This is a photo taken very early in the morning in the studio, on the GMR set.
Always a lovely time of day, quiet and peaceful before the crew arrives on set and the lights are turned on.
Time to get everything in place before the day starts.
The blog about Channel 4's award winning TV Show Green Wing, by its Production Designer Jonathan Paul Green
Sunday, June 25, 2006
Early morning General Medical Reception
This is a photo taken very early in the morning in the studio, on the GMR set.
Always a lovely time of day, quiet and peaceful before the crew arrives on set and the lights are turned on.
Time to get everything in place before the day starts.
Monday, June 19, 2006
A few more....
I'll try to post some more photos and interviews once I get a bit more time...madly busy on other projects at the mo, so please bear with me.
Thanks.
JPG
Some random GW photos
Apologies for not posting more things sooner, but here are a collection of some more photos from Series 2.
Friday, June 02, 2006
Crew Interview Number 3 - Ian Pollington
Here's the third in the series of GW crew interviews.....todays offering is with Location Manager Ian Pollington.
1) Ian Pollington, you were the Location Manager on Green Wing. What
exactly does your job entail?
THE LOCATION MANAGER IS BASICALLY THE BUFFER BETWEEN THE PRODUCTION COMPANY AND THE LOCATION.
YOU HAVE TO BALANCE WHAT THE REQUIREMENTS OF THE SCRIPT AND SHOOTING SCHEDULE ARE WITH THE LOCATION OWNERS.
FROM THE BEGINNING; TRADITIONALLY YOU BREAKDOWN A SCRIPT TO ESTABLISH WHAT LOCATIONS ARE REQUIRED, YOU THEN MEET WITH THE DESIGNER, PRODUCER, DIRECTOR TO GAUGE WHAT WE ARE ACTUALLY LOOKING FOR; USUALLY A LONDON LOCATION THAT DOESN'T LOOK LIKE LONDON, THATS NEVER BEEN FILMED BEFORE, THATS OUTSIDE THE
CONGESTION CHARGE ZONE, WITH SEA VIEWS AND THE TOWER OF LONDON OUT THE WINDOW!!
YOU GENERALLY SCOUT AND WORK THROUGH A LIST OF OPTIONS FOR EACH LOCATION AND THESE GET TRIMMED DOWN AS YOU PAIR LOCATIONS TOGETHER GEOGRAPHICALLY OR DUE TO SCHEDULING. ONCE A LOCATION HAS BEEN AGREED BY THE DESIGNER PRODUCER DIRECTOR; YOU THEN LIAISE WITH THE LOCATION OWNERS, LOCAL COUNCIL, POLICE, HIGHWAYS TO CONTRACT AND FACILITATE YOUR FILMING ACTIVITIES.
2) Location Manager sounds really glamorous, what time do you normally come
in to work on a shoot day?
ITS ALL REALLY GLAMOROUS CHAMPAGNE, FAST CARS, FASTER WOMEN, I TEND TO GO FROM ONE CELEBRITY BASH TO ANOTHER AND THEN STRAIGHT TO WORK AROUND 0600HRS IN THE MORNING! - VERY GLAMOROUS!
3) So how many people work with you in your Dept.?
ON GWII THERE WAS GENERALLY MYSELF AND A UNIT MANAGER - ALTHOUGH WE DID EMPLOY LOCATION SCOUTS
AS REQUIRED.
4) What was the hardest location to secure and why (bearing in mind
that some scenes have yet to be broadcast)?
A LOT OF WORK WENT INTO BUILDING RELATIONSHIPS WITH HOSPITALS, AND FORMULATING A SHOOTING SCHEDULE THAT SUITED BOTH PARTIES AS THESE WERE WORKING HOSPITAL ENVIRONMENTS NOT SETS.
5) Did you have any really tough moments on GW and if so, what were they?
PROBABLY IN THE ..... AT ............!(DON'T PRINT THIS!) (Hope the cheque's in the post Pollers or the dot dot dots become letters!)
6) What was your fondest or funniest memory?
FLETCH.(He was one of the Unit drivers) / STATHAM - EVERYTHING HE'S IN.
7) Apart from on GW, what was the most incredible/glamorous location
you've filmed in?
I WENT OUT TO MOZAMBIQUE ON "ALI", THE MICHAEL MANN, MOHAMMED ALI FILM, STARRING WILL SMITH. I LOOKED AFTER THE STADIUM AND AIRPORT LOCATIONS.
8) Art Dept. and Locations always work very closely together. What
was it like working with the GW Art Dept compared to others?
I THINK WE WORKED WELL TOGETHER, EVERYONE WAS GREAT!!
PROBABLY THE FINEST ART DEPT IN THE LAND!
9) You must be on the road an awful lot, looking for places and
arranging recces to far flung locations. How many miles do you drive a year?
ABOUT 30000MILES
10) How did you get into the Industry and what was your first TV job?
FRIENDS WERE RUNNERS AND UNIT MANAGERS IN FILM AND TELEVISION, WHEN I HAD A PREVIOUS LIFE RUNNING MY OWN BUSINESS. AS I WAS ESTABLISHING THE BUSINESS I USED TO DO SECURITY / CONE WORK. AFTER ABOUT 5YEARS OF RUNNING MY OWN COMPANY I SOLD UP AND STARTED UNIT MANAGING, SCOUTING AND THEN EVENTUALLY LOCATION MANAGING. MY FIRST TV JOB WAS A TALKBACK COMEDY FOR VICTORIA PILE PRODUCER OF GWII. BEFORE THAT I HAD ONLY WORKED ON FILMS.
11) What TV show would you most liked to have worked on?
CELEBRITY LOVE ISLAND
12) What tools/items are essential to your work, and what luxuries do
you have?
