WHAT YOU CAN SEE; THINK ABOUT WHAT THE CAMERA CAN SEE. ACTORS DO HAVE A GOOD SIDE AND ANGLES THAT WORK AND THEY USUALLY KNOW EXACTLY WHAT THEY ARE. SO MAKE SURE YOU’RE CONSTANTLY CHECKING ON SCREEN.”

-JAN SEWELL

BOHEMIAN RHAPSODY

critical requirements for hairstylists, since their work helps to define the image of the character, and thus must maintain continuity throughout the shoot, which is sometimes easier said than done.

and be prepared to handle diva behavior. Then, of course, hairstylists also get the perk of high praise for making an insecure starlet feel confidently coiffed. Becoming a personal hairstylist for individual actors or actresses is not uncommon, and this is a highly coveted position that brings with it greater autonomy and with it greater success. As with many of the careers in makeup and hair, hairstylists can expect long hours on the set and lots of freelance work. The beauty of being a hairstylist for films is that when the shoot is over, you can always return to the salon and continue styling the hair of all the actors and actresses you’ve already impressed.

Hairstylists can often expect to form close relationships with certain actors and actresses, since celebrities commonly develop loyalty to stylists who successfully manage their looks. Because appearance is such a vital part of an actor’s profession, their hairstylists must be aware of any allergies the actors and actresses may have to chemicals

BEHIND THE SCENES 23

SPECIAL EFFECTS ARTIST While makeup is often used in film to make actors and actresses look more beautiful, it can also be used to make them look scary, beat-up, or inhuman. When a director needs a handsome actor to become a horrifying mutant zombie, he or she turns to the considerable talents of the special effects makeup artist.

Special effects makeup artists will spend much of their time using cosmetics and appliances to create the appearance of bruises, cuts, blood, old age, deformities, mutations, and more. This specialist artist is charged with creating monsters using makeup and prosthetics, often made of latex, silicone, or rubber. Special effects makeup artists are different from regular makeup artists: Instead of beautifying actors and actresses, they often spend their time doing the exact opposite. Even in the world of computer-generated special effects, special effects makeup is still important in helping create a seamless connection between live actors and actresses and the fantasy world around them; imagine Frodo with normal, hairless feet and perfectly rounded

ears, and you understand how important the special effects makeup artist’s tiniest jobs can sometimes be. Artists in this position must answer to both the costume designer and the special effects department.

Special effects makeup artists need all the same skills and abilities as their more conventional makeup artist brothers and sisters, including a background in cosmetology and extensive knowledge of makeup materials. However, they also need an education in other materials such as latex, rubber, fake blood, and other materials that will be used to create realistic-looking prosthetics; realism is the goal of all special effects makeup artists. Because their subjects will spend hours upon hours in the makeup chair being transformed into orcs, vampires, or Benjamin Button, special effects makeup artists need great communication skills to go along with their artistry and creative solutions.

The art of film makeup really began to take off with the popularity of monster movies in the early 1930s. Jack Pierce was one of the leading makeup innovators of this

time and collaborated with Central Casting alum Boris Karloff in films like Frankenstein and The Mummy. As the film industry advanced, like with the introduction of full color motion pictures, makeup tricks had to be adapted to maintain the realism of the effects.

While special effects makeup is constantly evolving, the most common current practice involves lifecasting. When making facial prosthetics, the first step is to completely cover an actor’s head in silicone to make a mold. Once the silicone has dried, plaster strips are placed on top to make a hard cast. Then when the plaster is set, it and the silicone are carefully removed from the actor’s head.

This negative cast is then used to create a 3D replica of the actor’s face. Makeup artists use the mold as a base to create custom prosthetic pieces that will fit the actor perfectly.

“THE THING THAT I FIND SO FULFILLING ABOUT MY JOB IS I LIKE THE FACT THAT YOU START WITH -SANDY REYNOLDS WASCO SOMETHING THAT’S JUST AN IDEA IN YOUR LA LA LAND HEAD. YOU READ THE SCRIPT AND RIGHT AWAY YOU VISUALIZE SOMETHING.”

-RICK BAKER PSYCHO

Special effects makeup isn’t just used for creating monsters and aliens, it can age an actor or help them match the look of a real person, like Charlize Theron in Bombshell or Gary Oldman in Darkest Hour.

Special effects makeup artists have performed their duties in the film industry since its beginning, and have helped contribute to the suspension of reality that is key to the immersive film experience.

