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STAN was by far the most important person on the set. His role in makingthe film as beautiful as it is was even greater than the director's. He brought anincredible talent to the show: monkey imitations. This alone kept the crewin stitches through the tough times that every production faces, andenabled the show to go on even in the greatest adversity.

IN addition to this talent, he also brought a perspective on lighting thatmade the film as beautiful as it is. 'We should put light on the people sothat we can see them sometimes' was one of his first thoughts. Even afterthis landmark discovery, he continued to refine his approach. 'We shouldn'tput the lights right on top of the camera;' 'When it's night, it should bedark outside;' 'I think my meter says that the sun is really bright. Maybewe shouldn't point the camera right at the sun;' and 'We should keep thelights far enough away from the actors that they don't catch on fire' aresome of the brilliantly original lighting concepts he brought to thepicture. It's easy to see what kind of future he has, with ideas likethese.

IN addition to lighting, Stan was responsible for critical yet unheraldedtasks such as ensuring the freshness of craft services, coaching theactors, imposing line readings on Richard Moll, sneaking off the MountainView locations to eat sushi at every opportunity, testing bulk erasers onthe audio department's tape stock, and opening each and every can of filmto make sure that the film was properly exposed.

STAN was indeed a tremendous asset to the film. Without him, it couldn'thave happened. With him--there's no need to go into the biographies ofanybody else, who are merely supporting actors in Stan's film.

-Stan Eng


Stan's legions of fans have been asking what he has been up to. Here's an update on his life in the cinematic fast lane:

WORKING on a television series right now--as camera operator! Far cry from gaffing, as I'm discovering. Gaffing means worrying from the start of preproduction to the last minute of the last day; operating means living only for the moment that the camera is rolling. Gaffing is having to worry about keeping your crew members happy (well, happy enough to be highly motivated, anyway); operating means making sure the AC [assistant cameraman] knows what kind of M&Ms he's supposed to be bringing over from craft services. Gaffing is having to worry about every light, every stinger, every part that could fail during setup or while shooting; operating means a chance to sit back and drink your latte if the camera goes down, since it's the AC who'll be sweating bullets trying to get the camera up and running. Gaffing means constantly criss-crossing the set, checking every light and electrician and seeing what the lights are doing; operating means sitting at the dolly being glad that you don't have to get up for anything but bathroom breaks and repositioning of the dolly/track.


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© Mark Tapio Kines 2016
Melanie Lynskey, Wil Wheaton, Corin Nemec, Corky Nemec, Yelena Danova, Steve Valentine, Blaire Baron, Douglas Coler, Lisa Lo Cicero, James Michael Tyler, Richard Moll, Mark Tapio Kines, Mark Kines