I want to thank Bruce Campbell for sending me this giant interview
This interview is so big that it had to be split in several pages
THE BRUCE CAMPBELL MANIFESTO...
Good readers, the following "Manifesto" is a compendium of information culled from previous interviews, Frequently Asked Questions, and assorted personal ramblings. It is meant to provide both the casual and professional inquirer (Fan or Reporter) with a myriad of hopefully useful background information.
HISTORICAL SKETCHES -- THE OVERVIEW
I was born June 22, 1958 at the Beaumont Hospital in Royal Oak, Michigan. A little trivia for Sam Raimi fans -- he was born in the same hospital.
I grew up in Birmingham, Michigan just outside of the Detroit area. My interest in acting began at an early age, stemming from my father's own interest in art. My father, Charlie, worked in the Advertising industry, but spent his spare time as a member of the St. Dunstain's Community Theater. At age eight, I watched my father perform in a production of "The Pajama Game." Realizing that you could screw around, even as an adult, if you were an actor, this event left a lasting impression on young me.
Soon after, I was cast in my first Community Theater play, "The King and I." Initially, I was only supposed to be in the chorus, but as fate would have it, a much bigger role presented itself: the role of Chu Lu Long Horn, the king's son. The boy originally playing that role became ill, and I was mysteriously cast in his place -- go figure. This part was my first opportunity to speak lines and even sing in front of an audience. The experience turned out to be a good one and I was hooked. The following years brought new roles at the theater for me, and I finally was able to join St. Dunstain's at the age of eighteen.
During high school drama class (Wylie E. Groves High School) in 1975, I met a young man named Sam Raimi. We were both doing lame pantomimes and wound up consoling each other. We soon realized that we both shared interests in acting and amateur filmmaking. So, throughout the rest of high school we wrote, produced, directed, and acted in about 50 Super-8mm movies (along with a group of 4 or 5 other guys), developing the primitive skills that would help us in the future.
The summer after graduating from high school, I landed an apprenticeship with the Cherry County Playhouse in northern Michigan (Traverse City). There, I worked for nothing all summer under the thumb of such TV stars as Abe Vigoda, Doug McClure, and Tommy Smothers. This small dose of "professional" experience cemented my interest in the "business."
That fall, I enrolled in college -- Western ("Wastern") Michigan University. I soon found, however, that the textbook theories and formulas of college failed to compare with my recent hands-on experience. After six months, I dropped out and went to work as a Production Assistant (a Gopher, Lackey, Chump, Runner) for a Detroit TV production company. I worked there for about a year, running errands, sometimes literally sweeping studios and basically learning the nuts and bolts of the film industry.
I later honed my acting skills by doing commercials and industrial films for the automotive industry. These presentations, rife with long passages of technical dialogue, shot in continuous, uncut takes were unquestionably the toughest work I've ever done -- before or since.
Right around this time (January, 1979), I met Robert Tapert, a roommate of Sam Raimi's brother, Ivan, at Michigan State University. Robert had become interested in filmmaking after seeing Sam's early films. Later, both Sam and Robert also dropped out of Michigan State.
In the summer of 1979, Sam, Robert, and I, collected approximately $375,000 from investors in the Detroit area and made our first feature film: "The Evil Dead." I starred as Ash, a witless college student besieged by demons in a quaint cabin nestled in the Tennessee woods. "The Evil Dead" was highly successful both critically and financially and officially launched our professional careers.
HISTORICAL SKETCHES -- THE GORY DETAILS
Q: WHAT DID YOU LIKE TO DO WHEN GROWING UP? DID YOU LIKE MOVIES, ETC.? WHO WAS OR IS YOUR HERO?
A: I did like movies and television when I was a lad. Steve McQueen was a hero to me. I wrote him a letter once and my friends all laughed that he would never write me back. Well, you know what? They were right, he never wrote back.
As a kid, I fished a lot -- I mean a lot. There were summers where I didn't do anything else-all day long for several months. I look back on those days with awe and wonder.
