BPS 340: Oscar® Winner Russell Carpenter A.S.C. – Shooting Blockbusters, Avatar, Titanic & James Cameron

Alex Ferrari 1:45
I like to welcome to the show Russell Carpenter, the legendary Russell Carpenter, thank you so much for being on the show. Russell.

Russell Carpenter 4:26
It is a pleasure to be here.

Alex Ferrari 4:28
Thank you so so much. And I'm so glad I ran into you to in Cinna gear down in LA.

Russell Carpenter 4:33
Right.

Alex Ferrari 4:34
Amazing. It's amazing what happens when you're here in LA?

Russell Carpenter 4:38
Yeah. It's been a year is the place that you'll go constantly running into anybody you ever met.

Alex Ferrari 4:46
You right? Absolutely. Everybody in the business kind of walks in there and, and you're they're walking around like crazy. So I wanted to ask you this first start off at the very beginning when you were born. No, I'm joking. When How did you get into the film History in the first place why what made you want to become a cinematographer?

Russell Carpenter 5:06
I at first it was just play something to do with my friends I I grew up in Orange County area the deepest, darkest very republican Orange County. This was about two ice ages ago when we were when we were playing we were we were working with a super, super eight millimeter cameras, and it was just dumb things to do to keep ourselves occupied my friends. I in fact guy my sister, Maureen, who is the status of the four of us children, were raising these ugly animals. She wouldn't say that called Chuck their desert lizards are they and they look like roadkill when they're alive. Oh my god. And but there because I grew up watching things like your original King Kong over and over and over again. Because it was on the local station so much. We decided we would make a monster movie. So we tied we took one of her lizards call a chuck Wallah. And incidentally my my best friend in the world with named Chuck Waller. And so we tied strings to the lizard I mean, thread to the lizard put plastic, I mean, paper, paper wings on the lizard, and fluid endlessly back and forth in front of a landscape painting. And that was our that was our first movie called it came from the pet shop. We worked. We worked our way up from there. So I was afraid at the time eventually got out of high school dodge trap by doing AV TV, audio visual television kind of stuff. And I at that time, you know, I didn't have the money to go to USC or UCLA and I was terrified of those places. They were so vague. Right and guided by me when I I went to instead went to San Diego State state collared San Diego State College at the time became San Diego State University. And I had the supreme luck to get a job at a at a public television stations very small one. And that's where I really actually got to work with 16 millimeter film and I made every mistake in the world but at least I you know, I learned these mistakes by doing and that really gave me an opportunity to instead of just learn about it, learn about film in a classroom, learn about it by just going out there and doing it. And I stayed in. I did that for a while until I was offered a job there. I quickly discovered that I can't really I had a trouble just going every day to the same job and sitting in a little desk and I couldn't do it. So I I quit. I went to Hawaii for a while. I lived on tuna fish and peanut butter. best best served together I found out as well slept on beaches and I was I was on a beach north end of Hawaii at kalalau Valley and and one morning I woke up and there were these helicopters with 17 from the sky and they were landing on the beach around me. These guys got out wearing t shirts shorts and they had these cases and the sad pan of vision on the side you know this was out in the middle of nowhere and it turned out that they were there to film the the gosh what year was this?

Alex Ferrari 9:12
What this is not Hawaii 50

Russell Carpenter 9:15
No, it was not it was the Jessica Lange

Alex Ferrari 9:18
Oh King Kong.

Russell Carpenter 9:21
And I stayed. I watched this happen and it just kind of it was literally a sign of in the heavens and maybe I should get back and get back to California and do something and I I got a job at another public television station and after working there for a couple of years. I hooked up with a director, Tom Everhart who we were both tired of edifying people and he wanted to make a low budget or picture so he convinced this I would guess Call a an office furniture czar to to find our little movie if this fellow's life can be like the most prominent zombie in the movie, obviously, obviously, we had to have a plane crash, or the remnants of a plane crash in the in the movie, so we almost burned down somebody's backyard reading that. And then miraculously this little movie was was released not, you know, not like for like four days or something. Sure, sure. That gave me false hope. And I, I'm not far but move north of LA. And that's where the I wouldn't call it the starvation started. I think my false hope was just that false hope. And, and I, I was afraid. The My problem was I was just afraid to make phone calls, just just people. And I realized that lots of other people had had, well, at that time, we had 16 millimeter demo reels that we had to, you know, show the show to people and we would just, you know, put them in their hands and then we wait the two to three weeks it would take them to rapidly look at the real right. And it was it was a good experience for me I I just learned that not to be so afraid I was still mortified. Eventually what happened was a friend of mine that had been working with in documentaries and they moved up to LA and they were starting to do things and they would get me in on on interviews with things. And from there it was really you know, what I would call it was like a lightning fast 15 years.

Alex Ferrari 12:10
Overnight success.

Russell Carpenter 12:12
Yeah, overnight success 15 years of, you know, just waiting and waiting and waiting for the for the very next thing the cabinet. But in the meantime, what I was doing was i was i at that time again, it was like VHS tapes or beta tapes that I would watch the work of cinematographers that I really admired. And I watched these things backwards and forwards, backwards and forwards and and, and learn learn from that. That was kind of how I learned plus the little time I would have on the on the set and I was starting to do their dramatic form stop if you could call it that because it wasn't really dramatic. It was kind of schlock This is called like it was but shit. But it got me on a set. And that was the best experience. I I I could have and I just moved from zero budget to no budget to you know, you know, budget movies, and, and it was much harder to get into the union. So I just, I just kept doing this as I worked my way along.

Alex Ferrari 13:27
So yeah, so basically, you were just grinding it for 15 or 20 years until you started really getting some momentum built up for yourself.

Russell Carpenter 13:37
Yeah, and I would say I mean, to people who are who are in the same position, I just said, if there was one thing, besides learning as I went and really go into as many seminars as I could and and all that, for me, it it became just a matter of persistence and it in one way it was miserable. But waiting that in the other way I did have anything else I knew how to do so I kind of had to stick with us, you know, even when it just seemed like grimmer than grim. And so, so I But eventually, I got to the point where I said I think I can make a living at least doing the the independent films and and the other thing that happened was sometimes things would happen that were like sure seemed like sheer disaster, you know, and and they actually led to something were to a break. Like, for instance I I did four episodes, one two years before I was fired. Okay, why were you fired? Well, a couple reasons. One, I would walk you know, with it. I would walk into somebody's office, they say, oh, Russell, you know, I want to talk to you about one thing I said, you know, the the dailies, you know, the, the film, it's, it's just too bright, you've got to darken it down this, we don't want this to play as purely broad comedy. And I said, Well, I you know, I'm just thinking well I that's like the way I look at it, I don't know quite what they're talking about them. And then literally, like 10 minutes later somebody to wrestle I want to talk to you about it take me into the room, their room, and look, I looked at their TV set, and they say, this, this is this is the Wonder year, it's supposed to be brighter, your lighting mid to dark. And I mean, literally, oh my god. And I'm just saying, Oh, I don't think I'm long this this job. And also at that time, and I didn't really understand that. Well, the people ran the shows called show runners. They, they really wanted the DP to kind of tell the director what, what to do, because the directors would come in and they were at that time. TV I did like, TV traffic cops of a person who really ran the show was the showrunner and, and, and I was coming from the space of the directors, the boss, I want whoever he or she is, I'm serving that person. And that, and that did that really kind of for that show made me the wrong person for the job. So I got I got fired from that. I didn't know what to do. I was you know, I was doing in between I was doing like these odd job things for they hadn't been called man. Like it was a temporary employment agency called manpower. And that was and, and I would do jobs. Like one of the worst jobs I ever had. But it was enlightening was was I worked. I lasted half a day, I worked at this place. It was like this mom and pop, vegetable, liquid vegetable, vitamins or your plants.

