I'm done. Since Wednesday night. I'm in a daze. Recovery.
Working on set/in production forces your brain into a certain mindset, if you are to survive with your sanity. After awhile, that brain-set takes a physical form in your body. You realize your shoulders are always tense. Your jaw clenched for no good reason.
With experience I've learned that the best thing I can do during the recovery period is a whole lot of nothing, or stupid meaningless silly things. Hey, I might get productive, and that would be a bonus. And I'm thankful for those moments, however fleeting.
But for a few more days I'm tackling small projects. Doing house cleaning. Organizing my iTunes library and adding all the ID3 information to my ancient mp3's. Planning my office overhaul. Doing that stuff that I kept ignoring, piled up stuff patiently waiting for my attention for months.
I'm writing a bit, more and more every day. As my brain and body remember Who I Am, again.
Sorry for the whack-o last post. I know I was being vague. Recovery. But I think I'm figuring out my problem. One thing that helped was watching "Little Miss Sunshine" the other night. I think what I'm striving for character-structure-wise is a bit like what they've done: a large, very involved supporting cast but with a classic main character (in LMS, Greg Kinnear). I'd love to read the script. Anybody got it/have knowledge/able to share?
Oh, also, more info about The Artist's Way. Here's an amazon.com link to the book. There's a short wiki about the author, but it looks like the official Artist's Way website is down right now.
Allrightythen. My iTunes library is calling. I have 294 songs that I need to hunt down the album info for. And if I feel really anal, another 300 or so that need track numbers.
Wait -- Hmmm....do I need to catch up on any scanning?
Sometimes brainless tasks are just what the doctor ordered.
Saturday, March 24, 2007
Tuesday, March 20, 2007
Two Thongs
Sometimes a typo works better. And that would be this blog post title. I intended Things, but sometimes fate pulls a fast one. And sometimes fate is named Shiraz.
Numero Uno: The Artist's Way
I can't believe how long it took me. I had been told by many, many people that I need to read Julie Cameron's book The Artist's Way.
Although I do regret the previous lapse in judgment, I'm actually in the perfect place and time right now for it to help and stick. Because I want it. Really. I'm ready, and I've shown myself (finally) that I am. I actually believe it.
I've just started the book and the introduction has been freaking me out. In a good way. I'll keep ya'll posted on my process. Even if you don't give a shit.
Numero Dos: My script
Fuck it -- I'm telling ya'll the title. PERFECT PITCH.
Ok, technically it's not the title yet, really. Like, to the producer or anyone else involved except me. I'm waiting for the right moment to...pitch it. Anyway, I like it a lot better than the current title and works perfectly in so many ways.
But so I had a realization about the script. Which has me sort-of in a panic. I've written here before about how I need to change the main character. What I'm realizing more and more is that it's a bit of an ensemble piece. And I've never attempted an ensemble before.
I'm freakin out a bit. And I've been so slammed with the last days of work and various required social functions that I've had no time to write. But actually, it's been perfectly timed to my process: At first I scribbled a lot of notes and did a bunch of research before I got busy. (I think I mentioned before the story involves an autistic boy and it's very important to me that I provide a realistic viewpoint.)
When I've been too busy to write lately my brain has been brewing. In my research phase I read a wide variety of viewpoints and informational sources. (Have I told you lately how much I abso-fucking-lutely love the InterWebs?) And in that time all those ideas were so varied that my logical brain kept them separate. Time provided the way: I saw how they could all come together and work.
And it starts with the fact it's an ensemble script.
The idea is the easy part.
My loyal readership -- any advice you can provide is like a welcoming hug. Shower me.
Numero Uno: The Artist's Way
I can't believe how long it took me. I had been told by many, many people that I need to read Julie Cameron's book The Artist's Way.
Although I do regret the previous lapse in judgment, I'm actually in the perfect place and time right now for it to help and stick. Because I want it. Really. I'm ready, and I've shown myself (finally) that I am. I actually believe it.
I've just started the book and the introduction has been freaking me out. In a good way. I'll keep ya'll posted on my process. Even if you don't give a shit.
Numero Dos: My script
Fuck it -- I'm telling ya'll the title. PERFECT PITCH.
Ok, technically it's not the title yet, really. Like, to the producer or anyone else involved except me. I'm waiting for the right moment to...pitch it. Anyway, I like it a lot better than the current title and works perfectly in so many ways.