A CAMERA, LAPTOP, MOBILE PHONE AND CAR ARE ALL ESSENTIAL TOOLS OF THE TRADE. MY LUXURY IS PROBABLY MY CAR!
13) Everybody on the cast and crew got on really well together. Is
that normal on most shows, and what do you put this down to?
SEXUAL FRUSTRATION, EFFECTIVELY BEING AT SEA, ON SUCH A LONG SHOOT - FAR FROM
HOME!!
Ian Pollington....thank you very much.
1) Ian Pollington, you were the Location Manager on Green Wing. What
exactly does your job entail?
THE LOCATION MANAGER IS BASICALLY THE BUFFER BETWEEN THE PRODUCTION COMPANY AND THE LOCATION.
YOU HAVE TO BALANCE WHAT THE REQUIREMENTS OF THE SCRIPT AND SHOOTING SCHEDULE ARE WITH THE LOCATION OWNERS.
FROM THE BEGINNING; TRADITIONALLY YOU BREAKDOWN A SCRIPT TO ESTABLISH WHAT LOCATIONS ARE REQUIRED, YOU THEN MEET WITH THE DESIGNER, PRODUCER, DIRECTOR TO GAUGE WHAT WE ARE ACTUALLY LOOKING FOR; USUALLY A LONDON LOCATION THAT DOESN'T LOOK LIKE LONDON, THATS NEVER BEEN FILMED BEFORE, THATS OUTSIDE THE
CONGESTION CHARGE ZONE, WITH SEA VIEWS AND THE TOWER OF LONDON OUT THE WINDOW!!
YOU GENERALLY SCOUT AND WORK THROUGH A LIST OF OPTIONS FOR EACH LOCATION AND THESE GET TRIMMED DOWN AS YOU PAIR LOCATIONS TOGETHER GEOGRAPHICALLY OR DUE TO SCHEDULING. ONCE A LOCATION HAS BEEN AGREED BY THE DESIGNER PRODUCER DIRECTOR; YOU THEN LIAISE WITH THE LOCATION OWNERS, LOCAL COUNCIL, POLICE, HIGHWAYS TO CONTRACT AND FACILITATE YOUR FILMING ACTIVITIES.
2) Location Manager sounds really glamorous, what time do you normally come
in to work on a shoot day?
ITS ALL REALLY GLAMOROUS CHAMPAGNE, FAST CARS, FASTER WOMEN, I TEND TO GO FROM ONE CELEBRITY BASH TO ANOTHER AND THEN STRAIGHT TO WORK AROUND 0600HRS IN THE MORNING! - VERY GLAMOROUS!
3) So how many people work with you in your Dept.?
ON GWII THERE WAS GENERALLY MYSELF AND A UNIT MANAGER - ALTHOUGH WE DID EMPLOY LOCATION SCOUTS
AS REQUIRED.
4) What was the hardest location to secure and why (bearing in mind
that some scenes have yet to be broadcast)?
A LOT OF WORK WENT INTO BUILDING RELATIONSHIPS WITH HOSPITALS, AND FORMULATING A SHOOTING SCHEDULE THAT SUITED BOTH PARTIES AS THESE WERE WORKING HOSPITAL ENVIRONMENTS NOT SETS.
5) Did you have any really tough moments on GW and if so, what were they?
PROBABLY IN THE ..... AT ............!(DON'T PRINT THIS!) (Hope the cheque's in the post Pollers or the dot dot dots become letters!)
6) What was your fondest or funniest memory?
FLETCH.(He was one of the Unit drivers) / STATHAM - EVERYTHING HE'S IN.
7) Apart from on GW, what was the most incredible/glamorous location
you've filmed in?
I WENT OUT TO MOZAMBIQUE ON "ALI", THE MICHAEL MANN, MOHAMMED ALI FILM, STARRING WILL SMITH. I LOOKED AFTER THE STADIUM AND AIRPORT LOCATIONS.
8) Art Dept. and Locations always work very closely together. What
was it like working with the GW Art Dept compared to others?
I THINK WE WORKED WELL TOGETHER, EVERYONE WAS GREAT!!
PROBABLY THE FINEST ART DEPT IN THE LAND!
9) You must be on the road an awful lot, looking for places and
arranging recces to far flung locations. How many miles do you drive a year?
ABOUT 30000MILES
10) How did you get into the Industry and what was your first TV job?
FRIENDS WERE RUNNERS AND UNIT MANAGERS IN FILM AND TELEVISION, WHEN I HAD A PREVIOUS LIFE RUNNING MY OWN BUSINESS. AS I WAS ESTABLISHING THE BUSINESS I USED TO DO SECURITY / CONE WORK. AFTER ABOUT 5YEARS OF RUNNING MY OWN COMPANY I SOLD UP AND STARTED UNIT MANAGING, SCOUTING AND THEN EVENTUALLY LOCATION MANAGING. MY FIRST TV JOB WAS A TALKBACK COMEDY FOR VICTORIA PILE PRODUCER OF GWII. BEFORE THAT I HAD ONLY WORKED ON FILMS.
11) What TV show would you most liked to have worked on?
CELEBRITY LOVE ISLAND
12) What tools/items are essential to your work, and what luxuries do
you have?
A CAMERA, LAPTOP, MOBILE PHONE AND CAR ARE ALL ESSENTIAL TOOLS OF THE TRADE. MY LUXURY IS PROBABLY MY CAR!
13) Everybody on the cast and crew got on really well together. Is
that normal on most shows, and what do you put this down to?
SEXUAL FRUSTRATION, EFFECTIVELY BEING AT SEA, ON SUCH A LONG SHOOT - FAR FROM
HOME!!
Ian Pollington....thank you very much.
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