Well, in a more indirect way... some people seem really offended by some of the thread. Which wasn't really my intention. So I'm reluctant to post anything out of fear of being "black-balled" or ostracized. I don't want anyone seeing my work now and saying "hey, that's that asshole kid that just talks s**t out the industry on the internet". But if nobody cares, and it's not off-topic... I could post a few things. But whats the point? I haven't directed a feature or anything... so people are just going say "well, you haven't done this or that on a "real" set... so you wouldn't know". Which would kind of just kill the point of the thread...
Obsession with "The Industry"...
- Thread starter GH2user
- Start date
Well, in a more indirect way... some people seem really offended by some of the thread. Which wasn't really my intention. So I'm reluctant to post anything out of fear of being "black-balled" or ostracized. I don't want anyone seeing my work now and saying "hey, that's that asshole kid that just talks s**t out the industry on the internet". But if nobody cares, and it's not off-topic... I could post a few things. But whats the point? I haven't directed a feature or anything... so people are just going say "well, you haven't done this or that on a "real" set... so you wouldn't know". Which would kind of just kill the point of the thread...
gonzo_entertainment
Veteran
It's not offended, it's amazed anybody REALLY believes some of that stuff.
The DP and the director have some slight overlap, but fundamentally they have very diffferent jobs, both with a LOT of things to handle. Except for the rare genius it is IMPOSSIBLE to do both of those jobs and execute them as well as it would be executed by two different people with specialized skills focusing on on just one. Who's working with the actors while you're telling the grip how to rig the light (or rigging it yourself)? Who's practicing the dolly run while you're confirming all the proper coverage is getting shot... It can be and is done, but usually at the cost of the quality of one or both jobs.
The DP and the director have some slight overlap, but fundamentally they have very diffferent jobs, both with a LOT of things to handle. Except for the rare genius it is IMPOSSIBLE to do both of those jobs and execute them as well as it would be executed by two different people with specialized skills focusing on on just one. Who's working with the actors while you're telling the grip how to rig the light (or rigging it yourself)? Who's practicing the dolly run while you're confirming all the proper coverage is getting shot... It can be and is done, but usually at the cost of the quality of one or both jobs.
Well, if it was me... on my "hypothetical" set, where I'm the director/dp... I would have loosely rehearsed with the actors the day before, to get them comfortable with the timing and delivery without the pressure of "getting it right" on the spot. I also would have given the grips my lighting positions and schematics a few hours before. Then, on set, I would just tell them to run through the scenes loosely while making last minute adjustments. When everything looks good to me, I tell just tell them go through the scene again... without ever calling action. I'd also use a two camera setup to capture the bulk of the shot-reverse-shot dialog when possible. Also, I'd just tell my actors to be in character whenever they're on the set, because you never know where I'm going to take footage from. I did an experiential short like this and the actors loved it... they said like they were contributing more and less like "puppets".
gonzo_entertainment
Veteran
Like I said, generally, both jobs get short changed.
When you are being DP, nobody is directing, when you are directing, nobody is being DP.
When you are being DP, nobody is directing, when you are directing, nobody is being DP.
Well the "DP-ing" would go on before the takes. It's not like adjustments are made while rolling... So I don't see why both can't be done by one person. The camera angles and lighting are going to dictate how the performances are going to be received just as much as the performances themselves are. So I don't see why they are split up, unless the director physically has to be someone where else while the lights are being set up.
Then there is just the issue of credit... the film is made just as much by the DP and editors hands as the director. But the director gets credit as some sort of god-like figure. Which I don't think is an issue if they are really an auteur... writing, directing, shooting, and editing. But if the director is ONLY watching the actors performances... shouldn't he/she just be credited as an "acting coach", or "performance supervisor"? As not to overshadow the visual direction by the DP and the scene pacing direction of the editor?
Then there is just the issue of credit... the film is made just as much by the DP and editors hands as the director. But the director gets credit as some sort of god-like figure. Which I don't think is an issue if they are really an auteur... writing, directing, shooting, and editing. But if the director is ONLY watching the actors performances... shouldn't he/she just be credited as an "acting coach", or "performance supervisor"? As not to overshadow the visual direction by the DP and the scene pacing direction of the editor?
It's just so obvious that the OP has never even been on a set with more than a handful of volunteer crew, much less dozens or even hundreds of professionals waiting to do their job. I doubt he's ever seen a decent director work either. The workflow he espouses is simply not practical for a production of any size larger than a school project.
