Tailspins & Tiki Gods:The Film Crew

[OOC: This is, of course an almost-comedically small crew for a big film, but this is 'adventure sized'.]

This is an overall listing of the film crew for the Metro Goldwyn-Mayer production Tailspin, for the location shots on Ile Trouve, in French Polynesia.

How are they getting here?: The stars and most of the 'brass' came in via a China Clipper flying boat (on the first day of the campaign). The rest will follow, shortly, in a more practical ride- a steam freighter rented by the studio, that will be arriving after.

THE BACK OFFICE

All of these people are relevant to the production, but are currently in Hollywood. (This doesn't include all the post-production people, but they're there, somewhere.)

Executive Producer: Chris Sollenberger. Veteran of several films. Got this project greenlit, hired the screenwriters, etc.

Producer: Keith Parkinson Raises funds, hires personnel, arranges for distributors. Overall quality-control man. He put this project up for Mr. Sollenberger’s approval. This is his first project, as a producer.

Line Producer: Charles Deasen. "Charlie" has the job of acting as a liason between the studio and the production manager. Responsible for managing the production budget. If things go over budget, he'll be the first to notice back home.

Legal Counsel: Francis Wilkins. Handles contracts, licensing, immigration paperwork, and other legal minutiae.

Music Director: Lucazs Chmelíček. Eastern European composer. Recently had to leave his home country for political reasons. First film. Has requested, if possible, that the sound crew return some recordings of "local rhythms" for use in the score.

Production Accountant: Harry Smilek, Sr.

Publicist: Maura Capwell

Screenwriters: There’s been a whole [i]team[/i] of them. A regular bullpen. Tailspin was originally a novel, but who knows where the author of that might be?

Casting Director: John Selway

“Johnny” reviews auditions and casts parts. He’s working an interesting angle with Tailspin: He’s managing to get character actors that would typically be well outside the picture’s budget on the promise of a relaxing tropical vacation with “just a little bit of shooting” tossed in. There's also some expectation that the field crew will find 'local talent' and put them to use as extras or bit players.

He actually got some trouble out of the way by agreeing to let a local bigwig (the mayor or governor or something) to be in the picture.

PRODUCTION CREW:

This is the part of the actual "boots on the ground" production team that's currently back in Hollywood (setting up for later on)

Prop maker: Vince Gibson. He can get a prop out here fast, by plane, if necessary, from his workshop outside Los Angeles.

Costume Designer/Wardrobe: Nancy Krebs. Likewise in LA, she OK'd the suits and sarongs and such for the film.

Production Designer:: Walter Markus. Heads up the Art Department, after a fashion. (The Art Director and Set Designer work for him.)

Illustrator/Graphic Artist: Leland MacBride. He pulls double-duty on this production, heading up the bunch that does storyboards, 'artists conceptions' of things, and also physically makes things signs, billboards, posters, logos, etc. for the production. (Part of how they intend to get permission to use businesses, etc, is to make new signs and whatnot for them. Over the course of the story, Port Cochere might look different...) Currently at a workshop in Los Angeles.

On-Island (The Location Crew)

Location Manager: Eli Beck. Eli is, frankly, an incompetent who believed the third of the five inaccurate books about the Kamekame (available at the UCLA Irvine library). His job was to get final permission to use locations for filming, and get assistance from the production and finance departments in keeping location/permit/labor fees down. It was his decision to hire "alternate help" instead of waiting for Arthur's okay, to go 'by the book' in the permitting process, and so on. [He may get fired.]

Location Scout: This is, officially, Arthur's job. (There's otherwise a blank spot on the 'credit sheet' where his name would go') They essentially want his name for PR purposes, and to let Eli do the heavy lifting.

Production Manager: Brant Henshaw. A frequently red-faced, loud gentleman given to bouts of upset. (Picture... Paul Heyman, but in the 30s.) His job is to handle the logistical aspects of the shoot (personnel, tech, budget, scheduling, etc), not the creative ones (That's the director). He's already had a set-to with the Port Authority (over 'fees'), and others. He gets the job done, so even the people that don't like him love him.

He has terrified, newbie Assistant PM named Colin Harding, a fresh-faced kid who just got promoted to this position and didn't expect quite so much shouting.

Second Unit Director/Stunt Coordinator/Weapons Master: Roy Blackburn. Works with the director and the 1st AD. Won't be in until the second bunch of people- Cary wanted his stuntman, Cranston, to come along in "First Class", but won't be doing any stunts until later. Blackburn's job is (among other things) to block and supervise the filming of Lana's dives. He's bearded and portly, but agile for his size. If he's demonstrating a fight scene, he seldom has to have an assistant do it, though he has famously never thrown a real punch in anger. (He has a fake punch that looks like it'd take a rhino's head off, but feels like a feather.)

Unit Publicist: [VACANT]. Eli Beck convinced the bigwigs back home that the general lack of press on Ile Trouve (outside of the press flacks he brought on the plane) meant that it wasn't necessary to have one.

Camera Crew:

DIRECTOR: Micah Wolman. Mr Wolman's excited to be out here. A veteran, old-school director, he's seeing this as the best of all worlds: An actioner 'and' a comedy 'and' maybe a musical to boot, plus he get to do documentary work (of a sort) on top of it. They might take it out of his hands for the shoot back in Hollywood, though, and he knows it. But he's been cooped up in studios, doing second-unit stuff for years, and this is, he says "what I'm 'supposed' to do." He can be a tough to work with from time to time, but he gets pictures done on time in a way that takes weeks for other guys, and he's never going to complain about rough conditions. That made him perfect for this picture. [OOC: Picture him as "played by" William Wellman (See: www.imdb.com/media/rm3055593728/nm0920074?ref_=nm_ov_ph ).]

Cinematographer: Assistant Cinem’r:

Clapper/Loader: Tyson Barrett. "Ty" handles the clapper (“Take one!” Clap!), and also loads new reels. He's pretty quick (which you have to be in that line of work.) He's worked out a trick with smaller handheld cameras that allows not-very-steady, but continuous filming.

Camera Trainee: An intern

Production Manager:

Production Assistant (PA):

Unit Manager: Production Manager for 2nd unit shooting

Script Supervisor/Continuity guy

The Sound Gang

(There's a lot of post-production involved, but these are the field-guys. Though they could technically do Foley if needed.)

Production sound

Production sound mixer

Boom operator: Barry Doyle.

Utility sound technician

The Tech Crew:

Lighting Team: Key Grip: Head grip (lighting and rigging guy). Works with the DP to set up the set, do lighting and blocking.

Gaffer: Chief lighting technician

Best Boy: Assistant to the Gaffer

Electrician: Handles electrical distribution around the set.

The Prop & Set Team:

Greensman: Handles the care and arrangement of plants/greenery. Prop Master: Manages any item handled by an actor that isn’t part of the scenery or costumes.

Set Dresser: Buyer: Works locally, buying what props need to be bought.

Set decorator: Furnishings and props. Works with the Production designer and art director

Lead Man: Foreman of the set crew (or swing gang).

Hair and make-up