WEBVTT - Drew Potter 0:00:35.400 --> 0:00:39.640 Welcome to the show. Thank you for buddy, it's such 0:00:39.680 --> 0:00:42.519 a pleasure to have you. Yes, thanks thanks for having me. 0:00:42.600 --> 0:00:45.479 It's a it's a retreat. It is so good to 0:00:45.479 --> 0:00:47.760 see you. It's been far too long. We talk about 0:00:47.760 --> 0:00:49.640 you all the time, and we miss you so much. 0:00:50.479 --> 0:00:53.440 I appreciate the accolades. It's I really miss you, guys. 0:00:53.440 --> 0:00:56.640 I gotta say, nothing's been since. It's true. It's really 0:00:56.880 --> 0:01:01.360 kidding that that unfortunately, well I'm for unfortunately. That comes 0:01:01.440 --> 0:01:03.600 up in the show quite a bit. In the podcast 0:01:03.680 --> 0:01:05.720 quite a bit we talk about how we none of 0:01:05.800 --> 0:01:08.480 us really seem to have matched the experience that we 0:01:08.560 --> 0:01:11.679 had whilst we were on the show, which is a shame, 0:01:11.720 --> 0:01:13.160 but I guess a good thing at the same time 0:01:13.280 --> 0:01:16.560 makes it unique. Well, without further ado, welcome back to 0:01:16.640 --> 0:01:19.080 return to the Shadows. We have on our show today, 0:01:19.160 --> 0:01:22.400 a very very special guest, someone who is near and 0:01:22.440 --> 0:01:25.400 dear to both of us and probably has seen far 0:01:25.440 --> 0:01:28.960 too much of our faces. Welcome our a camera operator, 0:01:29.040 --> 0:01:31.880 Drew Potter. Thank you very much and never too much 0:01:32.240 --> 0:01:34.160 gott to say. You don't just know how to make 0:01:34.200 --> 0:01:35.720 it all work. There's a lot of fun working with you. 0:01:35.920 --> 0:01:39.760 It was that's very sweet. Before we dive into the 0:01:39.920 --> 0:01:42.440 sort of deepest stuff, why don't you tell us a 0:01:42.440 --> 0:01:45.679 little about who you are and what your job was 0:01:45.840 --> 0:01:49.640 on the show. I'm Drew Potter. I'm I was the 0:01:49.720 --> 0:01:52.840 a camera operator on that series from season two and 0:01:52.880 --> 0:01:58.000 season three in the season finale as well. It's been 0:01:58.040 --> 0:02:00.960 twenty five years as a camera operator, but also dabbling 0:02:00.960 --> 0:02:03.200 in other things. Once I get a little boored, I 0:02:03.240 --> 0:02:04.320 take to move on and change it up for a 0:02:04.320 --> 0:02:06.040 little while, and then I usually come back to operating 0:02:06.040 --> 0:02:10.520 because that's my first passion. Amazing, So how did you 0:02:10.560 --> 0:02:13.239 become a camera operator? What got you into this line 0:02:13.240 --> 0:02:15.600 of work, How did you get started? What was the 0:02:15.600 --> 0:02:19.840 original inspiration? I just I saw Star Wars when I 0:02:19.880 --> 0:02:22.760 was when I was sixteen, and it just blew me 0:02:22.760 --> 0:02:24.240 out of the water, and it was kind of visual 0:02:24.240 --> 0:02:27.120 effects I was attracted to. But ultimately I live in 0:02:27.120 --> 0:02:30.240 Canada and there are no big visual effects houses here 0:02:30.240 --> 0:02:31.680 where it was all about. It was an all in 0:02:31.680 --> 0:02:33.600 the US and there was just that wasn't really in 0:02:33.600 --> 0:02:35.160 the cards. And moved to the US and started that. 0:02:36.320 --> 0:02:38.520 But I was still fascinated with the camera and my 0:02:38.600 --> 0:02:41.560 dad had given me his camera stills camera. I shually 0:02:41.560 --> 0:02:43.640 shoot a lot of little stills when I was just 0:02:43.720 --> 0:02:45.520 a kid, and then I got a superhero camera when 0:02:45.520 --> 0:02:47.880 I was a little around the sixteen year age there are, 0:02:47.919 --> 0:02:51.079 and played with that and editing and putting music to 0:02:51.120 --> 0:02:52.480 it and just having some fun with some friends, being 0:02:52.520 --> 0:02:56.120 little stories, a little vignettes. And then it just I 0:02:56.200 --> 0:02:58.000 was in school and I was taking sort of a 0:02:58.000 --> 0:02:59.480 lot of math and science and I was going to 0:02:59.520 --> 0:03:03.480 be you know, a chiropractor or a pharmacist or something 0:03:03.520 --> 0:03:07.560 like that. Yeah, something sensible and practical and you know, reliable. Yeah, 0:03:07.760 --> 0:03:12.240 the parent pleasers, Yes, parent pleasers. That's right. And then 0:03:12.240 --> 0:03:15.280 the eleventh hour, it was, you know, I'm kind of 0:03:15.320 --> 0:03:17.640 interested in this film thing. There there there any film schools around, 0:03:17.639 --> 0:03:19.520 and we're talking to the guidance counselor about it. But 0:03:19.800 --> 0:03:21.839 we got like two weeks left to get applications in. Yeah, 0:03:21.840 --> 0:03:24.600 there's still time. And he threw me a couple of 0:03:24.680 --> 0:03:26.880 schools that had did it. Yeah, And I just dropped 0:03:26.880 --> 0:03:28.320 you the last second, and I told my parents what 0:03:28.400 --> 0:03:31.200 I was doing it. Uh, well, we support you whatever 0:03:31.240 --> 0:03:35.720 you do, you know, I think your parents to do that. 0:03:36.640 --> 0:03:40.040 I feel like, unfortunately, I think actually now like in 0:03:40.040 --> 0:03:42.480 the last of five years, it's become much more common 0:03:42.520 --> 0:03:47.000 for that to be the parents' reaction because it's so 0:03:47.120 --> 0:03:49.360 visual that you can see people succeeding in it. But 0:03:49.400 --> 0:03:52.720 I think, I mean, my parents were very supportive as well, 0:03:52.720 --> 0:03:55.400 but my school teachers definitely weren't of my career choice. 0:03:55.440 --> 0:03:59.080 There's very a lot more trepidous of the concept of 0:03:59.120 --> 0:04:01.640 me going out on a women and trying this. So 0:04:01.680 --> 0:04:03.920 it's it's really nice day that your parents supported you 0:04:03.960 --> 0:04:07.680 through that. Hm. You know, it's a If it wasn't 0:04:07.720 --> 0:04:09.400 for their support, I wouldn't have been I wouldn't have 0:04:09.400 --> 0:04:11.440 made it, that's for sure, because you need that kind 0:04:11.480 --> 0:04:16.279 of help, funding, accommodation, helping for tuition on things like that. 0:04:16.680 --> 0:04:18.599 So and then I just kind of kept my focus 0:04:18.640 --> 0:04:21.240 at getting into camera and being a camera operator, perhaps 0:04:21.279 --> 0:04:23.240 possibly a director photography one day. It was sort of 0:04:23.279 --> 0:04:29.880 the real goal. And once I finished college, I started 0:04:29.880 --> 0:04:33.920 working at an animation post production house UM where we 0:04:33.960 --> 0:04:36.279 did a lot of graphics and maps and charts and 0:04:36.320 --> 0:04:38.200 credits from movies. So I kind of got the back 0:04:38.279 --> 0:04:40.159 end of it first and then dealt with a lab 0:04:40.160 --> 0:04:42.279 and there was a problem and it was just a 0:04:42.279 --> 0:04:44.440 small house. It was just two or three of us there, 0:04:44.839 --> 0:04:46.320 the boss and me and out of the guy. And 0:04:47.279 --> 0:04:49.880 that was a couple of years ago for my pa years. 0:04:49.960 --> 0:04:51.600 That's sort of what it was. I was get into 0:04:51.640 --> 0:04:53.600 it and getting more involved with understanding how to get 0:04:53.600 --> 0:04:56.760 into a union or become a trainee. There's trainee's programs 0:04:56.760 --> 0:04:58.440 for the camera departments and whatnot. So I sort of 0:04:58.560 --> 0:05:01.280 joined as a trainee and then slow just started migrating 0:05:01.320 --> 0:05:04.839 my way through the system. UM twenty for two years, 0:05:04.880 --> 0:05:08.000 second system for four, a focus puller for five, and 0:05:08.040 --> 0:05:10.440 then he came in a camera operator. It was just 0:05:10.440 --> 0:05:12.440 sort of and the opportunities were just sort of unfolded 0:05:12.480 --> 0:05:15.480 themselves at the break time. Just I just took the up, 0:05:15.720 --> 0:05:18.600 just took a chance as you can, as you have to. Yeah, 0:05:18.880 --> 0:05:21.839 it's