THE BUSINESS

I’ve had the pleasant adventure of being on several television sets, and it’s always fascinating to see how it all works. For every actor, there are maybe ten (or more) people off-screen doing a myriad of jobs to make a few seconds of film happen. Makeup artists, hair arrangers, the manager of the trailer lot, cameramen, a director, a script and continuity person, lighting experts, assistant directors, drivers, and people who make sure the actors are comfortable between takes. (I have no idea what that job is called. But believe me, when they find heaters for frigid waiting areas, they are my favorite workers.)

Being on location is not the exciting and glamorous pastime you might imagine. In New Mexico, it hailed on the set of “Midnight Texas,” and there was a dust storm, and the altitude made some people sick. In Louisiana for “True Blood,” it was hot and buggy. In Vancouver, for the filming of “The Julius House,” it was really cold. And gray.

Every time, shooting must stop when a train goes by, or children shout in an adjacent neighborhood, or big trucks put on their breaks. Then it all has to be redone. From the beginning. Over and over. Until the director is satisfied. After one scene’s been completed, everything has to be moved and reset: lighting, cameras, actors, props. Repeat.

I’ve been impressed by the stamina of everyone involved, and the long hours spent to create every episode. This is not glamor. This is hard work. Don’t ever let anyone tell you differently. Every time I get to watch the complex process, I come away with more admiration for the craft it takes. And every time, I’m glad I’m a writer. I can work by myself, and I don’t have to get my makeup touched up every ten minutes!

Charlaine Harris

Comments

[Mark]

From everything I've read, it really is hard work. But when done well, the results are so much fun.

[Charlaine Harris]

I agree. That would have to be driving force. It's a real team effort from start to finish.

[Elaine Viets]

It is hard work, Charlaine, and it requires patience and concentration. But you have to admit it's more glamorous than working at the Ford plant. Looking forward to seeing Aurora on the screen.

[Hank Phillippi Ryan]

The people who make other people comfortable are called "moms."

SO exciting! See you at Malice--hurray!

[Dean James]

Thanks for sharing this inside glance at the process. Interesting that so much of it is tedium and busy-work to get ready for the part that the rest of the world sees.

[catriona]

All I know about telly work is from listening to Joss Whedon commentaries and that made my head hurt. Getting each scene so that you can cut for length and still have perfect continuity? Ouch.

[Marcia Talley]

When ALA was in Miami many moons ago, I spent several hours at the Eden Rock Hotel where Sean Connery was filming a movie. Spectators were allowed on the mezzanine floor where we had a clear view of everything going on. I watched Sean Connery come into the hotel, grab a luggage cart, push it toward the elevator. The door opens, a mother and young daughter get out, Sean says, "Here, take this for me ..." and gets in the elevator, doors close. And again. And again. Twenty or so times. I didn't mind a bit, however. Sean looked gorgeous in his Armani. Drool. And between takes, he flirted with the fans.

[Dana]

Very cool, Charlaine! I'm glad you get to see this part of the process.

[Sara Weiss]

I grew up visiting sets every summer. It always amazed me that it took 8 or more hours to get 22 minutes of usuable tv.