Philosophizing about things you have no experience with can be fun, but it's ultimately fruitless.
Philosophizing about things you have no experience with can be fun, but it's ultimately fruitless.
gonzo_entertainment
Veteran
You can be an auteur and not even know how to turn the camera on.
Again.. DIRECTOR... as in DIRECT others as to what to do.
"he camera angles and lighting are going to dictate how the performances are going to be received just as much as the performances themselves are"
Right, and the director will almost certainly have decided a month or more before the shoot what those are. It's the DP's job to EXECUTE them, not to decide what they are. In a good director/DP relationship you collaborate. The DP frames the shot, then he asks me "is this what you want" and I say yes, or no. He lights the scene BASED ON THE NOTES I GAVE HIM BEFORE HAND, then he asks me "is this what you want" and I say yes or no.
Again.. DIRECTOR... as in DIRECT others as to what to do.
"he camera angles and lighting are going to dictate how the performances are going to be received just as much as the performances themselves are"
Right, and the director will almost certainly have decided a month or more before the shoot what those are. It's the DP's job to EXECUTE them, not to decide what they are. In a good director/DP relationship you collaborate. The DP frames the shot, then he asks me "is this what you want" and I say yes, or no. He lights the scene BASED ON THE NOTES I GAVE HIM BEFORE HAND, then he asks me "is this what you want" and I say yes or no.
See, I totally predicted this response... and you're missing the point. Just because something is DONE a certain way currently, doesn't mean it's the best way. Things change.
Exactly. It's my belief that, if not now, it will soon be possible to make blockbusters with a school-project sized crew. Robert Rodriguez is close to it... so are a few other directors. You may say his "directing" in a traditional sense, is not as good as others, but I wouldn't say it's any worse. He makes the movies he wants to make. They work. And he does it cheap and in controll. That is a talent in itself as much as being an "artist who only works with drama" is.
It's all subjective in the end. I know people who absolutely love RR movies... yet would say movies like "The Tree of Life" are absolute pieces of crap.
Technology is empowering and unlocks creativity and new methods that could lead to cheaper/easier productions. So why are people shunning the idea of consolidating crews/positions and getting filmmaking down to a smaller, more condensed core? That's really the point of the thread. Saying "this person has never been on a set before, so they don't know anything" is just a lack of... well... creativity. Or a defense mechanism for not wanting to embrace other points of view.
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gonzo_entertainment
Veteran
Totally for more condensed. Just not eliminating lead skilled tech people. Still need a makeup artist, still need an art director, you just might only need 3 grips instead of 13.
Okay, I'll bite. What was the size of Rodriguez's crew for Predators? Machete? Sin City? Please cite a number.
Doc Bernard
Indie Arms Member
I find this conversation VERY interesting. And trying to belittle any poster in this thread is un-necessary and counter-productive. This site caters to film-makers at every level of experience.
So, please keep it civil and not condescending. M'kay?
So, please keep it civil and not condescending. M'kay?
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Ryan Patrick O'Hara
Veteran
As a DP, I can see how someone would want to do both roles, but I can also see how only a couple could. There is a script I have which I would love to direct and I do find it hard to think about giving the reigns over to another DP... something I will have to decide should I get to that point. Doing both will take more time, I know for sure. When shooting gets intense, you can't rehearse the day-before every day. Production will move slower. Perhaps a really good gaffer and really good operator can step in and inevitably listen to the director's vision and then execute the lighting and camera department accordingly, which is basically just doing the role of DP but in a more british sense. This is not the director being a DP, but rather breaking the DP role into two and delegating those responsibilities down to the next in line.
A few can do it. Truly do it. But on the grand scheme of things, they are the exception in any system of making films. Many directors are not good DP's. So in a weird and perfect world, your vision of the future would never work. I know many brilliant directors who would fail at shooting their own films. Does that mean their wonderful ideas, concepts and visions are to be forsaken?
On the other side of the coin, many great DP's are horrible directors (have you seen Janusz Kaminski's film Lost Souls?! 7% on Rotten Tomatoes)... so by combining the two, you are only letting the very rare combo filmmaker strive... and RR isn't even that good in my opinion. He's good, but my favorite films are made by collaborative DP's and Directors. Pfister, Nolan. Anderson and Yeoman, Aronofski and Libatique, Conrad Hall and sam mendes, Coen Bro's and Deakins, etc etc.