Other than that, my two older Brothers (Mike and Don) and I built tree forts (one with electricity) and a network of tunnels next to my house. I also played "Zorro" in my backyard.
Q: EVERYONE WAS PICKED ON AT ONE TIME IN THEIR LIFE. BACK IN SCHOOL, DID KIDS USE TO TEASE YOU IN ANYWAY?
A: I was actually the kid who helped defend other kids from school bullies. Hero-in-training, I guess.
Q: DO YOU EVER REGRET NOT FINISHING COLLEGE?
A: Ha! Hasun't hert mi spellin' anee...
Q: ARE YOU MARRIED?
A: I am married. I'm coming up on 8 years! That's close to 100 years, in Hollywood terms.
Q. DO YOU HAVE KIDS?
A. Yep, two -- one of each. A teenage daughter (heaven help us) and a soon-to-be teenage son.
Q: WHAT IS IT LIKE BEING MARRIED AND HAVING CHILDREN, WHILE YOU'RE AWAY FILMING MOVIES OR TV-APPEARANCES ON THE OTHER SIDE OF THE EARTH?
A: Unfortunately, for an actor, it's the nature of the beast. I'm away and average of 6 months each year, so you do what you can. On most shoots, my wife will fly out and hang with me on location for as long as she can. E-mail and faxes actually help a lot if I'm in, say, the southern hemisphere and time zones are all over the place.
Q: WOULD YOU WANT YOU CHILDREN TO FOLLOW IN YOUR FOOTSTEPS?
A: That's not for me to say. I want to make sure that any decision they make is based on really wanting to do it, not by any pressure from me. I grew up in an atmosphere where I was free to choose -- so should they.
I have recently, however, been told by my kids that they are interested in exploring "the biz" -- YIKES!
Q: WHAT IS YOUR DAILY ROUTINE LIKE?
A: Again, as an actor, it's all over the place. I almost don't have a "daily" routine. When I'm working on location, I live like a Gypsy -- it can get crazy, with very long hours, living out of hotel rooms, apartments and shaving kits. When I'm not working, I'm either catching up on things like bills or I'm looking for work! Occasionally, I'll go on simple trips with my wife and kids.
Q: DO YOU SUPPORT OR REJECT ANY CURRENT ISSUES OR PROBLEMS?
A: I'm a pretty big fan of the environment and wilderness preservation. Better not get me started.
Q: WHAT GETS YOUR GOAT, SO TO SPEAK?
A: Sleazy Politicians -- of all parties.
Q: WHAT IS YOUR BEST ASSET?
A: I'm willing to make a fool out of myself and have done it on film many times...
Q: IF YOU WERE THE WINNER OF AN OSCAR, WHAT WOULD THE FIRST LINE OF YOUR ACCEPTANCE SPEECH BE?
A: "Do you guys validate parking?"
Q: IF YOU COULD LET YOUR FANS KNOW ONE THING ABOUT YOU THAT THEY'D NEVER EXPECT TO FIND OUT, WHAT WOULD IT BE?
A: That I don't really like genre films. Some fans are shocked to learn that, although I've been in a number of "Exploitation" films, I never really watch them in my free time. Truth be told, I'm in films for a living -- I don't always want to rush home and watch a film (of any genre) after a long day on the set.
Q: IF YOU HAD TO DESCRIBE YOURSELF IN THREE WORDS, WHICH WORDS WOULD THEY BE?
1. No Nonsense (is that more than one?)
2. Regular
3. Sardonic
PROFESSIONAL STUFF -- OVERVIEW
Q. WHAT'S YOUR FILMOGRAPHY?
FILMS:
LA PATINOIRE CO-STARRING -- FILMS DE TOURNEILLE
RUNNING TIME STARRING ROLE -- PANORAMA
MCHALE'S NAVY CO-STARRING -- UNIVERSAL
MENNO'S MIND SUPPORTING -- SHOWTIME
ESCAPE FROM L.A. SUPPORTING -- PARAMOUNT
CONGO SUPPORTING -- PARAMOUNT
ASSAULT ON DOME 4 CO-STARRING -- SCI-FI CHANNEL
DEMOLITIONIST UNCREDITED
FARGO UNCREDITED
QUICK AND THE DEAD CREDITED (BUT ROLE WAS CUT OUT)
THE HUDSUCKER PROXY SUPPORTING -- WARNER BROS.
