Kammer, Bob Hearts, EPA discussed on The Director's Cut

The Director's Cut
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Automatic TRANSCRIPT

I don't know. Because i haven't done it. But i will say i'm sure they're like i don't. I don't think that i can walk onto a drama set. Kill it i you know. Comedy is coming in. Drama are very very different. There are obviously things that are very very similar. But i think it's about your sensibilities and for me. I know that i create a comedic moment. I would probably feel more insecure about being able to create a dramatic moment or making something Adding to a drama. As much that i can add to accommodate but i would say you know. Observing people and being on sets and being around that process is always very helpful. I've done some drama dramas and you definitely have a different head space. And sometimes when. I'm on drama. Eighty they specifically want me there because they want to make sure that comedy in the drama comes out so i don't have to worry as much about the drama because the show runners done it the script and the actors have done it in. They're acting in their characters because they know their characters so part of my job for being there is to try to make sure that the comedy does play No one's asked me to come make drama more dramatic so there's still time but i did try to soak up. You know how those mall mance the dramatic moments how they play and and and the techniques that the actor used and the words that the that the show runner or the writer us to make those dramatic moments really play and and lucky for me. That i wasn't a on a couple of those shows. Because i was around it a little bit so i understand it a little better now Someone else writes in our skills needed to transition from multi cam to single cam directing well single kammer directing The preparation is very different. I will say and you know you have to learn what that prep is and what that process is and you also have to learn to know what to ask for your placing cameras a little differently than you do with multi camera You block a little different. I mean the the the lucky thing for the show that i'm on. Now bob hearts is. It's very hybrid. And we bring in fourth walls and we get different angles. So i don't have to worry as much about that percents Blocking to make sure everything. Plays to the lenses in the Traditional for camera multi camera setup. So i go. I bring cameras into the set and bring in corner wall and i get those other angles so i can. You know do that but there is a very big difference in blocking with single cam and multi. I think you know the process for multi camp directors in going single cam have to remember that like the whole room now and they have to figure out although you have the room you know you kind of have to figure out because your schedule is not you know optimum. You're not shooting a movie where you can get every single shot. Watch so you have to. Even though you're blocking for a whole room you have to block it efficiently to now like when that person walks here. They'll be in this person's coverage just left so we don't have to do another setup for that love love and people are going from single camp them altogether have to go. Oh the cameras can only go here. So i have to make sure i get to is on this person here. And then the mixture this all works in this setting. Are you walking backwards when you're doing single cam like are you. If you're thinking about what's next you have to come to think of it backwards I think you just have to think of it as a whole and you know there are some scenes that you're just gonna have to do like two or three lighting setups but an end in in single camera comedy and i'm not saying in movie directing but in single camp comedy. A lot of epa have gotten very Very savvy and very genius on being able to cross you because the big thing about comedy is you know there's moments that are magic that you wanna capture so when you're getting somebody side and then you turn around and you get the other person's side and they doing ad-lib and there's a react that you'd never got when you were on that other side. It's a bummer. So whenever you can cross shooting comedy. I always try to And have been unbelievably gracious and figured out a way to Shoot stuff single canvas. Be able to get both sides coverage especially like on your close ups You need your medium shot so that you can get performance from both sides so you do catch the mike gonna show like thirty rocky. What a ton of people who are incredible improvisers and it and they were just little moments. It was a very scripted series but there were little moments sometimes that you know somebody said something. A different way and the reaction was different. It made it so much. Funnier actually ever directed a feature film if not would you want to. I have never directed a feature film. I have cracked to feature are have not one got made somewhere else and another one didn't get me. They pull the plug in like right when you're going in the production offices I would love to direct feature right now in my life. The way the world of feature films working. I have a fifteen year old son. Whose only going to be you know. I take it in my house for three more years full-time and it doesn't make sense for me to go on location for four months and be away from my family You know i I of course would love to do a feature I would love to a feature if it makes sense i. I'm at a point. Where.

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