Q&A with 1st AD, Jude Campbell
Jude Campbell is a 1st Assistant Director working across a wide range of Film, TV drama and Commercials. In TV comedy he has worked with the likes of Ricky Gervais, Jack Dee and Jo Brand. Drama credits include some of TV’s highest rating series and his feature film credits include Clean Skin, Pusher and The Veteran.
Jude is a member of the Production Guild, Bafta and represented by Exec Management, he has worked in many different countries across 4 different continents and is well versed in 3D, timeslice, sfx, green screen, stunts and more.
His latest job will be screened on BBC1 over Christmas; an adaptation of David Walliams book, Mr Stink. We ask about that and his career as a first assistant director.
Mr Stink
What can you tell us about the story of Mr Stink and who is in it?
For those who don’t already know the book or have not seen the theatre production, it’s essentially a story about a little girl who befriends a homeless man and his dog. In the end they both end up helping each other with their own personal issues along with a bit of magical mystery thrown in. Hugh Bonneville does an impressive job playing the tramp along with his clever dog The Duchess whose played by Pudsey who won last years Britain’s Got Talent. The young girl character Chloe is played by a very talented & relative new comer called Nell Tiger-Free.
How does shooting in 3D affect your role as the 1st AD?
The key factor is getting the scheduling right in the first place. To do this you need to understand what works and what doesn’t in terms of the script & 3D plus of course the budget – so that in effect you can schedule more time when/where necessary. For example if you’re shooting all day scenes on a zoom lens in a cosy studio environment then you won’t find a huge difference between 2D & 3D. However if you’re out on location & shooting in smallish spaces like in a house/car or instead maybe shooting night exteriors on the same day as daylight scenes – then yes you will need that extra time that a 3D rig requires.
For those who don’t know, how would you describe your job?
I tend to look at the job as two different stages, Prep and shoot. As a 1st AD in prep it’s primarily about solving a huge jigsaw puzzle which is how to shoot your script in the number of days the budget allows. The reason it can get complicated is usually loads of restrictions are thrown your way like certain locations are only available on certain days, the same applying to cast. You also need to have a plan B or C up your sleeve for all the possible variables that can happen on any given day while out filming, for example having a stand by scene you can bring forward or an Interior set you can move to in case rain stops play.
Re the shoot – well of course by then you’ve bored everyone to death in the production meeting with your plan F & plan G that all everyone wants to do is start shooting and it’s really all about driving the schedule through to completion with a firm but fair hand.
You work across a wide range of projects, what do you look at before agreeing to a job?
Having a passion for the story first & foremost but in terms of comedy it’s more about whether I fall off my chair laughing when I first read the script. After that it’s whether there is any exciting or interesting cast involved and of course whether you find the director or producer’s work interesting. Lastly believe it or not being a nice person counts for a lot these days considering the long hours we all have to work together. I’ll happily work on a low budget job for this very reason alone.
Your background in comedy (Extras, The Thick of It, Lead Balloon, Getting On) – you are working with comedians turned actors. What are the challenges they face and do you need to adapt your approach?
My approach will always be one in which it’s all about making the actors feel comfortable and respected on set as many a director has taught me over the years. It’s important to let the director & actors have some space occasionally throughout the day so they can do what they do best. If anything I think comedians find it easier working on set as they get the option of take 2 if they’re not happy and only have to perform in front of the crew (which can be fun) instead of an audience of thousands. Plus they get to try out their new material on us.
Is it possible to keep Ricky Gervais within schedule?
Yes because he doesn’t like filming past 4pm and you soon learn to take that seriously.
How you would define your relationship with the director and the actors on set?
With the director I just like to work out as soon as possible the way they like to ‘roll’ so I can get a short-hand going quickly. Plus also make them feel like I’m their right-hand man and the person to turn to, to make it happen on set. In terms of the actors it’s kind of similar to what I mentioned earlier about helping to create a good atmosphere for them to work in on set. Although saying that I once worked on a job where everybody was ‘bitching’ about everyone else behind their backs and it was a horrible, tense atmosphere everyday and then I saw the screening and the actors gave these amazing performances so there’s one for the old philosophy pipe!!
When you are setting up a shot, do you have a mental checklist you go through?
I’ve been doing it long enough now that you just tend to go through the motions naturally like checking the background extras with the 3rd AD or making sure the actors are going through all their positions with the camera team & director.
Your CV says you are familiar with Stunts, car chases, underwater filming, explosions and guns. Can you describe a memorable experience with any of those?
Well there’s been a few but one of the best was blowing up an exterior office building dressed as a Hotel entrance almost right opposite the Houses of Parliament for the feature film Clean Skin. From the Police shutting the road down that runs along the Thames, to the crowds that gathered to watch, to calling ‘Action’ as Sean Bean walked away from the building as it detonated behind him & then seeing him (foreground) diving past camera into a crash mat as the explosion travelled towards him – it was just a great moment.
Watch the trailer below (contains explosions)
What tools and software couldn’t you be without for every job?
My laptop with Movie Magic Scheduling & Final Draft software, my iphone and a notepad and pen, simple really. Oh I can’t survive without a radio in my hand at all times.
What advice would you give a young set runner starting out?
Have your own car even if it’s the standard AD Golf. Find out quick what’s considered to be good (as a Runner) and then be 10x times better in every way. That means you move fast in this industry if you impress. To impress, break the rulebook slightly. Offer to work extra hours unpaid, work on days off, offer to pick up crew or drop them home even if it’s out your way. The small things count even like making lots of good tea all day. Crew will notice & remember. Always be upbeat but not annoying. Don’t step on others to better yourself. Be sharp & aware on set so that when somebody throws you some bigger responsibility all of a sudden you don’t get flustered. Never be late, arrive extra early if necessary and your 2nd & 3rd will learn to trust you and in effect love you (AD love) as there is always something they need assistance with especially at 6am in the morning in the middle of a car park in the pitch dark. P.S it always helps to know where the good coffee shops are!
What has been your greatest day at work?
It has to be this amazing love scene between Rebecca Hall & Ralph Spall in Wide Sargasso Sea where we were shooting on location in Jamaica in the most stunning valley with tons of wild bamboo growing everywhere with the actors riding along on horses in period costume and then they arrive at this beautiful river. The highlight was turning around and seeing all the Jamaican Rastafarian Sparks grinning when the actors kissed.
If you could change one thing about the film industry, what would you do?
To try and have a representative film & tv union that has much more power than say Bectu has today. Power in terms of being able to guarantee better rates of pay across the board for all departments and stricter rules governing the amount of hours crews in the UK work especially in unpaid overtime.
If you ever get any time off, how do you relax?
Going to the cinema & watching great movies or travelling somewhere exciting that I’ve never been to before.
If you could work with anyone (living or dead) and that you haven’t already, who would it be?
If someone could lend me a time machine it would be to work with Francis Ford Coppola back in the day when he was directing ‘The Godfather’ and ‘Apocolypse Now’ but keeping it more ‘real’ and current it’s the director Steve McQueen who directed ‘Hunger’ and ‘Shame’ two equally powerful, mesmerising and compelling films. It would be brilliant to work with him one day...
Jude is a member of thecallsheet.co.uk and you can view his profile here > Jude Campbell
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