Now, let's just say the 1% of filmmakers who are both Directors and DP's were to take over the world... you still need an army to move a film set. Sure you can skip out on a dept head, but you still need a camera dept, GnE, crafty, art, music, spfx, vfx, makeup, wardrobe, production office, PA's, sound, transpo, etc.
Sure, you can adapt the film school mentality and shoot the film like Living in Oblivion, but you really lose control of the film. To carefully craft and control the vision, as a major motion picture film does, you need every department, and that adds up quickly. Doing otherwise would be like writing Catcher in the Rye, but with only half of the english vocabulary available.
Let's talk about RR, your example.
Besides El Mariachi, which was 20 years ago, when has RR ever been close to your idea of the future of cinema? It seems the more we march into 'your future' the more your poster boy moves away, in terms of crew size. Plus, his early films (from Dusk Till Dawn, Desperato) were shot by an amazing DP, Guillermo Navarro.... and his most recent ones seem to be transitioning to his long time camera operator, Jimmy Lindsey. So it seems RR finds using a cinematographer helpful perhaps half of his career.
RR is the exception. He does music, cinematography, directing, etc. And even then?! Film school sized crews? Look at his films.
Spy Kids 4
Machete
Sin City
Once Upon A Time in Mexico
From Dusk Till Dawn
Desperado
Gary is right. Show me a crew under 50? 70?
A few can do it. Truly do it. But on the grand scheme of things, they are the exception in any system of making films. Many directors are not good DP's. So in a weird and perfect world, your vision of the future would never work. I know many brilliant directors who would fail at shooting their own films. Does that mean their wonderful ideas, concepts and visions are to be forsaken?
On the other side of the coin, many great DP's are horrible directors (have you seen Janusz Kaminski's film Lost Souls?! 7% on Rotten Tomatoes)... so by combining the two, you are only letting the very rare combo filmmaker strive... and RR isn't even that good in my opinion. He's good, but my favorite films are made by collaborative DP's and Directors. Pfister, Nolan. Anderson and Yeoman, Aronofski and Libatique, Conrad Hall and sam mendes, Coen Bro's and Deakins, etc etc.
Now, let's just say the 1% of filmmakers who are both Directors and DP's were to take over the world... you still need an army to move a film set. Sure you can skip out on a dept head, but you still need a camera dept, GnE, crafty, art, music, spfx, vfx, makeup, wardrobe, production office, PA's, sound, transpo, etc.
Sure, you can adapt the film school mentality and shoot the film like Living in Oblivion, but you really lose control of the film. To carefully craft and control the vision, as a major motion picture film does, you need every department, and that adds up quickly. Doing otherwise would be like writing Catcher in the Rye, but with only half of the english vocabulary available.
Let's talk about RR, your example.
Besides El Mariachi, which was 20 years ago, when has RR ever been close to your idea of the future of cinema? It seems the more we march into 'your future' the more your poster boy moves away, in terms of crew size. Plus, his early films (from Dusk Till Dawn, Desperato) were shot by an amazing DP, Guillermo Navarro.... and his most recent ones seem to be transitioning to his long time camera operator, Jimmy Lindsey. So it seems RR finds using a cinematographer helpful perhaps half of his career.
RR is the exception. He does music, cinematography, directing, etc. And even then?! Film school sized crews? Look at his films.
Spy Kids 4
Machete
Sin City
Once Upon A Time in Mexico
From Dusk Till Dawn
Desperado
Gary is right. Show me a crew under 50? 70?
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JoeRawlins
Active member
Robert Rodriguez does seem like a good choice in your post, but as others have mentioned, where El Mariachi was made for $7k, now you can't get Robert Rodriguez to look at you or show up for a meeting for a mere $7k.
He's doing what he aspired to do. He never intended to make sub-$10k films for a living.
he frustration you hear in others is being projected from those who work in the industry as professionals and are being tossed aside too cavalierly by the Hobbyist. People aretired of being told that you don't need a DP, anymore, don't need a sound guy, don't need lights (lights! Oh hell's bells), because technology has somehow moved beyond these things because no Hobbyist or Artist gets into this to make a movie that will return on investment. They want the accolades, they want the prestige, the festival scene and that's great. But let us not forget that people who are professional need to use their profession to make money. And when was the last three-man crew $10k movie shot-on-dslr with everyone working for free - pardon me: "experience" - gone on to make a profit? So the expectation is "Well, you dp's you're obsolete so if you're going to work on my picture, you'll have to be willing to do it for pizza and copy" - you can see how that's frustrating. So don't let it eat at you. It'snot pointed at you. it's pointed at a system that's just gotten too full-of-itself.
