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Why is there such a remit in
motion picture making?
The 2nd Unit Director role was born out of the need
to deliver a movie on a more economical basis. Yes; a saving is the order
of the day.
There are a variety of reasons for arranging such a
pre-requisite or such a pre-requisite is made available when the
production is up and running – as a ‘need’ to deliver on time.
I have been involved when a 2nd Unit has been
swiftly put together during principle photography in my early career and
quickly learnt the pit falls of such a work ethic.
A 2nd Unit may be arranged for pick ups; for
specific shots (ala cut-aways or inserts) that the main unit Director
simply will not have time to shoot. These may also include specific plate,
drive-by and en masse crowd shots, specific pick ups or green screen
footage. I have done all such 2nd Unit work as a Director in the past, but
it is more advisable (particularly in television) for an experienced
producer/operator or DOP or even 1st AD to shoot this footage.
The only 2nd Unit direction I am concerned with and
work on is a full action unit. This unit is often such an important part
of the main theme in ‘action cinematography’ that the 2nd Unit
Director is often employed directly by the production company at the
earliest stages of production.
My Role
"…logistically, practically, financially and
creatively (in a big action film) the 2nd Unit Director role can be
invaluable to the quality of the action and also assist the production
company both financially and in delivery".
"…if I am not breaking new ground in some
small way on every piece of action I am called in to design and shoot,
then I have no business in calling myself a film maker".
My role is to compliment he main stream Directors
vision for the peace; but not only to deliver this vision in part, but to
take it to the most innovative cinematic vision possible. This is my field
of expertise and the very best of mainstream Directors will welcome this
experience rather than fall short of something very special that could
have been created by letting their egos limit this work.
It is this ‘letting go’ to the specifics of all
other crafts within the film process making by the Director that can truly
create ‘the very magic’ of film making.
I recently had the opportunity to work with Paul
Shrader on ‘The Walker’ just a small, quick aggressive fight in a gay
bar toilet. With such an immense film talent and a man with such a
longevity of experience in writing and directing. Rather than hold on to
all specific aspects of the film making process; Paul (as soon as he knew
what I was capable of) asked me not to just choreograph the fight, but to
also choreograph the camera action; style; lens sizes and movement of.
Rather than simply take over; I then worked closely with both DOP and
Operator. No egos, no power point scoring; just like minded people
bringing their ideas and experience together to create the best possible
action for this Director. It is a pity more Directors cannot adopt such
humility within their own creativity.
From the writer; the Director has his vision of the
entire picture (action included) and it is important at the earliest
stages that a talented storyboard artist is brought on board to assist the
visualisation of the concept for the entire crew that will follow.
Depending upon experience, some Directors will want
to shoot the main action with myself in an advisory capacity, as the
action may incorporate the leading artists. However; logistically,
practically, financially and creatively (in a big action film) the 2nd
Unit Directors role can be invaluable to the quality of action and also
assist the production company both financially and in delivery.
My 2nd Unit Director role in an action movie is to
save production time and money (the two key factors in film making) but
also to create something very unique and innovative and wherever I can;
something that has never been done before.
In my early career as a Stuntman and Stunt
Coordinator, I was always trying to stretch the boundaries of the
profession with influences throughout the history of stunts from the early
slapstick, Chaplin, Keaton and the keystone cops through to the modern day
pioneers such as the late and great Dar Robinson and Alf Joint. The latter
was both mentor and close friend.
On lower budget films my remit has been one of both
2nd Unit Director and Stunt Coordinator; but this is more likely to be a
request from a television production rather than a film production.
In the larger action films, the Director/production
team would chose and employ me on my experience as a 2nd Unit Director and
I in turn would bring on board a Stunt Coordinator.
The Stunt Coordinators role can be quite complex in
its variety of remit; but for the purposes of this article, I shall
restrict it to its liaison with the 2nd Unit Director as this is a very
little understood relationship; but one which; when working closely to the
Directors vision can often create highly exciting and memorable movie
moments.
The Stunt Coordinator will work closely with the
overall vision of action, but his main concern will revolve around the
specialist employment of stunt artists and with the safety and
technicality issues pertaining to each gag (or stunt).
My role is to shoot it.
With all the briefing and storyboards in place;
locations reccied and a host of other logistics that need to be in place
prior to principle photography; the stunt team will have discussed all the
potential gags in detail. Only then can the 2nd Unit Director really go to
work.
A 2nd Unit Director on an action picture must
understand that ‘all’ of his work has to be related to the Directors
overall vision for the piece. If the Director does not want a specific
piece of action for a specific reason; the 2nd Unit Director must
understand this vision; but with a relationship based upon innovative
action cinematography, many mainstream directors are usually both excited
and amazed to discover that the most talented of 2nd Unit Directors will
take their vision to a new high.
Such a relationship, void of egos, is the only way
to break new ground in action cinematography and if I am not breaking new
ground in some small way on every piece of action I am called in to design
and shoot, then I have no business in calling myself a film maker.
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