Issue link: https://digital.copcomm.com/i/855802
25 scenes. It is very nice to be respected and trusted enough to have the emotional IQ appropriate for such scenes and not have to have the sound or performances suffer. The shooting itself is very free-flowing, there are scripts, but the actors are allowed and encouraged to explore the part. This means, scenes often end up veering pretty far from the script, both in mood and stage direction. The show is shot handheld and is very organic with scenes developing from the first rehearsal, often on camera, to 'Moving on!' As with many shows of a similar freeform nature, we rely heavily on wireless lav mics, with two cameras (sometimes three) seeing anything at any time. However, because of the subject matter of the show, cos- tumes may come off at any moment, so the boom opera- tor must always be aware and available. It is an intricate and beautiful dance that Eddie Casares performs with the Camera Department, every shot, every day! There are many last-second decisions being made in the creative moment that can be very difficult for sound to keep up with. Eddie's sensibilities with regard to story and the director's intentions give him the ability to make quick decisions with the boom and allows us to continue without breaking up the action. One of the joys of working with Jill as a director is the confidence in what is being shot, what is needed and what specific coverage is required to make the scene work. With that skill, it makes it really comfortable for us to know what we need to cover the scene. Oftentimes, we will shoot big scenes with ambient music, onscreen musicians, background wallah or offscreen commotion. It can be very unnerving from a sound perspective, but what may seem like chaos after the first few passes, even- tually becomes beautifully crafted where things often play as if it were in front of a live audience, intimidating, but exciting. Watching Kevin Bacon, Kathryn Hahn and Grif- fin Dunne flesh out those scenes was truly a wonderful and privileged experience. Eddie had to leave a few weeks from the end of the show due to a family commitment and we had to find someone that could jump into the deep end, have the appropriate sensibilities, set presence and personality to take over. My first call was Jen Winslow. Having worked with Jen be- fore, I knew she would be a great fit and she blended in seamlessly to the mix, without missing a beat. Jennifer Winslow: "My first day on I Love Dick, I walked onto the camera truck and met the show's all- female camera crew. For the first time in my many years in the business, I have never been on a show that was as female dominant as Dick. We unloaded the gear, chatted some and pushed into the set. I noticed a big difference in the tone immediately, and was warmly welcomed on that first morning, when we gathered in a circle around a rather large apple box signed and decorated by all those Kathryn Hahn, Griffin Dunne & Kevin Bacon. (Photo: Leann Mueller) Kevin Bacon as Dick meeting Kathryn Hahn as Chris for the first time. (Photo: Patrick Wymore) Sam Hamer mixing with his bag-rig. (Photo: Jessica Brooks) Jennifer Winslow booming in the tiny jail cell set.