But so I had a realization about the script. Which has me sort-of in a panic. I've written here before about how I need to change the main character. What I'm realizing more and more is that it's a bit of an ensemble piece. And I've never attempted an ensemble before.
I'm freakin out a bit. And I've been so slammed with the last days of work and various required social functions that I've had no time to write. But actually, it's been perfectly timed to my process: At first I scribbled a lot of notes and did a bunch of research before I got busy. (I think I mentioned before the story involves an autistic boy and it's very important to me that I provide a realistic viewpoint.)
When I've been too busy to write lately my brain has been brewing. In my research phase I read a wide variety of viewpoints and informational sources. (Have I told you lately how much I abso-fucking-lutely love the InterWebs?) And in that time all those ideas were so varied that my logical brain kept them separate. Time provided the way: I saw how they could all come together and work.
And it starts with the fact it's an ensemble script.
The idea is the easy part.
My loyal readership -- any advice you can provide is like a welcoming hug. Shower me.
Monday, March 19, 2007
Help
Anxiety Attack
OhMyF-ingGodWhatTheFFFFhaveIgottenMyselfIntoImjgd;sgljksuchgjdl;aajg;lajkhackjgka;ldgkutieopwqbnjshbpife
sssssssbreathewwwwwwwwwbreathesssssssokwwwwwwwww
OWWWch WTF is in my pocket--
(muffled swear words)
Clunnnk.
Sigh.
...
BEW! BEW BEW!!! BEW BEW BEW!!!!!! BEW!
BEW!
(thanks for listening)
OhMyF-ingGodWhatTheFFFFhaveIgottenMyselfIntoImjgd;sgljksuchgjdl;aajg;lajkhackjgka;ldgkutieopwqbnjshbpife
sssssssbreathewwwwwwwwwbreathesssssssokwwwwwwwww
OWWWch WTF is in my pocket--
(muffled swear words)
Clunnnk.
Sigh.
...
BEW! BEW BEW!!! BEW BEW BEW!!!!!! BEW!
BEW!
(thanks for listening)
Saturday, March 17, 2007
Ensemble Script
So I've come to realization on my re-write: it's really an ensemble story. Or at least that's how I think it can be the strongest script.
And this freaks me out. New territory. I've felt a bit lost since this realization.
Ok, time for this project to have a codename. We'll call it codename: Autism Story.
Obviously, from the codename you can deduce it's about autism in some way. It centers around an autistic boy with perfect pitch. As written currently, the boy is the main character. But as a character this is a big problem. Currently he shows some change, but it's forced and really not very realistic. Since this is such a hot-bed issue these days I'm really striving to capture the realism of the situation. I've done a lot of reading research and as soon as I'm done with working full-time I'm going to begin meeting and interviewing real people: doctors and teachers and families and autistic kids.
But it's already clear to me that my first issue to tackle has been who is the main character? And that's been a struggle. Is it the teacher? Mom? Sister? Everytime I've tried to develop these characters to be main it seems a bit stretched and too far from point....blah blah blah just not quite right. You know.
So in the past week or so I've been so busy I haven't had any time to work on it at all but my brain has been brewing. And I came upon a realization: I have multiple main characters. It needs to be an ensemble.
It came to my visually. The autistic child is the center, like a sun in a galaxy. the other characters are like planets orbiting around the sun. Of course their importance (virtual closeness) will vary. But I realized that the autistic child will indeed change, but only in response to changes in all these characters orbiting around him. Kinda like people speaking different languages finally communicating. except that it's the planets that are learning to communicate differently and the sun (child) is changing only in response to finally understanding the language. (here's where my analogy breaks down horribly so forgive me.)
Why does this worry me so? Well, as I mentioned above this is new territory for me. I've never attempted an ensemble script. And I tend to be wary of them: so many ensemble movies have left me with a bad taste in my mouth: of course I will indentify with someone but I'll never be happy with the amount of screentime they are given. It can be hard to develop that character relationship I desire. But then again of the ensemble films I enjoy, I hardly notice they are. Seamless and beautiful. So it seems to be very hit or miss.
I'm worried about screwing this up.
So if anyone has any insight or advice on writing a strong ensemble piece, please do share. Or, if by chance you have some direct experience with Austism please speak up.
It's very very very important to me to do this right.
And this freaks me out. New territory. I've felt a bit lost since this realization.
Ok, time for this project to have a codename. We'll call it codename: Autism Story.