ARMY OF DARKNESS STARRING ROLE -- UNIVERSAL
MINDWARP STARRING ROLE -- RCA/COLUMBIA
DARKMAN FEATURED -- UNIVERSAL
LUNATICS -- A LOVE STORY SPECIAL APP. -- RCA/COLUMBIA
SUNDOWN CO-STARRING -- VESTRON
MINDWARP STARRING ROLE -- RCA/COLUMBIA
MOONTRAP STARRING ROLE -- SHAPIRO/GLICK.
INTRUDER UNCREDITED?
MANIAC COP I & II STARRING ROLE -- SHAPIRO/GLICK.
EVIL DEAD I & II STARRING ROLE -- NEW LINE/DEG
CRIMEWAVE CO-STARRING -- COLUMBIA
TELEVISION:
GOLD RUSH (MOW) STARRING -- ABC
WEIRD SCIENCE GUEST STAR -- SYNDICATED
ELLEN RECURRING -- ABC
BLAZE OF GLORY (MOW) STARRING -- NBC
TORNADO! (MOW) STARRING -- FOX
XENA: WARRIOR PRINCESS RECURRING -- UNIVERSAL
HOMICIDE (2 PART) GUEST STAR -- NBC
THE LOVE BUG (MOW) STARRING -- DISNEY/ABC
AMERICAN GOTHIC GUEST STAR -- CBS
LOIS & CLARK RECURRING -- ABC
HERCULES (ALSO DIRECTED) RECURRING -- UNIVERSAL
BRISCO COUNTY, JR. STARRING -- FOX
A.J.'S TIME TRAVELLERS GUEST STAR -- SYNDICATED
KNOTS LANDING GUEST STAR -- LORIMAR
PROFESSIONAL STUFF -- SPECIFICS
Q: HAS THERE EVER BEEN A TIME WHEN YOU'VE BASICALLY JUST PLAYED YOURSELF?
A: There is a large element of me in every role I do. Actors who say they can dive inside a character are either schizophrenic or lying. My characters are basically me on my best/worst day, etc.
Q: IF YOU WERE TO MAKE A MOVIE IN WHICH YOU HAD FULL CONTROL OVER EVERYTHING (SCRIPTWRITER, DIRECTOR, PRODUCER, MONEY-MEN ETC.), WHAT MOVIE WOULD YOU MAKE?
A: One with a story about people, based on a factual incident. I find truth much stranger than fiction and far more compelling. I would also have to insist on absolutely NO studio intervention.
Q: DO YOU DO ANYTHING ELSE BESIDES ACTING? SUCH AS DIRECTING, WRITING OR PRODUCING? OR ANYTHING OTHER THAN ENTERTAINMENT? HOBBIES, ETC.?
A: I try to write as much as possible. I've done some directing for TV already with several Hercules/Xena episodes. I was a producer (in some form or another) on all of the "Evil Dead" films and several others, including "Lunatics: A Love Story," "Crimewave" and "Easy Wheels."
For hobbies, I like to hike and backpack -- that sort of stuff.
Q: WHAT TYPE OF CHARACTER HAVE YOU NOT PLAYED, BUT WOULD LIKE TO?
A: An upside-down action hero, someone who was never intended to be an action hero, i.e. "Die Hard" with an accountant in the lead role. No Ex-FBI, CIA, ATF, etc.
Q: IF YOU HAD TO, IN WHAT GENRE WOULD YOU CLASSIFY YOURSELF AND YOUR ACTING? (COMEDY, ACTION, ETC...)
A: I try not to classify myself at all. I try to do as many diverse roles as possible. I started pretty strongly rooted in exploitation, no doubt about that. But, thanks to television, which has a great demand for product, I've been able to expand into very mainstream stuff. I've managed to go from "Evil Dead" to Disney.