There's nothing wrong with working for cheap or for free - as long as everyone's value is respected. no problem doing it for "experience" as long as everyone gets experience! But tthe respect is the key. "I know what you're worth, but this is what I can afford" - that's my maxim.
I think the future of Producing (not really sure that this thread has nearly as much to do with directing) is not the Hobbyist, the Artist, or the Aspiring Hollywood Mogul, but the Entrepreneur. The guy who takes the risk, puts together the resources and goes out and shoots with what he's got but with a plan to make it better for him and his people.
He's doing what he aspired to do. He never intended to make sub-$10k films for a living.
he frustration you hear in others is being projected from those who work in the industry as professionals and are being tossed aside too cavalierly by the Hobbyist. People aretired of being told that you don't need a DP, anymore, don't need a sound guy, don't need lights (lights! Oh hell's bells), because technology has somehow moved beyond these things because no Hobbyist or Artist gets into this to make a movie that will return on investment. They want the accolades, they want the prestige, the festival scene and that's great. But let us not forget that people who are professional need to use their profession to make money. And when was the last three-man crew $10k movie shot-on-dslr with everyone working for free - pardon me: "experience" - gone on to make a profit? So the expectation is "Well, you dp's you're obsolete so if you're going to work on my picture, you'll have to be willing to do it for pizza and copy" - you can see how that's frustrating. So don't let it eat at you. It'snot pointed at you. it's pointed at a system that's just gotten too full-of-itself.
There's nothing wrong with working for cheap or for free - as long as everyone's value is respected. no problem doing it for "experience" as long as everyone gets experience! But tthe respect is the key. "I know what you're worth, but this is what I can afford" - that's my maxim.
I think the future of Producing (not really sure that this thread has nearly as much to do with directing) is not the Hobbyist, the Artist, or the Aspiring Hollywood Mogul, but the Entrepreneur. The guy who takes the risk, puts together the resources and goes out and shoots with what he's got but with a plan to make it better for him and his people.
Ryan Patrick O'Hara
Veteran
I just want to make a good film with visuals. Technology can't decide how to light something. People are throwing away lighting for simple exposure. That's not art. It's not a job security thing.
Cracker Funk
Member
Actually, I kind of agree with the OP. Directors don't actually do anything. They just sit around watching everyone else perform. And all those technical crew positions -- I could learn and master any one of them, in a single weekend. Why would anyone be offended by statements like that?
McG is no longer my favorite director. I now realize that Shane Hurlbut, whose job is very easy to learn how to do, deserves all of the credit for "Terminator: Salvation", the greatest movie of all time. Also, according to Christian Bale, he's a nice guy!
McG is no longer my favorite director. I now realize that Shane Hurlbut, whose job is very easy to learn how to do, deserves all of the credit for "Terminator: Salvation", the greatest movie of all time. Also, according to Christian Bale, he's a nice guy!
Barry_Green
Moderator
Here's the crew list for Rodriguez's "Machete":
[TD="colspan: 3, align: left"][h=5] Produced by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Cinematography by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Film Editing by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Casting by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Production Design by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Costume Design by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Makeup Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Production Management [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Second Unit Director or Assistant Director [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Art Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Sound Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Special Effects by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Visual Effects by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Stunts [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Camera and Electrical Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Casting Department [/h][/TD]