interesting. I was. I was just at breakfast this 0:05:21.880 --> 0:05:25.040 morning with a producer friend of mine who did Vampire 0:05:25.040 --> 0:05:27.720 Academy with us all those years ago, Dpack and he 0:05:27.839 --> 0:05:31.159 was he was talking about he's he's such a go 0:05:31.279 --> 0:05:34.600 get or entrepreneur, has his fingers and so many pies 0:05:34.600 --> 0:05:37.760 at any time, and said, how do you keep yourself 0:05:37.760 --> 0:05:39.479 focused with all of this? And he says, you gotta 0:05:39.480 --> 0:05:41.359 take every opportunity that's in front of you. You know, 0:05:41.440 --> 0:05:43.080 you get one of these, you get one life. If 0:05:43.120 --> 0:05:45.520 you're lucky you lived at eighty. The first ten years 0:05:45.560 --> 0:05:47.640 you can't really do anything. The last ten years you 0:05:47.680 --> 0:05:49.400 probably won't be able to do anything. So you've got 0:05:49.400 --> 0:05:52.839 sixty years, sixty years to get something that you enjoy. 0:05:52.880 --> 0:05:54.320 And the three of us can all say that we've 0:05:54.320 --> 0:05:56.400 been very lucky, and we do something that we enjoy 0:05:56.440 --> 0:05:58.480 every day. We've got to take those opportunities. You've got 0:05:58.480 --> 0:06:00.640 to take as many and as often as you can 0:06:00.760 --> 0:06:04.600 before I mean, unless they break you. But I think 0:06:04.640 --> 0:06:06.440 any of us have been Maybe we've been closed a 0:06:06.480 --> 0:06:09.680 couple of times, those long, long evenings, long fridays to 0:06:09.760 --> 0:06:14.240 turn into Saturday mornings. But still we're still powering through. 0:06:15.040 --> 0:06:19.520 Absolutely absolutely. Well that's that's the fun of it. And 0:06:19.560 --> 0:06:22.040 then I guess basically I did. It was camera operating 0:06:22.080 --> 0:06:24.800 for a while, and then I had an opportunity on 0:06:25.400 --> 0:06:29.479 a TV series I worked on to do directing. So 0:06:29.520 --> 0:06:32.880 I got into directing world for I guess about seven years. 0:06:32.960 --> 0:06:35.880 I did about thirty two, about forty hours of television, 0:06:36.880 --> 0:06:40.359 and then realized it was not my forte. It was 0:06:40.440 --> 0:06:43.920 just too stressful, a lot of anxiety associated with it, 0:06:44.000 --> 0:06:46.919 a lot of politics, and I was just I and 0:06:47.000 --> 0:06:49.160 I actually left the business after twenty five years of 0:06:49.240 --> 0:06:52.600 being involved and did completely different for like five or 0:06:52.640 --> 0:06:55.720 six years, and then Shadow Hunters was my main return 0:06:55.800 --> 0:07:00.320 back to full time work. Wow. So interesting. I didn't 0:07:00.320 --> 0:07:02.840 know that. I didn't know that about directing. Yeah, it's 0:07:03.880 --> 0:07:08.000 like straight from your mouth, but also sort of subconsciously, 0:07:09.360 --> 0:07:12.360 I think, kind of new because it's very You were 0:07:12.440 --> 0:07:17.720 always very good at translating for some of the directors 0:07:17.720 --> 0:07:21.360 who couldn't necessarily articulate exactly what they were saying. You know, 0:07:21.360 --> 0:07:23.680 it's private moments with you and I where it's like, 0:07:23.960 --> 0:07:25.520 this is what they're asking for, and I'm like, oh, 0:07:25.520 --> 0:07:30.040 I got it. Thank God, Otherwise I wouldn't known. Yeah, 0:07:30.080 --> 0:07:32.440 but that's something I always appreciated so much about you 0:07:32.520 --> 0:07:34.560 and about Glenn as well as and all of the 0:07:34.600 --> 0:07:37.120 camera teams on Shadow Hunters, is that we had such 0:07:37.280 --> 0:07:42.360 a rapport between actors and camera department. And I fully 0:07:42.400 --> 0:07:45.320 credit you guys for teaching me how to make television 0:07:45.440 --> 0:07:47.080 on the technical side, because I didn't know what I 0:07:47.120 --> 0:07:49.480 was doing when we first started this show, and at 0:07:49.560 --> 0:07:52.000 least you know how to make a TV