Film Courage: What are the biggest mistakes you've made on the first day of shooting?
James Kicklighter, Filmmaker: I think some of the biggest mistakes I've made on the first
day of shooting usually pertain to interpersonal things.
At this point I kind of know what I need to do to get something done technically.
I know the story, I know all of the different pieces that I need to deploy to hopefully
have a good film.
The first day obviously sets the tone for many of those things right?
You have sometimes people you've worked with hundreds of times and sometimes you've got
people that are brand new that you've never seen before and so when you're doing that
I think you have to figure out how those relationships that you have existing are going to mesh with
those that are new.
And it's figuring out the interpersonal dynamics of how these people tick, what makes them
tick, deciding what they think is funny and not funny, things like that.
Because that tone you set on your set on the first day, it does not matter what the film
is.
It can be anything you're shooting, an ad, a documentary film, whatever.
That is going to set the tone with that person that doesn't know you for the rest of the
shoot and if you blow that by misjudging someone by how they feel about things (whatever),
then you've got to work on getting that back (to get them back).
I think that may be for me personally the most...that's something I messed up before.
I try to do better about now.
Film Courage: Well...that's big of you to admit that you've misjudged.
But there are also people that look for a challenge and they someone in charge or whatever
and bring whatever they're dealing with and they say "No...I'm going to be the thorn in
the side to this person."
James: Sure.
And some people definitely have that.
I try to meet as many people as possible across as many departments as possible before shooting
something to kind of get a sense of people and how they are.
And if there's someone that I think is so egregious, I'll talk to the department head
and say let's cut this person.
I've done it.
And so that tone and climate in a set is very important.
That starts at the top, it starts with me.
If you set a good tone, if you set a good atmosphere for your cast, for your crew, typically
even if you're working on a lower budget or if something is not paid as well (whatever
it is), they will work better because they like the space they're in.
And so it is on me as a director to set that tone.
If I'm heinous or if I come in with a bad attitude that trickles down very fast.
So it's really my job to figure out what makes my crew and my cast tick.
And once I understand that dynamics of that then I have a lot more latitude to do the
things as I want to.
Film Courage: Yes, I don't know if I see you being the one to start this...I'll just say
this.
James: That's kind.
I'm sure there are people who have worked with me who don't like me.
It happens to everyone else.
Film Courage: But sometimes people don't like someone for something that is not the individual's
fault.
James: That's true.
Film Courage: And I'll be the one to say this.
So if you can sense someone is trying to whatever...they want to be the director and they are sort
of like coming from the side and doing things to usurp you, what's the best way to diffuse
some of this?
Without having to call a department head and send them home.
Are there ways with humor, maybe no humor to gain their respect?
James: Of course, well I try to figure out what makes that person tick and sometimes
it's just identifying little things like they need this thing in craft services, right?
It's sometimes figuring out that they love this type of coffee and having a PA go get
it for them, whatever it may be.
It's sometimes just little things.
It's observations, so even a little observation like that can go a long way to make someone
feel wanted and needed on a set.
Because I think that when people want to take charge it's not usually because they are a
dominating bully on the set (it can be), usually it's because they think you're not competent.
I think that usually that's the reason that people try to do that and so if you display
competency, if you're calm, if you know what you want, this may be shocking to you but
I'm usually not hot-headed and so I keep a very even tone even with myself.
Even if I'm not in a good mood or if I'm tired, whatever it is.
I try to not project that onto the set because I know that this will trickle down.
So I try to find the things that that person needs to feel comfortable on set even if it's
a creature comfort like a coffee or a crafty thing.
But then it's just making sure that they understand that I understand what I'm doing.
I've been very lucky that I haven't had that happen recently but earlier in my career,
for sure.
I definitely had to deal with that with actors and with people working on the film, for sure.
And I've learned from those lessons and know that I have to make sure that my stuff is
together before I can tell all of these people what to do and how to do.