Bulletproof Screenwriting

Alex Ferrari 0:28
I'd like to welcome to the show. David Klein, man how you doing David?

David Klein 4:36
I'm good. How are you man?

Alex Ferrari 4:38
I'm doing great brother doing great man. We've been trying to get this ready and recorded for god months now at this point but you're busy you're busy man you're working on Boba you're working on Mandalorian you're, you know saving the world little by little. So

David Klein 4:53
I'm about all that. But the first two things are true.

Alex Ferrari 4:57
Exactly. So I appreciate you taking time out of your busy schedule to come and talk to the tribe, my friend. So first questions I have for you, man, why God's green earth did you want to get in this insanity that is this business?

David Klein 5:11
Probably because I didn't know that the hours were gonna be what they are.

Alex Ferrari 5:16
No one tell you that no one taught you that you didn't that you didn't have this podcast. Back in the 90's

David Klein 5:22
I thought it was gonna be I thought it was gonna be hanging out with cool, famous people and you know, doing cool stuff, which is which is true, these things are true. But man, the hours are crazy. They're absolutely just insane. But to answer your question, I always, you know, I always was into movies. I think it was Blade Runner. I know, it was Blade Runner that my father took me to do when I was like 13 years or so. And he took me to the driver, and we watched it the driver. And I remember leaving and saying to him, you know, Dad, I think I want to make movies and he's like, sure, whatever, you know, do whatever you want to do. And he you know, he was really supportive. And he actually helped me, you know, my grandfather gave me this 60 millimeter Bolex when I was young, and my father, you know, at the time we had the VHS camcorder that would that would actually plug into the, you know, the VCR that you had to take with you, you know, from the top of the TV. And so I had those two devices and started making you know, stop animation films. And you know, funnily enough I was a kid I ordered that special edition Boba Fett, you know, would you take like the Box Tops from from General Mills, I think it was and you got to check for my dad and you send it to somewhere in Minnesota or wherever it was. And you wait like eight to 12 weeks and you're supposed to get this little boat fit that comes with a rocket that shoots out of its back. Right? And it shows up? Weeks and weeks later. And the fucking rockets glued in? Its back. Right? So I blew the Holy hell out of that thing when we were making one of these little 16 millimeter stop animation films. And, you know, it's I think it's fitting that I would end up on some of these Star Wars shows. After that.

Alex Ferrari 7:11
How much and how much. Yeah, how much would that Boba Fett be worth today?

David Klein 7:15
I think about $18,000.

Alex Ferrari 7:18
Yeah, not bad. Yeah, that would be that's a good return on investment, I think. Oh, man, listen, we all do things to our Star Wars stories when we were younger

David Klein 7:27
That was fine. Yeah, you know, my dad used to help me with those, you know, those rockets, the little model rockets that he'd set up, shut up, no parachute. And so one day, I took one of the the engines to him and I said, Dad, if I cut the nozzle off on this thing and put a like a wick in there, will it just explode? And he was like, come again. And I think he thought maybe I should help you out. And, you know, so he became my my, he became my grip, my gaffer my special effects, man, everything. That's amazing. He was not in the business. But he was no slouch when it came to helping his kids out.

Alex Ferrari 8:08
Did you ever invite him on any of the sets that you worked on?

David Klein 8:10
I did. I did. I don't think he ever, you know, he passed few years back. But and I don't know that he ever really understood what I do. Same here. Were there were some times you know, I was doing a show in in Hawaii, actually. And I think that's why he came. But he came to set and he you know, spent a week on and off the set and had a good time, you know, but still, I don't think it's sunk in what what precisely my job is?

Alex Ferrari 8:36
Yeah, my dad, I invited my dad onto a set that a commercial said I was direct and commercial. And he just was like, looking around. And he went back and told his family and friends. Everyone just listens to Alex. That's all everyone. He says something and they move and they move. That's all I know. I don't understand that still, to this day, he still doesn't understand what to write, let alone this. This is

David Klein 9:01
for sure. I think at times I don't understand what I do. You know what I mean? I still have so much to learn.

Alex Ferrari 9:11
So when you started off in your career, my friend you started off in a little film, little black and white movie called clerks with a little unknown director named Kevin Smith and an unknown producer named Scott Moser now we've had the pleasure of having Scott on the show as well. So I I've heard it from his perspective on how a lot of this stuff went down. How did you get roped into this insanity? That was clerks?

David Klein 9:37
Well, it started the way so many stories start Alex I found a girl in college right? And, and about two weeks after we got there she she dumped me for another young woman which you know, totally understandable. Even cool now. At the time for an 18 year old young man it was heartbreaking. Right? And so I was like, fuck this place man. I'm No no film school, which I had always wanted to do anyway, but didn't have the courage I guess, to go and you know, just go for it. And so I found the Vancouver Film School which used to advertise very heavily in American cinematographer, which is where I saw it. And, you know, they were they have a sister school now, which is the Los Angeles Film School here in LA, on Sunset, they're almost identical programs. At the time, there was just a Vancouver Film School, and it was a one year program, and they have classes started every two months. So every other month, a new class started. And this young lady that broke my heart put me on a path to end up in the same class with Kevin and Scott, you know, had it not been for her and all that timing, which, you know, is the luck, part of how you get into this business and who, you know, what put you where you are, I guess she was the luck part of it. And she put me in the class with Kevin Scott. You know, her time that put me there. And and to be honest, after, you know, Kevin dropped out halfway through the program to save the rest of his tuition for the movie, and and Moser not finished. And the reason they wanted to bring me on to clerks, you know, to be told this because they didn't want a cinematographer who knew more than they did. And I had, I think I had focused I know, I had focused more in to the cinematography aspect of the Vancouver Film School. But still, you know, it was a one year program, how much can you can you learn in one year a hands on not a whole lot. But I think the biggest compliment I got from clerks was when we were doing the 16th, regular 16 millimeter 235 blow up. We did a lab called good fonti film lab or defund the homeworks in New York, and the biggest compliment I got was that I exposed the film properly and really well.

Alex Ferrari 11:53
You know, from from my point of view, I mean, watch Clerk's made it multiple times in my life. It's exposed. I mean,

David Klein 12:02
You're right about that. Alex, it is exposed.

Alex Ferrari 12:04
It is exposed. You didn't under expose you didn't over expose overexposed. I mean, it's man, you You did you exposed? And what's so fascinating, I mean, for people listening, the young uns listening, you shot this on 16? Not even Super 16 Just straight 16 Right. It wasn't regular regular 16 Right. Get the 16 Emma wasn't it wasn't MLS, it was

David Klein 12:24
No, no, it was think sound. And we got all the all the, you know, the camera equipment and the audio equipment from a guy named Mike Spera, who had a little company called, it was called Pro camera, I think at the time, and he actually went on to run the studio in a story, you know,

Alex Ferrari 12:47
Oh, yeah. The big one over there.

David Klein 12:48
Yeah, yeah, exactly for quite a few years. And I ran into him years, all those years later, when Kevin and I were there doing cop out, which was, which was kind of cool. But it was basically all we could afford this. This Aeroflex Sr, just an Sr.

Alex Ferrari 13:02
Was just straight up. It was

David Klein 13:04
SR one straight up of SR one. And it was all we could afford. I think we had $3,500 for all the you know, camera equipment and audio equipment for the run the show, which was about four weeks. And so he's like, that's the one you get, and it sounded like a machine gun. And it did. And we had we had the little Barney that comes with it. We also had I would end up operating the camera with that Barney and just leather jackets and all sorts of blankets and whatnot on my head. Just so we weren't recording some of that that machine got on my camera.

Alex Ferrari 13:41
Probably because you didn't Did you have a blimp or you didn't have a blip?

David Klein 13:44
We had just, you know, the standard that goes over it, you know, kind of leather thing,

Alex Ferrari 13:49
Which was useless essentially,

David Klein 13:52
It was relatively useless. All the sound is coming out of the lens. You know what I mean?

Alex Ferrari 13:56
Right! I'll tell you Well, I my when I was in film school, the camera I got to use was the SR three. And that was that. Whoosh. We were the first.