Alex Ferrari 17:24
Okay,

Russell Carpenter 17:25
I sat with about 20 other people in a room. And we went by hand, we put labels on these on like, cheese guy who would walk around and tell us, yeah, no, no, this guy will go to the right, you know, or speed it up or whatever. And it was the most mindless thing you've ever done. And I asked the guy next to me, I said, How long have you been here? And he said, five years. And that was an epiphany. The epiphany was wow, you know, there are probably millions of people in the world who have jobs. And, and, and however miserable, it seems at times I at least I have a job. And at least when I'm doing it, I really love it. And it just be me. I don't know, I didn't really get me over anything, except at least have an appreciation for the, for the job, or the job. And but, uh, but what happened was I did like after that show I had was really running out of money. I took a shot I was trying to get out of doing I was doing a lot of IBM C or z level for when we get this. Something that I'd really didn't want to do was pet cemetery too. And it was, but I haven't the greatest time and the people were great. The director was great. And one of the people who was in that was Eddie Furlong. And he had just he had just not too long ago. Then Terminator two. And, and yeah, he was very young. And so but and the people who were kind of his own tech guardians said, Oh, you know, something about you get along really well with Jim Cameron.

Alex Ferrari 19:23
So. So before we get to Jim, because I have a bunch of questions about about Titanic and your relationship with Jim, I want to take you back a little bit to one of your first films and I've just dying to hear what experience was like and what lessons you learned from shooting critters to the main course. Ah, well, let's see. Because I mean, that's the thing that a lot of people only see the Oscar they only see not from you. But generally when they see someone successful in the business, they only see the end result of 2030 years of grind.

Russell Carpenter 19:59
Yeah, and I That's what I have to say is that for all of that, I mean there are there there are a few cinematographers in the business who seem to you know, like, rise out out of the depths of the ocean. I mean, full blown cinematographers right, you know, Janusz Kaminski or or chivo

Alex Ferrari 20:25
Achievement yeah chivo Orville Moser one of these guys

Russell Carpenter 20:28
Oh, oh my god they're poorly formed You know? And they're they're like 14 years old. They're shooting you know, these these master pieces and I'm and why am I still on the bunny slopes of light you know just you know, grinding it out you know, that's dirty moolah. I don't know how the world works. But I do know that if you keep putting out the energy, eventually, I mean, thing, things, things happen. And I I, I had a great time with with critters too. And I and you're just trying to, you know, even though even though you're looking at your heroes in at that time, I was looking at people like guitarist urara. And I'm shooting critters to take something from run by here, oh, that I can apply to this and add it or try to make the the light a little more interesting. And yeah, so eat each, each thing you do is somehow putting a part of your personal camera together, because we all talk about the gear and stuff like that. But the real, the real gear is the real camera is the camera inside, the one that you're putting together that you'll be putting together for your whole life is that and, and anytime you get on a set on anything, it's just, it's just an excellent opportunity to, to not only develop the vision, but to learn how to develop the vision while things are falling apart. Because in a way on film sets, they always are. Because there's usually never enough time. There's usually I wouldn't call it the daily emergency but but a lot of things just don't happen. The way you imagined they might, especially when you're starting out because people that you're working with are have usually have about the same experience level that that one what as a young cinematographer, so I would just take these, these little things that I could do and maybe I will certainly wasn't every shot, but but I would say okay, at the end of the day, I could say that I did some terrific stuff with that shot or that shot that shot and, and so it wasn't it was never a situation where, oh, I felt that I'm a good good enough to wait for a script that was not the I that ideal never happened it was I had to eat, right? gotta pay the mortgage, what I did to get experience, and I think that that was one of the best person that I know who worked in a lab, he said you just said Do everything you can do, you know, to just do every everything you can do and that turned out the the way that that worked for me, it evolved I have and I have talked to cinematographers to say, No, I I will wait until I have a script that I think is worthy of being of shooting and that work that work for them. But I the I just I picked the path that I needed to pick out of necessity

Alex Ferrari 24:17
Basically. Now you so and during that time during the time you were doing a lot of horror movies like Nightmare Before nebera on Elm Street and the legendary puppet master which was one of my favorites I love that must have been such fun shooting puppet. Well I that I only did I did. Like conditional share digital stuff.

Russell Carpenter 24:40
At that time I would do anything that I could work either nightmare and I'm sorry that I mean those those spells were actually a lot. They were really a lot of fun. And they were done in basically warehouses out in the Santa Clarita Valley. Kind of, they say way off the grid. They were at, gosh, I forget what years these is this question of bending at users. That was 89. Yeah, yeah. 89 it was, again, it was much, much harder. But let's just say the union has really changed a lot. Now. Now I see the Union as as, as much more realistic in terms of their, their educational programs. And it's not like it's, it's not kind of like life and death just to get into the union. But at that time, it was it was, it was tougher. So those of us who needed a place to paint to do something, we were we, that was what we worked on things like getting a new line, the company that did that very nicely with a relatively new company. And this, this was a place that we could work. And then we also again on I also met other other cinematographers and filmmakers who I've known forever, my, my gaffer Levine, we met in the 80s. And we've been working together ever since. That's a long, long relationship

Alex Ferrari 26:21
Now. And then you also during that time, you started getting some more action work. And and you actually worked on some of my favorite action movies of the late 80s and early 90s. Like, the classic death warrant by junk lavonda. Perfect, perfect weapon. Hard target.

Russell Carpenter 26:38
Yeah. When I when I look back on the carpenter opens where it will be right, right up there, because you never had more than three word sentences for the started to say, you know, was it was it was, yeah, it was action. It was action. Yeah. And the oven. And about as mindless as they come. But yeah, again, I work in. And that was the thing. One is one thing leading to another is the director of death ward. I just like that Derek Reagan, his father, his father was going to do with this film, a Japanese sci fi movie that had at the time. a phenomenal budget. I think it was

Alex Ferrari 27:32
55 55 million bucks. I have. I'm looking at it right now. It's a monster budget for its day. It was sold a crisis, right. It was called Total crisis.