Obviously, from the codename you can deduce it's about autism in some way. It centers around an autistic boy with perfect pitch. As written currently, the boy is the main character. But as a character this is a big problem. Currently he shows some change, but it's forced and really not very realistic. Since this is such a hot-bed issue these days I'm really striving to capture the realism of the situation. I've done a lot of reading research and as soon as I'm done with working full-time I'm going to begin meeting and interviewing real people: doctors and teachers and families and autistic kids.
But it's already clear to me that my first issue to tackle has been who is the main character? And that's been a struggle. Is it the teacher? Mom? Sister? Everytime I've tried to develop these characters to be main it seems a bit stretched and too far from point....blah blah blah just not quite right. You know.
So in the past week or so I've been so busy I haven't had any time to work on it at all but my brain has been brewing. And I came upon a realization: I have multiple main characters. It needs to be an ensemble.
It came to my visually. The autistic child is the center, like a sun in a galaxy. the other characters are like planets orbiting around the sun. Of course their importance (virtual closeness) will vary. But I realized that the autistic child will indeed change, but only in response to changes in all these characters orbiting around him. Kinda like people speaking different languages finally communicating. except that it's the planets that are learning to communicate differently and the sun (child) is changing only in response to finally understanding the language. (here's where my analogy breaks down horribly so forgive me.)
Why does this worry me so? Well, as I mentioned above this is new territory for me. I've never attempted an ensemble script. And I tend to be wary of them: so many ensemble movies have left me with a bad taste in my mouth: of course I will indentify with someone but I'll never be happy with the amount of screentime they are given. It can be hard to develop that character relationship I desire. But then again of the ensemble films I enjoy, I hardly notice they are. Seamless and beautiful. So it seems to be very hit or miss.
I'm worried about screwing this up.
So if anyone has any insight or advice on writing a strong ensemble piece, please do share. Or, if by chance you have some direct experience with Austism please speak up.
It's very very very important to me to do this right.
Roped In & Ramblings
So yesterday should have been my last day working on the tv show. It's not.
The show has always lived in a limbo state, one tiny step away from cancellation. Now it's even closer. In an attempt to save it, the creator pitched the network on a revamp idea and we're shooting a presentation next week for 2 days. And I have to work it.
Not that I was actually ASKED mind you. And it really pisses me off. My brain has been set up on a very orchestrated schedule of when the show was ending and these two days next week only came about in the past week. So overall, I'm not really psyched about working it. But it peeves me more that no one bothered to ask me. Granted, my job is rather wierd and I work under various departments so that doesn't help matters. I do video playback, but on our show it's mostly computers. And most of that is background ND stuff, not hero. On our show I work mostly under props. But I also work under the set decorator. Our graphics guy makes most of the stuff I play, but not always. Sometimes it comes in from LA through production. Technically on other shows I'm lumped in with sound (which is where all my checks ended up in the first few weeks). And on the call sheet I'm under production services.
So usually it's a bitch to get information. I have to do a lot of seeking out my various bosses and asking them about stuff because they don't communicate much to me. And I think it's gotten worse over the season because they realize I'm a smart capable gal who's completely overqualified for the position.
So I've had exactly one person (first AD) talk to me about exactly one scene. I got way more information from one of the swing guys. WTF? And there I am last night, being handed a prelim with my name on it for the first day. And a glance at the next day shows I'm sucked into that day too.
Since I'm now in a nice bitter mood, I'll expand on my previous post. In the comments sb asked: " i hope that your experience is the exception and not the rule! Yikes! Maybe you could share said things that he/she has done so that we, too, may learn what NOT to do?"
For the most part, I've worked with some really good directors. The source of my previous rant has been much more the exception so far in my (somewhat limited) experience. He is now ranked as my own #2 most hated of all time. (My #1 wasn't from this show). During this past season besides him, there are 2 other directors I didn't really like much, but nowhere near The Asshole. All the others I got along with well and liked. I had one experience that floored me: when I asked the director if he wanted a computer on, off, or on with a screensaver (it was an "after hours" shot) he returned the question to me: "what do you think?" OMG. Amazing. A director who has respect for the crew and desires their input. That made me very happy.
One of The Asshole's worst traits is that he doesn't do his primary job of planning his shots and knowing what he wants. This is a TV show for crying out loud. We do 7 page days. If you want to be fly-by-the-seat-style, direct a movie with a big budget and 3 page days. And it's not even that he's doesn't know what kind of shots he wants. He'll make last minute demands for things that we sometimes aren't prepared for. And honestly, there's no harm in asking for stuff like that because you never know and if it makes things better than go for it. But his attitude is not one of asking but demanding something immediately. And if you can't do it, he throws a hissy fit. And if you do, not a word of thanks. ever. He doesn't prepare, and acts like a spoiled brat when you can't meet his immediate demands.
