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| FOREWORD |
The GBCT Online Newsletter – the last one for 2009 and the first one for 2010! I don’t believe this Newsletter has “settled” yet; it doesn’t have its regular ‘bits’ and it hasn’t quite got its format right. But, hey, it’s getting there and maybe we’ll all be saying “this is IT” when the next issue is loaded onto the website. |
So much has happened this year and a lot of extraordinarily good things are going to happen next year. (I looked in the crystal ball!) Seriously, it’s an exciting time with a huge amount of things taking place – some very confusing from my point of view! But, and I do believe this, if we keep positive and rise to all challenges, we’ll come through the other side. |
I say this because I’ve been looking through some old “Eyepiece” editions and came across an article “££££…This Film Business…$$$” written by Derek Threadgall and Cherie Goode. Here are some extracts from an article that was written in December 1989. Sounds familiar?! |
“…. The problem is that the media business has now grown so large and diversed into so many different areas, that individual parts - such as the film industry - have totally lost their identity and are controlled by faceless corporate bodies who have no real interest other than what appears on the balance sheets. The recent shenanigans between the big boys in film and television – Time, Warner, MGM/UA, the BBC and Murdoch only highlights the deepening mess into which this industry is sliding…….. How would these young Turks have stood up against the old style movie moguls who believed in being involved with film making? Sure, they may have juggled with the books occasionally, but they made pictures… Mind you, they only had one outlet for their product – the cinema. Now we have a plethora of outlets and diversified products allied to film. It is this that has created the present media monster……. |
The giant media board game (or should it be bored game) currently straddling the business world provides some interesting thoughts. For example, how would the old style movie moguls have reacted to Sony taking over Columbia Pictures after losing their superior quality Betamax machines to VHS…..” |
And here’s another comment from a different article: |
“CRANE ABUSE – A SOLUTION … Further to your letter in “Screen” about the dangers of untrained and inexperienced Grips, I thought you might be interested to know that JOBFIT is about to introduce Grips training in its 1990 programme. ….. There has been concern about the safety aspects of grips work for some time. I have had a considerable number of meetings with Dennis Fraser and discussion with the Grips Committee of BETA who all are eager to see the introduction of training through a two-year apprenticeship and attachments…. Maggie Sanson, Director JOBFIT” |
AND FROM THE “HAWKEYE” COLUMNS OF 1989 – More: CONTROVERSY ON OPERATING AND LIGHTING |
(1) “….. the Section Committee has been concerned for some time now about the growing practice of Lighting Camerapersons/Directors of Photography dispensing with a Camera Operator. Rather than reject it out of hand it would be more interesting to find out why exactly DOP’s prefer to operate themselves……” |
(2) “…. When lighting a set or an action, a DOP also reveals some emotion, a meaning…. Expressed by manipulating light and shade, colour, texture and framing. These elements are always present……. They reveal subtle moods and characteristics which augment the actor’s performance…… There is a moment in every shot/frame when this combination (mise-en-scene) rings true. That instant is best understood when witnessed through the camera (not video assist). That is why I operate in addition to lighting…..” |
(3)…..”As an established Operator for several years I feel that I may be permitted to reply expressing some of my own views on this problem….. Everyone in our business knows that the Operator works closely with the DOP and Director to interpret their instructions for the camera and communicate with the rest of the camera crew; all done in order to make things happen quicker. This enables the DOP to spend more time on enhancing the lighting, the Director to concentrate on the actors’ performances and both of them to further develop the vision and style they have been working on prior to shooting….. And when actually shooting, because of the planning done by the Operator, the shot is completed much faster with the actual quality of the shots better than if the two roles were one. In my experience, the Operators I have known have carried out their duties with absolute perfection and their work has been impeccable and vitally necessary. They have also shown much loyalty to the DOP…… |
With the deplorable state that the British Film Industry is in at the moment, a greater liaison is needed between the two categories…...” |
(4) “Sir, as a director who for seven brief years was a camera operator, I would like to offer my opinion as to why I think an operator is an essential member of any crew. In my experience there is more than enough work for both the DOP and the Operator on the floor. These are both full-time jobs, when done properly and to their fullest potential. Time pressures are an inevitable and permanent feature of any production. There is never enough time to watch every tiny little detail that one would like to. I need all the help I can get from both the DOP and the Operator to minimize the time lost. The concequence of not having one of these jobs inevitably mean compromise and make a weaker film. I, as a director, will not tolerate this. I feel it is my duty to create the strongest environment to make the strongest film….to explore the possibilities and options….. to make a better film.” |
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NOTE TO GUILD MEMBERS |
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FAREWELL 2009 AND WELCOME 2010 |
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Thank you to Everyone – especially our Patrons – for supporting us. Long may it continue! Wishing you Season’s Greetings from all the team at the GBCT |