Russell Carpenter 27:41
And, and it turned out to be an unwatchable movie. But I did good work on that film, I was really happy with what I did. And so I went back and I collected bits and pieces, I got this and that. And then I went in and I basically retime the thing myself, use as my showreel. So here I have my whatever it is, okay, let's say $55 million, show real job. And I didn't know what to do with it. But so I had that I had something to show and as you go along, you just have to because because as a cinematographer, you can be the potential cinematographer that you want to be, but you have to show people that you're, in fact, validly a real cinematographer. So that's why it's even even if something that you do is the acting is bad or worse, but somehow, you you can cobble it together, skillfully, either yourself or whether they get the help of an editor. And you use that to show people but showing people something that you've done is that's absolutely paramount. They you you have that? So, yeah. Yeah.

Alex Ferrari 29:00
Now as far as there was one movie in that time period in the early 90s, a hard target, which was a big deal back in the day because it was john woos first American film, what was it like working with john and how did that that change because I know he was used to, I mean, I think hard boiled and the killer they shot in like 250 days or something like he just sat and just shot. We'll be right back after a word from our sponsor. And now back to the show. You didn't have that on hard target. How was that? That relationship to work with on that on that movie?

Russell Carpenter 29:42
That it was amazing. When john is is one of the nicest people you could ever meet and you go How is it that this guy is making the most violent movies are just mere are they're, they're clever. They're very, but you know, there's a lot of blood flying around,

Alex Ferrari 30:08
And dogs and doves, and and dum dum stuff stuff.

Russell Carpenter 30:14
First we've got we had our obligatory job. And it it, it was I know it was hard on john, in the sense that in America, he said, and he said this to me after the film he has he says one thing I've learned is that in America celebrity is everything. So he said celebrities, and at that time, you know, john Claude London was huge. And he said, and therefore they have a, they have a lot more input, not only in how things are shot sometimes, but especially how things are cut afterwards. And, and he said that, that was probably one of the reasons we we eventually went back and did some really great films back in China was that he was not used to dealing with the political culture in, in Hollywood. And it was not used to that I mean, really being the God on the set. Not that I'm not saying that in an egotistic No, no, no, I'm saying it in the sense that vision, it's the vision, yeah, record vision. And he said, if he wanted to do a big action scene with, um, you know, amazing action, he literally have hundreds of people who would want to do this crazy ass stuff, that that would be very hard to pull off in the United States, like, given the regulations that they have here, sir. But the, but that the experience of working with him was great, but also learning, the way that he shot was very different in terms of how action is staged in the United States, in the United States, you'll take your action and your take your moments, and you'll shoot in pieces, this piece in here, and then we move this piece in, it doesn't necessarily have to be shot in an order. JOHN would arrange his shots action, as though it was a kind of putting all the springs into a fine Swiss watch. And just every little piece of action would lead to another piece and flow into it. And, and so you, instead of doing all these little pieces, says he would do, he would make it more of a ballet and in make sense as a whole. But in order to do that, and this is where it it, it falls on the cinematographer who's working with with john is that he'll want to do it with seven or eight cameras, of course. And, and how you get one how you light for that. And, and then one how you how it's almost impossible to keep the other camera but shot, but somehow you do it. And so we would do these takes and we do it once or twice, and he would have it it might it might take us them, you know, several hours to set these things up. But once it happened, you just go, oh my god, this shot took us to this camera. And he then he knows that, okay, he's going to use two thirds of a second have this shot, which is going to take us to the other angle. And that may last three seconds, which will take us to the other angle. You know, it was really amazing.

Alex Ferrari 34:07
So then basically, instead of instead of doing seven or eight different setups, you would work really hard to get everything in one setup. But you basically have done you're done the scene are done that that sequence.

Russell Carpenter 34:19
Yeah. And it's it also it's harder on the stand people in the actor, because you have to make it look like every hit connected. And but it these things had an energy though, when they were cut together. That was really great. Yeah, so I learned not not only a lot about how to shoot for multiple cameras, but I also learned something about you know,

Alex Ferrari 34:50
Staging and editing and flow. Yeah, I mean, even hard target a few I mean, you watch Hard Boiled Do you watch the killer, and then you watch our target. You can tell he's handcuffed a bit. But yes, yeah, but but you can see the whoo come out.

Russell Carpenter 35:06
Yeah, yeah. You know? Yes. And some of the signature things that he liked to do he certainly, he certainly did those but, but but then you can also I've been so here, this is a jungle I know what it is and then you go back and you look at hardware, and they have a lot. I mean, there's a lot more going on those bells. Yeah, I mean, they're, they're amazing.

Alex Ferrari 35:33
No, they're master but they're masterpieces of action. I mean,

Russell Carpenter 35:37
There Yeah, there. Yeah, you go back and look at The Birdcage seeing

Alex Ferrari 35:43
The opening of hardboiled Oh my god.

Russell Carpenter 35:45
So yeah, just oh my god, what planet did this come from? I mean, it's, they're, they're really amazing film. So. Yeah. So. So that was a great experience.

Alex Ferrari 35:57
So So you were starting to talk about how you and Mr. Cameron got together. You were saying that you met. You worked with Eddie Furlong after Terminator two. And as people said, Hey, you would work well with Jim.

Russell Carpenter 36:08
Yeah, at the time he was. Jim wanted to do a wanted to do an independent film of

Alex Ferrari 36:18
A drama. Yeah, that drama that he wanted to do a thriller or something like that he wanted to do I heard about that.

Russell Carpenter 36:23
Crowded room, this this. This is a famous film that's ever been made about the life of a person who had like 15, or six school personalities. And it's been around Hollywood for I don't know, Eon. And somehow it's never gotten made, but he wanted to do that. And so, Eddie's people and also some other people who knew me, I guess suggested to Jim, that he should meet me, I got we, there was a party at the end of at the end of pet cemetery, too. And I think he came to that we talked for a little while I like, you know, I was, I probably had the life force at the time. Like, I have a piece of wood or something, you know, just and then it was weird, because because after that, I was I was in Louisiana, in New Orleans with john Woo. Do because that, well, that film fell apart. Right? I but what I did do was I did show my $55 million sample.

Alex Ferrari 37:39
Amazing, real amazing sample real.

Russell Carpenter 37:41
Yeah. And he liked it. And but the film fell apart, because I was like, well, that's okay. So I didn't, you know, I just go back to while doing the Jiwoo film. And it's really weird. I got this phone call from his producer while I was there. And said, she said, what, when you get back to town, I want you to have lunch with Jim Cameron, he has his project we'd like to talk to you about. So and this is before the internet. So my crew and I start to get every copy of variety that we can possibly get. And I'm getting through these varieties trying to see what what he has, because in my mind, I'm thinking he's got a little documentary or he's got something something little project that he needs this.

