Worst things you've heard while in the director's chair

[Max Field]

Title says it all; had a pain in the ass ADR session where I was asked "why do we need to dub breathing?"

I personally don't mind "why" questions, as it's an opportunity to educate, however I had to have a 2 minute back and forth hearing "No one's gonna notice!" several times.

 

I eventually got some (begrudging) takes, but I wanted to hear some stories if you guys had any, and advice on how to go about getting what you want/need as the director in the event of unrest.

 

Thanks.

Edited August 7, 2016 by Macks Fiiod

[Guest]

What! Filet mignon and lobster again for lunch! When are we gonna get some real food? (real food that you didn't pay for, you fat slob crew member.)

 

R,

[Max Field]

What! Filet mignon and lobster again for lunch! When are we gonna get some real food? (real food that you didn't pay for, you fat slob crew member.)

 

R,

That seriously happened? I find the second sentence impossible to believe.

[Guest]

The brackets are my thoughts going back to the crew. :)

 

R,

[Max Field]

The brackets are my thoughts going back to the crew. :)

 

R,

No I meant the "Are we going to get some real food" statement. How could anyone have filet mignon and complain?

[Guest]

No I meant the "Are we going to get some real food" statement. How could anyone have filet mignon and complain?

 

Because they bitch about everything.

 

R,

[Phil Rhodes]

Hire better crew.

[Guest]

Is there such a crew????????????

 

R,

[Phil Rhodes]

Lots in London.

[Miguel Angel]

What! Filet mignon and lobster again for lunch! When are we gonna get some real food? (real food that you didn't pay for, you fat slob crew member.)

 

R,

Maybe they were all vegans haha!

 

 

Have a good day!

[Guest]

Lots in London.

 

Really? I thought you kept insisting you were not impressed with crews in the UK?

 

R,

[Max Field]

He hates the land, not the crews.

[Phil Rhodes]

Thankyou. It's amazing how few people can tell the difference.

 

Patriots, eh?

 

In a wider sense, I'm not sure British crew are all that good, but they probably wouldn't be as demanding as Richard describes. In fact, I think you'd probably be able to get some incredibly dedicated and able people if you were to turn up with a show of the sort he often does - that mid-level of material that's properly produced but (and sorry, Richard, but you know what I mean) not a seven-figure behemoth that's unattainable to most people. It's exactly the kind of work we actually need.

 

They might not be terrifically experienced, but I suspect most people in London would be all over it and they might not demand much in exchange.

 

P

[AJ Young]

As a director, you ultimately know what you want and how you want to use it in the edit.

 

Nonetheless, a director has a team of department heads who specialize in specific aspects of production/post. When a key offers a suggestion, it's usually coming from experience of what has or hasn't worked before. (not to say I'm commenting on your experience) Again, ultimately it's your decision on whether or not you'll use the suggestions, but depending on your relationship with a depo-head, those suggestions should most likely be applied.

 

Simple things like getting ADR of someone breathing are little battles that don't need fighting. Micro-managing your departments creates friction and is mostly futile. One wouldn't micro-manage the DP on the contrast ratios of a scene, why would one micro-manage what the post sound mixer will be using down to the sound of a breath? Is it fair for the director of say, "No, we don't need to record room tone."?

 

At the end of the day, if you're the executive producer (or producer/director), then you shouldn't be arguing with any crew member on what you want. However, as only a director, you should focus on decisions that define the bigger picture. In your case, the ADR session has already been scheduled for more than recording breathing (I'm assuming), so why not get it while you're there doing lines? The best mentality is to "have it and not need it" rather then "needing it and not having it".

 

My best suggestion is to avoid micro-managing as a director. Fight for the bigger things and let your team focus on the details they've specialized in.

 

Title says it all; had a pain in the ass ADR session where I was asked "why do we need to dub breathing?"

I personally don't mind "why" questions, as it's an opportunity to educate, however I had to have a 2 minute back and forth hearing "No one's gonna notice!" several times.

 

I eventually got some (begrudging) takes, but I wanted to hear some stories if you guys had any, and advice on how to go about getting what you want/need as the director in the event of unrest.

 

Thanks.

[Max Field]

In your case, the ADR session has already been scheduled for more than recording breathing (I'm assuming), so why not get it while you're there doing lines? The best mentality is to "have it and not need it" rather then "needing it and not having it".

 

 

I was getting it while doing lines, it was literally the last thing to get after 5 other lines. I probably should've made more clear that an actor was complaining, not someone with technical know-how in ADR or any other post-mixing field.

[AJ Young]

 

I was getting it while doing lines, it was literally the last thing to get after 5 other lines. I probably should've made more clear that an actor was complaining, not someone with technical know-how in ADR or any other post-mixing field.

 

Ohhhhh, that makes a lot of sense now. haha

 

Well, difficult actors is a whole nother level. If they lack the professionalism to work with the director, then you may have to pick your battles.

[Guest]

- that mid-level of material that's properly produced but (and sorry, Richard, but you know what I mean) not a seven-figure behemoth that's unattainable to most people. It's exactly the kind of work we actually need.

 

Well Phil I hate to disappoint you, but today I sent out multiple cast offers for my new project. All of them in the seven figures. New project, with a much much larger budget. None of it to be shot in the UK though.

 

Although, I have written a treatment for a movie that would be 100% shot in the UK, as it takes place there. It's a very very expensive project. Time to return in triumph and apply to BFI, no?

 

R,

[Tim Chang]

Title says it all; had a pain in the ass ADR session where I was asked "why do we need to dub breathing?"

I personally don't mind "why" questions, as it's an opportunity to educate, however I had to have a 2 minute back and forth hearing "No one's gonna notice!" several times.

 

I eventually got some (begrudging) takes, but I wanted to hear some stories if you guys had any, and advice on how to go about getting what you want/need as the director in the event of unrest.

 

Thanks.

 

 

Just be sure you're on your game when Bill Shatner is your voice talent:

 

 

TC