Because the job requires you to focus less on making actors pretty and more on making them look monstrous, bloodied, or alien, you will find your talents employed mostly on science fiction and horror films; though you’ll also be essential on any movie or television show that needs a character to get a black eye, age 20 years in a day, or come out of the closet as a strange half-plant, half-human creature. Long hours on set and making actors feel comfortable during the eight hours in the makeup chair are just a couple of the tasks you’ll face, but the rest of the job will be spent making artifice look natural.

BEHIND THE SCENES 25

3

WARDROBE DEPARTMENT BEHIND BEHINDTHE THESCENES SCENES27 27

COSTUME DESIGNER You can tell a lot about a character on the screen before a word of dialogue is uttered—if the costume designer has done a good job.

Costumes reflect the character’s personality, culture, lifestyle, and environment; more than just dressing the actor, costumes aid the story and the performer’s immersion into the role. It is up to the costume designer to occupy the character’s psyche and reflect it in the actor’s wardrobe.

As a member of the art department, the costume designer works with the director, production designer, and art director to design wardrobe for every actor, right down to the extras. The design process begins with a script breakdown and costume plot that details who wears what, and when. The garments must reflect the overall aesthetic vision of the production with complementary colors, textures, and styles. Once a plan for each piece of wardrobe is established, with consideration given to which pieces will be constructed and which will be rented or bought, the costumer establishes a budget and hires crew members and specialists.

Think of your favorite film and how the costumes reinforce the time period and location; often the wardrobe is just as identifiable and iconic as the performer wearing it. You’d be hard-pressed to find anyone who didn’t readily recognize Darth Vader’s helmet from Star Wars, or Mad Men’s 1960s-era sharp, tailored ad execs and curvy secretaries. The costume designer is responsible for supervising his or her staff through pattern-making, construction, and fittings. Everything from earrings to slippers is under the creative management of the costume designer.

“I’M INTERESTED IN CLOTHES IN THE WAY THAT OTHER PEOPLE ARE INTERESTED IN CARS” -CATHERINE MARTIN THE GREAT GATSBY

Strong artistic ability and impeccable fashion sense is a must. Costume designers may develop their talents through a formal education in fashion design, film and television production, or theatrical design. A college degree is not required, but you won’t get by with only good taste and great illustrations. In this job, you’ve got to be capable of taking the design from paper to wearable; that means sketching, making patterns, sewing, and everything in between. If you’re attracted to this position, you’re probably already a fashion fanatic, but it’s even more important to be a whiz-bang tailor. The reason that simple jeans-and-T shirt combo looks so perfect on Scarlett Johansson? A great body, yes, but also because it’s been fitted especially for her. You need to know how to make someone look 6 inches taller and 30 pounds lighter—or 6 inches shorter and 30 pounds heavier. It is also important to understand the technical elements associated with costume design for stage and screen: lighting, color theory, the strobing effect of patterns, and chromakey process. If you don’t have one already, get a sewing machine and start experimenting, then dive into every fashion magazine and inspirational source you can get your hands on.

pairing together jeans and T-shirts, dresses and suits, that fit in rather than steal the eye. While fitting actors, you will come in close physical contact with the actors; you should always be sure your breath (and underarm area) is fresh, but be ready to overlook it if the actor’s isn’t. And keep in mind that you’ll be seeing people at their most vulnerable— unclothed, struggling into a pair of pantyhose or a girdle (that goes for actors and actresses both), exposing their flaws for you to fix; a reputation for discretion and kindness will make you a favorite and may get you more work.

Like most production jobs, this is generally a freelance career, but opportunities are available for staff positions on television series and within theatrical production companies, among others. It is your highly trained hands that will move you up the ladder, as your first post-assistant job may be as a stitcher, cutter, or tailor. From there advancement will depend on your aptitude for research and imagination, and your ability to interpret and execute the director’s vision.

Outrageous fashion statements are not the greater part of costuming, though you need to be able pull off a showstopper when required. The majority of costume designers toil away on sitcoms and contemporary films, BEHIND THE SCENES 29

COSTUME BUYER The costume buyer makes a living shopping for clothes for film and television stars, but there is more to it than racking up an impressive bill on the department’s credit card. This person is the conduit through which the designer sources his or her materials, scours L.A. for the perfect bomber jacket, and pulls together the look that defines a character.

Working under the supervision of the costume designer, the costume buyer is responsible for purchasing all necessary materials for the construction of original wardrobe pieces, as well as renting existing articles from costume shops; this includes fabric, fasteners, thread, and accessories. Based on the designer’s sketches and color pallet, the buyer is sent to collect fabric samples for final approval. He or she will offer the designer several options to choose from, as the concept may be altered based on new inspiration of a particular material.

After the designer has made his or her selections, the buyer works with vendors to negotiate rental rates and purchase prices and will oversee the pickup or delivery of all materials. It is also the buyer’s job to monitor the budget and maintain accurate accounting records. Once the production has wrapped, the buyer is responsible for returning any rental items in a timely manner.

