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Abby Singer: On-Set Term; Shouted out by the Assistant Director to indicate second-to-last shot of the day. Named in honor of former first A.D., Abby Singer, who used to call the last shot of the day one shot too early. Followed by the "martini."
Above the Line: Production Term; "ATL" refers to the creative elements of a production such as the writer, producer, director and actors. Literally, these are the names that appeared above a bold line that divides standard production budget sheets. This term is used to describe money spent on things that don't actually show up "on the screen." For example, giving Tom Cruise $25 Million as opposed to $20 Million doesn't make the movie look any better - though Tom is probably happier on set. See also ATL's opposite, "Below the Line."
ADR: Production Term; Automatic Dialog Replacement. Also known as "looping." This is a process of re-recording dialog in the studio in synchronization with the picture. It is not uncommon to notice actors' mouths moving completely out of synch with the words. Bad ADR. ADR can take place off screen to make creative changes. For example, cutting to a reaction shot and adding a line by the off screen character to fix a story problem.
"After School Special": Matt Damon, Episode 1; Matt worries that "Stolen Summer" is too much like an "after school special." Those infamous three o'clock movies touching on softer (read: sappy) themes, and attempting to teach moral lessons. For kicks, check out the 1987 TV movie "Hands of a Stranger" with a fifteen-year-old Ben Affleck playing the role of young Billy Hearn.
Ambient Light: On-Set Term; General, non-directional, available room light. As a style, some directors shoot films using only ambient lighting.
Ambient Noise: On-Set Term; the total sound in a given shooting area that is specific to that space (room tone) and can sometimes cause problems. For example, the impossible-to-control and thunderous noise of Chicago's El Train on the set of Stolen Summer.
Arc: Writing Term; See Character Arc.
Art Director: Player; the person who works along side the Production Designer to design the set. Sometimes the Art Director has to build the sets or will use an existing location and decorate it to look like the set the Director has envisioned. Works with the prop master to manage set properties or props. Low Budget films don't utilize an Art Director: Stolen Summer is an example of this.
Art Film: Industry Term, Episode 1; Implies a film that is non-commercial, avant-garde, often foreign, obscure, and in general not a big money maker for a studio. Derogatory in regards to a studio film, there is a question as to whether or not Miramax is still in the art film biz.
Art House: Industry Term, Episode 1; The one movie theater in town in which art films are shown, oftentimes the clearing-house for obscure films to barely break even.
Associate Producer: Player; this individual acts as the liaison between a production company and those personnel involved in the production process (read: a credit thrown to someone in lieu of responsibility and/or money).
Available: Industry Term; used for talent (actors, writers, directors, key crew members) meaning the talent is available to work during the time requested. See also "Unavailable" and "Technically Available."
Backend: Industry Term; Profit participation or moneys received after a film is released. The backend is usually worked out during Pre-Production and is performance-based compensation vs. up front payment.
"Behind the Curtain": Matt Damon, Episode 3; "The hard part about Miramax is that you really gotta get [Miramax's Co-chairman] Harvey. He's like the man behind the curtain. If you can get behind the curtain and talk to Harvey, decisions get made extremely fast." Damon alludes here to the "great and powerful" Wizard of Oz, one of Frank Morgan's characters in MGM's Technicolor triumph of the same name. A little trivia for you: Morgan also played Professor Marvel, The Emerald City Doorman, The Cabbie, and Guardian of the Emerald City Gates.
Below the Line: Production Term; "BTL" Refers to the technical elements of the production staff. Literally, these are the budget elements and people that appear below a bold line on a standard production budget form. Money spent "below the line" actually translates into things that show up "on screen." The money that paid for the crane on the set of Stolen Summer was a BTL cost. See also "Above the Line."
Best Boy: Player; Chief Electrician in charge of all power distribution and the lighting equipment on the truck.
"Biggest Dick in the Room": PGL Term; Matt Damon - Episode 1: Phrase for most powerful person in the room - in this case, it refers to Meryl Poster (Miramax's Co-President of Production). Matt: Meryl, who was arguably the most powerful person in the room, if you want to compare dicks, was really behind Jiggs."
Bio Video: PGL Term, Episode One; The Top 250 contestants were asked to shoot a three-minute home video to demonstrate their directorial abilities as well as to introduce themselves, their cinematic vision and their desire to be a filmmaker. Possibly one of the most interesting Top Ten Bio Videos submitted to Project Greenlight is for Bruce Wersen and Ken Ekles', "Been There," which features a real-life re-creation of Noah's Ark. Look for it in Episode One, or watch it on the site in Meet the Top 10.
Blocking: (Blocking Rehearsal) On-Set Term; A walk-through of the actors' movements, relative to the camera, for a given scene. This ensures that the camera will capture all the good stuff when film is actually rolling, such as people being blown out of doors by large fireballs.
"Bob and Harvey": Players; See also "Harvey and Bob." These modern day movie mogul brothers and Co-Chairmen of Miramax are nearly impossible to reach but have the power necessary to make the big decisions fast. A few people in Hollywood have the ability to go over Miramax studio exec's heads to get to Harvey (Ben Affleck being one of them). See Episode 3.
Boom: On-Set Term; A long traveling pole for suspending a microphone outside the frame and above the actors that collects the primary audio. Second boom is usually for catching off-screen audio, to compliment a scene in case the primary audio isn't good enough. As you will learn in Episode 5, audio can really make or break a shot.
