The death of Sarah Jones on the Greg Allmen biopic Midnight Rider is tragic beyond words - I just had to expound a bit since I have become more and more enraged. Somehow my stream of consciousness led me to that silly stool analogy. You know the one that Producers (myself included) often speak of with 3-legs in film production. You can only pick one leg for your movie stool (I always thought stools had 3 legs, but I digress) In this analogy you can make your movie fast, make it cheap, OR make it GOOD. Sometimes, said stool surfaces when rationalizing various cost cutting strategies - and in Sarahs case, there is a permit out there, whose cost now far exceeds the simple dollars, cents and hours application time it could have cost. I read somewhere that the Producers say it is their cross to bare. If thats not an understatement - I am of few words. Movie making is an exhilarating career; a craft unlike any other in which the artisans very essence and soul screams for story, and within whom a passion for contributing to the human story are often the only thing that propels them to pursue it (those outside of the business often mistake wealth as the primary driver - but nothing is further from the truth). Many (myself included) enter filmmaking with vigorous stoicism, enduring rigorous, physically demanding 16 hour days, sometimes for copy/credit. Sarah had already been working regularly on paid sets due to her The layman will ask why? Perhaps it is the idea, that around the corner, ones ascent upon the metaphorical career ladder will hits its zenith and BOOM there you are, everyday, doing what you love... and thus never working a day in your life. I have stopped trying to explain the tasks, skills and all around zen nature filmmaking requires, because really at its core we are all fanatics for enduring such madness. Especially those in states proclaiming some kind of right to work benefits - but resulting in less protections - and more sets that only offer copy and credit and without Union representation. The industry dramatically differs from state to state - and I hope no one take offense to anything I say since my only point is do it right. Get the permits. But still, there is something so truly cathartic about storytelling; collecting with the global/cosmic collective with common tales within whose building you participated in crafting. Simply amazing and remarkably beautiful. But I digress, see it is this passion for the craft, and our madness for it, which sometimes allows conditions to arise which should never, ever be allowed. That cost cutting stool will always tip and fall when the chosen leg is cost. There is never any reason to fall for the financial rationalization, there is no argument or cost that can bear the burden her parents must endure now... because of this, the shot callers on set must always remember that the budget is simple bits on spreadsheet... and our responsibilities to protecting one another should fade. How quickly the novelty of guerrilla shooting tactics dissipate when the laws of statistics reveal the REAL probabilities of choosing the wrong of 3 legs. Wanna choose Fast or cheap? Well the results wont be measured in dollars, instead they maybe weighed in torment - parental tears of burying their progeny, their baby who out of sheer devotion to the craft was doing her job. Those in the biz know there was nothing Sarah could do - it wasnt her decision. Every bone can be screaming in your body, but on set you draw from this inherent strength and do seemingly impossible tasks. But in the beginning chances are you will work on an improperly funded set and guess what they still need that shot. And guess I would have started in my early career oh on the tracks, over the river? No problem - My concerns would have been the audio - so I would have had headphones - you slate it and get the shot. We do it (at least initially, and many of whom swear never again) early in our career to pay our dues (depending on geographic position and time in the industry) because were thrilled to be on set - and once you start getting paid - well thats a bonus (and frankly wrong). On set is where we always want to be - its sheer adrenaline for weeks on end - you dont jeopardize that - so no, Sarah wasnt going to say anything, she was way too smart to do so. She probably assumed the hierarchy had done its duty - that is what I would have concluded. After all the Locations Manager and Line Producer, EP etc, would have taken care of everything, and surely someone (or even many) would have already scouted and looked into these things - no trains will pass with permits. Unless you call for them on the walkie. A train rep would let them know if there was a problem. No need for criticisms from Sarah, she was probably pulling focus, or something with the camera and too busy doing her job to have any nervousness and second-guess those team members who float above the line. They are there because of experience, and know how right? Ugg Protesting when you are (relatively) new can do nothing but damage - I know she knew that. Supposition on the past does nothing now. And I apologize for rambling, but as a Producer, Line Producer and UPM I cant help but contemplate how to avoid anything similar happening on any set of mine; or on which I am a part. Accusations and individual assaults serve no purpose; nor do questions on past actions (except in a court of law of course). Inquiries abound demanding responses from the team upon whom she relied; the department heads, Executives (EPs), Producer(s), DP, Director - whom she put her faith. And they will answer them and surely catapult the three legged rationalization from consideration, to the defecation it is. Cutting corners usually yields exponential results... alright. But they are costly, and we all know fixing it in post - is a MISTAKE and expensive. Do it right the first (or second, or third) time. But do it right. The choice is obvious... and the results are as well. Having recently applied (and received all permissions Id like to add) for shooting on commuter train tracks... I know the process is cumbersome, time consuming and quite expensive (Im fastidious and quick - still it took me weeks). But guess what - EP said no - because the permit was too expensive. We could use the money elsewhere with more visible results and in the end we didnt shoot there because it didnt fit into the budget. Used another location - and guess what, didnt affect the movie a single bit. No one in the theater even noticed I promise you. No permission, no permit? NO DICE. Not worth it - at all. I apologize for my verbosity - but this enrages me, her poor family - no parent should bear the burden of burying a child. Making your movie quick or cheap (or both) it is not worth it - ask any sales rep or distributor. An efficient Line Producer can squeeze every possible cent to be shown onscreen. But when it comes to safety, NEVER accept sub standard. I dare not toss stones at glass houses... and Ill be the first to admit that while paying dues, and working up the ravenous ladder which is the industry hierarchy, I have kept my mouth shut when I should have screamed. Injustices should never be tolerated - safety isnt a concern - its an imperative. Early on I was tight lipped, but never as a Producer. Communication is key and its an injustice to myself, my crew and everyone on set to not do so honestly and be realistic. I know I will revisit my budget a thousand times, and grovel to every investors before succumbing to that fast and cheap trap. Screw the stool - Im crafting an ottoman that balances quality and proper budgeting. Planning properly and realistically will result in a realistic shooting schedule so you need four or five pages a day, tops. If you cant pay to make it right, let alone afford to maintain the safety of your crew - scrap your project until you can. On that note if you cant pay anybody, you better be a student making your thesis film. just saying - Cause this ridiculousness really needs to stop - Ill do my part and I hope everyone else will too. I never met Sarah, but this tragedy has obviously resonated tremendously within me. I desperately hope every Producer, DP, Director, EP and beyond will recognize this torturous teaching moment and honor her life by preventing future catastrophes. If you choose a stool leg - remember this - the cost impacts from the unknown; unforeseen fast and quick far exceed the cost of any permit, or even an extra shooting day. Fast and cheap reap real results, ones that dance and dangle from every corner cut and they will be obvious on screen and off - reflecting on the repulsed faced of sales agents asking you why you didnt take the time or spend the money. They will walk out of the room and you will be there with your one legged stool to bang against your head for not writing the check. This isnt a debate - its a matter of respect. If you cant show respect for your people and your crew - you may be in the wrong business. If you want to make something meaningful and resonant - let me know - you can find me on the grounded, balanced ottoman. RIP Sarah Jones To her family and friends - I hope you find peace knowing she will never be forgotten -she is transforming the industry. Something that has been desperately needed but impossible until now. Melissa Hays #RIPSarahJones #SlatesForSarah #SarahJone
Posted on: Thu, 06 Mar 2014 03:51:51 +0000
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