Warner Brothers, Mr Hooper, Munich discussed on The Indy Mogul Podcast
Obviously there are times. Where i i enjoy it. A messy but certain certain times. I find it abhorrent to be there at monitor like i the idea of breaking fiction that i've worked so hard to develop and seeing a grip have to move some furniture. Put a light standing like makes me wanna vomit and so hurts for me when the crew shows up nowadays. It's like okay. I did it casino. Hands like i'm moving on. I can't be here to watch you guys. Destroy this world. Because you've got to put gaff tape on the floor. But i think you're corrupting this beautiful room for sure. And i think over time because it's just like mind-numbing to see like the crew show up with their the bottled water and stuff and so like nowadays. I'm kinda like okay. Well i'm going to throw a because you guys need me to do it. Because i'm the only person worrying about mar but also be because i just i can't deal with watching forty takes where you're breaking a glass on the on the floor and and then to to the second to the second question i i try to as you as you accumulate or at least in my case you start to meet people who i think as far as a facet of being a good designer as you start to meet people where you can engage critically like certain things that they're really good at even if they don't have names for positions yet so by the time they become real movies you have your charge scenic your head painter the paint department the construction department your draftsmen who are work in the blueprints in the office and he starts to figure out these nynex of who does what i can give you a quick example like i was before corona virus happened i was prepping the sesame street movie for warner brothers and unfortunately fell apart until next year but but we decided early on that because of the kind of cultural capital of sesame street how important it is So many people that blueprints that were built that we're drawing in the art office and sending to the construction shop where something that we really wanted to be Considerate of Historically and so we were hand. Drafting the hero buildings of sesame. Street the brownstone the carriage house. Mr hooper store secondary buildings We were doing. We were drawing on computer but there was something tangible so that we were finding the kinds of people who certain draft men are better at hand drying and we were having them work on the classic sesame street buildings because they put a little heart into those elements that kind of thing so you know all of those departments from set decoration to props to to Construction you you kind of start to figure out. In whatever city you're working in who's who feels good with what elements and then user to kind of build a language at munich ation but those people is it fair to say that the production any sort of makes everything that's physical and the senior everything that you see in a in a movie because i think part of the roles that she said there you know. I'm familiar with a lot of them. But for a lot of people out there. Especially if they're coming from the camera department or the on the super indy level. You know the draftsmen. The here had seen the here these kinds of terms. And they're like..