Body Double: Player; Body must match that of the actor. Face is irrelevant, as it never shows up on camera. Often times, actors and actresses who are opposed to doing nude scenes will have body doubles so that they need not bear their own breasts/buttocks. Body doubles are the second highest paid of the "doubles" next to Stunt Doubles. What they do isn't necessarily dangerous, but they are on camera and expected to act in love scenes and the like...not a bad way to earn a living if you can get it.
Broad Comedy: Industry Term; Ribald humor - e.g. "American Pie," "Dumb and Dumber." Not to be confused with "action comedy" (e.g. "Rush Hour") or "chick-flick" (e.g. "Steel Magnolias").
Buy a script: Industry Term; when a studio or production company purchases a script outright. Not to be confused with "option a script."
Buzz: Industry Term; Word of mouth, excited gossip, rumor. The buzz at Sundance regarding "Stolen Summer" was that the movie played well.
Calling Grace: On-Set Term; Grace. The "grace" period is allotted to production when going over onto lunch or dinner. Once grace is called the production is allowed to finish the current shot, and no lens changes are permitted. If the UPM lets the 1st AD know that lunch is going to arrive late, she or he will call Grace, if possible, to avoid having to pay the meal penalty or feed the crew Happy Meals.
Calling the Shot: On-Set Term; The Assistant Director's job of calling out "lock it up, quiet, roll sound, roll camera" in advance of each shot.
Casting: Industry Term; The process of selecting actors for a film. Casting usually takes place during pre-production. Casting often involves sorting through mass amounts of actors' headshots, and lengthy negotiations.
Casting Director: Player; The person responsible for casting a movie. This includes generating casting suggestion lists, auditioning actors, and making offers to potential cast members on behalf of the producers and their "aspiring-actor" relatives.
Character Arc: Writing Term; Personal change in a character over the course of a story. If a character has no arc, he or she is described as being a 2-D, flat, or "cartoon" character.
Character Motivation: Writing Term; Motivation is what guides the actions of the characters - that element within their characterization that compels them to act in the way the part is written. When an actor is being fussy with the director, or disagrees with the way their part is written they might ask "What is my motivation?"
Check the Gate: On-Set Term; The gate is a piece of metal in the shape of a film frame on a camera. Once you have final set up you look in the gate to check for hair in the frame. This must happen often, since a piece of hair showing up in post on the perfect shot could lead to great frustration.
Cinematographer or Director of Photography: Player; Also known as the "DP" (or "DOP" in England). The DP is responsible for the look of the film, and often shoots the picture. He/she helps the Director translate the written word into the visual in close cooperation, supervising and operating the lighting and camera crews in the most efficient manner possible. Selecting the type and quantity of camera equipment for the production and the film stock for the overall photographic "look" of the picture. Determines the quantity and type of lights to be used in the production. Supervises and works with the gaffer to control the intensity, color balance and placement of all lighting. Supervises the gelling of windows, areas and lights for proper color balance and/or effect. Works closely with the Director in setting up the shots to create continuity of action, screen direction, energy level lighting and effects, etc. Works closely with the Director in selecting angles, camera height, and movement, whether on a tripod, dolly, panaglide, crane, skycam, vehicle (land, air or water) or hand held.
Close-up: On-Set Term; (CU) A shot taken very close to the subject, or with the subject of the shot very large within the frame, revealing a detail only, i.e. hands, face, etc. You may want to avoid close-ups if your actor/actress partied too hard the night before.
"Clusterfuck": For rather obvious reasons, this self-explanatory and catchall phrase is one of Chris Moore's favorites. See Episode 6 for a living, breathing example.
"Commercial Success and Commercially Viable": Industry Term; Episode One; Terms applied to films which stand to have large financial grosses, usually targeted to audiences whose collective I.Q. is lower than the director's shoe size. Antonym: Art House.
Continuity Breakdown: Pre-Production Term; A document prepared by the Script Supervisor that monitors consistency throughout a script in terms of scenery, lighting, costumes, and characters. You may recall Aidan Quinn requesting this document from Linda Leifer during pre-production in Episode 4.
Cover Set: On-Set Term; Often shortened to "cover," this is a location kept in reserve to serve as an alternate shooting site in case the chosen shooting site is unusable. It is most commonly used in the context of a shoot planned for an exterior location. Generally the days are scheduled so interiors can be shot when weather threatens exterior locations (see Episode 7 for baseball in the rain). Not to be confused with "coverage."
Coverage (1): Industry Term; After a script sits on an executive's desk for a few weeks, or gets toted around in the executive's script bag, the coverage, drafted up by some lowly reader, comes back. The coverage usually talks about how the script is nothing more than a failed attempt at a tired genre, and falls short as a screenplay in nearly every important aspect. The executive's assistant, at the request of his or her boss, will call up a form letter on the computer which conveys something to the effect that, "while I enjoyed reading [insert catchy title here], it is not the kind of project we are interested in pursuing at this time." For more on all things script related, select Episode 1 from the Episodeometer on the television homepage and read "Getting a script sold in Hollywood: What to expect." (2): On-Set Term; Coverage can also refer to what was "covered" in a particular shot. The goal is usually to get lots of coverage (several angles on each shot) so that the editor has some options when cutting the film together.
Co-Producer: Player; A Co-Producer is to Producer like co-pilot is to pilot. Works with the other producer(s) to oversee all aspects of a film's production and development. Co-producer often implies hands-on work on the set.
Continuity: Production Term; The narrative growth of a film created through a combination of visuals and sound. Consistency of physical detail between shots intended to match (i.e. making sure drink and cigarette butt levels match from scene to scene). Also, the illusion of a real or logical sequence of events across cuts or other edits between different shots.
