Creating shows like The Office, It's Always Sunny in Philadelphia and Wilfred doesn't come easy, but getting first hand knowledge from director, Randall Einhorn helps us see what it's like to work on our dream sets. Learn how this prime-time Emmy nominated pro landed the job, along with his must-have piece of equipment and sound advice most any production pro should take to heart.
Q: How were you able to land a spot working on set of The Office & Wilfred?
I came from a documentary world, and on 'The Office', they wanted a real documentarian for this documentary-style series. I hit it off with them, and ultimately started directing the shows, which is how I broke in as a director. On Wilfred, I had directed two seasons of ‘It's Always Sunny in Philadelphia’, and from that, FX reached out to me to direct the pilot of Wilfred.
Q: When working on Wilfred, what was it about the OConnor 1030D that convinced you to make the permanent switch in type of fluid head used? What are your favorite features about it?
The OConnor 1030D is a light and very stable shooting platform for long lenses in the 300-600 mm range. My favorite feature about it is that it can be used by one person. There is nothing I hate more than a three man tripod!
Q: What has been one of your favorite on set memories to date while working on Wilfred?
The camaraderie of the show is my favorite aspect of working on Wilfred. Everyone loves to do a great job, and it’s one of the easiest sets to work on. Everyone is focused on getting the job done and having a good time. As far as a specific memory, shooting fake dog semen at Elijah Wood from a syringe was pretty damn funny. We did 3 or 4 takes with Jason Gann. I was the dog semen ejaculator, I had a syringe, and every time we squirted it on Elijah, Jason and I just died laughing, but Elijah never broke character. He’s a true pro.
Q: What piece of advice were you given early on in your production career, in which you still follow to this day?
Be nice to everybody, because one day they could be your boss. You get the best out of people when they are empowered and given the opportunity to be their best. I rose to the occasion multiple times in my career because I was given the opportunity, not because I was pushed there. Surround yourself with good people and give them the opportunity to be their best.
Q: What piece of equipment, besides the OConnor 1030D is a “must-have” for you on set? Why?
The Cinesaddle is a must-have for me on set. It’s a go-to when you need to get a low angle shot without a lot of set up. It's a really quick run and gun tool that I love.
Q: What trends in the production industry do you see on the horizon? How has the production industry changed since you first started?
The production industry has changed a lot since I started. Now with all these different networks and all these different outlets for content, there’s going to be a lot more opportunities for creatives to create, because the demand for content is so much higher than it used to be. Creativity is always going to be in demand, and that is very exciting. There are more places for stories to go, and so in that respect it’s changed a lot. We don't really have pilot season anymore—you can shoot shows anytime of the year. Shows can be whatever length, and for a lot of these newer content distributors, there is a lot more creative freedom. You can make 7 or 70 episodes, it doesn’t really matter, and that’s really interesting to me.
Q: Anything else you would like to add?
OConnor made an incredible, light tripod that holds a much heavier camera than a lot of other, even heavier tripods do. The rating for the head is very modest and true, unlike what some companies give. I Have a Nikon 600 mm f4 prime, and I know the OConnor will handle it very well.