Everything You Need to Know to Become a Film-Industry Insider
Have you ever wondered what the difference is between a gaffer and a grip? Or what makes the best boy so great? In Strike the Baby and Kill the Blonde ,* Dave Knox, a top camera operator and longtime veteran of the film industry, gives you the inside story on the lingo and slang heard on the set. This is an A-to-Z guide to making a movie: the equipment, the crew, and the sometimes hilarious terminology—everything you need to know to sound like a seasoned pro.
* Remove the small spotlight from the set and switch off the two-kilowatt quartz light.
From the Trade Paperback edition.
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|Title of History eBook: Strike the Baby and Kill the Blonde|
|Release Date: 12-18-2007|
|Allowed Countries (hover)|
|Publisher: Crown Publishing Group|
This eBook download is available in the following formats:
|Parent title||Strike the Baby and...|
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|Note||ePub, short for electronic publication is one of our favorites and should be yours for a couple of reasons. ePub offers reflowable text giving you flexibility to manipulate how the content is presented. Moreover, lots of cool features are now being developed for the reader like advanced video and audio. ePub is now an industry standard, so all of the "non-propreitary" hardware manufacturers are now supporting it.|
Strike the Baby and Kill the Blonde
Go get me the two diving boards and the toilet seat for the camera dolly.” This request came from the key grip (head rigging technician) on the set of the new Will Smith movie Hitch (aka The Last First Kiss), which we were filming in New York City, down in SoHo. Of course, I knew what George meant: He was going to affix extra platform space that would travel with the movie camera as I photographed the next shot. But to the layman? By using nicknames, he had identified specific equipment to the film crew and had disguised his meaning from passersby. Even a top-notch film student from New York University would have a hard time decoding his intentions. I began to think of all the confusing slang used every day on the movie set.
“Go fetch me a show card!” Fresh from college (where I received the aptly named B.S. in Speech from Northwestern University), on my first day on a real movie set, I didn’t understand what was being asked of me. Well, my first day on a television commercial set, that is. In the past, I had supported myself as a commercial still photographer, and I’d graduated from a premier film program, but this one was new to me. “What is it, your first day?” Actually, yes. How was I to know that a simple two-by-three-foot black-and-white piece of cheap cardboard was one of the primary tools of the professional filmmaker?
The director and cameraman of that Crisco commercial, Elbert Budin, strode past the line of cooked chicken pieces, over a thousand in all. “That one, that one there, not that one.” He was auditioning chicken pieces, all precooked and laid out on ta