[TD="colspan: 4"] [/TD]
| Ashok Amritraj | .... | executive producer |
| Elizabeth Avellan | .... | producer |
| Alan Bernon | .... | executive producer |
| Ed Borgerding | .... | executive producer (as Edward Borgerding) |
| Alastair Burlingham | .... | co-executive producer |
| Dominic Cancilla | .... | co-producer |
| Jerry Fruchtman | .... | co-executive producer |
| Peter Fruchtman | .... | co-executive producer |
| Jack Gilardi Jr. | .... | co-executive producer |
| Anthony Gudas | .... | co-executive producer |
| Myles Nestel | .... | executive producer |
| Darby Parker | .... | co-executive producer |
| Tom Proper | .... | associate producer |
| Steve Robbins | .... | co-executive producer |
| Robert Rodriguez | .... | producer |
| Rick Schwartz | .... | producer |
| Michael Z. Gordon | .... | co-executive producer (uncredited) |
[TD="colspan: 3, align: left"][h=5] Produced by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Jimmy Lindsey | (director of photography) | |
[TD="colspan: 3, align: left"][h=5] Cinematography by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Rebecca Rodriguez | ||
| Robert Rodriguez | ||
[TD="colspan: 3, align: left"][h=5] Film Editing by [/h][/TD]
[TD="colspan: 4"] [/TD]
| J.C. Cantu | ||
| Mary Vernieu | ||
[TD="colspan: 3, align: left"][h=5] Casting by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Christopher Stull | (as Chris Stull) | |
[TD="colspan: 3, align: left"][h=5] Production Design by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Nina Proctor | ||
[TD="colspan: 3, align: left"][h=5] Costume Design by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Lauren Andersen | .... | makeup assistant |
| Becki Drake | .... | assistant makeup artist |
| Doug Field | .... | key special effects makeup |
| Meredith Johns | .... | special effects makeup department head |
| Ermahn Ospina | .... | makeup department head |
| Joe Rivera | .... | hair department head (as Joe E. Rivera) |
| Alissa Shores | .... | special effects makeup assistant |
| Charles Yusko | .... | assistant hair stylist |
| Michaela Farrell | .... | additional special effects makeup artist (uncredited) |
| Missy Lisenby | .... | assistant makeup artist (uncredited) |
| Missy Lisenby | .... | special makeup effects assistant (uncredited) |
[TD="colspan: 3, align: left"][h=5] Makeup Department [/h][/TD]
[TD="colspan: 4"] [/TD]
| Dominic Cancilla | .... | unit production manager |
[TD="colspan: 3, align: left"][h=5] Production Management [/h][/TD]
[TD="colspan: 4"] [/TD]
| Vanessa Gaitan | .... | second second assistant director |
| Susan Jasso | .... | second assistant director (as Susana Jasso) |
| David Rimer | .... | first assistant director (as David Vincent Rimer) |
| Jeff Guerrero | .... | first assistant director: additional photography (uncredited) |
[TD="colspan: 3, align: left"][h=5] Second Unit Director or Assistant Director [/h][/TD]
[TD="colspan: 4"] [/TD]
| David Michael Abelman | .... | scenic charge |
| Ted Altman | .... | props |
| Kevin Blosser | .... | property master assistant |
| Yvonne Boudreaux | .... | production designer assistant |
| Rodney Brown | .... | general foreman: prep |
| Tom Christopher | .... | leadman |
| Chris Clayton | .... | set dresser |
| Chris Combs | .... | set dresser |
| Christopher Corona | .... | graphics assistant: Troublemaker Digital |
| Debbie Cortez Haber | .... | art department coordinator (as Debbie C. Haber) |
| Tim Dingle | .... | scenic artist |
| Melanie Ferguson | .... | on-set dresser |
| Ken Gaston-Kilgore | .... | set dresser (as Kenneth Gaston-Kilgore) |
| Juliet Guimont | .... | scenic foreman |
| Mark Gutierrez | .... | utility technician |
| David Hack | .... | leadman (as David S. Hack) |
| Garry Kirks | .... | construction foreman: shoot |
| Marcus LaPorte | .... | props fabricator |
| Timothy W. Lobdell | .... | carpenter (as Tim Lobdell) |
| Andy McCauley | .... | carpenter |
| Sun C. McColgin | .... | carpenter |
| Joe McCusker | .... | construction coordinator: prep |
| Richard M. Moore | .... | construction coordinator: shoot |
| Tyler Noel | .... | painter |