An education in film and television production or theatrical design is beneficial to this career. A degree in fashion is also relevant to a career in costuming. A qualified costume buyer must be knowledgeable about the process of clothing construction, though fabrication is not a duty of this job. Likewise, a thorough understanding of fabrics is necessary.

There is a difference between silk chiffon and silk charmeuse; the designer knows this, and so should you. This career requires an individual with an exceptional attention to detail, whether it is selecting just the right brass rivets or tracking pennies in the budget.

From researching fashion trends to attending fashion shows and meeting with designers, being a buyer can sound like a one-person show. However, it’s actually a much more cross-functional role than it might appear to be. For big retailers like Saks or Bloomingdale’s, buyers are usually part of the merchandising team. The best part of working in a cross-functional position? It’s figuring out the unique selling point of the brand and helping to communicate that message directly to customers.

“IT’S ABOUT LOOKING AT OUR SALES, LOOKING AT WHAT WORKED IN THE PAST, WHAT DIDN’T WORK AND ALSO TAKING INTO CONSIDERATION DESIGNERS’ VISION FOR HOW THEY SEE THE UPCOMING SEASON.”

-CHRISSY ALLEN MILLY

Many costume buyers come from the ranks of seamstresses, dressers, and set costumers. As such, buyers tend to be highly versatile people with technical talent, as well as leadership and organizational skills. To be considered for such a role, the individual must have professional credits within a costume department but also must have won the respect and trust of the costume designer. The designer relies heavily on the buyer being a capable and resourceful person. A buyer who can’t keep accounts in order or the shipments arriving on schedule will hold up the entire department. Costume buyers have the ability to

work in film, television, and theatrical production, as the responsibilities and pre-production processes are similar.

Being a fashion buyer is one of several great career paths in the fashion industry. In addition to offering you the opportunity to stay on top of the latest trends and meet some of the hottest designers around, this role also offers you the opportunity to understand the business side of fashion and to play a part in bringing looks from the runway to the consumer. If that sounds like an exciting opportunity, then becoming a fashion buyer might just be right for you.

BEHIND THE SCENES 31

BREAKDOWN ARTIST The Costume Breakdown Artist works closely with the designer to ensure costumes look genuine and realistic. They are responsible for ageing or manipulating a costume to make it look authentic for a film/TV production using various techniques. They must dye fabrics as needed and manipulate or distress fabrics as instructed.

‘Ager/dyers’ or ‘breakdown artist’s’ are essentially the art department of the costume world. They make the costumes reflect whatever action happens in the story or communicate aspects of a character’s personality. This very specific, behind-the-scenes niche involves extensive knowledge of painting, colour theory, dying techniques, breaking down fiber, how to use tone for lighting purposes, creating embellishment on fabrics, sweat, blood, mud, bullet wounds and other wear, tear and abuse garments get in everyday life. It also requires a deeper, psychological understanding of how the actor, and character, will wear it and what application is key for the garment to tell its’ own, subtle but very important story.

“I HAVE A RELATIONSHIP TO THE CLOTHING AND HOW IT INTERACTS WITH THE ENVIRONMENT IN A PHYSICAL WAY. IT INFORMS EVERYTHING.” -HOCHI ASIATICO

LES MISERABLES

This is the person that ages the costumes, to make them look worn, or gently used. Almost all costumes are aged, and this can be as simple as washing the garments or more complex breakdown by dyeing painting and treating the costumes with chemicals for desired effects.

Its very rare that a designer will want the actors to wear brand new clothing. Also, pure white fabrics, and some striped fabrics create flares or optical illusion on screen, so these garments must be tinted, or treated to reduce these flares. The breakdown artist must be able to create gunshot holes in garments, with the appropriate staining, as well as bloodied garments for zombie movies. but also may be required to dye fabrics and notions for costumes that will be created. The designer may require a particular color for the movie, and this might not be

available in the fabric stores. They will dye it to the exact color specifications, as necessary.

Distressing a garment requires a combination of washing (to break down the fabric), painting and working it over with tools, like scissors and sandpaper. After shredding, They apply layers of paint, usually with an airbrush. Here, they use a spray bottle that can accommodate attachable jars, each with different colors of thinned-down, Setasilk paint. After they paint the garment, they utilize a hair dryer to make the paint permanent. When dried, the paint will appear on the garment in a lighter shade. And it’s not going anywhere.

safety when using chemicals and sprays. Time management skills and the ability to run a department to budget and schedule. The ability to communicate and delegate tasks effectively.