Q: IS THERE ANY SORT OF FILM WORK OR GENRE THAT YOU WOULDN'T DO?
A: It's all based on the material. I have no "blanket" policies, on a given genre -- just on bad material. I've even done bad material sometimes because I saw a good role in there.
Q: ANYTHING IN YOUR CAREER YOU'D DO DIFFERENTLY GIVEN A SECOND CHANCE?
A: Maybe next time I won't publicize my e-mail address -- Ha! No, I have no regrets. A lot of the films I did years ago, I would have "passed" on now, but back then, I was glad to get the work so I could learn. We all have to start somewhere. I think I would have used the word "no" a little earlier.
Q: HOW DO YOU FEEL ABOUT THE STATUS THAT YOU HAVE REACHED SO FAR IN YOUR CAREER?
A: I've been busier this past year than ever and I've gotten into a number of new fields (I.E. TV flicks, Sit-Coms, CD-Rom games) that I never was able to crack before, so it's been an encouraging time of expansion.
Q: WHAT ARE YOUR GOALS IN THE ENTERTAINMENT INDUSTRY?
A: My goals are simple: continuous work and a better choice of decent roles. This pursuit of the "fame and fortune" thing is baloney -- it's a slippery slope that demands too much time and attention for uneven results.
I do hope to continue directing and get a little more into writing because diversity and control over the material, to me, equals job security.
Q: WHY CHOOSE THE UNPREDICTABLE FIELD OF THE ENTERTAINMENT INDUSTRY AS A CAREER?
A: The "unpredictability" factor was never really an issue for me -- I never thought about the entertainment business that way. I just love acting. I can never understand why more people don't make their hobby into a career. Sure, it's unpredictable, but no job is 100% secure these days anyway.
Q: IF YOU HADN'T GOTTEN INTO THE ACTING BIZ, WHAT DO YOU THINK YOU'D BE DOING TODAY?
A: I think I'd be some form of teacher; sharing knowledge is a crucial thing in our society. Either way, I'm not really a 9 to 5 kind of guy.
Q: WHAT WAS YOUR ATTITUDE TOWARD THIS BUSINESS WHEN YOU GOT STARTED AND, IF IT HAS CHANGED WITH TIME, HOW HAS IT CHANGED, AND WHY HAS IT CHANGED?
A: I had dreams and fantasies like anyone else who wants to get into a certain profession. You need those to keep you going. Now that I've been at it a while, my "dreamy" illusions of the business have simply been sharpened into a more realistic "industry" view. It's gone from a fantasy to a cool job, and I'm fine with that.
Q: BRUCE CAMPBELL IS AN ACTOR, WRITER, PRODUCER, EVEN A DIRECTOR. IS THERE ANYTHING YOU HAVEN'T DONE WHICH YOU WOULD LIKE TO DO?
A: I'd like to do a project where I wear all of those silly "hats" at the same time. Oh yeah, and go to Alaska.
Q: HAVE YOU EVER REFUSED A ROLE/MOVIE, WHICH LATER BECAME A BIG BOX-OFFICE HIT?
A: No, oddly enough, just the opposite. I've almost been in some big films that bombed -- and no, I'm not gonna tell you which ones...
Q: DO YOU WISH YOU COULD HAVE DONE SOMETHING MORE MAINSTREAM AS A WAY OF MAKING YOUR MARK?
A: Well, ponder with me for a moment: My first film experience was with "Evil Dead." I was one of the Executive Producers of the film and we were allowed to make it without any creative intervention whatsoever. How many "mainstream" actors can say they've ever had complete creative control over anything?
Q: WHAT ASPECT OF FILMMAKING DO YOU ENJOY THE MOST? ACTING, WRITING, DIRECTING?
A: Each is rewarding/torturous in different ways:
Writing is very solitary and aggravating, but if you can get it produced, you're the guy who controls the rights.
Directing is a major brain-drainer -- you're involved in all phases of filmmaking and you're bombarded by questions all day long. But, the creative rewards can be pretty high.