| Scott Perez | .... | set dresser |
| Rob Perkins | .... | set painter |
| Ronald Perkins | .... | construction foreman: Filmdekor Set Construction |
| Scott A. Reeder | .... | property master: prep |
| Jonathan Shaffer | .... | property master: shoot |
| Corissa Smith | .... | painter |
| Tyler J. Smith | .... | property master assistant |
| Gary Strube | .... | carpenter (as Gary D. Strube) |
| Kurt Volk | .... | graphic designer: Troublemaker Digital |
| Mike Walker | .... | painter |
| Desirae Wallace | .... | art department assistant |
| Michael Wilks | .... | property master assistant (as Michael E. Wilks) |
| Phillip Williams | .... | utility technician |
| Koen Wooten | .... | storyboard artist |
| Susan A. Benson | .... | prop fabricator (uncredited) |
| Forest Fagan | .... | props (uncredited) |
| James R. Hall | .... | additional graphics (uncredited) |
| David Karave | .... | set props assistant (uncredited) |
| Walter Schneider | .... | scenic artist: reshoots (uncredited) |
[TD="colspan: 3, align: left"][h=5] Art Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Sound Department [/h][/TD]
[TD="colspan: 4"] [/TD]
| Robert Brown | .... | special effects technician |
| Everett Byrom III | .... | special effects supervisor |
| Craig Byrom | .... | special effects foreman |
| James W. McCormick | .... | special effects technician (as James McCormick) |
| Bob Trevino | .... | special effects technician (as Robert Trevino) |
| Jeffery D. Woodrel | .... | special effects technician |
| Jason Serota | .... | special effects technician intern (uncredited) |
[TD="colspan: 3, align: left"][h=5] Special Effects by [/h][/TD]
[TD="colspan: 4"] [/TD]
| Jeffrey Acord | .... | visual effects information technologies: Troublemaker Digital (as Jeff Acord) |
| Eleonora Avellan | .... | vbisual effects operations manager: Troublemaker Digital (as Eleanora Avellán) |
| Rodney Brunet | .... | visual development (as Rodney J. Brunet) |
| Rodney Brunet | .... | visual effects supervisor: Troublemaker Digital (as Rodney J. Brunet) |
| Maru Buendia-Senties | .... | compositor: Troublemaker Digital |
| Maru Buendia-Senties | .... | visual effects assistant: Troublemaker Digital |
| Aaron Burns | .... | senior compositor: Troublemaker Digital |
| Kevin Dartt | .... | visual effects operations manager: Troublemaker Digital |
| Emily Davis | .... | visual effects coordinator: Troublemaker Digital |
| Andrew Dela Cruz | .... | flame artist: Troublemaker Digital (as Drew Dela Cruz) |
| Chris Esquivel | .... | visual effects assistant: Troublemaker Digital |
| Richard Gordoa | .... | senior compositor: Troublemaker Digital |
| Adam Gravois | .... | 3d visual effects artist: Troublemaker Digital |
| Santiago Martinez | .... | visual effects operations manager: Troublemaker Digital |
| Chris Olivia | .... | visual development |
| Chris Olivia | .... | visual effects supervisor: Troublemaker Digital |
| Jabbar Raisani | .... | on-set visual effects supervisor |
| Robert Rodriguez | .... | visual effects executive producer: Troublemaker Digital |
| Robert Rodriguez | .... | visual effects supervisor |
| Gregory L. Smith | .... | technical artist: Troublemaker Digital (as Greg Smith) |
| Travis Smith | .... | visual effects editor |
| Adam Tate | .... | visual effects assistant: Troublemaker Digital |
| Alex Toader | .... | visual development |
| Alex Toader | .... | visual effects supervisor |
| Paul Waggonner | .... | technical artist: Troublemaker Digital |
| Michael D. Werckle | .... | 3d visual effects artist: Troublemaker Digital (as Mike Werckle) |
| Jean-Pierre Flayeux | .... | visual effects supervisor (uncredited) |
[TD="colspan: 3, align: left"][h=5] Visual Effects by [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Stunts [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Camera and Electrical Department [/h][/TD]
[TD="colspan: 4"] [/TD]
| Lindsay Graham | .... | casting associate |
| Brandon Hemmerling | .... | casting assistant |
| Zac Schwartz | .... | casting assistant |
| Beth Sepko | .... | extras casting |
| Beth Sepko | .... | local casting |
| Jessica Sloan | .... | extras casting assistant |
[TD="colspan: 3, align: left"][h=5] Casting Department [/h][/TD]
[TD="colspan: 4"] [/TD]
Barry_Green
Moderator
(continued... because DVXUser's maximum post character count was overrun, I have to split the credit list up into two posts).
