This project is one of my favorites because, based on pre-production, it shouldn’t have turned out so well. The schedule had been rushed and though we met as a crew several times, I felt I didn’t have an precise idea of what the director wanted us to accomplish. However, once we got to set and started working, it became a sporadic, yet creative process.
Good Morning Charlie was written and directed by Robbie Moen and was the second project we shot together in the same weekend. Because he had written this film, I felt he was more invested in bringing the script to life. We didn’t work from storyboards or even a shot list; Robbie just knew what he wanted. He told me his ideas for each shot or sequence and then we quickly discussed how to make it work. Since we only had one day of production, we worked quickly, shot handheld, and used mostly natural or practical lighting.
This style of shooting would have seemed too casual to me beforehand, as I usually like everything to be organized and planned. However, the process ended up working very well for this project. Once we got into a rhythm, I actually found it gave us the chance to be a little more creative because we were discussing and deciding shots as we went along. Without the structure of storyboards, we could try different frames that helped fit the fragmented nature of the story. While I’m not sure I’d always like to shoot in a freeform style, working with Robbie on this film showed me that a good working relationship with a creative director can be just as important and effective as an exact plan.
Canon 5D Mk II
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