Craft Services: On-Set Term; The individuals whose job it is to supply the food on set. Before the shooting began on "Stolen Summer," Pete Jones's assistant Judd Nissen notices his boss's reluctance to leave the craft services table and remarks, "You can work craft services on your next movie. This one you've gotta direct."
Crosscutting: Post-Production Term; Intermingling the shots of two or more scenes to suggest parallel action.
Crossing the line: On-Set Term; The invisible line in a scene representing the scene's dramatic polarization. Coverage is shot from one side of this line to preserve consistent screen directions for all participants. Complex scenes involving multiple characters and physical regrouping may have more than one axis. "Stolen Summer" Script Supervisor Linda Leifer explains crossing the line in laymen's terms: "There is a physics to film making. The pieces have to work together, the way the camera is, and the way your body is. If you end up crossing the line, two characters talking to each other look like they're not talking to each other. It makes for very bad cutting. It may make so bad of a cut that an editor won't use it."
Cut: Post-Production Term; The most common method of connecting images - the physical act of splicing the end of one shot to the beginning of the next. In a completed film, a cut is the particular type of editing which, unlike, for example, a "fade" or "wipe," involves a direct change from one image to another. Also, to show action at another location, as in television and documentary interviews. Not to be confused with "Cut!" which is what a director shouts to stop the action and filming of a scene when something is screwed up.
Dailies: Post-Production Term; (Rushes) The first positive prints made by the laboratory from the negative photographed on the previous day. What you watch each day. Studios watch rushes to make sure the director is doing a good job. They are called dailies though on low budget films you have to wait two days until you get to see your precious dailies.
Day for Night: On-Set Term; See also "Night for Day." For example, a kid can't work past 12:30 PM but you've got a big night scene to do with him. You black out the windows and shoot "day for night."
Depth of Field: On-Set Term; The range of distance in subject space within which a lens provides an image that reproduces detail with an acceptably small circle of confusion usually small enough for subjective evaluation as a "point." Larger f-numbers give greater depth of field. (The more the iris is stopped down the greater the 'depth of field'). Shorter focal lengths give greater 'depth of field'. Greater subject distances gives greater 'depth of field'. Depth of field is greater behind the subject than the front.
"Development of a script": Writing Term; Also known as development hell. From the writer's point of view, this is when the producers rape their vision. From the studios p.o.v. development is where a good script is made better and more production friendly (a.k.a cheaper).
Dialect Coach: Player; A type of acting coach who specializes in training actors to speak in specific dialects. Actors may request a Dialect Coach to help prepare for a role, as did Aidan Quinn for his role as a Chicago fireman in Stolen Summer. Dialect coaches are often referred to as foreign actors who just couldn't fully make it inside the gates of Hollywood. Sometimes they are spoken of as being nothing but authentic native speakers who prefer teaching accents and dialects to only the rich and famous. Both are gross generalizations, and, one should try to avoid making gross generalizations about anything.
Director: Production term; A Director is in charge of the production activities of the cast and crew in the undertaking of translating the concepts, actions and ideas in the script into cinematic images in such a way that an entertaining and viable result is accomplished on the screen.
Director of Development: Player; Studio or production company executive who is involved with reading scripts, coverage, giving notes, making writers and directors lists and meeting with agents. Shepherds ideas, books and scripts into better scripts ready for production. Often have suspicious daily schedules involving breakfast, lunch, and drinks meetings.
"Doing it for his reel": Jeff Balis, Episode 9; "If the DP were to be doing it for his reel, that means that he's sort of pulling his resources toward him to make the most beautiful shot." Meaning, instead of keeping the needs of the production first and foremost, the DP is working on a shot for his resume.
Dolly: On-Set Term; A dolly is a small, heavy unit that moves along a track carrying the camera, the camera operator, and sometimes the director. The dolly can also carry the boom and raise the camera up or down.
Dolly Shot: On-Set Term; Any shot made from a moving dolly. These may also be called tracking or traveling shots.
D.P. (Director of Photography): Player; See Cinematographer.
Editor: Player; The film or video cutter. This person, along with the director, determines the narrative structure of a film. The Editor splices the shots of a film together into final form. Editors must figure out which scenes to include and omit in order to convey the passage of time and clean up any mistakes that occurred during the filming process. Final Cut: The film in its final state, as opposed to rough cut.
Electrician: Player; Works for the gaffer and assists him in the performances of his duties. May assist the best boy. Provides power to the set and controls the lighting instruments.
Executive Producer: Player; The executive who represents the finances, is the finances, or is the Production or Development Executive connected with the company that is financing production. Most often, an Executive Producer supplies the capital needed to produce a film. Rarely in the movie business does the writer or director put up his or her own money to create a film. Instead, they get one or more Executive Producers to supply their money in exchange for part of the profits earned by the movie.
Extras Coordinator: Player; In charge of "wrangling," taking care of, and controlling the extras, their paperwork, costuming, props, etc. This involves getting them in position and readying them for their respective scenes. While we are on the topic of extras, you don't want to miss Jeff Balis sitting shiva in his film debut as an extra in "Stolen Summer."
Extreme Close-up: On-Set Term; (ECU) A shot taken very close to the subject, closer than would be necessary for a close-up, revealing extreme detail, like a tear dropping from an eye or the dilation of a pupil.
Film Commission: Industry Term; Each state has a film commission to make sure all production and filmmaking needs are met. It can help accompany filmmakers to desired locations, arrange accommodations, secure clearances and issue permits, manage insensitive programs, research talent agencies and help with casting extras. Film Commissions may also help network with appropriate community organizations and business associations, enlist the aid of city departments and serve as a liaison between film production companies and police and fire departments regarding safety and traffic concerns.