David Klein 14:07
That was slick, man. I mean, but I think by the time we were we shot chasing AMI Super 16 on SR three is a great camera was one of the best cameras out there. Yeah.

Alex Ferrari 14:17
Oh, yeah. Solid. And you can you can hook up your laptop to get like imports and stuff. Yeah, that was like the big thing. Like, you could hook up a laptop.

David Klein 14:25
I remember that. I remember but not with the SR three. But I remember plugging my laptop into a 535. And oh, yeah, during the speed changes and that sort of thing. And it was that it was that black and white MacBook Pro. Not even a MacBook Pro is a black and white MacBook with 110 megabyte hard drive, you know, which was which was screaming back then. Oh, yeah. You think I'll never fill this up. I said emails bigger than that. You know.

Alex Ferrari 14:50
Exactly. So I see. So I have to like the ins and outs I mean, you guys shot that movie what in what ferrets remember correctly it was like a Just a few weeks. Or is,

David Klein 15:13
It was it was it was four weeks, really. But, you know, the was on nights. You know, that's why Kevin wrote into the script that somebody jammed gum in the locks, because we couldn't, we couldn't have the store during the day. And so we shot nights, and we had the store from about, I want to say we had it from 11pm until 5am. You know, so they were, they were sure, but you know, we would shoot and then Kevin would actually work at the store, either either the community sort of the video store all day, and then we, you know, he finds maybe a little time for for sleep a little bit asleep, and then we get right back to shooting. So it was it was more days than you would expect. But they were shorter.

Alex Ferrari 15:55
Did you? I mean, I did I remember when I was coming up, and I would walk on set as a as a director and I early on, and you just don't know what you don't know. So luckily for you, was there anybody on set that knew more than you about the camera department? Or were you the top of the top of the hill at that point?

David Klein 16:18
I was the top of that very small hill. I was the entire department. So you know, operating the camera pulling focus. And, you know,

Alex Ferrari 16:29
Lighting too right or did you do the lighting?

David Klein 16:31
Well, I had a little we had a little help, you know, there was a cat named Ed half stack, who was a friend of Kevin's and and he would show up and Vinnie Pereira would show up. But they had day jobs too, you know what I mean? So they kind of, yeah, they come in and out. People got to work. But whenever we would go through, we'd burn through a mag, I would shut down and I'd go into the tent and change, you know, I reloaded the mag and unload the current mag. So it was a woman department, you know, oh my god. It's also why if you look at the credit clerks, the boom operator is credited as whoever grabbed the pole first, you know, I mean, because it was literally whoever grabbed it. There was I wish I had I wish I carried a camera around back then that's still camera, because there was one scene where Moser and had half stack and I were in the shot, we play the three people that run out from the funeral home after that whole business goes awry, right. Yeah. And so it was the three of us and Kevin were there. And so Kevin was literally operating the camera, sitting on the ground on the street. He had the Niagra down, you know, by his by his thigh. And so he's holding the boom, he's operating the camera. And there's the three of us running in the shot skewed the intersection. Sorry about that. It's no, but I just wish I had a photograph of Kevin sitting there with the SR one with the boom pole, which was I think it might have been a hockey stick actually, with more likely been attached to it. And one man band at that point, you know,

Alex Ferrari 18:07
Sorry. And I know he got the he bought or rented a steam back and edited the whole thing old school because

David Klein 18:14
Right there in the back of the video store.

Alex Ferrari 18:16
Right in there. So I'm assuming you were there. Part of that as well.

David Klein 18:20
Very just the very beginning. And then and then I was out. I had to go get a job to you know what I mean? Right?

Alex Ferrari 18:26
Yeah, cuz I'm sure you didn't get rich off that first job as far as.

David Klein 18:30
No not at all

Alex Ferrari 18:33
So clerks comes out, man, and you I'm imagining, what do you think was going to happen? Seriously, like, I mean, from a DP's point of view, when you do a show like that, you're not going to go, this is gonna go national, this is going to blow up, it's gonna become a phenom. I'm assuming that's not what you thought.

David Klein 18:50
No, it's not what what any of us thought I think at best, we thought that it would be a calling card, just you know, to a studio or a small production companies that hey, these guys can can get a film made. But so let's hire them to do the next one. Which, you know, that did happen and so much more, you know, we didn't expect it to, you know, go to Sundance and be the little sleeper hit that it was, you know, it took off like crazy. And to be honest, for me, eventually. It was it was a deep hole to climb out of because to have a movie that's successful. And look like that is not great for a cinematographer. The same thing happened years later with chasing AMI, which is a wonderful film, and I stand by it to this day, but it doesn't look great. You know, it's not well, it's not well, lens. We barely moved the camera, aside from some of the many arguments in the movie. But, you know, it was a successful film that didn't look that great. So again, as a cinematographer, it was a there was a hole of time out for sure. Yeah, because

Alex Ferrari 19:57
I guess you were like, Oh, this will be a little thing. I can maybe show around. A little bit, no one's ever really going to see this. And then all of a sudden, you're like, I am known for this, like, Oh, you're the dB of clerks, right? And so that was a bit of a bit of a challenge

David Klein 20:12
It's a struggle, it was a struggle, not as much as I might be jumping ahead. But when Chasing Amy was, was at Sundance, it wasn't in competition, it was just a premiere. And, you know, we had done Mallrats in between and Mallrats had been largely kind of ignored. It has since I think found a huge audience, but at the time, it had been ignored. And so Kevin, and the rest of us were nervous, you know, we were nervous about what was going to happen with Chasing Amy. And so, you know, Kevin and Scott had a meeting with with the morally repugnant Harvey Weinstein before our screening and Harvey, you know, I think Harvey knew what he had. He absolutely knew he had a chasing me, but it hadn't even premiered yet hadn't been screened to a large audience yet, so him was nervous about it. And so Harvey offered him a deal for his next movie. But there were stipulations. You know, Joey Adams, who was lead and Chase, ami was going to be the leading dog when Harvey said, No, he said, that's one of the things and he said, Joe is not gonna be the lead. And you know, Dave's not gonna be a cameraman. And whatever else it was, those are the two that I really remember. Because after that meeting, we were all staying in this condo together. And Kevin takes Joey into, you know, a bedroom, and Moser takes me in the bedroom and breaks the news to us, and then we all go to the premiere. So, you know, it was a very surreal experience to have this audience just adore the movie. And you know, I'm sitting in the back row again, and I don't get to do the bucket. Next one, you know what I mean? So it was it was a kick to the gut, for sure. And then for, you know, Ben Harvey kept me out for about 10 years. And in those 10 years, the first question I always got when I was in a job interview was, why aren't you shooting Kevin's current film, and I would tell them the story, and you know, whether they thought it was true or not, or that I was being kept out, just because I was too inexperienced, and not good enough, that didn't matter. You know, whether they believe this, or that it didn't matter, for one reason or another, I wasn't shooting his movies. And so I had to just get out there and work. And so that's what I did, as I put myself on a 10 year plan when I got to when I moved to Los Angeles, and, and I said, if I if I'm not wearing where I want to be in need to be in 10 years, then I'm gonna go do something else. But I'm gonna give it everything I've got for 10 years. And it took just about all of those years, to finally, you know, I think get a grasp on on, on the craft, and being comfortable and what I can do with the crew and set and telling a story. That's what it's all about, you know, you have all the experience in the world, if you don't know how to tell a story. It's irrelevant. It's all irrelevant.