Acting, to use a football analogy, is like being a Place Kicker: You warm up on the sidelines for most of the game, but then, at the last minute, you're brought in to win the game.
I like the whole mixed bag. In Detroit factory talk it would be referred to as "Job Rotation."
Q: DO YOU LIKE PRODUCING, WRITING AND DIRECTING INDEPENDENT FILMS OVER STUDIO BACKED PRODUCTIONS? IF SO - WHY?
A: Well, with independent films, you generally are able to maintain creative control over your work, but if you go over budget, you're boned.
With studio pictures, you can cry poor sometimes and they'll cut you a check, but this comes with a price: loss of control.
Q: WHAT IS IT LIKE WORKING ON TV IN CONTRAST TO WORKING IN THE MOTION-PICTURE INDUSTRY?
A: TV is very quick. The one-hour format is more of a grind. You have 7, maybe 8 days to shoot an episode, which usually translates into harder work, longer hours and no rehearsals -- you just kind of wing it.
On sitcoms, the hours are more forgiving and you get to refine the material all week and rehearse to try and get it right. The rush of performing in front of an audience is always cool too, but I'm pretty new to this.
Feature films can take the time to tell a better/fuller story, but the shooting pace (or lack of it) can be maddening and the results are not always better than TV.
Q: DO YOU THINK THE MOVIE INDUSTRY HAS CHANGED SINCE YOU FIRST ARRIVED ON THE SCENE?
A: Yes, in my opinion, the elements of telling a good story have been de-emphasized in lieu of big special effects. The marketing of films has also become more intense so the pressure to only cast "big name" actors has increased. I think since budgets are IN-creasing, risk-taking is DE-creasing.
Q: DO YOU THINK THAT BIG-BUCKS MOVIES LIKE "INDEPENDENCE DAY" OR "TITANIC" WILL RUIN THE FUTURE OF SMALLER BUDGET MOVIES?
A: I hope not. I actually think they will prompt a backlash of story-driven films with modest budgets and fewer showy effects. However, I am concerned that the bridge between high and low budget is widening. A film today is either $350,000 or 100 million.
Q: HOW DO YOU GO ABOUT CHOOSING A PROJECT TO WORK ON?
A: I read the script. If it's a part or story that's interesting, then I'll consider it. For the movies "Assault on Dome 4" and "Menno's Mind," they actually wanted me to play the hero in each. Instead, I opted to play what I felt were more interesting characters.
The decisions are also sometimes based on exposure. Sometimes, I choose large roles in small films but, as a result, not many people see the work. Other times, I get small roles in big films that I know gobs and gobs of people will come to see.
Ultimately there are three factors: the part, the exposure, and the money, but not necessarily in that order.
Q: DO YOU USE AN AGENT OR IS IT ALL NETWORKING?
A: This business is set up in such a way that having and using an agent is essential. Yes, I use an Agent, and I also have a Manager.
Then again, more and more roles I get recently have come from associates of mine or through other connections made over the years. It's probably about 50/50.
Q: HOW DOES AN ACTOR LIKE YOURSELF GET "JUDGED"?
A: Ultimately, all actors will ultimately be judged by three things:
1. Ratings/Box Office
2. Critics
3. Their Peers.
Good reviews from critics and peers are nice, but #1 tells the whole story.
Q: DO YOU DO ANYTHING INVOLVING LIVE THEATER?
A: Not anymore, I did some in my youth and enjoyed it immensely for it's uninterrupted nature, but I have been exclusive to the big and small screen for a while now. Theater is very time consuming, and time is one thing I don't have as much of these days.
Q: WHAT DO YOU LOVE AND HATE THE MOST ABOUT ACTING?
Love: The places it takes me, the people I meet, and the magic of the "on camera" experience.
Hate: The politics, the BS, and the over-technicalization of the process.
Q: IS THERE ANY ASPECT OF ACTING THAT IS DIFFICULT FOR YOU?