Alex Ferrari 38:37
This is and this is the conference, this is that that's the phone call that at that point in, in, in Hollywood history. And so this point as well, you get that calls, like hey, Jim Cameron wants to meet you about a project. I'm assuming that's a really big deal.

Russell Carpenter 38:50
Well, it was a big deal. But I couldn't put my I couldn't put my I couldn't put the rustle. I knew up to that point. in the same room. Oh, and it's a it's a big feature. So I'm looking through these things. And all I can see is Oh, he's doing something with Arnold Schwarzenegger called True Life. And I go right past that. Of course. That's not what we're talking about here. That could be free.

Alex Ferrari 39:18
But you could even believe that you would be even up for that situation. Yeah, but when I got back, exactly. And when I got back and called, call this producer up there, and lunch was set up. And again, it was surreal. We were in near his house in in Malibu, and we're sitting down at Tony's two burner. Yeah, I guess that's what it was called. And he starts talking about this film and it's in my head is kind of exploding. I can't believe he's talking about this. Phil. Right. And this is this is how Jim hi Somebody, so we're you know, so he's starting to talk about the film. And he's talking about this and this. And like halfway through the conversation, he says, he starts using the word we. And it says, and then when we get to Washington are these kinds of problems, you know, and then after that, you got to go there, and we've got to be ready to do that. And I'm, and I'm sitting there, you know, like a dog. Here, I can't even understand. I'm looking at it. But I can't understand. surreal, completely surreal. It was totally surreal. And so we have lunch, and I leave, and I and I call him my agent. And I say, because by that time, I had an agent, I said, I think I was just hired to do this big picture. And he called me back two days later, and she says, Yeah, you knucklehead, you know, yes, you were hired to do fulfill. And, and then it That, that, I guess, of course, that opened the gym camera. Light. And it was very interesting, because of the pre production went really, really well. You know, and I just felt like, of course, I felt like I had a lot to prove and stuff like that. And, and then, and then we started filming and and that that went really well to was go, Oh, my God, and just never let this happen yourself. Because this is what I did. I said, Well, I don't know what because I had heard stories about other cinematographers. That worked with him, and they were good stories. I don't know. Maybe Maybe I'm the person who cracked the code? No. Let's go so well. And so all those legendary James Cameron stories, at least on True Lies didn't happen.

Russell Carpenter 42:03
They didn't have that up until about the fourth weekend. And this story I tell a lot, because it's it's it has something to do with persistence, I guess. And also something to do with the fact that, that sometimes you've got to develop a skin a tough enough skin that, you know, that he realized that it's not about you, when I went out on plenty of interviews was turned down plenty of times and you know, you're kind of in the same boat that an actor is, well, you're going to meet with a lot of rejection, and you just cannot take that personally. Just go back. Just keep doing your thing. And hoping that the next thing comes along when it eventually it will maybe not as fast as you wanted it. But there it is. But so we we were he had been watching everything on the on the web that time on the cam video. Yeah. And so now we're in a, we have a screening one night, it's the first time we're in a theater, in the gyms the screening room. Is there about 40 people in there, they're all department heads. When we're, the film starts to roll. And we're watching a scene in a scene where Arnold Schwarzenegger has just returned from his first mission met, he was up in the snow. And he he returns home and he goes over into the room where Jamie Lee Curtis is sleeping goes over, looks at himself in a mirror as he takes up his wedding, or you know, or something like that. And so that shot comes on. And it's it's a little dark, and I think I'm gonna have to have them do a reprint on this printed up a few points. And all of a sudden I look over at Jim who's sitting beside me. And he's just sitting there shaking his head. Jim, Jim, what's wrong? And now he says loud enough. So I'm sure everybody in the room says he says, I have the highest paid actor in this or any parallel universe. Let's see as I can. Tim, well, I'll just print out three points. I think everything is okay. So no, you print this scene up three points and you ruin the mood of the scene. And that loud enough for everybody to hear. So I you know, from then on, I just want to die because as he waited the wait a couple more minutes. And then he'd say something about you know, as shattered come up that was maybe a little overexposed. And you'd say Where on earth did you learn to read the light? Oh, louder. You know, and, and so on. That I endured like three more comments like this. And literally, before they turned on the lights, and you know, before the light was all the way up, I think I was out of that room. I just ran out, you know, and I, I was out, I went out to the parking lot, I called my wife and I said, Well, I, you know, I had my run with Jim Cameron, I toured, this was my last day, I guess, aliens were horrible, blah, blah, blah. And I look up and there's the first assistant director, and the, and then one of the producers and they're just smiling at me. They're laughing. Right? And I go, What? What? And and they just say, you know, he does that to everyone? And I said, No. and No, he said, just call. You know, they said, he gave me a name of a couple of other signal companies that just call him. You know, talk to them about this. I did, I talked to Mikhail Solomon and the best thing. He said, What did he use the line about? You know, where on earth? Did you learn to your baby, say, his grandmother could shoot better than this? Or, you know? And I said, Yeah, and that. I said, Okay, I know, I really have to have this credit. And I'm going to stick it out. And there were days that would go fly. And there were days that just felt like somebody hooked me up to two high voltage wires, and I was being electrocuted for the entire day, you know, until they called wrap. And that was my that. That was realize that was true lies. And that that was if there was ever a trial by fire picture that was that was it? For sure.

Alex Ferrari 46:55
I mean, you hear I mean, I mean, I studied Jim's career fairly closely in the abyss, I mean, one of the one of the craziest experiences of all time, and you hear all these stories about him and I. And you know, I actually knew some people who worked on Avatar and how he changed over time, but yet still very, very, Jim. But so I wanted to ask you about working with what has changed over time. I've heard he's, I heard and this is just again, from secondhand. I've heard he's softened a bit. He's not as like he would be back in the prior before Titanic stage. But he's still Jim. Yeah.

Russell Carpenter 47:37
About Well, when the thing about Jeremy, is whenever he gets an opportunity to work with them, or maybe somebody like him, who's coming along, is that there's a singularity of vision and almost a laser like concentration on the scene that he's doing. I mean, I've never seen anybody concentrate, like, and I've never seen anybody working harder than he does on the set. I mean, it's, it's amazing. I mean, how can somebody be that invested second after second, you know, because the rest of the rest of us mortals seem to say, Okay, I just did that. Now, I've got a chance to take a breath, maybe I'll just go over to the craft service table and do this. That doesn't seem to be Jim, to me. He is, I mean, there's, in terms of pure devotion, to what he's doing. I've never seen another person like him. And my experience, and, and that's, that's really something and he. And my sense about him is that every time he does a project, he goes out and says, There's something I don't know how to do. But it's something I've never done, you know, with True Lies, it's why I've never really shot, you know, a comedy, you know, so I'm going to do a comedy, or, you know, or Now, here's Titanic. And I'm going to make, I need to make a film that not only succeeds as an action film, but I've got to make a film that totally succeeds. As a love story, are the actions not going to mean very much. And so he he's, he said, he says, Well, I don't know how to do this film net and finish that Suzanne attitude and and, you know, he I don't think he expects everybody to be perfect, but I think I know he expects everybody we're doing the absolute best job. They can that they know how to do now. And that's that's saying a lot. And I mean, I think for the storms that come up, when they do come up, if you learn not to take them personally and know this is you This is this is gonna last another minute, and then it's back to work, then then then you have a chance of not having a nervous breakdown.