Alex Ferrari 22:55
It's fascinating to hear that story, man, because it means so many people looking from the outside in, you know, unless like, oh, well, you know, you you worked with Kevin and you did a couple of his movies. And then you know, your career was set. And it's the complete opposite. It was actually you had a hole to climb out of in the first movie. And then the second movie, or the third movie that you did with Chasing Amy, you weren't happy with visually. So it wasn't a great calling card for you visually. And then the movie that might have been the movie that would have taken you to the next level would have been dogma, because you would have had a budget, it would have been a studio project, a real a real Studio project. And it would have maybe opened up a lot of doors for you. But you would literally have to hustle for the next 10 years to kind of whittle your widdle a niche in for yourself. So you feel like no man, I can actually do this, for sure and open and open those doors. That's a really great lesson for people listening because it's like,

David Klein 23:49
It's it's a good thing. It's a hard road to travel. Because I had to learn as I was doing it, you know, I think it's an easier path to work, you know, under somebody with a lot of experience because, you know, everybody you ever meet on a set or in life knows something that you don't and you can learn something from them, especially on a film set. If you work with somebody who's got a lot of experience, you're going to learn so much just by watching just by you know, watching what they're doing. Yeah, exactly. And so to do to learn it on the job was rough. And there are a lot of rough looking projects that I did. You know, it wasn't I don't think it was until 1999 when I really started to figure out and and figure out that I want to say how to light but who knows how to light it

Alex Ferrari 24:50
Until you found a groove that you felt comfortable in and felt comfortable with with the quality of the work that you felt from your own eye that you were comfortable with. Like I feel like I'm getting a grasp of this Take a look. I've talked to so many cinematographers over the years, man, and all of them say the same thing. It's an impossibility to master the craft 100%. There's just so much to understand and learn. And then you look at, you know, you look at someone like deacons, you know, and you see what they're doing. They are, arguably masters at what they do. But there's, you could probably count those on one or two hands that are alive. Yeah, that are just at that level. They're just like a. It's like looking at a director and going up, Chris Nolan, David Fincher, you're like, they are at the top of their game. Like, there's very few of those big Spielberg, there's a camera and there's very few of these kinds of people in the world. So it's tough. I have to ask you, though, man, when you were during those 10 years, did you ever get pushback from crew people? You're like, oh, that's the guy who did clerks. Did you ever get any any shit? Any any like, crap out of that?

David Klein 25:56
I don't think so. I don't remember any behind my back, and I'm sure they're all this guy. This fucking guy shot.

Alex Ferrari 26:07
This guy. This guy shot clerks. Jesus, I'm working on

David Klein 26:10
Funny movie but did you see that GarageBand have a fucking you know, and you know, you know story arcs the reasons why did it because we couldn't afford to balance the lights. Right? We're gonna be shooting, shooting fluorescent. And you know, we had a little tungsten kit and it was gonna be mixed all over the place. And we didn't have the money to either gel, the fluorescence or, or even get like an HMI package or a proper Kino package or any of that stuff. So we shove like wine, which is what gave it I think that GarageBand aesthetic, which I love. And now Now I can sit back and watch it and just adore that movie. But for a long time it was it was rough.

Alex Ferrari 26:53
And that's the thing. I mean, you look at the movie now and it's just so it's so it's beautiful. It's wonderful. It's so it is that GarageBand is that raw on filter, just EQ and all aspects from the writing to the acting to the to the cinematography, the directing all of it. And it's you know, but at the time, I understand your point of view. Look, Robert, Robert Rodriguez had the same issues with El Mariachi. He's like, Yeah, no one was supposed to see this. This is just my test film and you want to release it nationally? Are you crazy? So it's, you know, a lot of those movies were like that when I talked to Rick about slacker you know, is the same thing. And Ed burns with Brothers McMullen. Like all these guys. When you guys were coming up during the 90s. You know, it's just such it's true for people who weren't alive during that time. They won't, and they'll never understand the magic of the 90s. In the independent film space, it is a special it's a very special time from I'm going to say 1990 to 99, that that decade will never happen again. And it had never happened before. And it was the Sundance decade. We call it kind of the it was the Sundance independent film decade was where VHS really started to come up. There was a market for these kind of these imagine it and I asked this to everybody like if parks came out today. No one would even look at it. It would be gone. Maybe, maybe you could catch some fire because of the writing.

David Klein 28:22
Yeah. Well, that's what that movie is. I think it is. It's all writing and it could catch on. But if it came out today, it wouldn't look that way. You know what I mean? It would it's you would have shot? You wish. Yeah, it's easy enough to go get a camera that gives you a really, you know, your iPhone, for example, is shooting HD and, you know, what is it 4k now? Even. And it is it is it's pretty gorgeous. And it accepts mixed light, you know, like the Alexa to shoot mixed light all day long and it

Alex Ferrari 28:54
Low light and low light.

David Klein 28:57
And it would have been so easy.

Alex Ferrari 29:02
Not changing, not changing in the back, not changing the backs of the back.

David Klein 29:06
Non of that. You know, there's a funny story where we shot the salsa shark scene. And we had so little money. Kim wasn't happy with one night but we'd wrapped and I have my fucking hands in the bag in the tent and, and he's like, let's reshoot that tomorrow. And I'm like, What do you want me to do with this film? You know, because we he had decided we're gonna reshoot it. And we had so little money. It was like the sec throw it out. We didn't process it. We didn't want to spend the money to process and print because that's the only you know, that's what we were doing back then. And so you cross it out. Yeah. Deleted Scenes.

Alex Ferrari 29:47
You shouldn't have thrown it out. I should have just kept that maybe, maybe maybe develop it after after Sundance.

David Klein 29:53
We were thinking no one's gonna see this is gonna reshoot it

Alex Ferrari 29:57
So after clerks man after clerks do you have this it was obviously a very big hit. It was it was a phenomenal it was a phenom situation. And then you got an opportunity to shoot a studio movie, which was, which was mall rats, which had a bigger budget, arguably much bigger, bigger movie. What was it like jumping from the one man crew to running a crew of people who obviously, many knew more than you did, if I'm not mistaken is that

David Klein 30:37
Everyone of them

Alex Ferrari 30:43
How do you run the show how do you run a set like that man?

David Klein 30:46
Well, I think you've got to have a little bit of humility. And I was very upfront with with everybody that I was turned on to and basically hiring and I said, um, you know, I remember saying to Andy Graham, who's a really good friend of mine, he's been a friend of mine since then, but I met him on that picture. And he was the focus puller he sent has become an operator and he's operating for me in a lot of projects and a lot with Kevin as well. But I remember telling him that I was green. I said, I'm green man, and I'm gonna fucking lean on you. And he said, you know, this happens a lot. You're the first person that's ever said it. And so I That's it. Yeah. So I owned that, you know what I mean? And Nick McNealy was the gaffer, who had just one of our producers was Jim Jackson, he had just done tombstone, and MC MC Anita was the gaffer on that and so he introduced me to make, I'm like, You did fucking tombstone, we're really afraid. Yeah, I'm on board. And, you know, I was the same way with him. I said, I'm gonna lean on you, man. Because I'm bringing and I'm, you know, I'm in this position. It's very fortunate, I'm very fortunate to be in this position. But if I really want to learn from you, and I learned a lot from, from MC. And it was, you know, across the board, that ever every department, you know, so I think you gotta, you always have to surround yourself with with people who know more than you. But I think you got to be upfront about it, too. You know, and don't try and hide the fact that you don't know anything when you don't know anything. Because everybody's been there. You know, we've all been there. And it's one of the things that a lot of people try to hide, and and it comes out in really ugly ways.

Alex Ferrari 32:23
Oh, yeah, the ego and they start snapping at people. Because if you see people doing that, you can see that they're insecure. insecure, people are insecure people with the loud ones. The white ones are generally not the ones you have to worry about. That is that scenario in that scenario. If there's a bar fight, and there's a quiet guy stretching in the corner, that's the guy you got to apply. Guy you gotta worry. Not the guy swinging is

David Klein 32:48
Not the guy. That's, that's, that's, you know, I'll talk. Yeah.

Alex Ferrari 32:53
It's the quiet guy. But when it comes to being on set, like there's a quiet, there's a quiet a when you know, you don't need to show in that way. Like I don't have to be blustery. Like, I know how to do this. And I have if you sit if you're that dude, you obviously have no idea what you're doing. You're extremely insecure. And I'm sure you've worked with directors like that, especially in in God.

