Cycle II

At 3:38 this morning, I was soaked to my underwear by omni-directional sprinklers in an attempt to rescue two 4x8' Floppies from being ruined by the water.

That moment came at the end of a 13-hour day, which came at the end of a 3-day production called "Director's Cut" (a spoof on a horror film). I was the Camera Operator--and very pleased to be. No one worked harder on set (though I'll say that James Adolphus worked every ounce as hard) and for my personal growth, I wouldn't have it any other way.

Operating in and of itself is very mentally and physically taxing: Guaranteed, it's the most awkward positions that create the best compositions. And to boot, we were hand-held literally the entire production, which meant that I was the human tripod--whether we were speeding or not. Initial framing, blocking, rehearsing and shooting--all the time the camera was in my hands.

It was not easy on the ol' back, which has somewhat healed, but reminds me with a continual dull pain of the ever-present threat of a history repeating itself. I'm being smart (or trying to) with my exercise and eating, so as to avoid that at all costs.

But it was challenging and exciting, and working that hard means you're never bored--and the days go by pretty quickly. I gained so much confidence in the last 3 days that I feel like I've doubled my ability as an Operator. It's so hard, great operating, that you can't even imagine until you try it. Timing moves with an actor requires more 'performance' than you'd ever suspect a crew member would need. The real challenges are sitting and standing up, and leading someone properly as they walk, especially on the Z axis. Sounds pretty simple, to tilt up or down with someone as they stand/sit? Try it! Try it on a long lens. Try to keep yourself from anticipating their movement, and going too early--or worse, being too late! These days, my biggest pet peeve is an Operator who let's an Actor's head dip out of frame they stand up. Not only does it look sloppy, but you're instantly reminded that you're watching a movie, not a story.

This means that, sometimes, I am my own pet peeve. But I had lots of practice this weekend, and now I can lead a leading lady into her seat on a plate of butter.

Don't ask me to explain that. But the key is confidence. It's simple, but you just have to work the camera, and not let it work you. If it knows that you know what you're doing, it'll serve you perfectly. Be the jib. Be the boom.

So I got home around 4am, had a half-portion of Crispix with a banana and blueberries, watched part of a movie, then went to bed at 5.

At 9am, Finn woke me up, and I made him breakfast, and I had a full portion of Crispix with a banana and blueberries. Then did the dishes, because I love my wife.

I shoot week 6 of Cycle II, then week 1 of Cycle III. That's a 2-week turnaround between shows. It's a lot. I can't wait. I freaking love film and filmmaking. We had Conservatory week recently with Bruce Block, in which we really broke down the screen and storytelling on it. It was outstanding.

My current experience is full of stress, anxiety, frustration and doubt. But, interesting in their irony is how much all of those things induce real, palpable growth.

I'm also learning Icelandic--can't remember if I've mentioned that, because it's pretty personal and I'm holding certain cards close to the chest--but it's going great. Danish helps.

It's a nice break from pre-production. I'm also reading the Sagas of the Icelanders, and I cannot get enough. Egil's Saga is so full of valor, brutality and super-human strength that it borders on mythology. But if the history is half-true, then those Vikings of the North were like nothing our generation knows.

I am prone to believe it, and I am easily lost in the romance of that poetic account.

We screened THE ROAD with its Cinematographer on Friday. He didn't speak a word of English, but I got more out of that forum than I did with any other yet this year.

PEOPLE: Go to movies. See them in the theater. Never forget what that feels like.

THE WOLFMAN is next. See you at the Arclight.

wes.