After they sandpaper parts of the jacket, a technique that returns highlights to the garment by forcing the paint into the fabric. “Breakdown artists utilize many different skills to complete their jobs. Extensive knowledge of the various established techniques used to accurately age costumes and a thorough understanding of various dyeing techniques. Skilled in creating unusual effects with certain fabrics. An ability to understand the director and designer’s creative vision and the ability to use a creative approach to work in achieving this vision. An awareness of health and

BEHIND THE SCENES 33

CUTTER/FITTER Seamstresses, tailors, stitchers, and sewers work closely with the costume department to create costumes for on-stage and on-screen stars. Their work helps to quickly give valuable insight to audience members about how a character lives, what type of work they do, the hobbies they are interested in, the era in which they are living in, and more.

From dying and shredding clothes for a horror flick to building superhero costumes that are tailored to flatter an actor’s frame to embellishing a dress for a 1950s themed musical, seamstresses, tailors, stitchers, and sewers rely on a variety of techniques to help create the type of clothing that fits the time period and storyline of a production.

In addition to supporting the filmmaker’s vision through their work, seamstresses, tailors, stitchers, and sewers help actors move around comfortably in the clothes they are wearing. One of their responsibilities is to alter outfits to enable an actor to move around as necessary. For example, a tight leather jacket may restrict movement and keep an

actor from being able to fully express their character’s personality and emotions through gestures, so a seamstress or tailor can help alter a jacket so that it not only looks like it belongs in the production but also so that it functions to facilitate movement.

Research is another large aspect of what seamstresses, tailors, stitchers, and sewers do, particularly for period films.

Other than the overall look of a costume, even the tiniest bit of visible stitching must be carefully crafted to fit the machinery/tools available and sewing/stitching techniques used during the period or else risk ruining the authenticity of the piece.

Also, while shopping for vintage clothing can be a great way to cut down on the labor involved in creating a costume for period films and ensure its authenticity, it is not always a practical option. As fashion trends have changed and fabric technology has evolved over the years, there are times when using actual clothes from a certain era isn’t worthwhile due to the quality of the materials and normal

wear and tear on the clothes. Blending modern fabric technology along with the style of the fashion trend, plus taking into account the comfort of wearing those articles of clothing, seamstresses, tailors, stitches, and sewers can do wonders in creating beautiful and functional costumes.

Cutter/Fitters make patterns, conduct fittings, sew, and can direct a team of stitchers. Doing alterations is very common, and it is very important to know what the actor or actress is doing in the item they make. If she is lounging on a sofa, how does the designer want the fabric to drape? If she is running through the streets in the same dress next scene, they need to make sure it can take the stress of action, move with her, and not be tripped upon. Often heavy action requires a stunt double, or several exact multiples of the same garment. That

“IF THERE’S NO TIME, THEN EVERYTHING IS DONE ON SET AND YOU JUST MAKE IT WORK” -CHRISTY RILLING

MARGARET

means they are making two or more copies of the same dress and fitting it for different actresses or actions.

A big part of the job is interacting with actors. Fitting clothing and making custom outfits for anyone is a very personal experience. In a television or film fitting, it is even more so. There are several people in the room—the costume designer runs the fitting of their design, a costumer who take notes, a custom-made person and often the actor’s personal assistant. It’s very important to make the actor feel comfortable. Making sure they have the appropriate under garments, or that the outfit isn’t too tight or revealing for their personal comfort levels. Building that trust with the talent and the team is critical. After the fitting it’s time to make adjustments to the pattern and cut the garment in the chosen fabric. Final adjustments are made, photos are taken to show the production, and they finish the piece.

BEHIND THE SCENES 35

4

SOUND DEPARTMENT BEHIND BEHINDTHE THESCENES SCENES37 37

FOLEY ARTIST Jack Donovan Foley is the father of motion picture sound effects.

Though he never received a screen credit for his work, Foley invented many of the techniques for creating (or re-creating) sound effects for film, television, and radio. During the filming of Spartacus (1960), Stanley Kubrick wanted to reshoot a scene of the massive Roman army to get the sound of their metal shields and swords clashing just right; Foley jingled a set of keys in front of a microphone and called it a day.

The pioneer has since been vindicated, as every Foley artist working in film, TV, and video games bears his name.

In real life, everything makes a sound. We associate all actions with a certain noise, and without that familiar auditory indicator, the images we see on screen feel artificial and flat. Live sound is recorded during principal photography, but after reshooting and editing, that audio track does not always match. It is the job of the Foley artist to fill in the footsteps, crash-bangs, and other movement-associated sounds. To do this, the artist has at his or her disposal an arsenal of props: sandbags; an endless collection of shoes, hammers, car doors, and weapons; and a refrigerator stocked with noisy food like celery, pudding, and ice cubes. Pulling from their bag of tricks, these artists turn pine cones into cracking knuckles or a feather duster into flapping wings.

