It was nearly a month ago when I received the email through my website. A production company wanted to interview me for an upcoming documentary. The subject? The Nancy Kerrigan/Tonya Harding debacle that started on January 6, 1994 when Nancy was attacked backstage at the National Figure Skating Championships in Detroit, Michigan. My first reaction at the moment was what Nancy said all over national television at the time, “Why me?” At the time of this “incident” I had recently launched what would become the world’s largest figure skating magazine. Suffice to say I knew quite a bit about the sport and I’ve known Nancy for years. Some of you may remember that I served as a judge on FOX’s Skating with Celebrities and Nancy was one of the contestants with her skating partner Dave Coulier (that was a fun time!).
After a bit more of an internal debate, I decided to do the interview. Not because I have any lasting love affair with a sport that is a shadow of its former self (that’s a story for another day), but because it was through these types of interviews that I became acquainted with production work and learned some pretty valuable tricks of the trade that I have brought to my present day career as a filmmaker.
First and foremost, I learned how to speak on camera working with some of the most excellent producers and directors of the time. I’ve never paid for an on camera class because my work was my classroom. Oh sure, not all those interviews have gone according to plan, but that’s the chance you take when you put yourself out there… publicly. You know what they say, if you can’t stand the heat get out of the kitchen. Thank you, I’ll stand at the stove. Personally, I discovered during my work at the 2002 Winter Olympics that I enjoyed live broadcasting the most. When a director is speaking in your ear while you are live on air, damn you learn how to focus.
Secondly, was the behind the scenes aspect. I started paying attention to the camera operators, sound, lights and the varying equipment. On set you see the producers, directors and everyone else work harmoniously together. Ask anyone that works in this business and organization is everything. And, call me vain, you also learn about having on camera makeup. Yes, that’s right…makeup. Damn, I’ve had it all. From my face literally being spray painted to sittings with no makeup. Dear lord I hope those interviews never surface they could be a horror show! My special thanks to Monique Mercogliano for her wonderful makeup services last week. I met Monique in 2011 when I was in a feature film and brought her outstanding work to serve as makeup supervisor on both Evidence and Justice Is Mind. Even better, she’s now a good friend and I enjoyed giving her a sneak peak of Justice Is Mind at dinner after we wrapped.
And so it was during all those years that I started to gain insight and more importantly experience. It gave me a solid foundation in which to build and that’s why I did this interview this past week. You can always learn something new. I remember how terrified I was during my first TV appearance on The Montel Williams Show in 1994. I could barely speak. But this past week? I was on camera for 2.5 hours just firing off the answers. I had the opportunity to work with a great director who has produced a variety of films and TV programming and meet additional local crew. Yes folks it’s all about networking.
So look for me this November on ESPN’s Films 30 for 30 series about this sport changing event back in 1994. I don’t know how much of me they’ll use, but it was fun visiting another time, but with a good face!
In closing I go off topic for a moment. A special thank you to the first responders, police departments, intelligence agencies, governor, the public and our president for the outstanding work to bring to a close the tragic events of the Boston Marathon bombing. We can’t bring back the victims of this tragedy or return those gravely wounded in the attack to the world they lived in before last Monday, but we can honor them with the efforts and bravery of so many.
The power of the camera.