Ned O'Hanlon, producer of several U2 music videos and films (Zoo TV - Live from
Sydney, U2 Elevation - Live from Boston), founded Dreamchaser Productions in
December of 1990, after leaving the Dublin based film company, Windmill Lane
Pictures. In February 1991, Ned produced U2's "Achtung Baby", and 3 years later
produced the inaugural MTV Europe Music Awards. Pitt alumna Aja Ferretti was
able to interview Ned through an exchange of
emails, upon
discovering his email address on his website, www.dreamchaser.ie. On November
16, 2002, Ned O'Hanlon sent his 14 answered questions back to Aja. The following
article is the product of Aja's ambitious work. (Jonathan Wayne, December 9,
2002).
Thanks again for doing this Ned!! We all really appreciate it!! Guaranteed to
be easier than A-levels, here are your questions! Just fill in below with your
answer.
1. How involved are the talent/those who commissioned your company in the
finished product? How does this influence or change your original vision of the
end result?
It depends. If the commission comes from the artist, then they usually
have a great deal to say about the finished product. If a record company
commissions, then the artist is not usually that involved. It's our job to try to
deliver the 'Live Experience' as best as possible for a TV audience. Live music
is hard to get across on TV, so it's usually quite a task. Without a killer
performance, it's hard.
2. In what ways do you attempt to capture the feeling of a live show in the
filmed version? Is this a goal of your work, or do you try to convey something
else?
Camera position is pretty crucial, maintaining a link between the artist
and the audience, but to my mind the really vital element is the sound mix. Most
artists want to hear their sound as close to studio quality so what happens is
that the mix you get usually has no audience - Big snooze! Sometimes we would
include another aspect to the live show - maybe some
backstage/interview/narrative of some sort. This is really on a case by case. It
really depends on the artist and the show as to what is the most appropriate. We
would always try to enhance the show from a television point of view.
3. What difficulties are encountered with capturing a live performance? Are
there advantages to doing what seems to be an eternal "one take" kind of thing,
rather than something like a music video, where there's a possibility for many
takes? Are these two far too different to compare?
The # 1 difficulty is usually in dealing with the touring crew. In all cases,
from a touring perspective, the sight of a film crew usually creates a lot of
tension. Film crew people can appear arrogant and superior to the "Roadies" and
the touring guys resent outsiders coming in to change the show to suit the
camera... As more and more shows get filmed, this dynamic is changing but it
still exists to some degree. The producer's first job should always be to be
proactive about this and head off as much potential grief as early as possible.
A clear understanding from the Producer that the touring personnel have years of
experience doing what they do and that they know the show way better than the
film crew will ever know is really important. After that, it's usually a matter
of arguing about camera positions ( The band want the close-ups, but don't you
dare put a camera on the stage), who pays for the seat kills, arguing with the
Health and Safety people (do you REALLY think you can bring cameras in here?) and
finally - lighting. The band never wants to see the audience. It ruins the vibe.
They won't like it. BUT on the telly - where's the fucking audience!!
Live-to-air shows are the best. It really gets the adrenaline going. Jeopardy.
Great fun. You have to get the band on stage at the appointed minute and after
that, what happens, happens. The Best. In most other cases, you would probably
shoot two nights and cut from both. Still better than shooting a promo. Promos
are a very different discipline so it's hard to compare. Long answer - sorry
4. Why did you choose live performance work? Whose work or what recorded
performances influenced you to get involved with this aspect of filmmaking?
Didn't really make a conscious decision. I started working on the
pre-production of U2's Zoo TV extravaganza, on the screen elements and gradually
ended up being responsible for all film/television aspects of that tour,
culminating in the live show we shot in Sydney. We kind of went on from there.
Wish I could say it was some grand plan but we're still making it up as we go.
I'm not sure we were particularly influenced by anyone to get into this business.
5. What steps did you take to become successful?
Still working on that one! As the cliche goes, you're as good as your
last job.
6. How has digital video changed/helped/hindered the process of live
recording? Has it changed your technique at all?