He's horrible at describing what it is he wants. Then you bring him something and his voice changes to this 5 year old whiney voice and he snaps "I don't like it." or "That's not what I wanted at all!" but then still can't really tell you what it is he wants. At the last minute. That I'm busting my ass to scramble up for him. Which if he really wanted so bad he should have thought of and communicated earlier.
He's always got this dour grimace on his face. He regularly completely ignores people who try to talk to him, and sometimes just literally shoves people aside while doing so. He completely man-handles people. He will grab the stand-ins by the shoulders and literally shove them around to get them into a position he wants. I heard stories of last season: Once the main star's stand-in was doing a camera rehersal with a walk and she started the walk at a wrong moment. Instead of asking her to come back he grabbed her ponytail and drug her back. I heard he once was literally pounding his fists on the floor. And he continues to direct episodes. Grrrr.
Ok, enough negative ranting for now. I must have something good to share. Ok, I just came up for a good motivation for this extra two days of work. With the money I make from those two days I'm finally buying my iPod. I can't believe I still don't have an iPod but it's tough when honest to god I won't settle for less than the 80 gig iPod video. So those two days are my iPod days. I had long planned that I was going to buy myself an iPod as a present to myself for working the whole season. A reward. I like to do that sometimes. When I got my first real professional job (a job I got because of my college degree, basically) with my first paycheck I bought a Palm IIIxe. As a present to myself. Because I deserved it since I rocked so hard.
Ohh, here's another bit of good news: we have a new Mac in the family. A bit of backstory: I type this from my main computer, a laptop. I still can't get over it myself that my main computer is a laptop. But of course it's a 17" MacBook Pro (first generation) that I ordered the first day I could. Previous to this I was on a PC, but spent a great deal of time on Mac's in college before I owned my own computer. But when it was time to buy that first computer Macs were way too expensive so I got a PC. But a year ago I was working on a project that I had to have a Mac laptop for and the timeline was a bit tight but I waited and it paid off: I got my laptop a scant 2 weeks before the shoot began, just enough time to install programs and do a few workflow tests. And now I hardly ever turn on my PC desktop workstation. I live on my laptop. Which I think works better for writing.
So back on topic: we got a new Mac. See, one bonus of working on a tv show and being the computer person is that I picked up a barely used G5 quad and 20 inch apple monitor for very very very very cheap. The G5 needs major RAM and another hard drive (or swap out both) but we scored a great deal. Apple sends us promo computers to use during the show and at the end of the season you can buy them at deep discount. They're still on warranty until July and you can get apple care if you want. The show had 8 G5 towers and I got the only quad, the rest were only duals. heh. pays to be in my position.
I'm trying to convert my PC boyfriend to Mac. I think the G5 might be the trick, plus the fact that I know what I'm doing on OSX now so I can stop his rants about "how come I can do X on my PC but I can't do it on the Mac?" Cuz he's wrong. Mac rules, Microsoft drools. Linux is cool, too. Someday I will tackle that, too.
Ok, another cool thing that happened a few weeks ago. (Wow, this post is getting long and rambly. Yea, deal.) We had a scene that was set in a supercomputer lab. And we really shot it in an honest-to-God supercomputer lab at USCD. Personally, I think they were crazy for letting us shoot there. Of course it was a sound nightmare: it reminded me of a TV movie I worked on that we shot on a docked aircraft carrier: a constant loud drone. I guess they're going to ADR everything later. So of course in my geekdom it was cool hanging out in a supercomputer lab, but it gets even better. I arrive early on set because I have to set up our hero computers: 9 screens from 7 computers. The location contact is letting me into the room and I notice the sign next to the door which was fake for the show. One of the graphics guys named the computer lab after me, with my last name. so it was my supercomputer lab. I totally nabbed the sign as we were leaving and it's now on my office door.
But even cooler was this: on the drive home, I remembered what day it was. March 6. The day my father died when I was 11. He was the one responsible for making me the computer nerd I am today. We bonded a lot over the TSR-80 we had: he taught me the beginnings of computer programming (BASIC of course).
Anyway, in retrospect I felt it was all a big hug from Dad.
And that's what we call full-fucking-circle.