David Klein 33:17
We need to get into that. Yeah, yeah, it's like, you know, the showrunner of, of homeland he's, he's in any room is and he's the smartest guy, smartest person in the room. He's also one of the most mild mannered and soft spoken. And so you know, when he's very thoughtful, and he's, he'll talk about seeing when we're when we're prepping and rehearsing a scene, and he's very quiet. And like, everybody leans in to listen to what he's saying, You know what I mean? He never feels deep, never feels the need to be loud. And this is, you know, what I think and that sort of thing. And, you know, I run into that, you know, you run to that all over the place and like, composition or going with Dave Filoni and Jeff Albro. Now, the same way, you know, they never feel the need to be the loud voice in the room. It's the quiet voice in the room that, that everybody listens to,you know,

Alex Ferrari 34:04
Yeah, and when you're working at that level, man with that kind of caliber of people, you know, they've done so much each of them in their own right, that, you know, and I'm sure you've, you've you've had the pleasure of working with some amazing directors and, and collaborators over the years, you know, you start seeing when people know what they're doing, they just, they just are, you know, they just do they don't talk about it, they just very quiet very, like, why don't we move over here?

David Klein 34:31
Well, yeah, also also, I think at this level, Alex, you know, there's, there's an amount of preparation has gone into everything and, and I've done this enough times that I know that I gotta I have to prepare, I have to be ready. And whether that means knowing all the shots that we're going to do or just understanding how we want to like to set up to tell the story, you know, you just have to be I have to be prepared.

Alex Ferrari 34:56
Now after Mallrats which we you said, you know, I actually one of the five people who saw it in the theater.

David Klein 35:04
I actually saw the theater. So who are the other three?

Alex Ferrari 35:07
It must have been Kevin Scott. I actually saw it in a theater while I was in college. And I actually got it was it was a special screening and I got the Mallrats got the book. At the theater, they were handing them out at the feet. I never forgot this. The original book, I had it. And and I saw Mallrats I loved it. I thought it was genius. When I saw it, I was like, This is the greatest thing I've seen since sliced bread. This is amazing. And then it died on the vine. It didn't find an audience at the time. So Kevin was pretty much putting in director jail at that point, correct? No, he was like, Oh, it was a once it was a fluke kind of thing.

David Klein 35:43
Well, you know, he had the script for Chasing Amy. And I think what happened is, you know, we went to Universal for this, this project. And Harvey always wanted to work with Kevin, he knew what he added Kevin. And so Kevin had a script Chasing Amy. And he took it to Harvey and he had a meeting without without Scott Mosier, which may have been a little bit of a mistake, because Kevin agreed in that meeting to do it for a price, you know, without any script changes, and and and so when he goes back and meets with Moshe, he's like, Hey, I got our money, motors thing and, you know, couple, 3 million, 4 million whenever he's like, great, would you get to 50 grand, and motors coming in? What one. And so we ended up making that movement for turning 50 grand, which just, you know, kind of it was a bummer at the time. You know, we all wanted to make movies for more money, which which means more time you know, that's what it means. It means you can actually take the time that you want to devote to each and those things are more time anyway. You never have enough time. Nobody ever has enough time. Even the biggest things I've done, it seems like we're always scrambling, you know,

Alex Ferrari 36:59
Even even if I'm assuming no Marvel set, they're scrambling still. I've heard I've actually talked to some people have worked on this 100,000,200 $50 million dollar budgets. And they're like, Yeah, we stole this shot and like you stole a shot. What?

David Klein 37:12
You guys were shooting for 130 days. Why do you have to steal the shot?

Alex Ferrari 37:16
No, I think was chrome worth. Jeff Grant was on a show also network. He's like, Yeah, I stole this shot. And this shot. I mean, David, like, it was just me, David. And like another guy. I'm like, they needed a shot at Harvard. And they couldn't get it. So they stole it.

David Klein 37:28
That's right. I remember. I remember reading about that.

Alex Ferrari 37:31
And I was like, what? That's amazing. You can't forget your roots. Man. You can't forget that hustle. Man, you no matter how big you get them in the Oscars, you win.

David Klein 37:42
It's true. But anyway, so we ended up you know, we made that that for two and 50 grand. And then what I already mentioned, what happened at that, Sundance was 96. And I pushed out for for 10 years, I went to hustled and the same time, you know, Harvey didn't let Kevin use the same cinematographer. Twice. You know, Bobby almond shot shot dogman. Bobby was excellent cinematographer. And, and Harvey said notes for the next movie. And so then they did Kevin to Jay and Silent Bob Strike Back. And it was Jamie Anderson, Jamie and another great cinematographer. And he didn't like the way that looked either, and so on. Jersey girl gives them below segment ends up really not liking the way that looks either. So Kevin finally said, Well, maybe it's not the DP maybe it's the director that that you're unhappy with. And so after that, Kevin was basically like, give me my guy back. And so he and I got got back together for cliques too. So we've been apart for 10 years, nine, nine and a half, 10 years. And so we were bringing 10 years of experience of working with other people together to an existing friendship, and it was the greatest reunion I've ever had, you know, and then we went on to do another four or five pictures we did you know, after clerks two, we did Zack and Miri Make a Porno. And we did, you know, cop out and red state and we end up doing a pilot or two and, and it was just, it was wonderful because it was bringing 10 years of experience and and just just getting back together. And we had a language from before. But we had a new way of telling stories from all this experience. And that coming together, I think created some of the best work that we've done. commendation, which was Redstate, I think is our finest hour, you know, can we do together? I love that movie. I love I love it so much and a lot of blood sweat and tears. That was us getting back to our roots. And, you know, I was the Kevin I actually wrote a letter to see the poster, who was the president the union at the time to allow me to operate, you know, because that the union would have to allow this to happen and you know, it's got to be a creative choice. It can't be budgetary, and it was absolutely Be creative. You know, we were trying to get back to where we'd started. And, you know, Stephen understood that Stephen has worked with Kevin actually. And, you know, likes him a lot. And so they agreed to it, the union agreed to it. So I actually operated the camera, and we were literally we were back to where we begun. And it was a much bigger project, it was $4 million. But, you know, $4 million, as it goes far in 2008, or whatever it was 2009 2010 as it as it did back in the 90s. No question.

Alex Ferrari 40:35
And this man, after all the years that you were doing, you've been doing this? Is there anything you wish someone would have told you at the beginning of the career of your career besides beware of the sides, get out? Both sides get out and be beware of the morally repugnant Harvey Weinstein?

David Klein 40:52
You know, I think it's probably one of the hardest things that I've had to learn is that there's, there's an, there's an elegance and simplicity, you know what I mean? Because when you're when you're starting out, or when I was starting out anyway, I can't speak for other people. But when I was starting out, you know, I was, I was really trying to light a scene to tell the story. And I was, I think it was a lot of it was, was forced, you know, and it was just too much. And it took me a while to sit back. And, you know, when you're lighting a scene, you always got to look for the light to turn off. Because there's always at least one, there's always at least one that is unnecessary, and you don't need it. And it's not telling the story. It's just, you know, you're showing off or you're being, you know, you're being cute or something. But, you know, I wish that's the lesson that took the longest to learn. I wish somebody would have told me that just just fucking relax. And there is, there's a real elegant elegance and simplicity. And I think, you know, it's hard to describe, it's hard for me to describe what is simple, or elegant in lighting, because I can't tell you why I like to see in a certain way, it all comes from the gut. And that's another piece of advice. I wish I would have learned that, you know, just just follow your gut, follow your instinct and and don't second guess yourself, and even if it's gonna even if you're wrong, just fucking do it. And you're gonna learn from your mistakes. You know, if you are wrong, you'll learn from it.

Alex Ferrari 42:19
And you can you talk about the happy accidents. Because as cinematographers and directors we all want to control everything at all times, which is insane, and never happens ever. Yeah. But they're these little things you're like, how did that was perfect? How did that like, just hit the I chest? Right? The flare hit at the right moment? Can you talk a bit about that?