During post-production, the artist performs on a Foley stage while watching the film or video in real time. For every sound effect that must be recorded, movement is physically re-created to produce the appropriate effect. If the scene calls for a woman to run down a fire escape in her Manolo Blahniks, the Foley artist will put on a pair of heels and stomp along a metal stair, matching the actress step-for-step.

The artist duplicates every car-door slam, sucker punch, and window smash—or something acoustically approximate—live. Foley artists also devise brand-new sounds for computer-generated characters and objects, creatively imagining the gnashing of Gollum’s teeth or the charging gait of the Jabberwocky.

There are no specific educational requirements for this job. Most Foley artists pick up the craft while training under a veteran mentor.

An education in audio production and recording arts can give you the necessary technical expertise, and coursework in film and TV production can teach you about the post-production process. To learn how best to approximate the sound of ribs cracking or laundry blowing

“BUT IT’S A TOTALLY DIFFERENT LEVEL OF CREATIVITY, WHICH I FOUND REALLY APPEALING, AND IT’S A TOTAL ART FORM.”

-CHRIS SZOTT FARGO

in the wind, you’ll just have to experiment for yourself. This job requires a creative thinker, someone who is observant and has a keen ear for subtle sonic differences.

There are three types of Foley. Footsteps, movement, and props. As mentioned in the Foley artist definition, reproducing the sound of footsteps is done by wearing different kinds of shoes and walking on different kinds of surfaces to get the perfect sound for the character. As mentioned in the Foley artist definition, reproducing the sound of footsteps is done by wearing different kinds of shoes and walking on different kinds of surfaces to get the perfect sound for the character. Foley artist Marko Costanzo used leaves to create the swirling sound of the witch from Into the Woods. He also used the cracking of celery to

create the sound of breaking bones in The Big Lebowski.

Skilled Foley artists are needed for film, television shows, and video games. This is a freelance role, and the trade can take years to master. To move toward a career in Foley, look for positions in the production sound department, at a post-production studio, or as an assistant on the sound editing crew. Most importantly, you must network. Be proactive in seeking out other artists. Most Foley artists who realize their dream of working on major motion pictures, TV shows, and games will spend a lifetime dedicated to honing their skills and innovating new techniques. These artists rarely make a lateral leap from this role, but work their way up from unknown noisemaker to sought-after master craftsman.

BEHIND THE SCENES 39

SOUND DESIGNER The lineage of the sound designer title can be traced back to Francis Ford Coppola, who granted the title to Walter Murch for his exceptional work in the creation of original sound effects and achievements in sound manipulation for Apocalypse Now. Coppola defined the role of the sound designer as “an individual ultimately responsible for all aspects of a film’s audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track.”

The sound designer is hired during pre-production, usually handpicked by the director and producer. He or she oversees the sound department during post and may take on the additional responsibilities of the supervising sound editor, re-recording mixer, or other related role. The process begins with a thorough reading of the script, then the sound designer participates in initial design meetings with the director, editor, and production sound mixer to conceptualize the audio aesthetic of the film or show and to identify specific sound effects or qualities the director wants to capture. The sound designer must create a script breakdown that highlights the three primary types of sound effects: spot effects (ordinary sound resulting from action on screen),

“NO MATTER HOW MUCH EXPERIENCE YOU HAVE, YOU DO GOOD ART BY MAKING LOTS OF MISTAKES AND LEARNING FROM THEM.” -RANDY THOM STAR WARS

atmosphere effects (weather and animals), and sound design effects (original sounds that represent actions or objects not found in real life). Based on this breakdown, he or she sources existing audio tracks for use as sound effects, or sets about creating new content for the production’s specific needs. The sound designer will also artistically manipulate recorded sound using software plug-ins, synthesizers, and audio samplers. While it is the composer’s duty to create the underlying musical score, the sound designer also contributes certain sounds under the images to reflect a mood and theme throughout the story. This person is involved in every aspect of post-production sound, working closely with the Foley artist, ADR editor, re-recording

engineers, and film editor. He or she will is tasked with monitoring the sound department pipeline and keeping the crew on schedule and on budget.