show technically 0:07:52.000 --> 0:07:54.880 and how to help and be a participant in the 0:07:55.160 --> 0:07:58.720 camera situation of it all. And you all were so 0:07:58.800 --> 0:08:00.840 kind to take the time to plain things to us 0:08:00.880 --> 0:08:03.960 and to translate and to to allow us to work 0:08:04.040 --> 0:08:07.640 together instead of that sort of wall that sometimes exists 0:08:07.680 --> 0:08:10.280 between the cast and the camera. I've always been in 0:08:10.320 --> 0:08:15.000 the impression that if if the performers understand what we're 0:08:15.040 --> 0:08:18.240 doing and and and then they can resonate to that, 0:08:18.280 --> 0:08:20.360 they can they can be Okay, I'm over here. This 0:08:20.400 --> 0:08:21.840 is what we should be. It shouldn't be I'm not 0:08:21.880 --> 0:08:23.720 in the shadow over here, I'm in the light. Always 0:08:23.720 --> 0:08:26.040 see that now, all these little things and the marketing 0:08:26.040 --> 0:08:29.440 floor is sometimes important and sometimes not so important, And 0:08:29.440 --> 0:08:31.440 and you just have to let them know that so 0:08:31.440 --> 0:08:34.319 they can have a little less very pointed. We literally 0:08:34.360 --> 0:08:37.800 said days ago, yeah, like two days ago, we were 0:08:37.840 --> 0:08:40.800 talking about how like the most recent TV show I did, 0:08:40.559 --> 0:08:43.840 I'd be camera operator. Patrick used to give me a 0:08:43.840 --> 0:08:45.520 lot of shit. He would look at me. We're in 0:08:45.520 --> 0:08:47.200 New York, and you look at me and go, hey, man, 0:08:47.240 --> 0:08:49.240 you see that mark on the floor. Yeah, it's not 0:08:49.280 --> 0:08:51.199 a fucking suggestion that's where your feet should be, and 0:08:51.520 --> 0:08:53.360 I'd look down as like three feet behind me and 0:08:53.400 --> 0:08:58.120 I'm like a dude, sorry, oh wow, because you just 0:08:58.120 --> 0:09:01.160 can't get it because doing other things, you know, it's 0:09:01.160 --> 0:09:03.200 it's it's complicated to be on that side of the camera. 0:09:03.240 --> 0:09:04.920 And there's no doubt about that. That's why behind the 0:09:04.960 --> 0:09:08.080 camera yeah yes, and no doubt you were do an 0:09:08.080 --> 0:09:10.120 amazing job in front of the camera as well. I 0:09:10.160 --> 0:09:12.400 think the interesting thing is who was it? It was 0:09:12.400 --> 0:09:14.640 either you or Glenn who was talking about an actor 0:09:15.280 --> 0:09:19.160 from like the Fourties who used to do They would 0:09:19.200 --> 0:09:21.920 do a look. So like we as actors and camera 0:09:21.960 --> 0:09:24.439 few people within the industry, you can always tell when 0:09:24.480 --> 0:09:26.440 an actor walks in and has a little look down 0:09:26.640 --> 0:09:28.960 to know exactly where your toes need to stop, because 0:09:28.960 --> 0:09:30.559 it's you know, it's a type moment, whatever it is. 0:09:30.600 --> 0:09:32.880 You just have a little and it's a mark check 0:09:33.000 --> 0:09:34.920 like that that actor just did a mark check. They 0:09:34.920 --> 0:09:37.240 haven't look and that's the landing right where they need to. 0:09:37.280 --> 0:09:41.480 Lads who made that thing, Tracy, Yeah, come in and 0:09:41.520 --> 0:09:44.079 he would do the pensive like look. It would always 0:09:44.080 --> 0:09:47.040 start a seeings like I'm thinking about something. Something's going on, 0:09:47.120 --> 0:09:49.439 would spot his mark and then go straight to it. Yea, 0:09:49.480 --> 0:09:52.320 he worked, He worked in this part of his thing. Brilliant. Hey, 0:09:52.880 --> 0:09:54.800 whatever works. If you can hit your mark and make 0:09:54.840 --> 0:09:57.640 it work, it's brilliant. I think. Yeah, but that's you know. 0:09:57.640 --> 0:09:59.600 That's one of the things also that I appreciated so 0:09:59.640 --> 0:10:02.079 much of about the show is that we all got 0:10:02.120 --> 0:10:05.600 to be such a symbiotic system. After a while, the 0:10:05.640 --> 0:10:08.640 