A: Crying used to be really hard. I have had very few "really bad" things happen in my life to pull from. Other than that, cumbersome technical jargon and "exposition" dialogue (saying the plot, basically) are always a killer. Whenever a writer makes it easy on himself/herself, the actor inevitably suffers.
Q: HAS THERE EVER BEEN A TIME WHEN YOU HAVE FELT THAT YOUR
CHARACTER WOULD NOT SAY A CERTAIN LINE OR LINES AND HAVE ARGUED WITH THE WRITER/DIRECTOR ABOUT IT?
A: I only argue with directors/writers when they haven't been thorough with the presentation of the story and/or character, so the answer is, yes! But, there is no place for the "on set" tantrum. Disputes about material should be handled well in advance or off to one side.
Q: I READ IN AN INTERVIEW WITH A DIRECTOR WHO SAID THAT YOU ARE VERY ADEPT AT MEMORIZING YOUR LINES. DO YOU AGREE WITH HIM? HAS THIS KNACK EVER GOTTEN IN YOUR WAY OF IMPROVISING WHEN YOU'VE NEEDED TO?
A: In my opinion, you can't improvise until you know your lines. This is one of the great fundamentals of acting. You can't deviate from the material unless you KNOW the material. I try and get a good foundation and work from there.
Q: DO YOU DO YOUR OWN STUNTS? AND, HAVE YOU EVER BEEN SERIOUSLY INJURED DOING A STUNT?
A: I do my own stunts to a degree. It's a fallacy that some actors "do all their own stunts." Insurance Companies simply will not allow this. I do more than the average actor and have done dumb things in the past, but plenty of talented stunt men have helped out too.
Q. ANY INJURIES TO REPORT?
A. As far as injuries go, on the first "Evil Dead" film, Sam Raimi mounted the camera on a motorcycle for the last shot of the film. He rode the bike through the cabin and rammed into me with it. I broke a rib and he banged up his knee -- kids, sheesh!
In "Army," I cut my face flipping a stunt man, but the doctor in the emergency room didn't know which "cut" to stitch up -- my character, Ash, had so many others. But, to quote Larry Fine of the Three Stooges, "The pain goes away on pay day..."
Q: ARE HOLLYWOOD STARS REALLY BLOWN-UP STARS, THAT WON'T SPEAK TO FANS OR ARE THEY JUST AS "NORMAL" AS US OTHER PEOPLE?
A: 90% of the time they're really cool, because they're at the top of their game. I have found that the "up-and-coming" actors and the "on-their-way-out" actors are the troublemakers because they're either trying to prove something, or they're bitter and want to take some people down with them.
Q: IN THE PAST YEAR WE HAVE SEEN ACTORS GETTING PAID UP TO $20 MILL FOR EACH MOVIE THEY MAKE. DO YOU THINK THEY'RE WORTH IT?
A: It would be hard for me to be on set, talking to some of the hard-working crew members, knowing that I'm getting more for one film than they will ever make in their entire lifetime. That's too much money, and one of the reasons films' budgets are so big is because the cast is too expensive.
I also think at that rate of pay, an actor's work suffers. It's got to mess with their process knowing that, for example, they're getting $100,000 per line or whatever.
In their defense though, I think more actors would be willing to work for minimum wages if they really felt that studios would give them a fair shake on the accounting.
Q: ANY TIPS FOR ASPIRING FILMMAKERS?
A: Yes. Generally speaking, if you are lazy and unmotivated, you will fail. If you are willing to put in potentially years per project, you've got a chance.
Specifically...here are Bruce Campbell's two-cents worth...
1. Get your hands on some material. Write it yourself, buy it from a friend, option the rights of a book -- you name it, but get something to shoot.
2. Find yourself a partner. I've had great partners when working on independent films. You might be able to go it alone, but I don't recommend it. The trick is finding someone as passionate as you, who also shares the same sensibility and drive.
3. Determine what you want to make -- is it a movie, TV pilot, short subject, documentary, play, what?
4. Determine the format -- are we talking video, 16mm, or 35mm?
5. Determine the cost -- How much do you want to spend? How much can you raise? (or have in your own pocket)?
Take your time with this -- it can only really be done after the script is written and is often overlooked by first time filmmakers. An incomplete film is of no use to anyone - especially the filmmaker.
