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Life Of A 1st AD On A Movie Set – Joshua Lou Friedman – BETHANY

Life Of A 1st AD On A Movie Set – Joshua Lou Friedman – BETHANY


Hi I’m Joshua Lou Friedman. I’m the
first ad on the set. Joshua Lou Friedman on set) “All right guys wardrobe is clear. Make up is clear.” “Quiet please. Lock it up.” all right all
right pictures up do you say okay tell me
where I can go yeah pictures up lock it up
what’s roll sound roll camera Seanie 71 take 3 mark great and coming
with your sec ok it was an 8 o’clock call I got here around 7:30 sometimes if
it’s in you location I’ll get there an hour earlier but its location I’d
already been living in I’ll be here at like 7:30 as an example it was a typical
hours spent on set 12-hour days I’m not counting lunch but then you know with
the before the travel time I before I live like an hour away so that’s kind of
sucks typically it’s a 12-hour day but then with lunch at 13 hour day sometimes
fortune our day so it depends if we go over when we get here I try to get all
the actors you know at first they do a blocking rehearsal for the director of
photography and our director and all the department heads to see so we know what
we’re lighting and what we’re shooting and we work out as many bugs as we can
and I put the actors through the works makeup and hair wardrobe while we’re
lighting the set and then when they come when they’re ready the set is hopefully
ready by then and we do a camera rehearsal and then we shoot and we knock
out all the scenes on the day as scheduled in prep it’s the most useful
job on set as it is because all the department heads are kind of bottleneck
in pyramid so on and when we go over then I have to make or what bit
something’s taking too long I have to get the director to hopefully make
concessions on how many shots he actually you know it was my job to adapt
to the director to make sure that he gets what he wants sometimes I’ll make
sure he gets what he needs rather than what he wants instead depends on if we
are running behind or not and usually I can make that work we’re going to the
flip bitch fair line when they’re walking
away where he’s like move your ass and pushes him into the room for that wait
up that cable will go from them to these guys okay
during that whole exchange then we’re going to get a shot of them here well is
walk you through I’m going to get an insert shot that has to match for a
transition of Kevin’s arm going onto this door and then after that I’m just
gonna let it be fuzzy fad special parts hammer out okay where you one of those
that drives on the strings yeah I I get that yes that that is true
um it’s starting to take its toll I’m not gonna lie to you I’m an old man but
old old man I have Zack Ward on set immediately
please I’m always the guy like every time I have jobs book they never seem to
be a couple days after I rap or a week after I rap it’s always oh you’re done
shooting on the 16th perfect you’re starting with us on the 17th and that’s
been the story of my life for years um so very rarely do I get time off time
off is one of those things that happen to other people well sounds like oh you
love to be on set I do I do I did I do to thrive on the stress that’s I
admittedly and but yeah takes its toll on very mellow when I’m not on set but
definitely you got to keep things moving you know my pace dictates you know the
crew the departments and how fast the crew works so you got to keep that
energy going wait walk it up ages up have any ones on the face 71 straight up
here we go everyone to one good swing boy
quiet everywhere you’re just joining us now it’s a lovely time and say your cell
phones on stun light go ahead sorry but my um department has want to know for
doing a free life or any of the scenes no it’s a hospital room in here
samples are pretty good yeah well this will be changed because this is the old
look this is a vengeance work so we’re going into modern look
not even sure if it’s still this room it might be the room across the way cool
boy here James tub double check but let me see which one he wants to use thank
you very much no worries Oh indoors and shooting outdoors obviously indoors is
more controllable especially during sound stages and you control so much
more outside you’re at the mercy of the elements the weather you have to power
the lights if you’re using lights noise factors also play into it
airplanes and helicopters which we tend to get a lot of here now a lot of here
in LA and yeah so it’s easier to shoot indoors I want you to doing this come on
since 1991 not to say dangers in the industry since 91 so a long time very
long time have you seen it changed especially now with DSLR oh yeah
dramatically actually on I I just saw the change when I did the third film I
were to shoot on a red and it was like ah this magic can still change things in
LA at first there’s a lot of directors that were alike all pro always shoot on
film and now most have come around to say I’ll never again so some some will
hold on to the purist will hold on to that but you know it’s the way of the
future you know and yes everything’s changed dramatically some things are
easier and some things are actually more difficult in the back end like you know
the advent of HD a tree like I feel bad for makeup artists because in HD it
really separates the pros from the amateurs because you see you catch so
much more definition in detail I say I felt at most around 2007 2008 where
really was just everyone was going digital
all right boys and girls ladies and gentlemen pictures up last looks last
looks during prep I’m responsible for putting the schedule together um it’s
it’s very it’s a time-honored art to prep the film and to schedule it
accordingly and so that’s basically your baby in a way is a schedule you know you
haven’t written the script that’s the director of the mine whose baby are the
directors the way he shoots it that’s his baby and the writer how he writes it
that’s his baby I schedule it that’s my baby so it’s kind of like seeing that
baby come to fruition is making a schedule that works that that we’re
making as we stay on schedule and I that part I do thrive thrive on movie magic
is what I use it’s kind of an industry standard so there’s a shooting schedule
that I put together there’s all your cast members and this is it I have to
you know group all the locations within a day and see what works with location
stipulations actress stipulations or all the different scenes and here’s every
day of the shoot and all this has to be ironed out during the prep and I put all
this together and then on top of that each one of these scenes needs to be
