I just got out of an interesting conversation about working in the movie business. Specifically in production side. When I started out, and if you wanted to become a cinematographer, and you chose to rise up through the camera department, you had to know someone who would let you on a crew because you're willing to clean camera cases for free. You did this for about 5 years. In that time, you'd supplement your existence through another job. Which made sense back in 1999 with the rental prices and that you're young enough that you could live wth 8 other people in a one bedroom apartment. The bitch of it? You were on set 16-18 hour days. Leaves little time to swing into a second job during the weekdays. Now that jobs are getting even more scarce and hourly rates haven't risen, more the bitchier.
Second, you had to really show you wanted to learn. EXCEPT, you couldn't jump ranks. I've been fired before for asking a cinematographer questions by the key grip who didn't like that I buddy'd up to him. Seems that I was a political hire as a friend and that grip had to show who was boss. Yep, this is high school level garbage.
Now, if you could show that you were worthy, you'd move up to...become a second assistant camera. This was a person who took all the notes. Typically this was a girl because they would double as a slate and who wants to see our ugly guy faces when they could see a pretty girl. Next time you're on set, see if this isn't the truth. Women cinematographers may not follow this train of thought.
Boy did you write notes like a bitch. That meant keeping inventory of film stock too. And had to deal with the camera department's time card. This went on for...at the very least another 5-8 years. Then, you moved onto a first assistant camera. Contrary to what you think, most of these people have no aspirations to become cinematographers (maybe now they do but back then they weren't). They were the least funny, most dry technical people you've ever met. They knew science and engineering. And they didn't take humorous banter all that well. They were as un-fun as possible. The reason...it was their responsibility that gear was there and it was working properly. Even on the smallest set, this meant a truckload of cases, accessories and gear that better work. I suppose the more experience you have, the less stick-in-the-ass you were. But, usually, they were the fathers of the camera department. No nonsense people. Yelling goes down the line, so...
If you wanted to move forward, and a cinematographer on a DIFFERENT crew (yes, I capitalized this since, if you made it this far, no one wants to move you up because you're probably the best person they know at this position. In other words..they don't want to lose a great AC). On a different crew you can wow them with some technical bullshit. You moved onto being a camera operator. Suddenly you are next to the actors. I mean, they rely on you the most to make sure they are framed right. I only know a handful of operators who ever moved to become cinematographers. Because they LOVE being this guy or gal. It's the best place to be because you see it better than anyone else. The crusty older ones actually sometimes dictate what is used. I recall the story of a guy who would wave off a shot, just pan the camera away midway through a take so the director would never use that shot. Why? Job security. They use that shot and it was awful, everyone sees it. Regardless of the reputation of being a guy who does shit like that. Counterintuitive to what you believe a LOT of cinematographers appreciate someone cared enough to watch out for his interest as well. In fact, a LOT of directors (prior to video village becoming grand central station) oftentimes a director would ask the operator if the take was good. I mean, who has the best seat in the house.
By now, you're about 50 years old and if you choose to move up to a cinematographer, that's when you're now someone. And the title doesn't get your pussy, since you're probably already married with kids that hate your guts for never being there. In my day director of photographers were in their 50's. I became one when I was 25. You ever want to see resentment and rumors of me sucking off gay producers...that's the business. The people working today are closer to my rise to that position. They knew someone who randomly saw them do something. Or that they just gelled well with a person. Or they are a relative. Or they see you are passionate about something. All that moves you into a pretty good position. But the work still has to be there. Yes, a lot is the network connections you make. The older you get the less you tolerate, the less people want you around. So if you grow with your crew, that is your best bet.
What I'm getting at also is...you haven't really paid your dues until you look back and realize you paid your dues. 3 AM calls. Panic attacks because you think you screwed something up. Not having gear in Castaic when you only have an actor for a few days. 3AM calls and then turnaround to 10PM calls. Cold, wet, hot, dirty, asbestos riddled, shitty food, public shaming dues paying for...a day rate. And that day rate dwindles to nothing the longer you're on set. And if you're low man on the totem pole, why should you care about what's being shot? There isn't such a thing as a dolly grip reel. All to make a movie no one will ever watch. And as I start to hear the stories of today...the only things that change are that they people I've thought to be on the higher echelon of talent (Al Pacino) is willing to sell himself to the lowest bidder possible. And sit there and eat that cold pizza next to you. It's demoralizing until you realize...you will never stop paying your dues.
So, if people want to ask what it takes to make it in the movie business and if it's worth it...I can answer it thoroughly as you've read here, or simply just nod and tell you it's luck and a bit of effort. Since everyone seems to think they can box until they get punched.
There's a reason why the seasoned guys stick together. They tell war stories people starting out haven't figured out yet.
Though, curiously, most will attempt to hang onto their position as long as it exist. Talk about Stockholm Syndrome.
These days...I do things on my own terms, and feel liberated not to deal with that level of "committment" If you think that's wussing out, you haven't been paying attention.
Good luck!
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