David Klein 42:44
Absolutely. I mean, some of the some of the coolest things that I've learned have been complete and total accident, you know, and when, when you're, when you're on a set you keep, you have to keep your eyes open for these things. Because you know, electrician will be moving a light, and it'll be on. And you know, because it's an HMI, it's not going to hot restrike. And so they want to keep it on while it's moving. And you'll still hit something that was completely unintentional. And it comes over here, and you know, it's reflecting off of that it's hitting the set, and you're like, fucking stop, just freeze where you are. That's what we want. And then the grips are like, Oh, great, now we got to contain the rest of it. You know what I mean? It's still off here. Yeah. turn those lights off. When your MO don't let him see the lights and your moon around, you know, turn them off. But you always have to be open for that. And even you know, in life you're you're out at a restaurant, you're you know, you're at a bar, you're at the movie theater, whatever it is. Pay attention to your surroundings because there's always, you know, I learned so much about lighting from being in far too many bars in New York in the mid 90s. You know what I mean? They were all dark. And a lot of them were dive bars and and you just see the way that these dimly lit bars had really cool things going on, you know, and always you always have to be open for that and keep your eyes open for it. Because you can learn just as much sitting in a seedy dive bar in New York, as you can be asked on set when it comes to lighting. Trust me.

Alex Ferrari 44:20
I've been at some time. No, you know, as a cinematographer, there's always a day on set, where the entire world feels like it's crashing down around you. It could have been on clerks, it could have been on Mandalorian are those Is there a day that sticks out in your head? That you felt like, I shouldn't be here, this whole I'm gonna get fired, this whole thing's not gonna work. And what did you do to to kind of go through that and get through that obstacle?

David Klein 44:49
I don't know if there's a day or a handful of days in particular Alex, but all that that happens all the time. Happens all the time, and you just have to push rule, you know, there's so many times when it feels like the sets falling apart and you're behind schedule, and you're not going to make your day and you're not getting the shots the way you want each set to push through. You know, you have to you always have to push through because it, it feels like that a lot. You know, I had there was a point I was going for, and I missed it asked me something else, man, I, I'll come back to that.

Alex Ferrari 44:49
Well, I mean, I, as I've been, I've been blessed to talk to so many amazing people on this show. I've realized that everybody from the Oscar winner to the first time filmmaker, all suffer from impostor syndrome. Every single one of them, even to this day, you know, I'm talking to some Oscar winning screenwriter. He's like, Yeah, I don't even know if this next script. I'm like, you just won the Oscar, what's wrong with you? Like you just are like, you're considered one of the best writers ever? Like, why are you? Yeah, he was I just, I just do. And I think I came to realize that everybody deals with it. And I think it's something that kind of keeps you sharp. I'm assuming that you have the same issues as far as impostor syndrome. Always. And,

David Klein 46:20
Yeah, you have to be I mean, you have to be your most your fiercest critic, you have to be your biggest fan, you have to be your biggest supporter, you have to be, you know, your most most critical eye against yourself, I think, because nobody knows what anybody else thinks all you have is yourself. So and you have to rely on all the people around you. Um, let me sound pretentious for a second quote, was it? Orson Welles said that, you know, a painter needs a paintbrush or writer needs a pen and a filmmaker needs an army. You know, and it's true. And no, no cinematographer, no director, no filmmaker is an island. We can't You can't do this alone. You know, what I mean, you have to have this this support this support system that is, is, you know, it's the most record is the most complicated and sophisticated recording device known to man. You know, and a lot of the times, you know, a lot of times it is like being deployed, you know, I did homeland for for six years, and we were either for seven months, either out of the state or out of the country, sometimes both within the season. And it is like a deployment, you know, I, it's, it's, I can't, I can't equate it to going to war. I can't compare it to going to war. I've never been to war. But in my life's experience, it is like a deployment. And you know, you're just in the trenches for seven months, eight months, you know, and it's nonstop. And it's hard to remember sometimes to get out of the way, you know, because if somebody looks at something that I this is probably paraphrasing, I think Deakins, but if if somebody looks at something that I've shot, it says, Wow, that's a great looking episode. You know, that's a great looking show. That's a great looking movie. Without talking about a story that I've failed. You know, I think it is our it is my job as a storyteller to be almost invisible. And it should be we should be the silence between the notes, you know, and if somebody looks at something about shots, well, you know, that was that was a great story, you know, then that's a success for everybody for all of us. But if they single out the cinematography, lighting camera work, then then I don't think we were, we weren't serving the story at that point.

Alex Ferrari 48:48
Very true. A lot of a lot of times, especially I don't know about you, but when I started out, I wanted to call the shots. And the story was the like, I'm like, I want to do that Scorsese shot and Goodfellas, I want to do that shot. That's Kubrick did I want to do that shot that Spielberg did like we all we all do it but as you get older, you start realizing like what's the story? What's the story because before it was a it was a lot harder to do those shots. It was super hard to do a lot of those shots back in the 80s 70s 80s 90s. To do some of those insane shots that those masters did was difficult. Where now that technology has gotten to a place where you know you could with a ronin you can run around instead of getting a full giant Steadicam up and you can you can you could do some insane shots run again jumping through going through like there's things that you can do

David Klein 49:35
Absolutely, absolutely. It's not and but but there's there's still, there's still always the next level. There's still somewhere to take it, you know, but it has to start the story I worked a lot during manda Mandalorian Season Two I worked a lot with Sam Hargrave. He was the main senior director and then he went on to do you know, extraction and some of the stuff that that he was doing and did an extraction is absolutely insane. And it was a perfect blend of it was a perfect blend of his background, being a stuntman and becoming a second year director and then a director. And combining that with all the new technology of the day, you know, there's that scene you look at the behind the scenes stuff, where he's basically riding on a four wheeler ATV of some sort, and he's actually directing and operating the camera and somebody you know, chasing a car basically going forward and in reverse and, and then somebody detaches him and he runs up and shoves the camera through the window. And then there was a takeover or some sort, they did a CG a visual effects blend, you know, going into the car, and then they're all all of a sudden in the car in another shot, they blend it together and the car drives away. And so it's it was beautiful choreography. And it was it was like, you know, watching a ballet dancer, except, you know, is more punk rock than that.

Alex Ferrari 51:02
Yeah, I mean, there's always a place to take. I mean, look at that shot that Spielberg did and where the worlds inside the car where the cameras just rotating around the car while the you know, the aliens are attacking and things are exploding and you just like when you know, when you and I sit there going? How the hell did they do that? Then they've done they've gone to another place. Yeah. Because we Graeme Jesus, I mean, you're just like, how did he do that? So it's, it's, it's it's pretty remarkable, man. Now I have to ask you about Mandalorian. Brother, like you worked on season one. You didn't work on season one. You worked on Season Season.

David Klein 51:42
I came in and season two as the second second cinematographer to bash anyone and Matt Jensen. So I was in seeking a matt Jensen got a little overloaded with prep work. And so he turned the episode six over to me. And as you know, when I met Robert and I had I had gotten here, I gotten here from an introduction to Fabbro. Through Lesli Linka Glatter, who was my main policy director on homeland and then you know, Matt Jensen also brought me up. And so that's how I kind of came to be here. After season two, you know, Matt and bass were going off to do their own things. They weren't coming back for their own reasons. And so I got, I guess, promoted to the main cinematographer on the Book of Boba Fett

Alex Ferrari 52:33
So so when you're, I have to ask you some technical stuff, man. Yeah. How the hell do you lighten the volume? Because I know, I have a couple of buddies of mine who are VFX people working who work the Mandalorian season one. And he was telling me that he's like, yeah, they shoot a lot. But there's still a lot of cleanup work that we need to do with some of the edges and, and, and creases and things like that, that it's not all in camera, but it's a lot better than where it's not a green screen either. So there's a kind of happy medium. But how do you like that? I'm assuming there's not an HDMI off? Like, how do you do that? How do you light it?

David Klein 53:08
You know, it's, that's a hard question to answer. It's kind of like asking, How do you like, how do you like anything? You know what I mean? It's got its own. It's a, it's a fucking process.

Alex Ferrari 53:21
I'm just telling you, it's fucking hard, dude. It's weird.