A college degree in film and television production or recording arts is recommended in this career; the sound designer must be an expert in sound recording and editing with a firm understanding of acoustics and audio manipulation technology. This role requires an individual who is as artistically talented as he or she is technically proficient. The sound designer is capable of translating conceptual ideas into a realized product and discerning the subtleties of mood and theme as reflected in the show’s audio. This person is also a senior-level manager, and therefore must be highly organized and able to prioritize tasks for a crew under strict deadlines.

required, and is the place you should seek to begin your career. Time on set is helpful, but if you are confident in your desire to work in post, then concentrate your efforts there. Full-time entry-level and assistant positions exist on the sound editing and recording staffs of major production studios (who are contracted to produce audio post for film and television) and at boutique post houses. Major studios also regularly offer internships or apprentice programs that will afford you the necessary hands-on experience to seek permanent employment, and will present the chance to establish professional relationships with industry veterans.

Sound designers typically rise to this rank after several years of experience in sound editing and/or as a re-recording mixer or production sound mixer. A formal education is helpful to learn the technology, production processes, and theories of technique, but sound design is a specialty that demands time spent in apprenticeship. Work in a junior capacity in the post-production sound department is

BEHIND THE SCENES 41

COMPOSER Obsession is a good beginning. Composers must be infatuated with every note: the pitch, the subtle undulations, the magnificent crescendos. These artists do not write songs, they craft aural experiences that persuade emotion. When combined with images on the screen, the composer’s efforts trigger audience responses of fear, sorrow, elation, and pride.

Composing is a solitary pursuit; the vast majority of the artist’s work is performed alone in a home studio, at the piano or computer screen.

The process is part passionate experimentation and part frustrating torture, as these individuals are responsible not only to their muse but to the whims of the film’s director and/or producer. Like writers, composers labor over single stanzas through dozens of iterations until the notation on the page reflects the symphony in their head. When this person is commissioned, he or she may be given some basis of inspiration to draw from ahead of time—a script, film or video footage, or storyboards—but often the composer is the last on board and works to a finished, edited film. From this material and collaboration with the director and producer, the composer cultivates a sense of time, place, action, and emotion, which must be reflected and translated through the score. The time allotted to write the score, which may include dozens of individual pieces of music called cues, varies by project and genre. Budget constraints will determine whether the score is purely synthesized or played by an 80-piece orchestra.

When the master themes are complete, the composer enlists the assistance of an orchestrator to transpose individual instrumental parts for performance. Once music is ready to be recorded, the composer

“YOU NEVER WRITE A THEME FOR A MOVIE THINKING, THIS WILL LIVE FOREVER.” -JOHN WILLIAMS JAWS

works with the music contractor to hire the appropriate musicians, then leads the orchestra in several takes of the performance on a scoring stage. Edited scenes of the film or video are displayed on a large screen for playback and the music is timed to the images. Composers are aided by a click track and must pay attention to time code documentation to ensure that the violins are hitting the high note and timpani resonates in perfect step with the climax on screen.

Composers usually have an extensive education in music theory, composition, and performance; a bachelor’s degree is valuable, but an MFA is better. It is expected that these artists are proficient in playing at least one instrument, usually piano. Most degree programs designed for future composers will have components relating to orchestral conducting, writing for voice, tonal harmony, scoring, and a thorough study of music history. Also helpful are courses that focus on recording, composition software, and music business. It is highly recommended that you become familiar with the laws concerning copyright, licensing, and the role of music publishers. Above all, a composer has an inherent talent, distinct creative voice, and well-tuned ear for melody.

The standard path toward becoming a full-fledged composer was to apprentice under a professional to

learn the trade techniques; trainee compose cues for their mentor-employer (usually for television shows) which are credited to the more established composer. However, the Society of Composers and Lyricists has instituted an alternative apprentice program to grow the talents and experience of associate members. Video games are a new source of career opportunities for composers; as games become more cinematic and elaborate, some developers have begun hiring composers to create original accompaniment to the game. Many composers have evolved into the role through work as a copyist, arranger, or orchestrator. To properly manage your career and ensure that your rights as an artist are protected, composers are advised to secure agency representation. Membership with a performing rights organization like BMI is a must in order to receive performance royalties when the show or movie appears on television. Most, if not all, film scores are written as work for hire—the composer receives a one-time fee for the work but does not own the publishing rights, which go to the studio. Maintain a friendly relationship with a relations exec at your performing rights organization, and you’ll have a valuable resource for thorny questions of ownership. Business aside, don’t neglect your creativity nurture it with travel and curiosity for all forms of music.

BEHIND THE SCENES 43

5

PRODUCTION DEPARTMENT BEHIND THE SCENES 45

CASTING DIRECTOR ucieni veniscium reprero voluptaturis sa sollantia Good casting is often the make-or-break ingredient between a box-office flop and a ratings hit. To put together that magic blend of actors and actresses, studios rely on the services of a casting director. Though big names like Angelina Jolie and George Clooney rarely have to go through the extensive casting process that unknowns endure, casting directors are responsible for casting every role from the lead to “Girl on Train” or a herd of extras.