6. Determine how you want to gather the money -- car washes, bagel sales, borrow from a rich uncle (the best way), form a Limited Partnership (like I have done on several occasions -- consult with an attorney), applying for a grant? Each form of money raising will have its own "costs" and attending paperwork.
7. Start raising the money -- in my experience, this is the single hardest task you will undertake. You will need to put together some form of presentation for any kind of money people (rich uncle or not) that spells out a minimum of the following:
A. A description of the project.
B. A budget of the project -- including how much you want from each individual.
C. Risk factors: to warn the investors what they're up against.
D. Some form of business plan, i.e. when you will shoot, when you'll be done and where you will sell it (to whom and for how much) and when you think they'll get their money back and how much profit you intend to make.
These are the very basics of what you will encounter. In addition, you will need to fight the image of the "flaky" creative person and must learn to talk the language of businessmen.
Be prepared to spend a minimum of two years on your first project -- I spent four years on the first film, from beginning to end.
Be flexible, resilient, creative (on the business end in particular) and bone up on all of the various business-oriented methods of raising money. It's not pretty, but it can be done!
Q. WHAT DOES A PRODUCER DO?
A: A producer is someone who is generally the first person to "develop" an idea that will, hopefully, one day become a movie. This can entail purchasing/optioning a book, short story or screenplay and overseeing the adaptation, expansion or re-writing thereof.
The producer also, in some cases, "packages" the project, meaning hiring the director, the writer(s), lead actor(s), and then presenting this package to a financing entity.
He or she will then assist in determining the budget, or lack thereof, and will decide how long the film can afford to shoot for and where. Throughout pre-production, the producer is very instrumental in all major hiring/firing decisions.
He or she is also, in many cases, the liaison between the production crew and the studio, hopefully supporting the vision of the director.
Basically, the level of involvement a producer has varies greatly:
-- Some producers merely "package" films and are never heard from again (this can result in an "Executive Producer" credit).
-- Others are brought in to oversee the "nuts and bolts" of day-to-day shooting (also known as "Line Producer") but do not have final say in creative matters.
-- Still others are known as "creative" Producers and take a very active role in the entire filmmaking process.
Q: DO YOU HAVE ANY ADVICE FOR FIRST-TIME DIRECTORS?
Boy, do I! Some of it is:
1. Communicate, communicate, and communicate!
Actors must be aware of your intentions -- even how you are photographing them (to some extent) so that they can serve you and the film better. The same goes with all of the department heads -- they must know what you want, or else they cannot give it to you.
2. Don't get all wrapped up in Storyboards, cool shots, lenses, etc. any more than your story demands.
Don't forget things like blocking, characters, and MOST IMPORTANTLY -- a working script that doesn't suck!
3. Getting 40 set-ups (or shots) in a day isn't always the goal. This isn't a contest -- 40 shots of what? And how rushed do you have to be to get that? How about 20, really good, planned out shots? Making the film shouldn't be a zoo, unless your producers are idiots and you, as director, are unprepared.
4. Don't neglect the proper shooting process. First thing in the morning (and at the beginning of each new scene to be shot), clear the set, work with the actors to establish/sign off on blocking, show the scene to all concerned departments, get the actors out of there and line up with stand-ins and light -- then bring the actors back in and shoot. It sounds horribly basic, but so many people forget or never learn the correct procedure.
5. Work your little, doughy ass off!
Q: WHAT ABOUT ADVICE FOR ACTORS?
Bruce's two cents worth about becoming an actor
The practical side --
1. Compile any "footage" you have of yourself into a 3-5 minute "demo reel" that shows your best stuff -- or any stuff. The finished format should be on 1/2" VHS videotape format. Be prepared to make several dozen "dupes" (copies) of these.
If you don't have anything you've worked on -- create it! Get your hands on a video camera at the local access cable station and record some prepared scenes -- anything is better than nothing. Start saving your pennies now!