broken down don’t they for all the elements so I have what’s
also called the breakdown and I do these every scene as you can see you know as
I’m broken out or who’s in it what props are needed what vehicles are needed
makeup notes stunts wardrobe is notes yeah so every scene has to be broken
down like that and then of course though you’ve seen the schedule and put in an
order that makes sense for the production and I always turn in a
breakdown in both schedule order and see an order so it’s easier for the
department heads to kind of bounce around and see what they need by
lunchtime we have the drop what’s called a preliminary and I make sure the
department has take a look at it so they can throw in there a few cents and I go
over it with the director and my second idea over lunch you actually you know
why who puts it together I approve it and make the changes and we like to have
enough by the end of the day if you know because things change like what the
scene has to push from today to tomorrow in fact
case then you know and it needs to be on a call she’s attended out or emailed at
the end of the night so usually end of the day if nothing’s changed
dramatically since the lunchtime meeting that will hand out a call to the end of
the day they definitely get it an email form as well so yeah end of the day I
love when I’m done with prep because I’m more of a I mean I got the paperwork
down to a science but at the same time I prefer to be on set I’m not a paperwork
I I gotta keep the keep the earth moving let’s go again going again right away oh
yeah right away reset please everyone to one ya know looks last looks playing I
love it when things are cut out I like I’ll really and I get that all the time
or directors like I still like the scene we’re gonna have to cut this inner that
so you know like I’m so sorry to hear that it’s great except means I have more
time to get other things and make my day listen up a great job by the way coming
in on Eastern working hand and knocking out our day this earlier we were
thinking about stealing a scene we’re not going to so we are going to wrap
early under the auspices that everyone understands in our last day day after
tomorrow we will most likely go over okay it’s about in low down low it in
load out and a company move and that’s also the day that this scene that we
were going to pick up is is on so we were going to pick it up to make it
lighter but we figured you guys would rather have Easter and the couple hours
early done now now that being said on that last day we will have a proper
second meal available for everybody when that time comes okay so yeah we we have
we have a question because if it is not okay with anybody that we are doing that
we can still we still have time to pick that up today I need to make sure
everybody is actually okay with this and if they are not we will push for it
today today yeah but if everybody’s okay with it you all can go home right now
and feel free to step forward I mean don’t know it’s it’s either way we’re
going to get the scene so it’s not it’s data you do not have to feel bad if you
I have a problem with it yes certain certain seems like to turn into what I
call time vampires and I’m a huge fan of you knows that’s when I start to get a
little meaner on set I was at AG you have to walk a fine line between you
know being stern and yet keeping a jovial attitude you know keeping morale
high and I do walk that fine line but if a scene is taking too long
that changes or I have to really start cracking the whip and puttin my foot
down so yeah so it’s almost like you’re playing good cop and bad cop Lindsay at
the same time yeah it’s very schizophrenic no it’s not yes it is
anyway so you know who said that Haymarket yeah come on dad hold on quiet
and Hatchin yeah it doesn’t happen often but there are curveballs that you never
see coming you can’t prep for you can’t plan for
and it’s it’s the experience of an ad an experience staging to be able to rise to
those challenges that come that the ones you don’t see coming and to be a problem
solver and find ways to fix it based on my experience so yeah those are the ones
and you never know you know you never see them coming you can’t predict them
without naming names or titles it was an airplane set and it was day one our
first day of shooting and we were going to shoot in a cockpit and our department
promised this cockpit they were building was going to be great and they sent
pictures of the plans to the director and promised it would look good and
they’d work and things weren’t I heard like we’re two days of shooting and the
build wasn’t they weren’t sending pictures and whatnot so we weren’t going
to see anything till that day they’re going to build all night it was going to
look beautiful and you know the producers were like we’re taking a
chance on that we showed up that morning everything was barely built and we were
waited and we waited and we waited and when they finally built this company I
wake you out we’ve called lunch and we haven’t shot anything yet and then after
lunch by the time they finish the cockpit the director looked at it and
said we’re not shooting this one looks like crap
so I’m like what do we we had to rent a cockpit from a rental house had it
trucked had it on brought it over to the soundstage it was
big pain yes getting that cockpit rebuilt cockpit off the truck and into
the soundstage and we had to address it and rig it and light it and I finally
got my shot right before I called wrap that was an 80s nightmare that all to
have this whole day scheduled so thankfully on day two I did evolved I
made sure I brought in day one and day two at the same time and put us back on
schedule the same day so that was that was
probably one of the most challenging things had never never my career have I
not gotten a shot before lunch let alone at the end of the day it’s just
preposterous and to have a whole set thrown out and another one brought in it
was just mind-boggling so yeah crazy Tuesdays everybody bring
rain gear rain gear for your dugout for your equipment and what-have-you
all right guys great getting work today seriously guys stick a fork in it that’s
a wrap Happy Easter oh very nice that’s around

14 thoughts on “Life Of A 1st AD On A Movie Set – Joshua Lou Friedman – BETHANY

  1. Jesus i just KNEW i had seen him somwhere.. looked on his IMDB i was an extra on set of a feature film in 2016 called 'Day of Reckoning" where he was AD'ing

  2. Im not an actor…rather a producer director but……..this guy seems….like….he makes u do all the work yourself …… Like…lazy ..idk id hate to work w him

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