After a film or television show has gotten the green light, the director and producers hire a casting company to find the right talent for the production. A casting director’s first step is to read the script and consult with the director and producers on their creative vision for the principal and supporting cast. The team brainstorms to build a wish list of leading stars, and “types” (comes up with a profile of desired appearance and other criteria) the additional roles.

Wooing big stars is usually the task of the film’s director or a studio executive. Occasionally a celebrity’s agent will

catch wind of a project and maneuver his client onto the short list.

With the directorial notes in mind, the casting director starts locating the right types for each part. This is a researchheavy task that requires scouring the available talent pool.

To pull in the best, casting directors will employ assistants and associate casting directors to search databases for familiar faces and beat the pavement to discover new talent—attending small plays and comedy clubs, watching micro-budget and student films, and never fast-forwarding through the commercials are job requirements. Next the casting director will host a series of first-read auditions and callbacks. For lead and supporting roles, this process can require several sessions. For non-speaking or background roles (extras), a cattle call audition will be held and actors typed out based on how well their look matches the needs of the director. After the casting director has compiled a roster of candidates for each role, the list, accompanied by headshots and résumés or video reel, is discussed with

the director. Further auditions and screen tests with the director and producers may be required before the director gives final approval.

A casting director will generally stay onboard with a film through the end of shooting in the event that a role must be recast or additional characters are added. In the case of television, a casting director will typically work for the producers for the entire run of a series.

There are no specific educational requirements to work in this field, but extensive experience in film, television, or theater is necessary. Many casting directors have a background in acting or a technical area of live entertainment production. Classes in acting and directing and workshops given by accomplished casting directors are a good way to learn the trademark skills of this position. A casting director must

“THERE ARE SO MANY COOKS INVOLVED NOW IN DECISIONS AND IT CAN DILUTE THE CREATIVE PROCESS.”

-ELLEN LEWIS MAMMA MIA

have a sharp eye for talent, a solid grasp of the business side of the film and television industry, and a constantly updated mental index of the talent pool in their area. Most important is a great ability to listen (so as to interpret a director’s vision) and a great capacity for building relationships with actors, as well as directors and producers.

Be patient and resilient. A casting director’s schedule will fluctuate rapidly; finding work can come in waves, with dry spells between projects. Also expect to spend several years working your way up from the bottom. A lengthy list of credits on successful projects is the best calling card for a casting director. To get there, look for jobs as a production assistant, internships within a casting firm, or opportunities to work as an assistant to an established casting director. Casting work on student films and low-budget independents can help build your skill set and résumé. Look for industry events and film festivals as opportunities to network. The best way to get a gig is to work your contacts and always, always keep your eyes—and your mind—open.

Most of all, you must be a self-starter who’s ready to build a career one project at a time.

BEHIND THE SCENES 47

STORYBOARD ARTIST Storyboarding a script essentially transforms pages of dialogue and description into a comic book. Sequential single-frame illustrations are compiled to depict sequences or scenes that may be too complex to accurately describe in words alone. The director and other members of the production staff rely on storyboards to demonstrate camera angles and lay out shots that may require considerable post-production with the inclusion of visual effects. The storyboard serves as a guide for the director and DP, but also as a tool for the rest of the production staff in understanding the director’s vision.

The storyboard artist is hired during pre-production. He or she works with the director to break down the script and identify specific scenes or sequences that must be storyboarded. Rarely will a director elect to have the entire script laid out in such a fashion. Instead, the artist is charged with rendering (on paper) scenes that involve complex action sequences, intricate camera movements, fights, chases, or computergenerated effects. The director will outline for the artist the particular requirements of each shot, giving additional information concerning camera angles, sets, vehicles, etc. The time taken to sketch out these

“THE STORYBOARD ARTIST WORKS AS A KIND OF AUXILIARY BRAIN FOR THE DIRECTOR, HELPING HE OR SHE TO REALISE THE FILM THEY ENVISION.” -DAVID RUSSELL

PIRATES OF THE CARIBBEAN

scenes saves the production the cost of shooting unnecessary or unusable footage and allows for better logistical planning ahead of principal photography. In the storyboards, the director is able to work out the kinks. The artist may elect to use pen and pencil to illustrate the storyboards, or any number of computer applications specifically designed for use on film and television productions.

Depending on the project, the storyboard artist may work in the art department offices on the studio lot of a feature film or television show, or may work at home on deadline to deliver completed illustrations.