David Klein 53:25
There's nothing easy about it. I think I had a, I had a lucky introduction to it in that, you know, I was doing just a few days here and there during season two. And so I was getting to know and I was able to watch bass and Matt do their thing in the volume. And so I had a slow introduction to the volume and in season two, and then rolled right into Boba Fett shortly after that, and was thrown in the deep end, you know, where there's, there's a long prep, there was a long prep to Boba Fett, I think I was on for about five months before shooting started. And it has a lot to do with with lighting the content that's going on volume walls, you know. And so essentially, you're in the Unreal Engine, you're in a VR session, and you're lighting the content, the way you would want to light it practically, you know, and that's, that's one thing that is always a sticking point at Fabbro. Because the tendency for a cinematographer, when you get into the VR environment, and a virtual lighting environment is to do whatever the fuck you want, you know, because you can do just about anything. But you also have to match that in the practical set that's going to be inside the volume. And one of those things is like don't light it however, you could in a virtual environment, let it how you would in reality, or else it's going to start to look like a video game. It's gonna you know, it's yeah, you can put a source the size of the sun out there and do this but could you do that if you were lighting this virtual environment practically no, you could you You'd have, you'd have HMIs and whatever you're going to use, and that's also what you're going to use on the practical set. So, you know, it starts with lighting the virtual environment and, and knowing how to bridge the gap between the virtual and the practical, because, you know,

Alex Ferrari 55:19
You could actually move light sources within the volume itself that meaning the, the VR aspect of the Unreal Engine, you could put a light somewhere in the virtual space that lights through the LEDs on and there is an aspect to that correct?

David Klein 55:35
There is there is you're not gonna get, you're not gonna get directionality, you're not going to get hard light, you know, you're gonna get a lot of soft light, you're gonna get all the interactive stuff like that you get from the environment, but any, any direct a hard light, you're going to have to do practically and so when you're doing it in the virtual environment ahead of time you know, you have to know that I'm not going to be able to do this entire wash of sunlight in here I'm only going to be able to do this you know, these spots and these broken up bits of sunlight so that's what I should do in the virtual and then I'll do that also in the in the practical you know, with HMIs or we've also gone into tungsten now with with some of the loads started doing that on Boba Fett didn't didn't know if it was possible or not. And I've been told that it was not possible to get the tungsten in the volume but then I was talking to everybody from from state trapped and ILM and they said we can absolutely go tungsten I don't know who told you that and I to be honest, don't remember who told it to me either. But once we started using tungsten light in there it I think it made everything feel a little more real because it's just it's a full spectrum you know, light source and it just kind of fills in all the blanks wavelengths you know, and it just it just made it all feel a little more real for me.

Alex Ferrari 56:58
When I was talking to Dean Conde because he was on the show and he was right before he was heading out to Boba I think he chatted he did did you Boba, or do you shoot it shoot some episodes Ababa. He was telling me that he was lighting outside the volume as well getting some lights built it's something like that, or am I mistaken?

David Klein 57:16
No, you're not mistaken one thing that we haven't you know, we haven't been able to do and I don't know if it'll ever be possible is to do abroad, you know, sunlight source or you know, open moonlight even anytime you want to just just fill the volume with light, if that's what the scene requires, you need to take it outside. Because first of all, there's not enough room, it seems like it's a big space, but it gets it gets very small very quickly. And if you did wash it with with, you know, giant HMIs or big tungsten sources, the lights just gonna bounce all over the LED walls and render them useless. So, anytime we need open sunlight anytime we need, you know, say the desert at night where it's supposed to be Moon source, we'll go on the backlog. But if we need pockets, if we need, you know, a skylight here in there shooting some sunlight and then we have some some parts of the ceiling that we can take out big sections of the ceiling that we take out. And there's still there's a lot of rigging up there a lot hardware to work around. And so there's still not a lot of space to get lights, you know, away from where they need to be so you can have good shadows and so we ended up using mirrors a lot. So we'll have an opening you know, opening in the ceiling that might be five by 10 by by 12 Something like that. And then we'll have a big mirror of above and then we'll have an HMI Thompson for now whatever it is, another 1520 feet away so that there's a good amount of distance from the light and whatever's cutting it which is usually I go about hanging beneath the opening in the ceiling so that we're trying to get as far away from the light as possible so that we have good shadows you know, and there's there's just so much hardware to work around that it's difficult but we kind of cracked it a little bit and are getting better at it as we as we learn more which you know, we're learning something every day that were in there

Alex Ferrari 59:13
Right it seems like from season one to Season Two to boba and now hopefully I can't wait to see Season Three it seems that things are you can just sense things are getting a little bit more real and the way it's shot it just looks like the end sequence of you know the famous Luke Skywalker see and the season two like that's it's a masterwork honestly that whole episodes a masterwork it's absolutely absolute masterwork, I've watched the end sequence 1000 times because I'm a geek and and I got to ask you to use your your your your your similar vintages me, as far as age is concerned. So you got to keep out every once in a while dude, like you're like, You got to geek out

David Klein 1:00:00
For sure No, I'm turning into a 12 13 14 rolls very often on set, you know, I mean, you know, throw 10 stormtroopers in front of a camera and I'm 12 years old again.

Alex Ferrari 1:00:26
Yeah, the whole lightsaber, a lightsaber pops up. You're just like, Oh, forget it. I'm out. I can't.

David Klein 1:00:33
You know, it goes back to me blowing the hell out of that little little special edition Boba Fett. And, you know, I had all I had all the, the toys. I have some some of them in my office right now. Little baby clients to start with.

Alex Ferrari 1:00:46
That's, that's amazing. But so you on boba, you got to shoot with Robert. You shot for Robert Rodriguez, who is known very well known for being his own dp. So what was it like shooting for Robert because Robert is not used to working with other DPS generally speaking.

David Klein 1:01:05
I'll be honest, he largely left me alone. You know, he, I think he enjoys not having all the responsibility. Alright, you know, because he's still, you know, he's still he still edits everything. And even when we were prepping, ie, we were prepping remotely because it was the beginning of the pandemic. And so he was in Austin with his kids, and he was shooting basically animatics or a stump is with his kids and with some of his old, you know, Star Wars toys from when he was kid. So he's still very hands on. But when it came to the, the, you know, how are we gonna light this I realized, said he had ideas that we will talk about when we were prepping and when we were lighting some of the virtual environments, but for the most part, he left me alone. He would do you know, like most directors, so he'll tell me if he doesn't like something. But it wasn't like he was pointing me in a specific direction for lighting. You know, we he left me Well, let me do my own thing.

Alex Ferrari 1:02:09
He trusted. He trusted that you knew what you were doing?

David Klein 1:02:11
Yeah, I guess so. I dont know that's true, but he might think it is so.

Alex Ferrari 1:02:17
I saw I think it was in one of the behind the scenes that day. philon It was like, He's seeing the animatic that you're talking about? And he's like, can you stop? Can you stop it right second? Did you just shoot an animatic? With Star Wars toys in your backyard? He goes Yes. Yes, I did. And he's like, that is the coolest thing I've ever seen in my entire life. I think that was the moment that the book of boba he's like, wait a minute, let's bring Robert into the book of boba. And let's bring him into this because this is this is insane. And did you do with the season two? Boba episode or? No?

David Klein 1:02:51
I didn't. That was episode six. That's the that's the one that I did with Robert.

Alex Ferrari 1:02:57
Oh my god. Dude, you gotta I mean, okay, let's stop for a second geek out for a second when you saw boba show up for the first time. On set. What I mean, you guys have to be five year old.

David Klein 1:03:09
Absolutely. We are. That was a tough shoot, though. And, you know, it was I can't say it was anticlimactic. But we had shot a lot of the scenes with Boba Fett, you know, onstage and on the volume prior to the, you know, when he put your ducks up? The introduction? Yeah. And the introduction was was done out in Simi Valley because it had you know, we just needed the travel that scene needed the travel that you can't get in the volume. And it also needed that that open sunlight. And and so it, it forced us to go out to Simi Valley. And might be one of the reasons I got that episode because maybe Basma Matt didn't didn't want to go out there. You know, it was it was not an easy issue. It was It was rough. It was rough. It was five or six days out there. in Simi Valley was a lot of fun, but, and like I said, I can't say it's anticlimactic, but we had already been introduced. And so you know, I can't say that we were out there just to get it done. But there was a certain aspect of we got to get this done because we had a finite amount of time. And you know, what's funny is we only had six stormtroopers out there.