directors started to would come into the situation, most of 0:10:08.679 --> 0:10:11.199 them at least, and see that and sort of trust 0:10:11.320 --> 0:10:14.240 you guys to kind of, yeah, play jazz a little 0:10:14.240 --> 0:10:16.640 bit with some of the shots and with us and 0:10:16.760 --> 0:10:19.120 find those moments that you know, you can set up 0:10:19.120 --> 0:10:21.680 a camera in a point and try and catch a moment, 0:10:21.800 --> 0:10:23.640 but if you see something because you know the way 0:10:23.640 --> 0:10:25.400 we moved through a space and you kind of can 0:10:25.440 --> 0:10:28.000 predict the way that we're going to go about a scene. 0:10:28.000 --> 0:10:30.280 After watching us for so long, you catch things that 0:10:30.320 --> 0:10:32.840 other people wouldn't because we're kind of all on the 0:10:32.840 --> 0:10:36.120 same wavelength as it were. And I think that added 0:10:36.160 --> 0:10:37.680 so much to the show. And there were so many 0:10:37.720 --> 0:10:40.200 moments watching the show back that I remember, oh, yeah, 0:10:40.160 --> 0:10:42.120 that wasn't that wasn't. How it was planned, that was 0:10:42.160 --> 0:10:45.720 just Drew being creative and it added so much. And 0:10:45.760 --> 0:10:48.640 that's directors well, and having being a director and being 0:10:48.640 --> 0:10:54.559 parachuted into different sets, different shows, you appreciate the cruise 0:10:54.600 --> 0:10:56.960 input because it just makes you, the director, look better, 0:10:57.360 --> 0:10:59.520 and that makes the actors feel more comfortable because they're 0:11:00.000 --> 0:11:02.199 there's environment and I'm not the guy coming in to 0:11:02.640 --> 0:11:05.520 change everything all of a sudden and uh, and then 0:11:05.559 --> 0:11:08.760 what's going on here? And it's trying to keep trying 0:11:08.760 --> 0:11:11.280 to keep it consistent with the other episodes, and you're 0:11:11.280 --> 0:11:13.559 always looking for help from the director photography for sure, 0:11:14.160 --> 0:11:16.840 but it does it becomes this as Cats saying, you know, 0:11:16.960 --> 0:11:19.720 you we fall into this space and we were very 0:11:19.800 --> 0:11:22.360 lucky on Shadow Hunters. Maybe this I think probably the 0:11:22.440 --> 0:11:25.720 large reason why we haven't found this again is that symbiosis, 0:11:25.800 --> 0:11:29.120 that level of fluidity that we had on a set 0:11:29.160 --> 0:11:31.000 where we did all sort of get on or at 0:11:31.040 --> 0:11:34.040 least at the very least understand each other or understand 0:11:34.600 --> 0:11:38.760 the motivations behind whatever it is. I think having that that, 0:11:38.760 --> 0:11:41.800 that ability to flow through whatever the day is, no 0:11:41.800 --> 0:11:44.520 matter how hard it is, by relying on the people 0:11:44.559 --> 0:11:48.520 that we trust, is so important and so fundamental and 0:11:48.600 --> 0:11:51.160 something that we found on or I don't want to 0:11:51.160 --> 0:11:53.640 take words out of anyone's mouths, but I think we 0:11:53.640 --> 0:11:55.760 can also we found something like that on Shadow Hunters, 0:11:55.800 --> 0:12:00.920 which is really quite special. Definitely yeah, and speaking to that. So, 0:12:01.000 --> 0:12:03.600 how did you end up in our shadow family? Well? 0:12:03.640 --> 0:12:07.440 Probably to this world. Uh. Well, Mike McMurray, the director photography, 0:12:07.760 --> 0:12:12.400 uh was aware that I was leaving my other concept 0:12:12.440 --> 0:12:15.200 of seven years, which was I'm ready to come back 0:12:15.240 --> 0:12:16.959 to work now because I head of getting phone calls 0:12:16.960 --> 0:12:18.520 from people saying, you know, we missed you where you've been? 0:12:18.520 --> 0:12:21.440 And I would start doing dailies on different shows just 0:12:21.520 --> 0:12:24.480 see camera in the back, and it's uh, I kind 0:12:24.480 --> 0:12:26.400 of started remembering, this is what I love? Is this 0:12:26.520 --> 0:12:29.240 coming