Digital is great. Especially as you can make look more like film than
analogue video. We now use a lot of DV cameras on our productions. We are
looking forward to our first all DV shoot. It's just around the corner. Digital
technology also means lighting is a lot less critical in one sense. You can work
in much lower light and still manage, with a good post-production grade, a great
looking performance.
7. How is the issue of sound dealt with? I can imagine that with a video done
to market, that it's recorded live and added in post, but how do you do it for
something like the Rock and Roll Hall of Fame show that's aired live?
Actually the Hall of Fame is not live. That show usually runs about 5-6
hours long on the night. It goes out two nights later. This means a huge post
production job which usually means a group of seriously sleep-deprived people end
up feeding the last two parts of the show to the network as the first part is on
air, after which same group of people go drool into some warm beer..... Audio
wise we usually mix the music ourselves and, in fact, that's the easiest part of
that particular show. But that can be artist specific. The Moonglows would leave
it to us. The Eagles, well, that's a different story. In general, a separate
sound recording truck is the easiest way to get the sound. 48 track digital
recording usually would be enough. This allows to record each track separately so
post-production has the greatest flexibility. It's important to record the sound
that way, particularly if it's live to air. The guys mixing for the house are
doing a very different job. They are concentrating on a very dry, clean sound,
whereas, for TV you need to hear the audience and the ambiance of the live sound
- a PA sound - to make it great. - Another long answer....
8. Is your work purely documentary or is there an element of "performance" on
the part of the talent otherwise absent with the absence of your cameras?
Sorry, I don't understand that one.
9. Is this particular part of the business difficult to get into? Is it like
mainstream films where it's all about connections, or is there more of an
emphasis on talent and experience? A bit of both perhaps?
It's not that easy to get a start. It is a relatively small industry,
so yes, contacts are really useful and important. Initially at least. You have be
able to prove you have the goods though. If you can nurgle your way in then
you'll do OK if you have any spark. Of course, you need the experience to get to
be really good. But if you can get a start, you'll get the work.
10. Is there any attempt to make the production itself entertaining? What I
mean is, does your team take advantage of any sort of creative camera angles or
lighting schemes to make THE show YOUR show?
Well, of course! We do try to put our stamp on the production. Just to
point cameras at something is never going to be sufficient. How you light it, the
choice of lenses, shooting style, set design, etc., all lend itself to developing
a style.
11. How do you familiarize yourself with the show to prepare for what you will
be shooting?
See it as many times as possible. Not always possible. We've quite often
shot shows completely blind and usually they work out. There's a greater sense of
live in these circumstances - on account of having no clue what we were doing. In
that case you'd make a feature of that in the shooting style.
12. What steps should a college student take to get involved with this part
of the industry? Is there a sort of entry-level?
I'm not that sure about how that works in The States. Here in Ireland,
it's a little more parochial and so can be easier to maneuver around the
obstacles.
13. What about unions? Are there strict union policies, as in feature
filmmaking?
Unions are a nightmare! Particularly in your great country. Particularly in
the bigger cities and venues. It adds a huge cost in both time and money to a
production and you have to be so careful of not getting on the wrong side as a
tough union house can cause real problems. As far as joining a union, you would
need to talk to an American involved in production. There are obvious merits, but
there can be restrictions as well. It's a balancing act...
14. And this last question is for me; Lord knows it looks like an essay. You
don't have to get into it if you've had enough questions for the day: I was
watching the "U2 Elevation Live From Boston" DVD with the "Another Perspective"
special feature and saw director Hamish Hamilton shouting commands at different
camera operators while looking at a bank of TV screens. What is he doing? Is
this meant to mark certain shots for the edit in post, or is he directing the
various camera operators at what shots he wants? How does he juggle that many
cameras at once?
Hamish, splendid man that he is, does like to get really enthused about his work.
He is indeed instructing the cameras as to what he wants. Hamish's skill is in
making sure he has enough great camera shots he can choose from so his line-cut
(live cut) is as good as it can be. He needs to instruct the cameras as he is the
only one who can see all the camera shots and so how they best work together. He
also had the benefit of seeing the show many times so he had a very good idea of
what was coming up. That way he was able to get his cameras in the best positions
to capture the moment.
So, now you know!
Best wishes