Alex Ferrari 50:11
And some people and some people just can't handle that some people take it too personally and then this business, I think is one thing I've learned over the years is, you can't take it personally, a lot of times, you just can't you got to move on.

Russell Carpenter 50:22
No, you can't take it personally. And then on the other hand, especially as a director of photography, you need to so if there's eggs on the SAT, you also need to develop the skills that you're not the main source of that. Or you're doing something to, you know, okay, we all know that things have to be done. They have to try to do them in a certain time. But you, I think I would, really starting out, I would mistake my passion. When I say, Oh, this is just passion. But you know, in some ways, I look back at him and say, Well, that wasn't passion, you were just being an asshole.

Alex Ferrari 51:08
There's that,

Russell Carpenter 51:09
Yeah, you can learn to have that passion. And this took a long time to learn, you can learn to have that passion, and also have a roaring good time, because you're doing one of the best, you're in a position of having one of the best jobs, at least I think that anybody can have.

Alex Ferrari 51:26
Now, when when working with a director, that's so hands on, like, what advice would you give? What advice would you give to a cinematographer who has a very hands on director, meaning that he's very involved with the visual look of the film and how his shooting, he might even tell you a little bit of like, I want this here, because that because a lot of times, you know, with Jim, and I talked to Mr. Cameron, he's obviously a very technical director, and he really knows a lot about what you're doing and pretty much about what everybody else

Russell Carpenter 51:56
Is doing on the set. And as as probably often quoted, it helps me he'll, he'll tell people that that he knows. And, and the whole miserable aspect of that is that is probably right.

Alex Ferrari 52:11
Correctly, when you're working with a genius, it's like a fear

Russell Carpenter 52:14
And I, I wouldn't put Jim in that category of being a genius. I do. I think he, I think, because you at one point you go, how can somebody who's so technical into a movie that's also has so much imagination, and and the way he paints and how he how, with his camera angles and the structure, the structure of his script, he sets up a totally immersive experience, you know, and that is that they have that technical side and that that, that artistic side all firing, you know, on, on all all cylinders, you know, they're they're all work. Although, you know, that doesn't happen with Jim you, you know, and I guess in my personality, makeup I, I'm a pleaser. And I do I am that person who says this is the director's vision, how can I help this director with his or her vision? board? And so you go in. So there's Jim on one end of the spectrum, who is just happy to set up and, and frame every, every camera, you know? And, you know, what, like, a titanic. It's interesting, like, as a cinematographer, I had, I had the freedom to do things the way that I thought they should be done, but if I wasn't doing what he wanted, he would definitely let me know.

Alex Ferrari 53:59
Right?

Russell Carpenter 53:59
When he would say, No, no, I want that's not it, I want this. Or, or I think the light here should be hard or something like that.

Alex Ferrari 54:09
Or he literally would get that detailed, like no, I this needs to be it's like almost like a Kubrick in that sense that has such a complete control of the vision that if he doesn't see you doing what he wants, he will push you or nudge you in the proper direction, according to his vision.

Russell Carpenter 54:26
But I also tell directors that I know don't have those chops, you know, they're wonderful people who have come from lighting or some other and especially now it's much much easier with digital light. Look, if you see something that that that for some reason doesn't work for you. Just Just tell me and I and you know, and unless it's something really good I really don't agree with that. But I'm I'm just said, Okay, well, yes, I can do this a little different. And let's see, if you enter, you know, in a second, I'll come back and say that that's right that it's it's not so much technical, it's just something, it's you. It's story driven, most people. So as a cinematographer, you go, okay, on films, there are lots of things that are the same. But I've always found every single film to be different. And a lot of that has to do with how you work with a with a director, I did a lovely film in India called parch. Very low. And the director was fantastic. We really never really, after she called me what, where she felt the heart of the story was or, or, or this particular scene. We didn't really talk about lighting, we, and she, and in this situation, I was I would suggest blocking, I would say, okay, given what I just saw, we could do it this way, this way, in this way. And because we're on a budget, I know if we do it, we'll do it this way we tell the story. And it, we just shave a couple shots off the scene. Because we're doing it more efficiently. So So as a cinematographer, you can be a service in to any kind of director that you're working with. But again, with if it's a Jim Cameron, we know that they're going to have lots of input about things that other directors may not care a bit about. It's very, very flexible, busiest that way.

Alex Ferrari 56:41
So let's talk a little bit about that little film Titanic. That is, you know, we've heard legendary stories about, you know, stories from the set, I knew a few actors on the on the set that have told me a lot of stories. I mean, at the time, it was the biggest budget film in American and filmmaking history, and Hollywood history. I mean, you basically had every toy you ever wanted as a cinematographer. on set, I'm imagining Can you can you tell me what it was like working on a film of that size? And also that magnitude, because everybody in the world was looking at that movie and looking how it would finish and how it would end?

Russell Carpenter 57:23
Or, or a lot of the work, what we'll say, Are your younger listeners who certainly are grieving that the film was such a phenomenon when it was being made. There was actually on the front of variety, I think, there was a there was an outline box with called Titanic watch, because I thought this thing was going to be just a just ghastly flop, because it was the most expensive movie at the time. And there, there were, occasionally there would be setbacks, because things were being tried that had never been tried before. Right. And also it was it was what I call a a very special movie, in that it was a hybrid movie, in the sense that a lot of its heart and soul was with the David lean epics, you know, Ryan's or Dr. Zhivago, or, you know, the, the, those big films had had a beating heart like that. And yet, it was, it was, it was using, technically, it was using some very, very old techniques. And at the same time, it had, the other foot was distinctly in the future, in terms of being done with computer, probably cutting edge at that time, you know, when, when the film was in pre production, they hadn't really worked out a really viable way to make realistic ocean water.

Alex Ferrari 59:17
We'll be right back after a word from our sponsor. And now back to the show.