The show has always lived in a limbo state, one tiny step away from cancellation. Now it's even closer. In an attempt to save it, the creator pitched the network on a revamp idea and we're shooting a presentation next week for 2 days. And I have to work it.
Not that I was actually ASKED mind you. And it really pisses me off. My brain has been set up on a very orchestrated schedule of when the show was ending and these two days next week only came about in the past week. So overall, I'm not really psyched about working it. But it peeves me more that no one bothered to ask me. Granted, my job is rather wierd and I work under various departments so that doesn't help matters. I do video playback, but on our show it's mostly computers. And most of that is background ND stuff, not hero. On our show I work mostly under props. But I also work under the set decorator. Our graphics guy makes most of the stuff I play, but not always. Sometimes it comes in from LA through production. Technically on other shows I'm lumped in with sound (which is where all my checks ended up in the first few weeks). And on the call sheet I'm under production services.
So usually it's a bitch to get information. I have to do a lot of seeking out my various bosses and asking them about stuff because they don't communicate much to me. And I think it's gotten worse over the season because they realize I'm a smart capable gal who's completely overqualified for the position.
So I've had exactly one person (first AD) talk to me about exactly one scene. I got way more information from one of the swing guys. WTF? And there I am last night, being handed a prelim with my name on it for the first day. And a glance at the next day shows I'm sucked into that day too.
Since I'm now in a nice bitter mood, I'll expand on my previous post. In the comments sb asked: " i hope that your experience is the exception and not the rule! Yikes! Maybe you could share said things that he/she has done so that we, too, may learn what NOT to do?"
For the most part, I've worked with some really good directors. The source of my previous rant has been much more the exception so far in my (somewhat limited) experience. He is now ranked as my own #2 most hated of all time. (My #1 wasn't from this show). During this past season besides him, there are 2 other directors I didn't really like much, but nowhere near The Asshole. All the others I got along with well and liked. I had one experience that floored me: when I asked the director if he wanted a computer on, off, or on with a screensaver (it was an "after hours" shot) he returned the question to me: "what do you think?" OMG. Amazing. A director who has respect for the crew and desires their input. That made me very happy.
One of The Asshole's worst traits is that he doesn't do his primary job of planning his shots and knowing what he wants. This is a TV show for crying out loud. We do 7 page days. If you want to be fly-by-the-seat-style, direct a movie with a big budget and 3 page days. And it's not even that he's doesn't know what kind of shots he wants. He'll make last minute demands for things that we sometimes aren't prepared for. And honestly, there's no harm in asking for stuff like that because you never know and if it makes things better than go for it. But his attitude is not one of asking but demanding something immediately. And if you can't do it, he throws a hissy fit. And if you do, not a word of thanks. ever. He doesn't prepare, and acts like a spoiled brat when you can't meet his immediate demands.
He's horrible at describing what it is he wants. Then you bring him something and his voice changes to this 5 year old whiney voice and he snaps "I don't like it." or "That's not what I wanted at all!" but then still can't really tell you what it is he wants. At the last minute. That I'm busting my ass to scramble up for him. Which if he really wanted so bad he should have thought of and communicated earlier.
He's always got this dour grimace on his face. He regularly completely ignores people who try to talk to him, and sometimes just literally shoves people aside while doing so. He completely man-handles people. He will grab the stand-ins by the shoulders and literally shove them around to get them into a position he wants. I heard stories of last season: Once the main star's stand-in was doing a camera rehersal with a walk and she started the walk at a wrong moment. Instead of asking her to come back he grabbed her ponytail and drug her back. I heard he once was literally pounding his fists on the floor. And he continues to direct episodes. Grrrr.
Ok, enough negative ranting for now. I must have something good to share. Ok, I just came up for a good motivation for this extra two days of work. With the money I make from those two days I'm finally buying my iPod. I can't believe I still don't have an iPod but it's tough when honest to god I won't settle for less than the 80 gig iPod video. So those two days are my iPod days. I had long planned that I was going to buy myself an iPod as a present to myself for working the whole season. A reward. I like to do that sometimes. When I got my first real professional job (a job I got because of my college degree, basically) with my first paycheck I bought a Palm IIIxe. As a present to myself. Because I deserved it since I rocked so hard.
