The photography blog of Props All Around
The first thing you realize when you are new to the movie business is that there is a tremendous amount of effort going into every single thing that will be filmed. Props, costume, art direction, set decorating, lighting, the list is almost endless. It's work done by people whose talent runs deep, who's excitement is worn on their sleeve and in the case of Watchmen couldn't be more passionate. The first few weeks in Vancouver I learned tons about the process and shared my impressions with those that cared to listen. To a person they enjoyed my fresh perspective and wondered aloud if I'd still feel the same at the end of the gig. I'm here to tell you, I do.
Making a movie of any scale but certainly a complicated, nuanced one like Watchmen has been a life-changing enterprise. While there are numerous comforts and perks to the gig, the 104 shooting days were some of the longest and consistently demanding days I've ever had as a photographer. I was a deer in headlights for a good number of 'em too. Sure there's a fair bit of down-time for some but with everything being fresh and new to me, I was a busy man documenting the efforts before me. Finally, after months of shooting everything I saw, word came from the studio that I could take it easy on the behind-the-scenes stuff. Phew.
Being a portrait guy, I made a point of trying to shoot some of those folks in my Streetstudio. It was quickly dubbed "The Clay Cube" by the ADs (Assistant Directors) and now my Lightroom catalog uses the keyword "cube" to categorize those portraits. All 8000+ of them.
This first portrait is of Jimmy Chow. He was the head of the props department. Jimmy epitomizes all that was so impressive among the Watchmen crew. He was one of the more fascinating, enthusiastic, generous, articulate and caring folks and his work reflected it. He and his gang spent dizzying amounts of time and effort on every single thing they touched. To hear him tell the story of the blood splotch on the Comedian's pin is a remarkable tale of experience melded with artfulness. One day he gave me a little tour of his props truck and I was forever changed. I couldn't believe the attention to detail that was being brought to his craft. It was just mind-numbing. During that tour he said something that I hope comes true. He said, "I really think we're making the Blade Runner of the 21st century." I nodded with a new sense of clarity and hopefulness.
Make pictures.
Making a movie of any scale but certainly a complicated, nuanced one like Watchmen has been a life-changing enterprise. While there are numerous comforts and perks to the gig, the 104 shooting days were some of the longest and consistently demanding days I've ever had as a photographer. I was a deer in headlights for a good number of 'em too. Sure there's a fair bit of down-time for some but with everything being fresh and new to me, I was a busy man documenting the efforts before me. Finally, after months of shooting everything I saw, word came from the studio that I could take it easy on the behind-the-scenes stuff. Phew.
Being a portrait guy, I made a point of trying to shoot some of those folks in my Streetstudio. It was quickly dubbed "The Clay Cube" by the ADs (Assistant Directors) and now my Lightroom catalog uses the keyword "cube" to categorize those portraits. All 8000+ of them.
This first portrait is of Jimmy Chow. He was the head of the props department. Jimmy epitomizes all that was so impressive among the Watchmen crew. He was one of the more fascinating, enthusiastic, generous, articulate and caring folks and his work reflected it. He and his gang spent dizzying amounts of time and effort on every single thing they touched. To hear him tell the story of the blood splotch on the Comedian's pin is a remarkable tale of experience melded with artfulness. One day he gave me a little tour of his props truck and I was forever changed. I couldn't believe the attention to detail that was being brought to his craft. It was just mind-numbing. During that tour he said something that I hope comes true. He said, "I really think we're making the Blade Runner of the 21st century." I nodded with a new sense of clarity and hopefulness.
Make pictures.
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10 comments:
Clay is that 8000 exposures or 8000 individual portraits you've done in your Streetstudio? I'm guessing you have shot more than 8000 exposures but 8000 total portraits would be totally insane.
However, I'd believe it.
hey paul,
it was 8000 exposures. i wish there'd been 8000 people in the movie and on the crew. i'd have died but died happy.
ok I thought you were talking cumulative street studio portraits, not just the movie.
8000 exposures seemed way low. 8000 total people seemed pretty amazing.
How many do you think you've shot so far, street studio, total? Just wondering.
i have no idea. well over 25,000 people. mostly new yorkers and mostly on film so it's likely we won't see those for a long time.
Clay - I have tired and tired to get a good B&W conv using 'high key white' This looks great... I just cant get it right =)
great to have you posting again =)
Adam
25,000? That's friggin nuts. I thought 8,000 sounded crazy.
I really, really wish you'd put out a book of this stuff, even a print on demand thing would be awesome.
Hey Clay just wondering if you are still shooting the D200? I know they had some miles on them.
yup, still rockin' my D200s but contemplating an upgrade. i've put down the cameras for a bit to pursue some other interests and business opportunities that, should they pan out, will bring me to the D3. fingers crossed.
hola amigo querido.
tu nuevo hijo JUSTO MAYOL quiere conocerte. vienes en diciembre a vernos?
o antes quiza?
que mierda haces en alemania? son todos aburridos alli.
espero q. andes detras de alguna linda concha y esa sea la unica razon para estar alli.
un beso y abrazo grande
mati
People write quite frequently that the shoot they just came from was one of the most demanding, etc...most of it I find to be self indulgent. However, when bringing a story the scale of Watchmen to the screen, I can only imagine what it must feel like to be one cog among many in a the constantly moving machine of the shoot.
Story telling, regardless of the medium, is truly a wonder when done right.
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