Russell Carpenter 59:28
There were two, two things that I would read in the paper is because now it's good. It wasn't just the trades, it was the LA Times. One was that things were unsafe on the set. And that is not true. That week, we had sometimes safety meetings that would last up to an hour because we had an international crew. So you had to you had to do all the safety notes and in English or Mandarin In Spanish, because we were in Mexico, and then we had a lot of Hungarian stunt people. So, so but but safety was was really, really at the top of everybody's agenda. And Jim Carrey is definitely not well, you know, people are expendable kind of thing. So whatever, somebody cracks or rip breaks a leg. That wasn't, I didn't. And the other thing was, well, they're just, they're just down there every day figuring out how to throw gold bullion into the water, this thing is so expensive, you know. And that wasn't the case, either, you know, people would come down from the studios and try and figure out how to make things be less expensive, and they weren't coming up with you solutions either. In fact, in fact, the thing was, the film was so big, it was hard for anybody to get a get a handle on it. And when I came down, the first time I went down there, where it was before to Rosarito Beach. The studio had really been built, it was a work in progress. And there was an excitement about it, it was, it was like, well, this is how the Gold Rush was, you know, buildings coming up, like, you know, crazy in days, I would go, I was actually working on another movie at the time, this was happening. So I'd come down on the weekends. And, and it's like, every weekend, there's another big building just came up. And there's a there's the tanks are being built. And it was really quite a sense of excitement about it. And then but what happened was, you know, on a, on a regular film, you have a sense of where everything fits in. And here are the pieces and you can look at the film as a totality. This film was just so big. We just had to look at it. I do week, and it was you're constantly putting out one fire after another. Oh, this says it This isn't ready. You know, it's like, let me just adjust. For example, my john Buckley was my gaffer on that, that picture, he went out as a ship was being built, and he was trying to figure out what how to table something. The Titanic is basically the whole thing is a just a huge piece of scaffolding, I mean, a huge piece of scaffold on water. Yeah, well, but, but yeah, but not much of the ship was ever in, in water. I mean, that's part of the illusion that they the tank parts, most of the tank was just three feet deep, just just deep enough. So a lifeboat could be in the water. And, and you'd have like three inches of clearance at the bottom of the water. You know, it's kind of like being at Disneyland that way. And so it was easy to move the lifeboats around, and then much closer to the ship. That then the tank was dug much deeper so people could jump off the side of the ship and not land in three feet of water. They had to you know, have these 2020 feet deep there. And I mean, it was this crazy. Let's just, you know, and this this podcast would go way too long.

Alex Ferrari 1:03:33
No, no, no, please. No, we're fine. We're fine.

Russell Carpenter 1:03:35
How people figured this out, I mean, how things were scheduled. The ship itself, and a lot of the sets were basically engineered the same way. cemeteries engineer, lighting a coffin into the hole, you have cables under the, let's say you have holes into the coffin, and then the punches you unwind the winches, and the the cable or straps loosen, and they they start to take the weight of the coffin and it drops into the hole. That is the same thing that was the same thing as how that huge ship was. was dropped, right. And also we had sets that had to be dry in in her run seamless eight, say take that giant dining room with those lights in there. We shot our dry scenes and then a month or two later came back and shot the web scenes. And we were in a that dry set was actually built inside a tank. So now filled up with water. And we have to change all of the lights out because they're going to go under water and they have to stay lit because that's what happened with the lights on the Titanic. So So now you're into all kinds of logistical things. So to make it look like the water is rising, with one end of the set would be lowered on straps until the water started to creep in, and then the rest of the set would be lowered to make it look like the water was rising at a pretty fast rate. And then then you end the take, and you go back to one, but going back to one

Alex Ferrari 1:05:26
Can reset everything,

Russell Carpenter 1:05:28
Reset everything. And there were times that the set would go into the water and there's chaos happening. You've got hundreds of people and and all that all the silverware all the table claws, they start to float around, and we're talking, you know, what, 100 tables or something like that. They're floating everywhere. So resetting is not an easy thing. And that that was just kind of the story of all the amazing takes at the end of the, at the end of the movie where the ship's going down and hundreds of people are running up and down. The the ship, that was probably the last film for real when you saw 300 people running up and down now, right? Because four years later, you'd have one not even that long. You along comes Peter Jackson with Lord of the Rings, and he's got 1000s of orcs or whatever running around. And they're all they're all computer driven. And so. So Titanic was really that that movie that made the push out of out of what we call the more classic kind of filmmaking. So how about how did you shoot?

Alex Ferrari 1:06:46
Like, how do you shoot a film of that size, like just on a technical standpoint, that the mass amount, how big was your camera department?

Russell Carpenter 1:06:55
That would depend on what we were shooting, we started off with the smaller, smaller scenes. And we'd have one or two cameras. And that was when we go along that way for a while. And then when we got to the really big stuff that's well for the cinematographer. And for everybody, that's when the craziness happens is you've got Jim would say, Hey, you know what, let's go outside tonight, I want to see the whole ship. And and we're going we weren't even scheduled to do this for like three more days, we're not even sure that we can get everything up and running. Because this is going back to how when you talk about the immensity we wound up with something like 40 miles of cable inside the ship. And the ship, when you go around. When you look to the other side. All it is is it's scaffolding. scaffolding. And once I have it has what looks like a ship on it. And then only the two top decks of the ship are built along the real ship. They end with smokestacks and stuff like that. And so, again, back to my gaffer, when we're talking about the immensity of things, he says, he comes back one day and he says, well, we're going to start out with we need we need 1500 lights. And yeah, that's what I

Alex Ferrari 1:08:32
What kind of lights are we talking about? Like lights, lights, like film lights?

Russell Carpenter 1:08:37
He said, Well, I counted, we counted the portholes, we've got 750 portholes, we need, we need what we call a visible light that the camera can see, that looks like it should belong there. And then we want a we should have at least a 1k pointed out of every port home. Okay, and so so we've done we've done the portholes and we're up to 1500 lights. So he starts to put his list together. And he goes to 20/20 Century Fox. And, and john gets a little letter back a little note that it's very, it's a very nice note, but the subtext is you're insane. You don't know what you're doing. We're going to send down some people who are going to help you figure out how many lights you need. Okay, they do that. So they go up so they go out with john. This is in pre production. Yeah, what? They come back at the end of the day. guys say you don't have enough lights, you need more light. And they were right. And I have to hand it to 20th Century Fox. They found lights they went to warehouse They fed, you know, and they they refurbished a bunch of, of lights. Because at the end of the day, you have just you have those 1500 lights just for the portholes you have and a lot of them have to be sealed there has to go underwater right. And then you have all the lights and all the sets for the whole movie. And I now the number is slipping my mind but we had a phenomenal amount of lights not only decorative lights but lights that we had to use ranging from everything from the the huge lights that kind of like the ship at night to, to everything we needed to make the movie because because you can't you have to have your lights hidden clustered, because you can't just say, Oh, I need a five can move it from the stern to the bow, which is 800 feet away. You know, that's not going to work. So so it should john Buckley's credit. I mean, it was just an enormous undertaking to do this. And but the number of lights was in the 1000s of cable, the cabling for this thing which looked like I call it said like if you ever saw that movie, Brazil by Terry Gilliam it looked like a Terry Gilliam version of company in the 50s. I mean, it was a complete cluster, whatever of of cabling and how it all stayed on, I'll never know. And, and, and it was, it was a constant battle. Because Because lights, you know, they your life and they go off, you know, right?