Alex Ferrari 1:04:19
Really? You did an alien style where they only had six aliens.

David Klein 1:04:25
Either that or I mean, there are a lot of complete CG VFX Stormtroopers. Wow, really, if you you know, and they're really good. They are really good. It's because I think it's, it's obviously much easier and the effects to do a stormtrooper than than version of face, you know. And there's, there's one that I'll point out and it's the last one to jump on the transport when the transports are taking off that you can kind of tell it's remember it I remember that one, right. I remember that. Yeah. So that's the One that that and I think it was only because I knew you know going in that that was CG and that only a portion of the the rest of them that were jumping on the ramp were actual troopers you know?

Alex Ferrari 1:05:13
It's pretty so much fun that out. But when I saw that episode, and I saw that episode, I was just blown away by how how cool it was. And you could tell it was the first time they were off the volume right in the whole series.

David Klein 1:05:28
Well, no, no, not exactly. Because there's a lot of backlot work. There's there's a lot of backlot work Correct.

Alex Ferrari 1:05:35
That was the first locate. That's the first location, first location.

David Klein 1:05:38
You're right about that. And in Boba Fett, we had a lot of a lot of backlot. And we had one location, which was Huntington gardens we went to for a few days, two days. For the for episode six, which was on the band before us, you know, the Luke Skywalker episode of Boba Fett.

Alex Ferrari 1:05:58
I thought that looks familiar. Like I was watching them like, oh, man, that looks like hunting diver.

David Klein 1:06:05
You know, we did. We did three versions of bamboo forest. In that episode. One was backlot one was on the volume and one was Huntington. And going back to, you know, being the silence in between the notes, some of the band before us that we did on the volume was some of the, that might have been the hardest volume that we did the entire season for many different reasons. But I think it blends in pretty well. And the fact that, that, you know, the transition from backlot to volume to Huntington is seamless. I did is is one is one of the things that makes it successful. But it's also like I was saying earlier, it's getting out of the way. And it's it's making, making that transition, you know, invisible and and just just having a sort of elegance and simplicity.

Alex Ferrari 1:06:57
Well, man, congrats on all the amazing work you're doing with John Dave up there. In Northern California, you guys are doing some good work with the Mandalorian. And we're all super excited to see the new season coming up this year. And it didn't just finish its production. It's not done now. I thought it was I thought I read it somewhere, brother. I'm not trying to get you anything. No, no worries. Don't worry. It's okay. I thought I read.

David Klein 1:07:22
Recently, I've recently finished another season of a Disney plus the streaming.

Alex Ferrari 1:07:29
Fair enough. Fair enough. Fair enough. Fair enough. Fair enough. Now, but no, seriously, man, congratulations on all the all the hard work you've done. And now knowing your backstory a bit more than I did before, man. I respect that even that much more because I didn't know about the 10 years in the wilderness that you had to go through like you were

David Klein 1:07:48
Los Angeles,

Alex Ferrari 1:07:50
Then years in the wilderness trying to trying to kind of carve your way in and climb your way back out of of the situation that that repugnant ly more the morally repugnant Harvey and, and those circumstances kind of hurt you on the way up. So kudos to you, man for keeping up there. And hopefully, this is a lesson for for the lessons for people listening that like, you got a castle doesn't matter where you start, or what happens. It happens, you know, things happen, that can slow your progression down in the sea. And then you have to ask yourself, How bad do you want it? Yeah, that's the question.

David Klein 1:08:25
You know, like I was saying earlier about, you know, advice to the young and up and coming. You know, my father was an orthopedic surgeon, he would not let me be a doctor, because he was a doctor, and his father was a doctor, my grandfather was a doctor, and they were never home. And so, I chose a profession with with ours worse than a fucking surgeon. You know what I mean? It's really, you really got to think long and hard about if you want to be in this business, because it takes a toll, you know, and I've got a marriage that was destroyed. I have a 14 year old daughter who as she was growing up, you know, from, from six to 11 or 511. I was doing homeland and I was gone seven months a year. And so I turn around and she's 12. You know what I mean? And I'm like, we're, we're all that time ago. I missed all that time. So you got to think long and hard about it.

Alex Ferrari 1:09:25
Yeah, it's something that they don't tell you in films will tell you that a lot of men, especially for DPS, even more so than directors, DPS are always working. You know, they're, you know, they're not getting the fat, you know, checks a lot of times, so they have to keep hustling, they gotta keep working, they gotta keep going. And that's time and that does break up. I know, a lot of note a lot of DPS with marriages don't make it. They it's, it's, it's, it's tough. So you really got to love what you're doing. You really really really got to love what you're doing.

David Klein 1:09:57
I remember being at a festival how Ah, festival in Bozeman, Montana. And they would always have a couple of cinematographers there. One one year I was there as one of the cinematographers in Haskell Wexler was the other. And so we were speaking to a group of university students and we were talking about the hours and you know, he was he was still promoting, who needs sleep, the documentary that he made about the working hours in the business and and we were talking about the hours and one of the one of the students, you know, ask the question, how do you guys make it work? You know, how do you how do you? How do you have a life live a life and work these hours? And Haskell just goes? I'm on marriage number three guys. You know it sometimes it doesn't.

Alex Ferrari 1:10:40
Bam. Oh, that's a drop the mic moment right there. That's, that's it that is raw and truthful as as it gets. That's so awesome, man. So awesome. I didn't I know you wanted to do a dress the the accidental shooting that happened on the set of Ross with your friend, can you can you discuss that a little bit.

David Klein 1:10:58
You know, I've known Halina for a short amount of time, you know, about a year. She was a wonderful person she was I thought she was a great cinematographer, I'd introduced her to some some members of camera department that we're actually working with her unrest. And I'll be honest, Alex, I, you know, when we were first getting into this, it was so raw, and I had a lot of emotional opinions about it. And I don't remember exactly what I wanted to say specifically. But I'm not, you know, I didn't see a letter that was going around at the time but a lot of cinematographers about No, no actual weapons ever again, you know, no, real firearms on set the suit all the effects. And I'm not that guy. You know, I've probably photographed 2 million routes, you know, obviously blacks in, in, in my day, and she was she, you know, she was a friend of mine. Like I said, not a longtime friend, but she was a friend of mine. And it's a it's a horrible tragedy what happened. But I think what needs to happen is there just needs to be a safety officer, you know, there needs to be a position created that that oversees all safety, because you can't you can't put that on the abs, you know, you can't put that solely on the armor, you know, you there has to be a checks and balances. And that there needs to be a new position, I think created that is that is safety. And we've seen it for the last two years. During the pandemic, we have safety officers that have been going around, you know, and for the first year of it, it was put your face shield down, keep your mask on, put your face shield down, and now it's now it's just masks, but still, there have there has been an entire department created. So I think there should be a safety officer, you know, there should be that, that at least that one position that is in charge of the thing, the things that we all think the long squarely on the shoulders of the abs, you know, you can't you can't put it on them because that it's just not right. I think we need a new position that oversees all the stuff.

Alex Ferrari 1:13:13
I agree with you on that because, you know, working with a DS all my career, man, it's a big, they can handle a lot, man. They handle a lot on their shoulders, and they should be one layer of protection, but it shouldn't stop with them so that the ad should still have some sort of say in what's going on and let everybody know. And you know, I'm shooting on set and he stopped it said, Hey, we've got a live live arm on set. Everyone be aware, this is it. This is that I get that part. And the armor should definitely also have, you know, have some sort of another layer of protection. But there should be the last stop gap. Someone who just finally goes, let me see the gun. Let me check it, make sure everything's good. All right, and go for it. You know, I've done both of I've worked with live rounds, and I've worked with VFX you know, the airsoft guns, and, you know, it's it. Can it be done? Yeah. But I,

David Klein 1:14:13
Here's the problem I have with Alex you know, even even a quarter load blank or a half load blank. An actor doesn't react to the way they act react to a full blank. You know, I don't even I don't like how it flows. I don't like quarter loads. I like full of blanks, because that's that gives them the correct reaction from the gun for them to respond to you know, and that's that's exactly and that's, that's my main thing. And like I said, you know, I hate it when people say I've been in this business for this amount of time. They usually lose me when they say that but I have photographed a lot. A lot of blank rounds and blanks and never had an issue never had a problem.

