I framed a callsheet today. Exciting I know. What was so special about this call sheet? It is a callsheet for the first movie I ever worked on with a "name" director that I also greatly respect and admire. I know that sounds cheesy, but bear with me.
The film business has been compared to a lot of things... but the war analogy is jumping out to me right now. You hear a lot of veterans saying that it isn't about right or wrong, it's about the guy fighting next to you. A lot, okay, maybe most of the films I work on are like that. I could care less about the end product, but I do care about the people I'm working with... the Below the Line people that is. But every once and a while a war like WWII comes along and you end up fighting for the man beside you AND the man being oppressed. This movie was like my WWII, not only did I want to do a good job for my fellow grips, the key grip, and ultimately the cinematographer, but I wanted to do a good job for the director. It was very refreshing to work on something that I genuinely want to see in the theaters and something I want to do well for the director's sake.
And with that, I leave you with a picture of the finished product and one final sentiment.