Issue link: https://digital.copcomm.com/i/1257029
31 When I heard the basic premise of Barry, a hitman who wanted to change careers to become an actor, I wondered how the hell Alec Berg and Bill Hader were going to build this world. I thought this type of genre had already had its day, but it was nothing what I presumed it to be. The writing was some of the best I had ever come across for a series and the world Barry lived in just got more and more interesting with each episode. The cast was a pleasure to work with, always professional and willing to help. Bill Hader as Barry, Henry Winkler as his acting instructor, Mr. Cousineau, Stephen Root as Barry's manager, Fuches, Sarah Goldberg as fellow actor/ love interest Sally, and Anthony Carrigan playing the murderously lovable Chechen mobster NoHo Hank, were given the freedom to flesh out their characters, and they took their tasks seriously. The crew had to be as serious as the cast, and worked together to facilitate whatever aspect of production could assist them in achieving their character more fully. As an example; how someone was wired to preserve their look, boom mic selection, or requesting quieter prop handling, were ways both the actors and the Sound Department could make and record a great performance. One consideration was for Bill Hader to always be wired so we could catch the little under-the-breath-isms he would give. Sometimes it wasn't the words but the breathing that brought something more to the scene. Anthony Carrigan's wardrobe always had a trim fit so we worked a well-hidden radio mic pack placement for him. These may seem like simple things but they are important. All of Barry's acting class were wired, even when they had no scripted dialog as they were frequently given license to ad-lib lines during a scene. Although this may sound like a potential for a free-for-all, it usually wasn't due to their respect for fellow castmates. Even if an improv didn't make it to the final cut, it had value in the evolution of a scene, as it kept everyone thinking on their feet, including the Sound Department. Barry was not written as an ad- lib improv comedy and should not seem to require wiring 24/7, but I did. I always want to make sure I get it the first time, as comedy seems to be what I work on most, so I approach most shows this way. DP's Brandon Trost (pilot) and Paula Huidobro (series) both used one camera, with a second on standby. There were rarely gratuitous camera moves or blocking with every angle seeming to have a purpose. Generally, we would start with a wide shot and let that serve to allow the scene to find its way, then go in for coverage. Of course, the initial blocking also considered the ensuing closer shots. On any show, once we begin coverage is always the moment where I wonder if they are going to cover