The advantage to working alongside other art department staff in pre-production is proximity to senior staff like the production designer or art director if questions arise. In the design offices, the artist typically has access to scale models and other materials that offer inspiration and reference for the storyboard layouts. The more specific and detailed each cell (single frame) is, the more useful the storyboard is to the director.

A college degree in fine art or film and television production is recommended. This career demands a proficient illustrator who is also capable of capturing the key moments of a story in an expressive and dynamic fashion. It is not enough to simply draw two people in a frame; the cell must consider camera angles, lighting, and the tension of the scene. Courses in traditional illustration and photography are beneficial, as well as the study of creative writing and the foundations of story. Because the storyboard artist must work under the direction of others, this person should be capable of working in cooperative teams and able to translate another’s abstract ideas into clear visual representations.

The process of storyboarding and the latitude given to the artist will depend greatly on the director. Some directors take a very prescriptive approach, precisely detailing for the artist the exact shots and framing to be depicted and used as a reminder on set. Others may allow the artist creative freedom to interpret the script with additional input. Most important to maintaining a positive working relationship with the director is the ability of the storyboard artist to adapt and play by the employer’s rules. This is mainly a freelance career that depends on references and reputation to secure a gig. However, there are opportunities to work in-house at a production design studio that is then contracted by the producer and director to work on a project. The first step is to obtain employment (freelance or otherwise) in any area of the art department on a film or television product.

BEHIND THE SCENES 49

STILLS PHOTOGRAPHER The unit stills photographer works on a freelance basis and is hired by the producer, studio publicity department, PR firm, or film sales agent.

This person is responsible for photographing scenes during production on a film or television show that will be used in publicity materials, the movie poster, or DVD packaging.

The unit stills photographer has no direct supervisor on set, but is responsible to the unit publicist for delivering several hundred photos for each full day of shooting. The photographer works closely with the director and cinematographer to ensure that each take can be photographed without interference to filming and often depends on the cooperation of the grips, boom operators, camera assistant, and camera operator to allow him or her space to work. It is preferable to capture scene stills during the take, but when necessary (and with the approval of the director), the unit stills photographer can arrange for scenes to be posed with the cast. Most often photographers on set must shoot with whatever lighting (natural or artificial) is determined by the director of photography and gaffer; rarely will the photographer be afforded the luxury of setting his or her own lighting. The use of camera silencers, called blimps, is also necessary to prevent noise from the camera interfering with sound recording. After each day of shooting— or based on the agreed schedule—the unit stills photographer delivers contact sheets (pages with small thumbnails of each shot taken) to the publicist and employer for review. The employer owns the images, and the photographer does not have a say in which shots are used.

He or she is not permitted to sell or redistribute photos, except for the purposes of compiling a portfolio.

A college degree in fine art with a concentration in photography is highly recommended; the unit stills photographer must be a skilled artist with a trained eye for capturing a moment and framing an attractive shot. Education in the techniques of still photography and the use of camera accessories is required. Courses in film and television production are also helpful to understanding the production process.

Most important is experience in a variety of shooting conditions and environments; for instance, practice in sports photography can help make you proficient at composing and capturing takes in motion.

In most cases the unit stills photographer has a great deal of autonomy on set, with total creative control over how and what he or she

“I ALSO LOVE CAPTURING THOSE BEHIND THE SCENES PHOTOGRAPHS AND THE MOMENTS BETWEEN TAKES WHEN EVERYONE IS BEING THEMSELVES, CATCHING A QUIET MOMENT OR PREPARING FOR A SCENE.”

takes a dislike to you, you’ll find it impossible to be on set during rehearsals and blocking notes. Indeed, your job will become infinitely more difficult. Remember that the priority on set is getting the movie or television show locked. Your presence is necessary, but the production won’t stand still for you. You must be able to keep up and remain invisible while still accomplishing your mission.

-DEIRDRE BRENNAN FUNNY GAMES

shoots. Cooperation with the show’s crew is especially important; you’ll need to ask nicely to get power from the generator operator to plug in your battery charger and stay on the grips’ good side to have access to apple boxes and ladders. Also crucial is cultivating a positive—but unobtrusive—relationship with the cast. Their “people” have approval over your photographs, and if the leading lady

BEHIND THE SCENES 51

BEHIND THE SCENES 53 BEHIND THE SCENES 53

BEHIND THE SCENES 54

BEHIND THE SCENES 55 BEHIND THE SCENES 55

DESIGN SYSTEMS :BEHIND THE SCENES A GUIDE TO CAREERS IN THE FILM INDUSTRY wRACHEL ANTHONY aASSORTED SOURCES jAN INTEREST IN THE FILM INDUSTRY kMIAMI UNIVERSITY !RACHEL ANTHONY