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Name: Dean Clark
Hometown: Nampa, Idaho
Occupation: Lead Man
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What attracted you to the Entertainment Industry, and what was your first job or big break in the business?
I sort of ended up in this industry through the process of elimination. After four years in the military, I still had no idea what I wanted to do, but the idea of serving another twenty years in the 9-5 grind of corporate America really wasn't appealing. I'd always thought I had some good ideas and wanted to do something with them. My father, who was an English major and ended up succumbing to a teaching job, discouraged me from pursuing the life of a writer, and I could never seem to find a band that would spend more time rehearsing than drinking. Then I read 'No One Here Gets Out Alive." Before that I had no idea that one could actually go to school to learn how to make films. Also, this was during the golden days of Independent Cinema in the early 90s, when it seemed that anybody with a quirky weltanschauung and a Rolex could get a 3-picture deal.
After film school, I entered the business through an internship with what was at the time a cutting edge music video company. All of my production connections branched out from there.
What is the biggest challenge you faced trying to break into the industry, and how did you overcome it?
Getting into the industry really wasn't that hard. It's moving up the production chain in ones chosen department that's the bitch. One way to move up is to learn, work your ass off and do a good job. Eventually people will notice. Another way is to just tell people that you're a —— (insert desired title) and start working at that level.
What advice can you give those trying to break into the "industry?"
Do whatever works.
Please describe your job for those who might not know what a Lead Man is.
The Lead Man is the member of the art department who is basically the supervisor of the Set Dressers --those mysterious elves who pre-dress and, after filming at that location is completed, wrap the sets of their decorative elements. Following the direction of the Set Decorator, we bring the Production Designer's vision to life and create the look of the film.
Can you share any tricks of the trade that help you work faster/cheaper/better?
Vitamins, caffeine, nicotine...
The main thing is to be organized. It's important to develop a system for keeping track of what needs to happen when. Also, be prepared for every contingency by having a good kit, and then have your superior provide their input on what they think will be needed for the job. You'll use everything and it's nice to have it on the truck rather than having to make another run to the Home Depot (you'll be going there enough, trust me). Finally, utilize every available second. A lot will come up last moment, so it's good to try and stay ahead.
Please illustrate the way the performance of your position can help or hurt a movie. Name a movie that you've seen (or worked on) that we could view and understand the difference between a good job and a bad job.
If the sets aren't dressed and ready on time this can put the whole movie behind schedule. As far as viewing a movie where this job was performed properly or poorly it is difficult to see for either the crew waited until the set was ready, decided to go w/ a set that was less than adequately made up, or shot something else entirely.
Are you a writer, and if so, how many screenplays have you written?
I have written seven screenplays; three of which I felt strongly enough about to try and sell. If the current one doesn't become the cinematic landmark I know it can be, the next one's going to be the blockbuster the masses have been waiting for.
What's the best lesson you've learned in regards to working in Hollywood?
That's where one should go if they are serious about making a career in show business.
What advice would you give to writers on how to craft a script that addresses practical production issues?
Don't worry about it for the first draft - just concentrate on telling your story. Deal with the practical issues on subsequent drafts. If you're doing it "indie" figure out what's going to be expensive and what you can cut and still maintain the scripts integrity. If you sell it, they'll cut whatever the hell they want to.
What advice would you give a director on how to make production easier?
Storyboard everything. Know what you want and when you got it.
List your top 5 favorite films
- The Road Warrior
- Wings of Desire
- Contempt
- Miller's Crossing
- Dead Man
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