right back to me very quickly, which is why 0:12:29.480 --> 0:12:32.240 my direction to begin with. So eventually Mike cut win 0:12:32.360 --> 0:12:34.240 that I was, you know, back, you know, doing dailies 0:12:34.280 --> 0:12:36.760 and a round and and then he I mean I 0:12:36.800 --> 0:12:38.679 just shut down what I had done in April, and 0:12:38.720 --> 0:12:40.559 I mean like literally three weeks later, he gave me 0:12:40.600 --> 0:12:44.520 a phone call and says, I'm doing this fantasy show 0:12:44.720 --> 0:12:47.080 in August. Do you want to do it with me? 0:12:47.360 --> 0:12:50.040 Back the old team back together again, and of course 0:12:50.040 --> 0:12:51.599 I'd be delighted to and the next thing that was 0:12:51.640 --> 0:12:53.920 the next thing. It was, you know, forty episodes over 0:12:54.000 --> 0:13:00.240 two years of you were for No had no idea, 0:13:00.400 --> 0:13:03.080 and I had finally got a hold of what the 0:13:03.080 --> 0:13:04.880 show was called, and I could I tracked it down 0:13:04.880 --> 0:13:06.680 on the internet and I could watch a few episodes 0:13:06.679 --> 0:13:09.800 and start to understand what it was about. And but 0:13:09.880 --> 0:13:11.320 you know, the idea was it was going to be 0:13:11.360 --> 0:13:15.160 not that show, yes, but darker and more adult because 0:13:15.480 --> 0:13:17.480 adults were watching it, not the kids that I was 0:13:17.480 --> 0:13:20.640 really meant for in the beginning. Yeah, absolutely, Yeah, where 0:13:20.640 --> 0:13:24.520 the you thought? Heinsi'n to say so when I have 0:13:24.640 --> 0:13:26.400 to say it was a it was a slam when 0:13:26.400 --> 0:13:29.120 I came in because I think working with Matt Hastings, 0:13:29.160 --> 0:13:31.720 with an American gentleman that came up to directing him 0:13:31.720 --> 0:13:33.240 just show runner and he did the first a few 0:13:33.240 --> 0:13:34.760 episodes it kind of give us the look and that 0:13:34.840 --> 0:13:36.840 was my things, Well, what's the style of this show? 0:13:36.880 --> 0:13:38.440 What's what's the look? I know you're changing it up, 0:13:38.480 --> 0:13:40.800 but and Mike was said, well, we just we haven't 0:13:40.840 --> 0:13:42.960 really talked about that. We didn't think you should be 0:13:43.000 --> 0:13:45.240 talking about that. He had no idea, No, it was 0:13:45.280 --> 0:13:47.719 just this organic thing about about how to shoot it. Yeah, 0:13:47.720 --> 0:13:50.880 it was gonna be long lens cinematography. Okay, I understood 0:13:50.880 --> 0:13:53.959 that part of it. But you know what else, and 0:13:54.000 --> 0:13:55.640 you know, well, that's gonna be low. Of course it's 0:13:55.640 --> 0:13:57.360 going to be low. It's huge, dramatic, and it's it's 0:13:57.400 --> 0:14:00.760 fun as action. So but Matt basically had his ideas 0:14:00.840 --> 0:14:02.560 and I think he sort of imbued on me the 0:14:02.600 --> 0:14:06.079 first week of what he was thinking the show should be, 0:14:06.559 --> 0:14:09.359 and it was him sort of training us to understand 0:14:10.080 --> 0:14:11.800 where you can go and push the limits. He was 0:14:11.840 --> 0:14:14.880 looking for something more stylized than than just traditional TV 0:14:14.920 --> 0:14:17.160 where everybody's center punched and they do their line to 0:14:17.280 --> 0:14:19.600 you walk away. He wanted something that had a flare 0:14:19.640 --> 0:14:22.120 to it in a way. Don't don't don't take all 0:14:22.120 --> 0:14:24.840 the rules of composition. This is me interpreting now going back. 0:14:25.040 --> 0:14:26.960 Don't take all the rules of composition and make it work. 0:14:27.320 --> 0:14:30.400 Push it. And I just embraced that because I was 0:14:30.440 --> 0:14:33.120 just kind of having done operating for so long. Everybody 0:14:33.120 --> 0:14:35.520 went to so perfect in terms of television in the 0:14:35.560 --> 0:14:38.240 center slightly off, I guess, start pushing the sides, I 0:14:38.240 --> 0:14:40.520 guess start