Ohh, here's another bit of good news: we have a new Mac in the family. A bit of backstory: I type this from my main computer, a laptop. I still can't get over it myself that my main computer is a laptop. But of course it's a 17" MacBook Pro (first generation) that I ordered the first day I could. Previous to this I was on a PC, but spent a great deal of time on Mac's in college before I owned my own computer. But when it was time to buy that first computer Macs were way too expensive so I got a PC. But a year ago I was working on a project that I had to have a Mac laptop for and the timeline was a bit tight but I waited and it paid off: I got my laptop a scant 2 weeks before the shoot began, just enough time to install programs and do a few workflow tests. And now I hardly ever turn on my PC desktop workstation. I live on my laptop. Which I think works better for writing.
So back on topic: we got a new Mac. See, one bonus of working on a tv show and being the computer person is that I picked up a barely used G5 quad and 20 inch apple monitor for very very very very cheap. The G5 needs major RAM and another hard drive (or swap out both) but we scored a great deal. Apple sends us promo computers to use during the show and at the end of the season you can buy them at deep discount. They're still on warranty until July and you can get apple care if you want. The show had 8 G5 towers and I got the only quad, the rest were only duals. heh. pays to be in my position.
I'm trying to convert my PC boyfriend to Mac. I think the G5 might be the trick, plus the fact that I know what I'm doing on OSX now so I can stop his rants about "how come I can do X on my PC but I can't do it on the Mac?" Cuz he's wrong. Mac rules, Microsoft drools. Linux is cool, too. Someday I will tackle that, too.
Ok, another cool thing that happened a few weeks ago. (Wow, this post is getting long and rambly. Yea, deal.) We had a scene that was set in a supercomputer lab. And we really shot it in an honest-to-God supercomputer lab at USCD. Personally, I think they were crazy for letting us shoot there. Of course it was a sound nightmare: it reminded me of a TV movie I worked on that we shot on a docked aircraft carrier: a constant loud drone. I guess they're going to ADR everything later. So of course in my geekdom it was cool hanging out in a supercomputer lab, but it gets even better. I arrive early on set because I have to set up our hero computers: 9 screens from 7 computers. The location contact is letting me into the room and I notice the sign next to the door which was fake for the show. One of the graphics guys named the computer lab after me, with my last name. so it was my supercomputer lab. I totally nabbed the sign as we were leaving and it's now on my office door.
But even cooler was this: on the drive home, I remembered what day it was. March 6. The day my father died when I was 11. He was the one responsible for making me the computer nerd I am today. We bonded a lot over the TSR-80 we had: he taught me the beginnings of computer programming (BASIC of course).
Anyway, in retrospect I felt it was all a big hug from Dad.
And that's what we call full-fucking-circle.
Wednesday, March 14, 2007
This is the End
We're in the final days of the season shooting the last episode. So. burnt.
All I have to say is: I HATE ASSHOLE DIRECTORS. I almost just told him to go fuck himself. He's a complete baby. Everyone on the crew hates him. And we're all so burnt and tired and ready to be done that we don't feel like kissing his ass. And really don't care. It's almost become comical how pissy he gets. He doesn't get it that being a jerk does not win you any respect from the people working for you. Who wants to bust their ass for a whiny asshole baby?
It cracks me up how tired and worn out the directors get. Yea, they've a lot to do in that time and pressure and shit but when they're on set for a scant 7-9 days and the rest of the crew has worked every day since July I don't have any empathy.
I might tell him he's a great example for my own directing future: a true example of what not to do. I should tell him how he better watch his back because soon I'll be taking his jobs. Heh.
If today had been any other day earlier in the season I would have probably quit today. but with only 2 more days left after today I can take it. Maybe.
Grrrr.
Breathe. 2 days left. I can survive. I simply have to pretend he doesn't exist.
All I have to say is: I HATE ASSHOLE DIRECTORS. I almost just told him to go fuck himself. He's a complete baby. Everyone on the crew hates him. And we're all so burnt and tired and ready to be done that we don't feel like kissing his ass. And really don't care. It's almost become comical how pissy he gets. He doesn't get it that being a jerk does not win you any respect from the people working for you. Who wants to bust their ass for a whiny asshole baby?
It cracks me up how tired and worn out the directors get. Yea, they've a lot to do in that time and pressure and shit but when they're on set for a scant 7-9 days and the rest of the crew has worked every day since July I don't have any empathy.
I might tell him he's a great example for my own directing future: a true example of what not to do. I should tell him how he better watch his back because soon I'll be taking his jobs. Heh.
If today had been any other day earlier in the season I would have probably quit today. but with only 2 more days left after today I can take it. Maybe.
Grrrr.
Breathe. 2 days left. I can survive. I simply have to pretend he doesn't exist.
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