Alex Ferrari 1:11:54
That's 1500 my mind hurts, my brain is hurting thinking about trying to keep track of a shot because there was no high end visual, I guess they could have done something visual effects but, but like you want 1500 like 700 and something portals, you're in the middle of a shot, one of the lights goes out, like,

Russell Carpenter 1:12:10
Oh, my God. And boy, we learned our lesson the first night because we I mean, we had a lot of people back there be, you know, in the scaffolding area, but it because it was the first night and I think we were shooting a couple days earlier. Like john would see some lights go out or worse, Jim would see some lights. And I said one of those lights doing that. And and you'd look over and you hadn't noticed I mean, oh my god. Yeah. And so john would say get somebody down to so and so and so and so and this is God's honest truth. So somebody would run back there. And, and eventually, you'd see the lights go on. And then about three minutes later, we'd hear you know, this is so and so I'm down here, I don't know where I am, I can't find my way out, you know, with some of these beats coming at me because I'm you know, I'm really starting to get nervous, you know, realize that we would have to play a zone system from then on and the same person, we put everything in quadrants. So like, going up, you had level you you'd have level, you know, ABC, you know, all the way to wherever it was. And then and then horizontally, you'd have a number. So every every quadrant and we'd have the same person organize this is work the same fairly small quadrate Night after night, because that is that was the only way we could do this efficiently. But it that that looking back now it seems funny, but when you're waiting when the directors Wait, it wasn't so

Alex Ferrari 1:13:55
I mean, it's it's it's honestly, it's a miracle that no one got hurt.

Unknown Speaker 1:14:00
Yeah, I think in construction, somebody's done. Oh, really? Yeah. And we did have let's see, some somebody else got hit by a car walking along the road down there. That was That wasn't on the set. Right. And, and then that we had one big night that had been rehearsed for weeks where they that at the end of the at the end of the movie that the stern of the ship goes near vertical. Yes. People start falling down. And this was a they were what they were falling down into was a bunch of stunt pads covered in green. So we could extend the the tissue make it look longer. And they had it all worked out. So the timing so one person would fall and they were when I say fall they were all on these things. These descender rig the Senator Pan rig It would slow the fall down if it's still look real, but it would, you know, they were literally falling or under control, but they had to get out of the harness and then jump out of the pad, you know, not get out of the harness but disconnect. But on the first two takes in the, in the excitement of it all. Like, some people weren't getting out of the way. So the next person down, like somebody cracked a rib. And Jim just said, Hey, we're not doing this anymore. So more people submit it's going to really get hurt. And so we came back later, and they're really significant falls. They were done by

Alex Ferrari 1:15:46
CG.

Russell Carpenter 1:15:47
CG Yeah, CG base based on a real person doing a call it that then became a CG person. Yeah,

Alex Ferrari 1:15:55
He was cutting edge, because there was nothing like that. At that point. There was nothing like that at that point.

Russell Carpenter 1:15:59
Yeah. And if you look back at it now, you know, you could Yeah, you can pick certain things apart and go, but that person is not quite Rocky. Right. That must have been Yeah,

Alex Ferrari 1:16:09
My favorite. My favorite spoof or the biggest mistake I've saw in Titanic if I could be so bold as to call something out was when Jack's running down the hall while the waters rushing behind them him rose. And you see the face that they plant they face replaced the stun people. And you can that's the the only really like blaring visual effects shot. I was like,

Russell Carpenter 1:16:32
Yeah, that that that was the one where, you know, he really tried to make that work. And I guess, you know,

Alex Ferrari 1:16:40
He pushed the technology too far.

Russell Carpenter 1:16:42
Yeah. And now crazy plate. placement is is common place. But at that time.

Alex Ferrari 1:16:51
Now there's one. There's one more question about Titanic I had. And this is a I've read an American cinematographer magazine article years ago that I think you gave about the wide shot of the ship sinking into the water that the bulbs because they were hot. The bulbs on the actual deck not like film, movie movies, lights, but actual lights. practicals would hit the water and they would pop. So then after you would reset, you would have someone go in there and have to re unscrew and screw back in new lights. Is that true? Or is that something some truth here,

Russell Carpenter 1:17:24
That timing on all of those scenes where that started out, basically looking dry and then sinking into the water timing was of the essence, because let's just take the dining room, dining room, when we shot all the dry, the dry for dry seems like dinners and stuff like that, basically normal lives. But when that same set was waiting to sink into the water, all the bulbs had to be enclosed in a glass fitting, they had to be watertight, because as soon as water hit any of these bolts, they would explode. Yeah. Also, if they just stayed on, eventually, the heat would build up inside that airtight container. And it would explode because of the heat. So what we had to do was I mean, and again, because we had so many people in the scenes, we would work and work and work and rehearse, rehearse and rehearse, get our hunger camera set up, then you would do and this is this is just common thing, especially with with sinking, you'd have to do a set search with divers joline set was nothing or and there was nobody down there who had been left behind somebody who hadn't heard the we're gonna shoot, you got it. So that would be time consuming, too. So awesome. So you're looking at another 20 minutes, just to do that. Then the real action once you call action, the real action has to happen within a minute and a half. Because as soon as you roll cameras with the lights come on you roll cameras, and then you know that about a minute and a half from now, these lights have to be underwater or they're going to explode. So that's that's the timing issue of it all is there was this kind of this one and a half or two minute drill, that thing had to happen so that the lights would go underwater but inevitably if you So let's just say let's just say 100. Lights. Okay, you got to take two, seven of those lights have gone out. So we had a team that would run in, grab those lights and then replace them with lights that were working. That part didn't take us because we were prepared for that, that it will take as long as it you know, it might have Wow.

Alex Ferrari 1:20:24
Now what? And I know you've given me so much of your time today, Russell, thank you so much. I have a few more questions if you're if your game. You're alright. What is the biggest lesson you learn from shooting Titanic? Because that is it was unlike a an experience that most cinematographers will ever have.

Russell Carpenter 1:20:43
Yes. In fact, my crew who worked with me for a long time, he said, Yeah, gee, Ross, when are we ever going to do the big movie? And

Alex Ferrari 1:20:54
Be careful what you wish for?

Russell Carpenter 1:20:55
Yeah, yeah, that's right after typing. The end of the day, the last the last day, called wrap and instead of a big movie. Yeah, people like zombies just wandered to the parking lot and got into their cars and drove away. Broke, broke, broken, broken souls, broken spirits. Yeah, yeah. That's the biggest lesson was on a on a film like that that gave you you can't be overwhelmed by trying to gobble up the whole experience all at once. If then you'd never start, you just know. For me, it was, okay, I've got the scene, I'm going to do the best I can on this scene this day. And I know I've got a group of really good people who are working on the sets that we're going to shoot, you know, a week from now or two weeks from now. Just to really just hang in there. And, and do do your very best that you can with what's in front of you. And that was the only way I got through.