Filter: On-Set Term; DP's use different filters on their cameras to add or take away certain aspects of a given shot (light, color, etc.). In the following quote taken from Episode 9, Bonnie is referring to a filter that will take away some of the rawness of the shot and soften her look, "Well, you know, you work with a filter or without a filter but you hopefully you have either lighting or a filter. But when you go without either of them - you know, it's just human nature. They use 'em on everybody! Even Affleck. I mean, he uses 'em. I mean, have you seen Ben Affleck in real life? You can't tell the difference between him and Burt Reynolds."
First Assistant Director: Player; (1st AD) The person who keeps everything moving forward, on time and on schedule. The 1st AD is responsible for scheduling the shoot each day as well as managing the set during production. Good communication skills are key. Shot lists are crucial to the 1st AD performing his or her job efficiently. Without them, the shooting schedule may be created on the fly, and this disorganization will most likely show up on screen. For an awesome example of a 1st AD in motion, watch for "Stolen Summer's" Bruce Terris in the show.
Flame Bar: On-Set Term; A pipe with holes cut into the top through which gas runs. Think of it as a giant pilot light: the gas comes out of the holes, providing a convenient place to ignite a large, controlled blaze. Perfect for simulating a fire behind a window for a movie scene, or scaring the crap out of your roommates when they come home drunk. See Episode 8.
Front ended-distribution: Industry Term; Used to describe films who depend on the first couple of weekends they are released to grab the lion's share of their business. A crafty Hollywood maneuver to squeeze cash out of an audience before the audience knows just how mediocre the movie actually is.
Gaffer: Player; In charge of the electrical department and works with the Cinematographer to light the set. He or she is responsible for all major electrical installations on the set including lighting and power.
Greenlight: Industry Term; Used in Hollywood to describe when the studio commits to making a film. When a film gets the "Greenlight" from the studio brass, the production team sets a start date and the studio begins allocating resources (i.e. money) to kick off pre-production.
Grip: Player; Does most of the rigging of light support equipment and mounting of cameras.
"Harvey and Bob": Players; See also "Bob and Harvey." These modern day movie mogul brothers and Co-Chairmen of Miramax are nearly impossible to reach but have the power necessary to make the big decisions fast. A few people in Hollywood have the ability to go over Miramax studio exec's heads to get to Harvey (Ben Affleck being one of them). See Episode 3.
Head Shot: Industry Term; Black and white 8x10 photographs of an actor or actresses, most often just of their head, with an acting resume attached to the back. Agents send headshots out to casting agents, and actors and actresses bring them to auditions. This is the equivalent of a resume for actors.
"Hellish Torture": Frank Caridi's assessment of working at the beach. Episode 10; "It's bad, the beach was rough. That's right up there in terms of hellish torture. It sucked." Imagine dropping temperatures, winds picking up from the north, 30-degree water. It's the end of the day and you have a tired child actor who can't swim going out 100 feet into a lake to shoot the most pivotal scene in the movie. You have thirty minutes before the sun goes down. Hellish Torture.
"Horse Trade": Chris Moore, Episode 2; A swap or barter between two parties involving a tit for a tat. This is NOT "you give a little, I'll give a little" negotiation. This involves trading specific items, like a sheep for a goat (in the olden days) or a free church for Chicago (in terms of "Stolen Summer"). This isn't so much an industry term as it is a Chris Moore term. There are many theories surrounding Chris's love for this phrase. Some think it's a remnant from when he first watched "The Black Stallion" in 1979 and suddenly felt what can only be described as an unbridled love for livestock and equine and western art. Others feel it may be the influence of that fifth year at Harvard where he accidentally stumbled upon a roommate's copy of Hoofcare and Lameness Magazine and briefly contributed to the Online Journal of Equine Foot Science. Whatever the influence, we suggest slowly working this phrase into your everyday vocabulary.
Hype: Industry Term; Contrived Buzz. Hype is buzz that has been artificially created to give the appearance that people are talking about something when they may or may not be. The same people who stand to get rich off of the main focus of the hype are usually the ones who create it.
"I'm going to cry": Pete Jones, Multiple Episodes; Pete Jones's most famous threat during pre-production and later during principal photography when he is not getting his way. As you may recall, he threatened tears over issues such as location, time period and having to possibly shoot the lake scene in a swimming pool.
Key Grip: Player; The chief grip who works directly with the Gaffer for set lighting and who supervises camera cranes, dollies and other platforms or supporting structures according to the requirements of the Director of Photography. He or she also plans what is needed for the next series of shots.
Jimmy-Jib: (jimmy-jib arm): On-Set term; A form of crane with a remote controlled camera head. It looks like a sailboat mast on a swiveling base with a counterweight to support the camera and it is very heavy (about 1000 pounds). "Stolen Summer" Co-Producer Jeff Balis explains why he always think of a sailboat when he sees this type of crane; " It has the same support cables, etc., and they're made of fiberglass. I suspect they're actually made from the same components." We just like it when Balis calls it a "jimmy-jib-jib."
Limited Release: Industry Term; Distribution term that describes a film that only plays on a handful of screens and is released to only a couple of major US cities. A platform release is when a studio expands a film's release slowly over several weeks.