2. Get an 8"X10" "headshot" taken of you in black and white -- I would recommend one lighter in tone, one serious -- about 250 of each. Don't print your resume on the back (heck, just staple a nicely printed, updated resume on the back) -- this will allow you to change it often without affecting the pictures.
The picture(s) should be current and it should look exactly like you -- the same as if you walked into that Casting Director's office.
3. If you move to LA:
A. Be prepared to get a non-movie job and support yourself (in a job that has flexible hours) and have a 5 year plan -- yes, five years.
You will rapidly find that Hollywood is not "waiting" for you to arrive, and that you will need to learn the ropes for a while.
Some of you will find a fast track out here, and others will have to pack it up and turn the truck back to Oklahoma -- no big deal -- it's not brain surgery.
B. Become as familiar with the city as fast as you can and pick an area where you'd be comfortable living. Don't live in a crappy neighborhood just because it's where you think the "action" is. You can't stop living while you wait for your ship to come in.
These are the basic necessities. Beyond that, the process you follow to "get in the door" can be almost anything.
Bear in mind, most talent agents will not meet with you if you just "show up" at their door. However, in some cities, like New York and Hollywood, there are showcases where you can present prepared scenes to people in the industry (i.e. casting directors and talent agents/managers).
You can also enroll in acting classes in LA/New York that will allow you to meet other actors and swap ideas/plans.
Other than that, you can dig up every actor trade magazine and get ready for those cattle calls. You can also find industry-related temp jobs by applying for production work (as a runner, for example -- behind the scenes), or as an extra, or stand-in. Use your imagination -- you'll need it!
Personally, I simply became one of the producers on the first film I was in ("Evil Dead") -- and gave myself the part. Granted, this was a 4 year long commitment to seeing the first film through, but it may be something to consider -- especially if you live in a city far away from LA or New York and don't fancy the relocation just yet.
Remember that you can always write your own material and try to find some money to get it made. It's America after all, use it to your advantage.
Most of all, be patient, diligent, and hard working; only lazy actors complain about not finding work.
WARNING: This business isn't for the faint of heart.
Q: WHAT DO YOU THINK ABOUT THE RECENT ATTACKS ON VIOLENCE AND BAD LANGUAGE IN MOVIES, MADE BY AMONG OTHERS BOB DOLE?
A: Bob Dole lost, didn't he? I'm sure Hollywood is holding its own with politics in the ethics department.
Q: WHAT DO YOU THINK OF THE NETWORKS RATING TELEVISION SHOWS THE SAME WAY THAT THE MOVIE INDUSTRY RATES MOVIES?
A: That's fine, but it ultimately falls on parents to assume responsibility for what they allow they're kids to see. If they want to shelter their kids or let them watch anything, it's up to them, but I'm sure there will be consequences from both.
I think it's a good idea to make TV a lower priority for kids in general, or to encourage more interactive activities. What ever happened to tree forts?
Q: HOW HAVE YOUR EXPERIENCES AS AN ACTOR HELPED YOUR WORK AS A DIRECTOR.
A: Having been an actor for a while, I am very sympathetic and responsive to the actors on set when I direct. I've taken mental notes on what bugs me as an actor, so as a director, I make sure to explain everything to the actors - why I want them to move on a certain line and how they are being filmed.
Communication, in my opinion, is the key!
Q: WOULD YOU DESCRIBE YOURSELF AS A PATIENT DIRECTOR OR A DEMANDING ONE?
A: Oh, I'm both. I'm patient with the actors and crew, but very demanding on myself. I don't tolerate actors who don't know their lines, though. That's a "bare-minimum" requirement" which, surprisingly, is often overlooked.
Q: WHAT'S WITH THIS OFTEN DISCUSSED PROJECT "MAN WITH THE SCREAMING BRAIN?"
A: "Man With The Screaming Brain" was/is an on-again, off-again hobby of mine. It's almost been made several times, but for whatever reasons, it falls through. It's sort of a modern-day "Frankenstein." Currently, there are no plans to make this flick.
       
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