| Interview with OLTL's Director, Jill Mitwell | |
Another technical challenge is the need to be exactly on time by the end of the live hour. Of course the times of the scenes can change from rehearsal to air. The production assistant keeps track of this and we have to make adjustments as we go, either asking for a pick up or stretch (while we're in the commercial break) from the actors, or, as I did in the practice show, delaying some cues and adding some shots on the fly before fading to black. If an actor inadvertently skips a few lines, we have to figure out where we are and continue on with no opportunity to stop and do a re-take. The control room team I worked with on my practice show was amazing, highly organized and in control and we were able to deal very effectively with everything that happened.
"Those that have costume or makeup changes will have to do them quickly..." |
The actors have the challenge of pacing themselves throughout the rehearsal process so that they have full emotional energy for the live performance. They have to be on the set for the entire hour and for every rehearsal, so their day is longer than in a regular week. And it's their faces that are out there on the screen, so many will be nervous (I'll be nervous too but you won't see me). The actors on location will have to get to the studio in time for their other scenes. Those that have costume or makeup changes will have to do them quickly on set during the commercial breaks. You asked if being out of sequence was a problem - no, it just demanded more attention to continuity but was no big deal. I directed the episode that will air just after the live week, so I made sure to remind the actors of what they will have just played on the air. They had all seen the live scripts by then, so they knew their specific story and what would have just transpired before the show we were taping that day. We frequently tape out of sequence so this was not something new for them.
Directing the live practice show was a very intense experience -- the production crew following the sound of my voice, timing the ends of scenes to the swell of the music and calling the fade-outs. I remembered how I felt the first time I sat in the Director's chair in a control room in grad school and knew this was what I wanted to do. Our regular production mode still has this to a certain extent, but with the back up and safety net of the edit and re-takes, which enable us to achieve greater precision in the final product (and which I welcome and am grateful for). Shows like Nora's Courtroom Fantasy or the Fraternity Party/Marty Gang Rape could certainly not be achieved live. But it's been a great opportunity to experience a different type of directing. I was so revved up that afterward I had to just hang out for a few hours and calm down so I could drive home!
Finally I want to acknowledge the support we've had from ABC in working with Gary to make his vision possible. It's a collaboration from the ABC executives who gave us the go ahead and the tools to accomplish the work, to the producers, writers, stage and technical crews, the DGA team and our actors who will be out there on the front lines. We've all been working hard figuring out how to do this, and hope you'll all be watching!
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Jill
Mitwell
Director for One Life to Live
Look for part of Jill's Interview in Soap Opera Weekly, Issue # 19 on News Stands Now!