Line Producer: Player; The person responsible for keeping physical production on time and budget, as well as allocating resources and supervising the production on a day-to-day basis to make sure production targets are met. The Line Producer works with the Unit Production Manager, First Assistant Director, Director, Art Director, Editor and Composer in preparing the budget and production schedule. All final budgets and schedules have to be approved by the Line Producer before going to the studio for ultimate approval.
Location: Production Term; A place outside the studio where a picture or part of it is filmed. Not to be confused with "setting" and often referred to as "on-location." Scouted in advance by the Location Manager.
Location Manager: Player; Person in charge of finding and securing locations where the non-studio filming takes place. Involves dealing with owners and neighbors (kissing a lot of ass) and knowing how to pay people off.
Location Scout: Player; Scouts out locations for the film to be shot. Most start by making a list and getting feedback from the director on the size, feel and dynamics of each location. The scout will then photograph the different possibilities and report back to the director who in turn chooses the ones he or she likes and goes to visit them.
"Lock it up": On-Set Term; A get ready signal shouted out by the AD, when shooting is about to begin. Because there must be quiet on the set, the phrase suggests that any open doors, cabinets or moving parts on any equipment must be closed, taped, locked or otherwise made immobile in order to ensure silence.
Long shot: On-Set Term; (LS) A camera shot where the main subject appears small among its surroundings. Also, the chance that "Stolen Summer" will top $100 million at the box office.
Low Budget: Industry Term; SAG defines Low Budget as costing between one and two million dollars. Generally, from two to ten million is a low budget studio movie. From ten million to 40 million is a regular budgeted studio movie. 40 million to 70 million is a big budget studio movie. 70 million and beyond is a blockbuster (at least the studio hopes it will be after they shelled out all that cash).
Magic Hour: Industry Term; Nothing beautiful lasts forever and magic hour is no different. This is the time of day when the sun sets or rises, the light is perfect, the sky is purplish blue or reddish pink (or both), and everything looks amazing for approximately 35 minutes.
Making the Day: On-Set Term; Finishing the shooting schedule shot list for the day. Very important, because on a low budget film you often won't be able to pick up what you missed at a later date. See "screwed."
Martini: On-Set Term; the last shot of the day. Preceded by Abby Singer (the second to last shot of the day) and followed by the first drink of the evening.
Meal Penalty (Penalty Payment): On-Set Term; A meal penalty is a fee paid by the production for the failure to provide meals or meal breaks as specified by the contract. Usually charged in 15 minute increments. Earl Bartholow, Production Accountant on "Stolen Summer," explains the meal penalty they had to potentially pay in Episode 6: "It's 8 bucks per person, times 20 people, so we're talking $160 if we go into meal penalty the first round. Then it goes to 12 bucks a person, so you add the 8 plus the 12, so now you're talking 20 a head times 20, and it starts to add up."
Meaningful Consultation: Industry Term; something actors request, usually meaning that if the studio, producer or director is going to change the script or hire an actor, the star must be notified and asked what they think.
Medium shot: On-Set Term; (MS) A shot in which a human figure (or other subject) is shot at a medium distance, usally from the waist up.
Melodrama: Industry term; A genre of theater, television, film, or behavior characterized by stereotypically over-reactive characters who exude over-the-top, maudlin and exaggerated emotions while dealing with interpersonal conflict.
Montage: Post-Production and Writing Term; A sequence of scenes or images edited together (often without dialogue) to represent the passage of time.
Night for Day: On-Set Term; See also "Day for Night." You have run out of sunlight but need to shoot an interior daytime scene, so you set up bright lights outside the windows and shoot Night for Day.
Offer: Industry Term; to make a money offer to talent. In terms of casting, an offer can come after a reading, audition, and/or screen test - or the actor is so famous and desirable that they are "offer-only" and you don't ask them to audition you just send them the script, the offer, and pray.
On-Set Teacher: Player; (a.k.a. Studio Teacher) "Stolen Summer" teacher Lisa Nichols explains her job: "I'm responsible for [the children's] welfare, their guardianship; making sure the labor laws are being met. I'm their voice for communicating with the rest of the crew what they need [food, rest, etc.]." Contrary to what Episode 10 would have you believe, the on-set teacher is not there to provide adult entertainment for cast and crewmembers.
One-sheet: Industry Term; A marketing tool, and considered somewhat of a lost art in moviemaking. Back in the day, the one sheet was the defining piece of art that lured an audience to or away from the movie house. TV ads, trailers, and the Internet have diluted the effectiveness of the one sheet.
Optioning of a script: Industry Term; A written agreement between a producer and a writer in which the writer signs over all of the Rights to his or her screenplay for a specific period of time and price.
"Over my dead body": Pete Jones, Multiple Episodes; One of Director Pete Jones's favorite and arguably excessively over-used phrases which Jeff Balis suggests should be changed to "Over my bent over body," in Episode 6.
Paparazzi: Industry Term; Freelance photographers (of the bloodsucking variety) who hide out in bushes for days (often forgoing food and sleep) to capture that million dollar shot of Brad Pitt decked out in his birthday suit.
Pass: Industry Term; To decline an offered role as an actor/actress, director, producer, etc on a particular film. "Will Emma Thompson accept or pass on the role of Margaret in Stolen Summer?"
Photo Double: Player; Photo double should look almost identical to the actor in question as this person is for footage but not dialogue. Third highest paid of the "doubles," this player will show up in the movie, but will most likely be filmed at a distance to disguise the fact that he/she is a double.
Physical production: Production Term; The actual filming of the script. Physical production can span a number of days/weeks depending on the film's budget and time restraints.
Physical Production Executive: A wizened executive who calls bullshit on a filmmaker's expensive vision and ensures the production comes in on budget.