[TD="colspan: 3, align: left"][h=5] Costume and Wardrobe Department [/h][/TD]
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[TD="colspan: 3, align: left"][h=5] Editorial Department [/h][/TD]
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[TD="colspan: 3, align: left"][h=5] Music Department [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Transportation Department [/h][/TD]
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[TD="colspan: 3, align: left"][h=5] Other crew [/h][/TD]
[TD="colspan: 4"] [/TD]
[TD="colspan: 3, align: left"][h=5] Thanks [/h][/TD]
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| Brenda J. Chambers | .... | set costumer (as Brenda Chambers) |
| Betty Chlystek | .... | tailor (as Elizabeth M. Chlystek) |
| Dorothy Harrigan | .... | costume production assistant |
| Janice Janacek | .... | costume supervisor (as Janice Janecek) |
| Nyima Johnston | .... | key set costumer (as Nyima R. Johnston) |
| Hunter Lohse | .... | costume production assistant |
| Erin Randall | .... | set costumer |
[TD="colspan: 3, align: left"][h=5] Costume and Wardrobe Department [/h][/TD]
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| George Chavez | .... | color timer |
| Chris Esquivel | .... | post-production assistant: Troublemaker Digital |
| Eileen Godoy | .... | digital intermediate producer |
| Matt Hull | .... | digital intermediate producer assistant |
| Natasha Leonnet | .... | senior supervising colorist |
| Jay Mahavier | .... | digital conform editor |
| Jay Mahavier | .... | first assistant editor |
| Sean Mattini | .... | colorist assistant |
| Mitch Paulson | .... | colorist |
| Amy Pawlowski | .... | digital intermediate editor |
| David Rosenblatt | .... | additional editor |
| Ian Silverstein | .... | additional editor |
| Sebastian Spader | .... | editorial production assistant |
| Kelly Stein | .... | post-production coordinator |
| Nick Smith | .... | colorist (uncredited) |
[TD="colspan: 3, align: left"][h=5] Editorial Department [/h][/TD]
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| John Debney | .... | musician: Chingon band |
| Rick Del Castillo | .... | musician: Chingon band |
| Annette Fradera | .... | music consultant: Mexican music |
| Steven Hufsteter | .... | composer: main title theme |
| Tito Larriva | .... | composer: main title theme |
| Tim Rakoczy | .... | music editor |
| Robert Rodriguez | .... | composer: main title theme |
| Robert Rodriguez | .... | music producer |
| Robert Rodriguez | .... | musician: Chingon band |
| Carl Thiel | .... | composer: additional music |
| Carl Thiel | .... | music mixer |
| Carl Thiel | .... | music producer |
| Carl Thiel | .... | musician: Chingon band |
| Tito & Tarantula | .... | musicians: main title theme (as Tito and Tarantula) |
[TD="colspan: 3, align: left"][h=5] Music Department [/h][/TD]
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| Cecil D. Evans | .... | transportation coordinator |
| Dwayne Haevischer | .... | transportation captain |
| Russell E. Scott | .... | picture car coordinator |
| Sam Craytor | .... | driver: honeywagon (uncredited) |
| Teresa Haney | .... | transportation coordinator (uncredited) |
| Steven Willhoite | .... | driver: construction (uncredited) |
[TD="colspan: 3, align: left"][h=5] Transportation Department [/h][/TD]
[TD="colspan: 4"] [/TD]
| Lucas Amann | .... | production assistant |
| Ashley Arlow | .... | intern |
| John Arszyla | .... | medic: construction |
| Javier Avellan | .... | intern (as Javier Antonio Avellán) |
| Karla Elisa Avila | .... | intern |
| Cory Barnett | .... | intern |
| Kaivan Bazleh | .... | intern |
| Wynona Becker | .... | intern |
| Susan A. Benson | .... | intern (as Susan Benson) |
| David Beron | .... | additional voice |
| Travis Carr | .... | production assistant |
| Craig Chalmers | .... | production assistant |
| Nicole Compas | .... | production counsel: Gray Krauss Des Rochers |
| Caroline Connor | .... | production coordinator |
| Christopher Corona | .... | assistant: Ethan Maniquis |
| April Crump | .... | second assistant accountant |
| Dustin Daniels | .... | assistant location manager |
| Tiger Darrow | .... | intern |
| Iris Davis | .... | intern |
| Christa del Castillo | .... | production secretary |
| David Emmons | .... | assistant chef |
| Joe Forlini | .... | first assistant craft service |
| Derek Franzese | .... | production assistant: Additional Photography |
| Stanford Gilbert | .... | armorer (as Stan Gilbert) |
| Gina Grande | .... | script supervisor |
| Sara Grauerholz | .... | intern |
| Jonathan Gray | .... | production counsel: Gray Krauss Des Rochers |
