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The Value in Watching Dailies
Last episode, we saw the crew of "Stolen Summer" retire to the production office after a day of shooting to watch the footage known as dailies.
With the exception of Pat Peach, who spent that time selling Co-Producer Jeff Balis out to a Miramax executive, the entire crew took a great interest in their first viewing session of dailies.
Back in the day, actual film reels would be brought up to the studio bosses, who would sit down in a screening room, and watch take after take, to make sure that their director and actors were up to snuff.
Things are not much different now, only that daily footage can now be transferred onto VHS tape, and those involved in a production can watch dailies from a VCR. They also have the luxury of the fast forward button.
Dailies are, in part, a means of keeping tabs on the product. Producers, studios, and directors use dailies to assure themselves that the movie being put in the can is up to everyone's expectations.
It was through dailies that the producers of "Back to the Future" realized that Eric Stoltz was not the right fit to play Marty McFly. Better to realize this after two days of shooting than after two months. After viewing less than a week of daily footage, Francis Ford Coppola knew that Harvey Keitel should not and would not play the lead in "Apocalypse Now." He had to re-shoot every scene with Martin Sheen, at a cost, but at a much lower one.
Everything is under scrutiny in dailies. Is the DP lighting the scene correctly? Is that scene as funny as it could have been? Is the story too slow? Technically, are there any scratches on the film? Are costumes, times of day, hair styles, and anything else showing continuity?
Often, script changes are made based on the reaction to dailies. While shooting "American Pie," it was clear to the filmmakers and the studio that Sean William Scott, who played "Stifler," was stealing scenes left and right. Immediately, the writer and director collaborated to increase Stifler's role.
Playing up what works, and playing down what does not, is essential. Like a sculptor standing back from the marble slab, filmmakers have the opportunity to hone in on the very best of their film, while correcting their mistakes before it is too late.
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