Pick-up Shot: On-Set Term; Re-shooting a portion of a scene, the rest of which was acceptably filmed in a previous take. Not to be confused with a pick-up line.
Picture Car: On-Set Term; Any car you see in a movie used as a prop. Some period piece filmmakers can't afford the cost of filling scenes with prop cars from the pertinent era, so they simply avoid filming a moving car covering multiple streets to cut down on costs. "Stolen Summer" is an example of a guerilla low-budget production that dares to be different. Can't afford to line the streets with pictures cars? Go ahead and film Bonnie Hunt driving her family through the streets of Chicago anyways and drive the process trailer rebelliously fast to blur the present day cars in the background. Now that's renegade filmmaking!
Picture Lock: The proverbial point of no return when post-production is complete and the movie becomes unchangeable. This is the version of a movie you see in the theater.
"Picture's up!": On-Set Term; Warning shouted out by the AD that the sequence of cues to shoot a scene is about to begin. Also, a final warning to everyone on set to shut-up.
Pitch: Industry Term; A short speech given to Studio Executives and/or Production companies (read: buyers) in an attempt to promote or sell an idea for a movie or television show.
Pre-Production (prep): Industry Term; The phase of film production following the securing of financial backing but preceding shooting. It includes reworking the script, budgeting, casting, hiring crews, location scouting, set construction, organizing schedules, arranging catering, etc.
Press Junket: Industry Term; An event involving the media where members of the press go into rooms (mini-sets usually with a poster of the film in the background) and ask questions of the actors and director. Often held in a hotel. Generally organized by entertainment companies to help build awareness around a project that is being prepared for release to the public.
Press line: Industry Term; The row of reporters and photographers generally located along the red carpet at the entrance of a premiere or other entertainment event, jockeying to get interviews and photographs.
Process Trailer: On-Set Term; A process trailer is a truck with a camera on the trunk. A trailer pulls a car that is low enough to the ground so that it actually looks like it's driving along. One can shoot in the car while it's moving around and the actors don't have to worry about actually driving. Problem is, it's a complicated and time consuming process to get everything rigged up properly. Also, by shooting with the process trailer you've six more variables other than people remembering their lines, the camera working, and the light being right. The main issue on "Stolen Summer" (1976 period piece) was that the production team hadn't accounted for the 2001 SUVs and other present day vehicles that lined the streets in the background of the shot.
Production: Industry Term; Usually refers to principal photography, but can cover the period in time from when a script gets a Greenlight through shooting.
Production Assistant: Player; (PA) Adam Gelvan was one of the production assistants on the set of "Stolen Summer." We think his definition of a PA is spot-on: "Think of the ideal movie set as a well-oiled machine. While the large gears perform larger, 'more important' tasks, the smaller gears must perform theirs as well. If one small gear stops working, it will be disastrous for the rest of the machine. I would liken a PA to a small gear. We take care of all the things that allow the large gears (Director, AD, Producer, etc.) to function smoothly and properly." Very diplomatically stated, Adam.
Production Designer: Player; The production designer creates the visual environment of the film, designs the sets, and works with the director to decide on the look and feel of the sets.
Production Meeting: Production Term; Meetings usually occurring in pre-production and having to do with budget, casting or script notes. May also relate to meetings having to do with physical production.
Prop Master: Player; Responsible for making sure that all props used in the film are ready to go and look as they should. A prop is anything an actor uses in a scene bicycle, coffee cup, etc. Do not confuse props with set dressing or wardrobe (it's a fine line).
Post-Production (Post): Industry Term; The phase of film production that takes place after shooting has been completed. Post-Production involves editing, the addition of titles, the creation of special effects and the final soundtrack.
Post-Production Executive: Player; Studio executive responsible for overseeing Post.
Principal Photography: Production Term; The main photography of a film and the time period during which it takes place.
Re-writes: Writing Term; A screenwriter almost always has to make alterations to his or her script after the film project has been optioned or purchased in order to satisfy the needs of the studio, producers, actors and the director. A writer will generally use script notes to help re-write his or her screenplay.
Release Print: Industry Term; A print of the film ready for distribution and screening.
Reverse Angle: On-Set Term; A shot from the opposite side of a subject (approximately 180 degrees) in relation to the preceding shot. In a dialogue scene, a shot of the second participant. On-Set Term; A shot from the opposite side of a subject (approximately 180 degrees) in relation to the preceding shot. In a dialogue scene, a shot of the second participant.
Rig: On-Set Term; To mount an object such as a light or a camera onto another object in a way that insures its stability. For example, the "Stolen Summer" crew lost precious shooting time due to the necessary and complicated rigging of the camera to Margaret O'Malley's wood-paneled station wagon.
"Roll Sound": On-Set Term; A call made by the director or 1st AD to cue the sound guy in anticipation of shooting a take. The command always precedes "Action!" so as to allow sufficient lead-time for the audiotape to begin in front of the rolling film.
Rough cut: Post-Production Term; A preliminary trial stage in the process of editing a film. Shots are laid out in approximate relationship to an end product without detailed attention to the individual cutting points. (Film Editing)
Rushes: Post-Production Term; (also called dailies) the sound and image prints of each day's shooting, processed overnight, so that evaluation can take place before the next day's shooting begins.
Scale: Industry Term; The Guilds dictate scale: the legal minimum union members can receive for working on a film. The WGA, DGA, and Screen Actors Guild all determine scale. As all of you actors out there know - this is Hollywood's term for minimum wage and, the amount that most of the Stolen Summer actors worked for to keep the budget low.