Alex Ferrari 1:22:09
Yeah, cuz if you try to get right, if you try to eat the entire cake, you'll never get through, you have to take it bite by bite, slice by slice day by day. Yeah. Now, what's the biggest mistake you see young cinematographers make?

Russell Carpenter 1:22:27
Well, because because I've seen a lot of really great young cinematographers. And I don't know what, what what else is happening. I think, gosh, the only thing I think is that there were there was a value in shooting film, and that you really had to know, your stuff, what, what you can do with exposure. And the only thing that I'm hearing from the lab is that, that sometimes people shoot, thinking that they can fix everything in when they when they get into the, you know, the post production process. And they, you know, and I can't say that I've seen because I've never seen that, but the labs have, and they say, we don't, these people will know that their film could look so much better. If they really paid attention to the lighting of this actress or this actor. That and, and, and, and try to do as much of the work on the day long while you're shooting. And then also know, also, because you have a very good, then if you have a very good sense of what can be done and should be done in post, you can say, You know what? That wall over there is too bright right now. But I know it's going to take me 15 minutes to fix that now. And I can do it in 30 seconds in post, you can just in that kind of knowledge that would be a big, big help.

Alex Ferrari 1:24:07
All right. That's it. That's very, very good advice. Now, what would you do on a business standpoint? But film business standpoint? What advice would you give a cinematographer wanting to break into the business?

Russell Carpenter 1:24:21
Well, besides the thick skin and, and knowing, hey, you've got to be in this for the long run. Those are the first two things. I I there's so many things, just learning to work with people. That's such a because lots of people are really good at what they they they do, and they're not good. At the people end of it, I would I would say the cinematographer even though you just want to be an artist, the cinematographer has to be an artist of course, but a scientist enough enough to Know what the camera that he or she is working with, can do what it's capable of, you also have to be a manager because as you go along, you're going to have to start to manage how, how your, your, what your your people, your weapons are, how they're position, you know, terms of who's, who's doing what, so you're getting the most efficient use of them. And then and then a politician, a politician. And I mean, not, not the smarmy sense of every often thing. But it is a political business. When when I shoot a test with inaccurate, inaccurate part of what I'm doing there, I mean, the screencast is not only not only learning what I need to know, but really imparting to that actor or actress that I will have their best interest at heart I want to make politically, I want them to be comfortable, you know, that. set for them, it's going to be a safe place where they can do their best work. So there's that politic, political in the sense that somebody did a bonehead thing. We did a bonehead thing and instead of yelling at them know, people make mistakes. This person was trying to do their best job vile people as if the biggest issue I have is that I know somebody who's very competent, and they're just not trying that, that's a big issue for them. That, that so So anyway, there are so many things you've got to be able to do and make make our while while catastrophe is happening around you. That's the other thing. Those. So, in a nutshell, those I pay attention.

Alex Ferrari 1:26:55
Now, I'm actually the last few questions that I asked all my guests. Can you tell me what book had the biggest impact on your life or career? Oh, these are? These are heavy questions. I don't even know. An answer to right. Well, I didn't know I don't have an answer. All right, well, then we'll move on to the next question. It's okay. What is the lesson that took you the longest to learn whether in life or in the film business?

Russell Carpenter 1:27:37
In life and the film business, because it seems like whatever whatever we choose to do in life, there are there lessons that that were here, it seems to me, we have to learn. And when is say as passionate as I am, or as fast as I want to go or whatever, as good as I want the picture to look, I have to have empathy for what anybody on the set is going through. I mean, I think developing empathy that it's somebody might be at work, and they might be coming up a very, very troubled to us home life. Or, or they're working and we haven't maybe they're they're working with a with some injury that's healing or, or just that I could say something. I don't think it happens much now. But I could certainly see it happening earlier on. You say something that's meant to be a joke. And yet it cuts to the quick with somebody and and you just have to hit just trying to again have the empathy of what it's like to be another person on the set. Works. Happy having to work with me what what is that experience like? So

Alex Ferrari 1:29:02
The excellent excellent answer. And what are three of your favorite films of all time? Oh, my God, and pick anything that comes to mind? Okay,

Russell Carpenter 1:29:12
Yes, for the look of it read searching for Bobby Fischer because I love the story. I love the way it was shot. Oh god there's so many

Alex Ferrari 1:29:28
Searching searching for Bobby Fischer is such a that is like a DPS movie. Isn't it? The what he did? And the name I'm sorry, please forgive me the name. Oh, yes, Conrad Hall. What he did with like he was shooting with mirrors. And he was what he did in that movie for cinema on a cinematography standpoint is remarkable, right?

Russell Carpenter 1:29:47
Yeah. And just the guts that it took to do some of the things that he did and had but how beautiful that one look. And not and how it was shot. My camera was placed because a lot of the time That we really are putting yourself in the place of this very young, young I guess, like 11 years old chess and, and that was good. Oh god, there's so many more films and I you know, red shoes which a lot of people? Yes, Red Shoes is just I to me I thought that was a stunning, stunning film and a marvel of the Technicolor process and I probably got 100 100 more probably. Right now right here. That's what comes to mind.

Alex Ferrari 1:30:34
And last question. What was it like winning the Oscar?

Russell Carpenter 1:30:40
I have been asked that. And I think it's a shirt for me. It was really weird. I thought when I found out it's all about the dress, you know. But if my wife's dress when she was great aware, but it was at that point I was not. I think I was so serious. I didn't really allow myself to feel the joy, the kind of kick in the pants that that must be. It the end. What happened was I won the Oscar. And within eight hours later, I was in the hospital. I various night, I passed a kidney. And I didn't pass but I had a kidney stone in such agony.

Alex Ferrari 1:31:34
So you really couldn't you couldn't relish in the achievement.

Russell Carpenter 1:31:38
Yeah, yeah. So it was like, Yeah, but it's really weird. Like, right now I feel like I'm enjoying what passes for a career as a much, much more I would have been much, much more fun on the set appreciating a lot more. And, and and I have, I would say a little bit or maybe maybe a considerable about more of tranquility. Because early on, I was just so nervous about, you know how things were going or not going in. Now I I look back and I say Yeah, well, like right now I'm going through a period where nobody seems to be calling. And now I'm going through a period where too many people have called on it, or whatever. Right? That's, I just say, I can take what's kind of on the plate with more ease than I did before.

Alex Ferrari 1:32:39
Russell, I want to thank you so much for your time and amazing stories and amazing advice. You're giving our listeners, thank you again, so much for being here.

Russell Carpenter 1:32:50
Okay, well, thank you very much.