| Andrew Grissom | .... | intern |
| Jeff Guerrero | .... | assistant production coordinator |
| Nixon D. Guerrero | .... | accountant: Troublemaker Digital (as Nixon Guerrero) |
| Jordan Haro | .... | intern |
| Kipling Harvey | .... | assistant chef |
| Jose Angel Hernandez | .... | location manager (as Jose Hernandez) |
| Bridget Hoffman | .... | additional voice |
| George Huang | .... | creative consultant |
| Chris Hunt | .... | production assistant |
| Rif Hutton | .... | additional voice |
| Case Johnson | .... | office production assistant |
| Clara Kim | .... | assistant: Rick Schwartz |
| Ryan Kirk | .... | intern |
| Betsy Koch | .... | assistant: Robert Rodriguez |
| Kim LeBlanc | .... | assistant: Robert Rodriguez |
| Luisa Leschin | .... | additional voice |
| Melody Lloyd | .... | medic: construction |
| Kendall McKinnon | .... | intern |
| Christopher Mekhail | .... | intern (as Chris Mekhail) |
| Richard Miro | .... | additional voice |
| Molly Murray | .... | post production accountant (as Molly Murray-Bunner) |
| Molly Murray | .... | production accountant (as Molly Murray-Bunner) |
| Bob Neill | .... | additional voice |
| Jonathan Nichols | .... | additional voice |
| Heather Olson | .... | intern |
| Juan Pacheco | .... | additional voice |
| Carson Parish | .... | intern |
| Nancy Rankin | .... | intern |
| Roxie Rodriguez | .... | intern |
| Saul Sanchez | .... | key craft service |
| William Schmidt | .... | intern |
| M.K. Shaw | .... | payroll accountant |
| Stephanie Sides | .... | intern |
| Reneau Skinner | .... | first assistant accountant |
| Mark Spencer | .... | key set production assistant |
| W.K. Stratton | .... | additional voice |
| Danny Sutedja | .... | location production assistant |
| David Thibodeaux | .... | security: Troublemaker Digital |
| Raigen Thornton | .... | set medic |
| Marcelo Tubert | .... | additional voice |
| Kurt Volk | .... | title designer |
| Steve White | .... | location production assistant |
| Ginger Attaway | .... | set production assistant (uncredited) |
| Laurent Boye | .... | publicity staff (uncredited) |
| Mary Beth Chambers | .... | set production assistant (uncredited) |
| Chad Cohen | .... | insurance broker: Reiff & Associates (uncredited) |
| André Des Rochers | .... | financial counsel (uncredited) |
| Christopher Dufau | .... | set production assistant (uncredited) |
| Michael Haddad | .... | craft service (uncredited) |
| Matt Joyner | .... | stand-in (uncredited) |
| Barry Lacina | .... | location assistant (uncredited) |
| Brian Murphy | .... | production assistant (uncredited) |
| Carlos Pina | .... | stand in: Chris Warner (uncredited) |
| Will Scoville | .... | stand-in: Jeff Fahey (uncredited) |
| Will Semons | .... | production assistant (uncredited) |
| Vernon Smith | .... | locations production assistant (uncredited) |
| Garin Sparks | .... | production assistant (uncredited) |
| Jordan Strassner | .... | stand-in: Lindsay Lohan (uncredited) |
| Ian M. Stratford | .... | financial counsel (uncredited) |
| Chris Sturgeon | .... | location production assistant (uncredited) |
| Laura Wallgren | .... | location assistant (uncredited) |
[TD="colspan: 3, align: left"][h=5] Other crew [/h][/TD]
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| Guy Louis XVI | .... | thanks |
| Danny Mandel | .... | special production thanks |
[TD="colspan: 3, align: left"][h=5] Thanks [/h][/TD]
[TD="colspan: 4"] [/TD]
Ted Spencer
Veteran
Of course, everybody knows one guy could've easily done all of it...
:shocked:
:shocked:
john threat
Carbonite Member
RR rocks!
personal favorite for sure.
Most people dont have the same skill set or timing in the industry as had.
There was another film similar to the big hit Paranormal activity - and it had a celebrity endorsement - and was a good film but it didnt take off. why?
There are so many factors that go into a given film being at the right place at the right time to capture imaginations and hearts and make money.
Or the right person liking you and seeing your talent and investing in you - and continuing to invest in you over time.
personal favorite for sure.
Most people dont have the same skill set or timing in the industry as had.
There was another film similar to the big hit Paranormal activity - and it had a celebrity endorsement - and was a good film but it didnt take off. why?
There are so many factors that go into a given film being at the right place at the right time to capture imaginations and hearts and make money.
Or the right person liking you and seeing your talent and investing in you - and continuing to invest in you over time.