Screening: Industry Term; Usually a private showing of a completed film; sometimes before its theatrical release. Screening scenarios might include Spielberg showing his latest film to friends and family in his home theater or sitting on your friend's floor to watch Princess Bride for the 50th time.
Screenplay: Writing Term; The basic blueprint of a film, the screenplay includes descriptions of scenes, character action and of course dialogue.
Screwed: Industry Term; What one might be if they don't "Make the day" on a low budget film. See "Making the Day." Screwed can also apply to many other on-set situations. Watch the show, you'll see.
Script: Writing Term; See screenplay. In terms of filmmaking, the written text of a screenplay. The "Shooting Script" is the script with all it's revisions that's used in production.
Script notes: Pre-Production Term; The cause of much strife, controversy and arguing for everyone involved, these are notes (that usually come to the writer from Studio Executives, Producers or the Director) involving opinions on how to improve a screenplay. The writer may (or may not) utilize certain script notes to assist him or her during re-writes depending on how influential the note submitter is in helping to get the movie made.
Script Supervisor: Player; This person treats the script as the Bible, taking great care to ensure that what is written in the script is shot on film. Writer/directors like Pete Jones are usually good at doing this themselves but, often times, directors who are shooting someone else's script need a script supervisor to keep them in check.
Second Assistant Director: Player; (2nd AD) Responsibilities may include but are not limited to: ensuring the actors are ready with hair, make-up and wardrobe at the right time, keeping everyone on set happy, letting everyone know what is happening on set, completing required paperwork (i.e. actor's contracts, production reports, call sheets, injury and accident reports, etc), and ensuring that everybody on the cast and crew hits their respective call times.
Second Second Assistant Director: Player; (2nd 2nd) In the words of the lovely and talented Frank J. Caridi, "The 2nd 2nd Assistant Director actually splits various tasks with the 2nd Assistant Director. [In the case of "Stolen Summer"], I helped to manage the production assistants, directed or coordinated background, and performed various other catch all vehicle and communication tasks."
Set: Production Term; Physical location where the chaos, shouting, fits, fights, power plays, backstabbing, disasters, and personality clashes occur. Actual shooting of the film and small miracles have been known to take place here as well.
Set Dressing: On-Set Term; Detail items of decoration that are designated in the script or by the director as a part of the scene.
Set Piece: Production Term; Scene involving a large set. Often the plot points of an action film, since the action is more important than the story. In James Bond films, the goal is always to have new groundbreaking set pieces (in addition to hot chicks).
Set Up: On-Set Term; Each discrete position of the camera, excluding those in which a dolly or crane is used to move the camera during filming. For an example of how set ups are planned in prep, check out the hand drawn shot lists in the Paper Trail.
Shiny Boards: On-Set Term; A piece of grip equipment used to direct light (sunlight) onto the screen (a.k.a reflector boards). If an actor has stayed out all night partying the night before a shoot, shiny boards might help to reduce the severity of the black circles under his eyes.
Shooting Day: On-Set Term; Literally, a day when the movie is being shot. Example: a week of six shooting days and one day off or five shooting days and two days off. Sometimes, actors will negotiate less aggressive shooting schedules to give the director more creative space or to give themselves more leisure time.
Shooting Schedule: Production Term; With the help of the director and producer, the first AD puts together the shooting schedule which contains the locations, times, equipment and personnel required for a day's shoot. The schedule itself may be compiled for a single day but is usually planned ahead for a number of days if not for an entire week. In order for the AD to compile this schedule, he or she must have the shot list.
Shot list: Production Term; The list of intended shots created by the DP and the director; a descriptive list of shots in the order in which they will occur for that day. Includes camera positions and footage relating to these shots. The shot list is used to produce a detailed record of the contents of a film, for ease of finding particular footage or scenes.
Sides: Pre-Production Term; Audition material, pages of scenes from the script (or another script) that the actor reads while auditioning. Also, can be enlarged text from a script held off to the side of the set (out of range of camera) to assist actors in remembering lines.
Single: On-Set Term; A shot with only one actor in the frame, usually a medium close up. The producers and director of "Stolen Summer" learned from the first day of shooting under the El that it is better to shoot singles when filming children since singles are far easier to edit in post.
"Sly Dog Tricks:" Pete Biagi, Episode 9; This is how Biagi classifies his shaking of the camera. "I maybe learned some sly dog tricks to protecting the visuals so that they can get through and I, this is how I learned it: that if you're coming down from the shot and you're panning and you miss it, you miss the composition, don't - don't do the little subtle reframe to get it because if the editor uses that, it just looks like crap. So, what you do is you go (mimes shaking the camera) - like this - and then you lock in to the right composition so that way the editor can't do it so effectively you're doing, you're sticking your thumb in the shot."
"Sophie's Choice": Pete Jones, Episode 3; "In the emails, pretty much what I was writing was, "This is "Sophie's Choice." I can't choose between 1976 and Chicago because they're both so important, I need 'em both. And Miramax...you have to understand that." In order to properly communicate his feelings about having to choose between time period and location due to budgetary constraints, Pete alludes to Pakula's 1982 Streep vehicle and tear-jerker about a Polish holocaust survivor who must make a gut wrenching decision involving her children.
Sound Mixer: Player; Responsible for sound, this person determines microphone types and placement as well as consistently and smoothly capturing sound as it plays out live.
"Sound Speed": On-Set Term; The announcement made by the sound recorder indicating to the director that sound is ready and recording.