trimming into eyebrows for close ups that had 0:14:40.520 --> 0:14:42.080 you a certain amount of energy to it because the 0:14:42.080 --> 0:14:44.760 shots is not quite right. But yeah, but the scene 0:14:44.800 --> 0:14:47.160 is heightened, and it seemed to add to it visually 0:14:47.240 --> 0:14:50.200 what was what was going on? And uh, and the 0:14:50.320 --> 0:14:52.360 cutting was so quick that you never really got to 0:14:52.680 --> 0:14:55.480 hang on a shot that was maybe uncomfortable for some 0:14:55.520 --> 0:14:58.680 people to watch for a while, but somewhere else right now, 0:14:58.920 --> 0:15:02.240 let's discuss that a little more, because you and I 0:15:02.320 --> 0:15:05.720 had one particular problem in general, there was one shot 0:15:05.760 --> 0:15:08.280 that I couldn't get through that I really struggled with 0:15:08.360 --> 0:15:11.280 at any point. And there's it's very common in TV, 0:15:11.440 --> 0:15:14.520 especially young adult TV. It's called a slow pushing, and 0:15:14.560 --> 0:15:16.920 it happens at the end. It happens at the end 0:15:16.960 --> 0:15:20.400 of like a scene where something fucking dramatic has happened 0:15:20.480 --> 0:15:22.480 or whatever. And it would give me a look like 0:15:22.520 --> 0:15:24.440 we're going to do the slow pushing, and I'm like, okay, 0:15:25.760 --> 0:15:29.280 my best and the camera normally on the dolly like 0:15:29.520 --> 0:15:32.280 cuts this entire giant piece of kit with three men 0:15:32.360 --> 0:15:34.400 on it, all of whom you trust, all of whom 0:15:34.400 --> 0:15:36.160 you want to impress, you know, they're a part of 0:15:36.160 --> 0:15:39.520 our team. Starts slowly making its way towards your face, 0:15:39.560 --> 0:15:42.520 and you have to just hold whatever it was wherever 0:15:42.600 --> 0:15:45.080 you were looking and this, you know, two tons of 0:15:45.080 --> 0:15:47.560 equipment is sort of coming towards you slowly, slowly, And 0:15:47.600 --> 0:15:50.720 I still do this day struggle with it. I get 0:15:50.720 --> 0:15:55.440 over it. It is, Yeah. I think it's because it's daunting. 0:15:55.480 --> 0:15:57.600 I think it's there's a lot of like pressure with 0:15:57.880 --> 0:15:59.960 with get. I don't know, I don't know, but because 0:16:00.000 --> 0:16:02.520 you know you had anywhere else, that's the moment it's okay, 0:16:02.520 --> 0:16:04.920 we're here, this is it. Yeah, this is it, and yeah, 0:16:05.000 --> 0:16:08.000 yeah absolutely because the customhere else there'll be white charge, 0:16:08.000 --> 0:16:10.160 there's other places to go, but this moment is right here, 0:16:10.240 --> 0:16:13.320 right now. Yea. So they just always remember they would 0:16:13.360 --> 0:16:15.960 have to do them in series. For you, Tom, We're 0:16:15.960 --> 0:16:21.680 gonna do it and then go back and do this podcast. 0:16:21.760 --> 0:16:24.680 The more we've realized that Tom's not a very professional actor, 0:16:25.560 --> 0:16:28.600 I think I destroyed my career by doing this podcast. 0:16:29.120 --> 0:16:30.920 I don't really recall you missing marks all the time 0:16:30.960 --> 0:16:33.120 you talk about it, but I don't really recall that 0:16:33.120 --> 0:16:35.600 that's being really that's because you guys are good at 0:16:35.600 --> 0:16:37.320 your job. That's what it is like. If I was 0:16:37.360 --> 0:16:39.960 out of focus, you'd pull out or someone would would 0:16:40.160 --> 0:16:43.960 trim the focus a little to would be on that. Yeah. Mark, 0:16:44.160 --> 0:16:45.920 Mark was so on top of it and he's like, Okay, 0:16:45.960 --> 0:16:49.280 I'm just gonna fix this. It is okay now he's 0:16:49.280 --> 0:17:10.120 a focused, fabulous yeah. And then coming into shadow Hunters 0:17:10.000 --> 0:17:11.919 as it's a new thing for me. Even the camera 0:17:11.960 --> 0:17:15.280 team were people that I well, Mark was my trainee, 0:17:15.359 --> 0:17:17.320 but may before you came Focused about or years ago, 0:17:17.359 --> 0:17:19.359 so I knew Mark, but most of the team I 0:17:19.400 --> 0:17:21.119 did not know that Mike had been working with for 0:17:21.160 --> 0:17:25.280 the last I guess seven or eight years on different shows. 