Issue link: https://digital.copcomm.com/i/1126636
DGA QUARTERLY 23 The thing that was really exciting was each episode felt fresh and new," says veteran 2nd AD Michelle Parvin of Amazing Stories, a reboot of the acclaimed 1980s anthology series executive produced by Steven Spielberg. "We had a new cast, new stories and new settings, so the di- rector and the creative team were creating a world, similar to a pilot, every episode." What drew her most to the work was the collaborative nature of an anthology series where "so many of the departments had to come together to add their ideas and suggestions to create a visual world that was different" for every installment. On one episode, "We had need for background to portray high school athletes at a track meet," explains Parvin. "I reached out to many of the local running clubs to recruit athletes who could sprint, throw javelin and jump the high and long jump. This is a much more laborious process than just making a call to casting " but makes a real difference, she says. "I befriended 100 athletes and coaches, and when they actually showed up on a cold morning at 5 a.m., it was im- mensely satisfying." —MATT GAMARRA "It actually goes smoother when you slow it down and let everybody do their work." — L E O N . B A U E R I've always been a director's AD," says 1st AD Leo N. Bauer, explaining that the pressures for a guest direc- tor on a series can be myriad. "They're under a lot of stress to get their episode done in X amount of days, and the only person they really know is you because [of prep], so they rely on you. You need to be on their side." Bauer, who works frequently with Ryan Murphy on projects, including The Politician, Pose, American Crime Story and The Normal Heart, believes that giving directors the time necessary to do their job is one of the most important things an AD can do on set. "It actually goes smoother and faster when you slow it down and let everybody do their work instead of rushing people," he says. "I'm respectful of every single department because they all have a job to do." Another imperative for Bauer to bring to set during an eight-month marathon of a television schedule is a sense of camaraderie. "You're working with creatives and you're working with blue-collar guys like myself for 14-15 hours a day, and it's really important to get along," he says. "It's like eating an elephant with a teaspoon. It's a slow process, but you all get through it together." —BECCA NADLER The Advantage of Slowing Things Down Leo N. Bauer | 1st AD Going the Extra Mile Michelle Parvin | 2nd AD