Stand-In: Player; A person who has the same physical properties of a particular actor (coloring, size), and takes his or her place during the lengthy setup of a scene. This allows the actor to prepare for the shooting itself. In terms of money, is paid less than a stunt double, body double and photo double because stand-ins aren't actually on film. Sounds like interesting work...if you like standing around.
Stealing Shots: On-Set Term; When the director and DP decide on the fly to shoot something that was not on the original shooting schedule and shot list. They might not be mentally prepared for a scheduled shot, or they might see something and decide in the moment they want it in the movie. Some advice: don't do it (especially not on a low-budget). See the infamous Episode 6 for a beautiful example of what could happen if you are caught stealing shots.
Storyboard (sketches): Pre-Production Term; A series of sketches (like a cartoon strip) showing potential ways various shots might be filmed. (Chris Moore quipped: "Something Pete never did, costing us several extra weeks of production.)
Storyline: Writing Term; The plot of a story or movie.
"Studioed": Chris Moore; Episode 11; "I almost felt like that was the moment that Pete got studioed. He finally hit his breaking point where the process of getting what you think you need creatively overwhelms your creative input - and I think that's sad." Getting studioed means becoming exhausted by fighting a studio (and often the bureaucracy therein) so you let it go. Dealing with a studio is difficult because on the one hand you must be extremely grateful that they are making your movie and giving you ANY money, and on the other hand you have to fight to get the money you need to make the movie great.
Stunt Coordinator: Player; Straight from the horse's mouth, "Stolen Summer" Stunt Coordinator Rick Lefevour describes his role. "As a stunt coordinator, part of my job is to work with the director to get the action sequences to work for the scenes he wants to shoot. I also work with all the departments from special effects to wardrobe. This includes preparing the budget, hiring the stunt people, checking all the rigging and setting up the shots for the scene." In Episode 8, Pete Jones proclaimed the following on set, "Rick Lefevour is our stunt coordinator and he is a man. You know, I am such a wuss compared to who this guy is."
Stunt Double: Player; Making the most money of any of the "doubles," the stunt double must closely resemble the actor, but more importantly, be trained as a stunt person. He or she can pass for the actor/actress on film and can perform anything that is deemed too dangerous/uncomfortable for the actor/actress (i.e. swimming in frigging 30-degree lake water).
Technically Available: Industry Term; the talent is technically available to work (i.e. they are not booked on another project during the time requested) but the agent or agent's assistant doesn't want to tell you that they are free, either because they don't like your project or because they are snooty or because the talent is negotiating another deal that hasn't closed yet.
Theatrical Release: Industry Term; The date when a new film is scheduled to come out in theaters, usually preceded by a myriad of internet banners, TV commercials, billboards and hype and accompanied by the obligatory red carpet premiere, plenty of fan fair and paparazzi.
Tilt: On-Set Term; Moving the camera up and down as if you are following someone jumping on a trampoline. A tilt can be used even when a camera is fixed on a tripod.
Time Period: Writing Term; The historical period in which a story is set. For example, Pete Jones fights hard to have Stolen Summer take place during the summer of 1976, the year of the bicentennial. He argues that changing the time period will change the entire thrust of the story.
"Tragic Hour": Frank Caridi, Episode 10; "So magic hour's gone, and shortly thereafter becomes tragic hour. It's the end of the day drill, which means: Everyone panic! Just get the shot! Do what you have to do to get it done! When the sun goes down and you have to - have to - have to get all your shots before the sun goes away, all the rules are gone, all right? You just get the shot." You have to - have to - have to love 2nd 2nd AD Frank.
Tone: Writing Term; The expression of a script, scene, movie that reveals the attitudes, voice and feelings of the author. Also, an element of the script that producers throw out as something to be modified when there is something wrong with a scene that they can't quite put their finger on.
Two Shot: On-Set Term; A shot of two people, usually from the waist up. Also, what you will need after a day on the set of "Stolen Summer."
Unavailable: Industry Term; When the talent is booked on another project during the time period requested, and therefore unavailable to work. In Episode 2 of Project Greenlight, Tea Leoni is "unavailable" to work on Stolen Summer because she has been cast in Woody Allen's latest film.
Unit Production Manager: Player; (UPM) In a nutshell, the administrator of the production: hires the crew and manages the resources. Christina Varotsis is "Stolen Summer's" trusty UPM and takes some of Chris Moore's heat for, among other things, lunch being late to the set in Episode 6.
Wardrobe Breakdown: Pre-Production Term; This document is prepared by the costume designer and details every piece of clothing worn on a body in every scene of a movie.
Wrap: On-Set Term; Refers to the daily completion of shooting at a particular set or location, the end of principal photography: "That's a wrap." Also, the 90s quasi-diet "non-bread" version of a skinny sandwich (fashioned after the burrito) that one often hears actors ordering for lunch in upscale Hollywood cafes: "That's a healthy helping of springtime mixed baby greens and steamed hominy and fennel, served on a bed of tangy chilé frijoles in a low-calorie whole wheat spinach wrap."
Wrap Party: On-Set Term; A party held at the end of production for all persons involved in the making of a film to celebrate the completion of production. (a.k.a a time for cast and crew to get drunk and relieve the sexual tension that has been building after weeks of grueling work together).
Zoom: On-Set Term; When the DP moves in on an object from a wider shot to a closer shot or zooms out to include more of the setting using the lens. Allows cinematographer to take a variety of different kinds of camera shots including (but not limited to): Long, Medium, Close-up and Extreme Close-up. Physically moving the camera closer and farther away from the object being filmed could create the same effect but will alter the perspective.
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