Alex Ferrari 1:14:56
I mean listen and I got called by variety in Hollywood for You know, quotes and trying to, you know, the asking my opinion on what was going on and I will be right back after a word from our sponsor. And now back to the show. said, Listen, guys, and they got this from a few other industry vets who said, how many stunt men have had been hurt in the course of the last 100 years on a set? Do we now do away with all stunts and do everything virtually? No, their safety, there was mistakes, you know, what happened in the twilight zone? You know, that horrible, that horrible accident that happened there? And there's so many other you list, you know, accidents that happen in the State Department. Things happen sometimes. But there has to you can't just wash everything away.

David Klein 1:15:46
Like, you can't, and I'm sorry to interrupt you. But I'd be willing to bet. I'd be willing to bet the Condor lighting cranes have hurt more people in the last 10 years than stunts. Have you ever been agreed? We have so many new there are so many new, you know, new safety rules and regulations regarding condors all the time. You know, I remember back in the day when they didn't need a harness.

Alex Ferrari 1:16:15
I remember I remember. Oh, just remember, you remember the cranes? How about the cranes when you're sitting down? I mean, those long cranes with the camera at the top, and you see the pictures? And I got up on one of those plans? Once I'm like, where's my seat belt? Are you are you? No, I'm not doing this. I'll do this from the bottom. I'm not gonna do this.

David Klein 1:16:33
Well, you know, going back to the 90s, Alex, we used a lot of those cranes, you know, the Chapman, the Titans, the Nikes, all that stuff. Because they were so much cheaper, when the remote heads were new, you know, remote heads were coming out in the late 80s, early 90s. And, and so they're very expensive. So we rode those trains all the time, and there usually is usually our seat belts.

Alex Ferrari 1:16:55
Just cheaper

David Klein 1:16:57
But you are you're up there, you know, you're 50 feet in the air or whatever it is, like, wow, this is this is, you know, it's the most treacherous thing I've probably done, aside from, you know, being being in stock cars, you know, as a camera operator being sent cars is pretty wild, too. But along with that, I've been, you know, what's more dangerous than any of the any of the work with blanks that I've done over the years.

Alex Ferrari 1:17:22
Wow, man! Well, I hope that I hope that there is some changes made, I think there will be I hope they're not just a knee jerk reaction, I hope there's a really thoughtful way of moving forward with it. Because, like, I agree with you, 100%, I think there has to be some sort of position created to help this to help this scenario, because obviously, there's a problem, especially with so many low budget, non union, you know, situations, which I've been involved with a lot in my in my day, I get that. And it's a while it's a little wild, wild west, no pun intended, because that was a question. But it's a little bit wild, wild west, in the sense that, oh, yeah, we'll do this, it's gonna cost too much, we're not going to do that. And there has to be some sort of rules has to,

David Klein 1:18:05
There has to be an account, you know, accountable accountability. And I think the way to do it is to assign a person to, you know, overall safety, as we've been during the pandemic, you know, our COVID safety officers will will give a speech, you know, to us about mask wearing and social distancing, and all that stuff. And so, it's easily done, you know, that position is easily created. And I know everything comes with a price tag, but there's no price tag as big as the one. You know. What? Oh, no, that's bad. You know what I mean?

Alex Ferrari 1:18:39
Amen, brother. Amen. I appreciate it. I appreciate you will be willing to talk about that and bring that out to light. Now, I want to ask you a few questions. Ask all my guests now. Yeah. What advice would you give a young cinematographer or filmmaker trying to break into this vicious business?

David Klein 1:18:58
Still fucking do it! An actual an actuality, you know, I would say, take a long, hard look at this industry and really think long and hard about whether you want to commit this much of your life to to this because it'll take every every minute that you get this industry will take every minute, every hour that you give it and then so think long and hard about it and because none of them will listen to that piece of advice. I will then say, you know, you gotta get out there and work you have to learn. As I said, before everybody on a film set everybody in life knows something that you don't So learn from them, you know, and when you're when you're new in the business, you have to just get on set every in any every way that you can, because you'll learn more in a day on set, you know, being that fly on the wall, then you will In a year of film school, you know, at least in terms of the day to day hands on practical way of telling stories, you know, and that's what it all comes down to.

Alex Ferrari 1:20:13
Absolutely no, I learned more during my internship at Universal Studios, Florida than I did in going to go into my college. I would skip school just to go and hang out on on stages and just watched the grips going, go on tangled that cable, and I'm like, All right. All right. Um, this is so cool. You mean that big pile over there? That's been sitting there since 1976? That pile of cable? Okay, sure. Now, what is the lesson that took you the longest to learn whether in the film business or in life?

David Klein 1:20:44
You know, I think and we, we touched on it earlier is, I think the longest lesson it took me to learn is that is to get out of the way, you know, and that there is an elegance and simplicity and the you know, don't, don't, don't lie things just to light them, you gotta you got to serve the story, you have to be telling the story, or all the experience, and all the knowledge that you have is irrelevant, you know, and all the slick lighting that you can do is irrelevant. You know, unless you're serving that story, if you want to be, you know, if you want to shoot just just slick images, then then do commercials. Absolutely. You know, because that's what they're all about. And that in and of itself is telling you a story as well, it's telling you a story of how to buy Bud Light, or whatever it is. And so it has to be flashy in in your face and and you know, high key and, and whatever else it is, but but just just tell the story and otherwise get out of the way, you know, be the silence in between the notes.

Alex Ferrari 1:21:54
And three of your favorite films of all time?

David Klein 1:21:57
Ooh, that's a tough one. I gotta say Blade Runner. That's that's one of the films they got me in this into this business in this industry. And not only do I think it's a great movie, but it it it looks amazing. And it's look is relentless, relentlessly devoted to its story. I mean, it's it's creating that world of what was it 2019 Los Angeles.

Alex Ferrari 1:22:27
Not too far off. Not too far off. I'm still waiting for the Jetsons.

David Klein 1:22:39
But it is relentlessly devoted to its story, the look a bit it's after that kind of target. Three favorite movies. There are so many. Number two, I'd say everything that Conrad Hall ever shot. You know, everything and just about anything. You know. I've been devoted to studying his his work for a long time. And

Alex Ferrari 1:23:03
He did Bobby Fischer. Right?

David Klein 1:23:07
Yeah. Yeah. Yeah. And it's, again, talk about somebody who was relentlessly devoted to telling the story. You know, it's some of the things that he did with his lining, I still blowing my mind. And I don't know how he did it, or where he came where the idea came from. And I don't know that he knew either. It seems like he was somebody that that didn't shoot from the hip. But, you know, it all came from from the gut from the heart. You know,

Alex Ferrari 1:23:34
He was channeling, he was channeling somebody.

David Klein 1:23:37
That's for sure. That's for sure. So, you know, that takes up my next two answers. I think it's all of his movies. Otherwise, it's it's so hard. It's so I mean, would you choose something like Susan, can you choose something? You know, like, like, 1917? Even, you know?

Alex Ferrari 1:23:54
There's, there's too many. There's too many. Well, that's, that's a good, that's a good, good start. And can you tell us what you're up to next?

David Klein 1:24:04
I'm prepping a new Disney Plus series yet to be announced

Alex Ferrari 1:24:14
Yet to be announcedokay. Fair enough. Fair enough. All right. So it's going to be the Jar Jar series. I know. I know what it is. It's a Jar Jar series. You could just you don't have to admit it. No, it's the Jar Jar series. Rather than it has been an absolute honor and privilege talking to you, man. It has been so much fun. Thank you so much for sharing your knowledge with us and the tribe today and continued success. Brother, you're you're an inspiration out there for us, man. So thank you.

David Klein 1:24:42
Thank you, Alex. Thanks for having me, man. Appreciate it.