0:17:25.280 --> 0:17:28.720 So I'm like this new guy to them and they're 0:17:28.760 --> 0:17:32.359 all new to me, and uh, it was. It was. 0:17:32.400 --> 0:17:34.600 That first week was really rough. I do remember that 0:17:34.760 --> 0:17:38.760 day four, driving into that big boat on that August 0:17:38.760 --> 0:17:43.359 hot day and Mike. If it wasn't for being surrounded 0:17:43.400 --> 0:17:45.760 by friends, because I didn't know everybody on some level, 0:17:45.760 --> 0:17:49.520 even the Dolly gripped him, we went way back. I 0:17:49.640 --> 0:17:52.639 probably would have quit because it was so it was 0:17:52.640 --> 0:17:54.480 just such a wall. It was. I wasn't up to 0:17:54.560 --> 0:17:57.639 that speed. I having left another show, I haven't done anything, 0:17:57.680 --> 0:17:59.679 you know, the year past. It was just a different 0:17:59.680 --> 0:18:04.000 invite completely and they're bang slammed into this fourteen hour 0:18:04.119 --> 0:18:09.080 days community. Just it was just a real handful. It 0:18:09.119 --> 0:18:11.360 took a little while to get up to speed, and 0:18:11.440 --> 0:18:13.280 we threw you in at the deep end as well. 0:18:13.359 --> 0:18:15.280 We didn't throw you in with like a nice warm 0:18:15.359 --> 0:18:17.520 up episode where everyone was just on the beach fucking 0:18:17.600 --> 0:18:19.880 chilling out, like we threw you into an episode. It 0:18:19.960 --> 0:18:22.440 like jump on the top of a container ship. There's 0:18:22.480 --> 0:18:24.280 going to be an alarm that happens every now and then. 0:18:24.480 --> 0:18:26.760 Nobody knows what that means. So everyone just evacuate and 0:18:26.760 --> 0:18:29.199 then we're back on the ship and everybody remember And 0:18:29.240 --> 0:18:31.280 it turned out to be the phone ringing. It's so 0:18:31.320 --> 0:18:33.360 loud in the engine room that they had to that's 0:18:33.359 --> 0:18:35.560 how loud the phone has to be. It was just 0:18:35.680 --> 0:18:37.440 like even for as it was chaos, and we had 0:18:37.480 --> 0:18:39.680 each other to rely and we worked with each other 0:18:39.680 --> 0:18:42.480 for a year. So kudos to you because we again 0:18:42.520 --> 0:18:46.480 we've spoken about this in relation to actors more. It's daunting. 0:18:46.600 --> 0:18:49.000 Coming in halfway through something where people have set themselves 0:18:49.080 --> 0:18:52.240 up is really daunting, and then coming into be such 0:18:52.240 --> 0:18:57.080 an integral piece of our storytelling process is even more daunting. 0:18:57.119 --> 0:19:00.119 So hats off to you because because that's really it's 0:19:00.160 --> 0:19:02.159 really something, it's really an achievement you should feel very 0:19:02.160 --> 0:19:05.159 proud of. Well, thank you, thank you. That's a and 0:19:05.200 --> 0:19:07.199 that's part of the reason why we wanted to have 0:19:07.280 --> 0:19:09.480 Glenn around on b camera because it gave some sort 0:19:09.480 --> 0:19:12.200 of continuity in the camera department from season one to 0:19:12.240 --> 0:19:14.159 season two. And he's a very talented gentleman and Mike 0:19:14.200 --> 0:19:15.879 has worked with him in the past, so it just 0:19:15.880 --> 0:19:19.359 seemed like a perfect fit to have Glenn, you know, 0:19:19.400 --> 0:19:22.200 continue to be there and be our our continuity and 0:19:22.200 --> 0:19:24.320 ask him questions when we were sort of stumped on 0:19:24.400 --> 0:19:26.679 something and you would clarify for us. It really was 0:19:26.720 --> 0:19:28.880 amazing to watch all of you work together and just 0:19:28.920 --> 0:19:34.280 the sort of collaboration and sharing of information and sort 0:19:34.280 --> 0:19:37.800 of everyone's artistic opinions and choices, but still trying to 0:19:37.880 --> 0:19:40.920