00:00It's a real art, you know, we had a guy named Guy B on ER when he first came on
00:06and there was a very big difference between guys who just capture things and guys who create an actual scene,
00:13you know, and there's a real difference, there's a real art to it and he was just, Guy was a
00:18master.
00:19We had a good one on Descendants, that's sort of the only reason why we hired Scott Sakamoto was because
00:25he's a rock solid city cam operator, brilliant operator too.
00:29Scott on four or five films, yeah, he's great. I like those guys.
00:33On Hung, the pilot I did, I had, I was starstruck, I had the, our key grip had been the
00:39dolly grip on Casino.
00:41Right.
00:42Lost 40 pounds working on Casino.
00:45Really?
00:46And told me that in all of Casino, which is just jaw-droppingly, brilliantly choreographed, there are only two steady
00:52cam shots, everything else is dolly and crane.
00:55Really?
00:56Yeah.
00:57That's sort of amazing. And no handheld at all? Nothing handheld then?
01:02Not, no, not handheld. There's that one scene where Sharon Stone is really drunk on the bed and De Niro
01:09comes and tries to soothe her.
01:11Yeah, and you can see the camera operator is sort of fishing around. That's where you feel.
01:15Is that still on wheels?
01:16Yeah. No, actually I think it was on, I'm told that Rob Richardson, or Bob Richardson, wanted to get that
01:24moment and just grabbed a camera and stuck it on an Apple box and started operating like that.
01:29This is sort of where we used to do that too, put a camera on a shot bag so that
01:33there's some movement, just a tiny bit of movement, but not, you know, but it didn't feel like handheld, but
01:38it, that's sort of a little more.
01:40I'm re-watching The Wire right now.
01:42It's great.
01:42There's no shaky cam on The Wire. It's classically shot.
01:46And classically told, you know, I love that they change the storylines as it goes. I like that a lot,
01:51especially the newspaper one. I love that, that whole era. It's just great.
01:55Yeah, it's funny. Did you like doing, uh, Hung? Did you like doing, working on the TV series?
02:01I hadn't directed anything for a while, so it was gratifying to just go shoot film and beat up actors
02:06and stuff.
02:07You like that?
02:08I did.
02:08He does like that.
02:09Um, but TV is interesting.
02:11Television is, it's the exact opposite in many ways, because the producer is sort of the low rung on the,
02:18on the television set.
02:20And the executive producer is the king, and then the director is somewhere between the two.
02:25Yeah, yeah.
02:25Um, and then in film, it's usually the director and the producer. If the film wins an Oscar, the producer
02:31wins the Oscar.
02:32And it's so funny to watch, because when we were on ER, it was the hot show.
02:36So we got Quentin Tarantino and all these big film directors would come on the set to shoot,
02:41and they hadn't really worked on television shows where the executive producers come and go,
02:46get a shot over there of that.
02:47Yeah.
02:48And they're like, I beg your pardon?
02:49It's slightly different though when you do the pilot.
02:51Yeah.
02:52Because you're there, you're giving a little bit more carte blanche.
02:55Yeah.
02:55And I understood the job, you know, I understood my role to accommodate all those opinions.
03:06So I just figured I could do my role to accommodate the other questions, and I'm ready to I'm ready
03:09to come over to the next,
03:09but what do you want to do about this part?
03:09Yeah.
03:21Well, I don't know.
03:21I agree with you.
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