I heard Ava say that on a podcast yesterday. She went on to talk about creating opportunities for others, speaking specifically of black people, women, and minorities. She talked about how this industry is social, it's all about who you know.
"Hollywood is wired like that. The real inclusion and diversity is going to be when we know each other. It's not checking off quotas of how many women and how many black people you let do the job. It's do you really know us and feel comfortable with us. And do we feel comfortable with you to be our true selves," said Ava.
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| Rocky Carroll & I on the set of NCIS |
And so she arranged it: I would shadow Rocky Carroll, for the upcoming episode he was directing of the show's 15th season. Rocky also stars on the show as Director Vance. He's relatively new to directing (in his words), this marking only his seventh time behind the lens of the CBS drama. He would also act in this episode so I'd get to see some of both of his worlds.
It all came together quickly and I found myself on the NCIS sound stages on a bright Thursday afternoon in February, sitting in the back of a conference room, listening to the table read of the episode Rocky would be directing. Basically the actors and director and some producers and key crew members gather together and listen to the actors read the script aloud. It takes just under an hour. Afterwards I met Rocky and told him I'd see him on Friday. He said I could come in around 10 or 11am, whenever I wanted. I asked him what time he'd arrive. He said 7am. I told him I'd see him at seven.
And so began my nine days shadowing a working television director. (Each episode takes 8 days shoot, and then 1 day for the table read.) Every day was a long day. Shooting lasted for at least 12 hours each day, with our longest day being closer to 16 hours on set. Add in an hour's drive time each way for me and it made for a long few weeks. (Add in a head cold I got the first day on set and it became a little bit longer.) But in those long hours I learned so much more than I could have ever imagined.I learned that communication is a director's best friend. In my shadowing I would literally just follow Rocky around all day long. And he was awesome about this. He'd get up from his chair and go talk to an actor and I'd follow him and stand a foot away, listening to their conversation. He'd sit behind video village (a large cart with several monitors where the director and other crew members can watch the take from the camera feeds) and talk to the director of photography and I'd sit next to them and listen. I watched as he'd take an idea from the writer of the episode or the script supervisor or the executive producer and go relay that to his team, to the camera operators or the sound guy or the actors. I was just always there, right next to him, right beside him, right across from him. I got really good about flattening myself against walls during rehearsals or being silent as I stood in the room watching a take live.
And yes, I really did just watch and listen, literally acting as Rocky's shadow. And Rocky was an amazing teacher. He said he's new to this directing thing but really, he's great at it and knows just how to go about it. His cast and crew all love him and that shows in the respect he commands in the room, a respect he wields well to tell the best version of the story possible. So often he'd turn to me and explain his thinking behind a specific choice or a shot or a decision. He'd include me when talking to other crew members, widening the circle enough so that I felt welcome to join and listen in. He'd ask me about my projects and share stories of his own independent projects.
Having only been on a few film sets before I had just the barest idea of what it takes to pull together a frame of television or a movie. But seeing an entire episode filmed start to finish was something else all together. I saw how each department had to work together, how each department really was essential in telling the story. I also saw how much work some of the shortest scenes can take to film. An eighth of a page? Oh, we'll be done in no time. Cue us sitting behind video village, still waiting, four hours later, not having shot one single frame of film. And yet? Work had been happening the entire time.
I'm still processing so much about my time on set. With all of the waiting I was able to meet most of the people on the crew and who work on the show (around 200) and talk to a lot of them about their job responsibilities. (This happened a lot at craft services, i.e., where the food was.) I got to spend time talking shots with the cinematographer. I got to talk sound with the boom operator. I got to talk bullet wound placement with the makeup artists (who have the best coffee on set in their trailer). I got to hear about the life of a guest star while talking to the "bad guys" of the week who were there just to act in this particular episode. I learned a lot from the stand-ins who literally stand in for the actors, who go through the motions of the scene and read the lines, so that lighting and all other departments can get the scene ready for the actors to do their thing. (One of the stand-ins took me to the deli/ice cream trailer my second day on set. I will forever be grateful to her for this kind, kind, gesture.) I had several conversations, and listened in on several others, with Robert Wagner, an actor who has been in this business longer than most of us have been alive. (His first IMDB credit is 1950.) I got to be a fly on the wall as the show's stars chatted about every day things and the show's crew discussed weekend plans. I got to learn from some real professionals who have made 350 episodes of television together. (Yes, many of the cast and crew have been with the show since the start, over 15 years ago, and some were on JAG before that.)And for a few days I got to get a giant hug first thing in the morning from my friend Pauley. Watching her work was great fun and chatting with her behind takes, having her introduce me to even more and more people on set, was wonderful. But reveling in the fact that she made the effort, made the gesture, to invite me, a woman who wants to direct, to shadow a director on her hit television show, was something I'm not sure I'll ever get over.
I spend a lot of time and energy reading and learning and talking about women in film (you've seen my posts about #awomanwrotethat #awomancreatedthat #femalefilmmakerfriday etc.). About representation, about opportunity, about story, about process, about getting a shot to tell stories we want to tell, we have to tell, and about getting an invitation to the party so eventually we can throw our own parties. And this particular invitation was the best beginning.
I made some contacts I'll keep up as I move along. I learned so much that I'll carry onto my own set in the future. In fact, I took some of that onto #thecouch set last week when I got to do some directing of my own. I tried to emulate Rocky in the way that he listened to everyone around him and fostered a collaborative working environment where people felt they could share ideas and be heard. And most of all, I learned that what I have to do, as a women in film, is share my experience. Share it through my stories but also share it with other women and minorities and people in general. That's exactly what Pauley did for me, she shared her experience with me. And I could not be more grateful.
And I can't wait for the episode to air the last week of March. I can't wait to watch the show and remember each and every shot because I was present at the filming of them all. I can't wait to bother my family (my parents will be in town that week!) with the 100s of pieces of trivia I have about the episode. (See that men's room in that shot? It's a working bathroom! I'm full of fascinating tidbits now!) Stories for days. Stories from the party that are my own to share now. Because I was invited. Because Pauley didn't want to be at the party by herself either. Because when we share our worlds with others, all of our worlds grow exponentially so much bigger.
