|
|
 | Wednesday, October 24, 2001, 7:06 PM EST.
A Winning Chat With David
| | |
 | |
David Winning, director of a wide variety of films and television shows, took the time to answer questions for The Movie Insider. David is currently shooting episodes of "Gene Roddenberry's Andromeda", "EARTH: Final Conflict", and "Jack London's Call of The Wild".
David Winning began directing network television at the age of twenty-seven for Paramount's "Friday the 13th: The Series". Following this with a two-season tour on Cannell's police series "Street Justice"; making a mark in the industry in Vancouver. From there he moved onto children's television; with four seasons on Nickelodeon's hit series "Are You Afraid of the Dark?" and a simultaneous four seasons with Fox's "Sweet Valley High" in Los Angeles. Ten years of episodic production has led to more recently wrapping work on the Showtime/Disney western anthology "Dead Man's Gun", three second-season episodes of the comic book action series "Nightman" for Tribune, and the pilot and first six episodes of the UPN/FOX series "Breaker High".
His last theatrical release, Turbo: A Power Rangers Movie for 20th Century Fox, was the #4 top-selling Video in August 1997. Winning spent the fall of 1997 shooting in Scotland with Jason Connery on the "Merlin" project. Most recently he directed the Patrick Duffy/Pam Dawber thriller "Don't Look Behind You" which premiered to nearly 2 Million viewers on the Fox Family Channel. Currently dividing time between episodic work on Pax's Angel series "Twice in a Lifetime", "Jack London's Call of thre Wild", and in the Summer of 2000/2001, "Gene Roddenberry's Andromeda" starring Kevin Sorbo.
| | | |
 Tell us about your background
for those who don't know. There are a couple of familiar shows that come up in
your credit. How exactly did you get into the 'business'?
|
|
I started making films when I was ten. Dad got me a Kodak Instamatic Super
8mm camera that I was glued to for most of my teens. My first professional
job was working as a dubber-loader for a sound studio in Calgary. I also
got experience as a director's assistant at ACCESS Television; an
educational programming channel in Alberta that produced docu-dramas.
|
| | | |
| Going into the 'business', what exactly were your goals? Have you achieved these goals yet? What kind of advice would you give a person going into
the 'business'?
|
|
It's a very tough business to survive in. People who really want to -- will
make it. But you have to have a very thick skin and, as Bette Davis said, 'a
very, very short memory'.
|
| | | |
| You've worked with both television and films. What are the major
differences in working with the two? In your opinion, what is more difficult
and why?
|
|
They are both tough but the clock is your enemy more in television.
Television is a producer's medium and as an episodic director you can begin
to feel like a hired gun. Feature films are more the realm of the director.
You have more control and certainly, my feature experience has been far more
personal.
|
| | | |
| Looking at your work, you've done a lot of horror... These titles television including "Are You Afraid of the Dark?", "Goosebumps", and "The Friday: 13th Series". You've also done a lot of fantasy and Sci-Fi ("Earth: Final
Conflict" and "Merlin"). What are you favorite genres and why?
|
|
Horror is not really a favorite genre, just seems to be where I started. I
do like scares but you get that in a good thriller. "Marathon Man" was a
major influence on me in 1976 and I thinked launched my main love for
thrillers. I've always had a connection to science fiction. I was the
fourteen-year-old in Calgary in the mid-seventies, glued to the seat of the
North Hill Cinerama (sadly gone now) watching 2001 as many times as they'd
let me. I grew up with the original "Star Trek" (B&W TV) and the series
basically taught me how to make films. Working on "Roddenberry" projects now
is a huge thrill.
|
| | | |
| You've done episodes of 'The Friday: the 13th Series,' would you ever
consider directing a film of the Friday: the 13th franchise films?
|
|
A good script is what's really important. The series, as you know, and the
movies are unrelated except by titles. I had a great experience on the
series. It was my first network television experience and really launched
my career. I was 27 but they thought I was 35. Being tall helped.
|
| | | |
| One of the film's you've directed, Turbo: A Power Rangers Movie is a film
that capatalizes on the popular television shows. What was it like going in
and directing a film that at one time had numerous fans and was a big craze?
Would you rather direct a relatively quiet film, or do you like the more
hyped films such as Mission: Impossible 2?
|
|
Any director is lying if he says he doesn't want to work on a big budget
feature. When I was offered Turbo I jumped at the chance. For many
reasons; the budget was over $20 million, 20th Century Fox was the studio,
and it was being produced by a company I had made two features for
previously; Saban [see "Exception to the Rule" (Sean Young, Eric McCormack)
and "Profile for Murder" (Lance Henriksen, Joan Severance)] Turbo took five
months to make and was an incredible learning experience. It was also the
4th high selling video in August 1997 -- which always help boost the career.
|
| | | |
|
Besides directing, you also have served as a cinematographer, producer,
editor, and writer for projects. What do you prefer the most?
|
|
Directing, Producing and Writing in that order. My editing experience has
been tons of fun too.
|
| | | |
| What do you think makes the perfect project? Do you think it depends more
on the idea, the casting, or the director?
|
|
The script. The script. The script. Then everything else has to come
together just right too. A really good story is so rare. It's hard to make
a good movie from a bad script, although I think I've done it a couple of
times :)
|
| | | |
| You've done a little bit of acting here and there in some projects. How
difficult do you think it is for an actor to pull down and basically "nail"
his role? Do you think that sometimes an actor becomes caught up in his role
so much that he takes in some of that character and it affects him in the
future?
|
|
I think doing one particular role that millions of people respond to can be
a bit of a curse to an actor if he has trouble forever trying to continue
with a career.
|
| | | |
| How do you think visual/special effects have changed a movie? Many
consider
movies of today to be less calibur due to their reliance on modern day
effects. Do you agree with this or disagree? Do you think a blockbuster film
such as Gladiator could be done with less of a budget?
|
|
I haven't yet seen Gladiator although have great respect for the genius of
Ridley Scott. I'm a fan of the old-style 3-dimensional model spaceships
rather than the computer generated graphics. Although having said that,
wait until you see the amazing effects coming up on "Andromeda"!
|
| | | |
| If you could direct, act in, produce, write, or basically be involved in
any project/projects, what/which one(s) would you choose and why?
|
|
My dream project is to direct a good thriller for Paramount Pictures. A nice William
Goldman script wouldn't hurt either.
|
| | | |
| What have you directed recently? Any upcoming projects?
|
|
I'm just finishing two episodes of the new "Gene Roddenberry's Andromedia",
starring Kevin Sorbo. This week's episode guest-starred John de Lancie ("Q"
from "Next Generation"). Had alot of fun working on the show as the Original
Series was a major influence on me as a teenager. Heading now to Toronto
for an episode of "EARTH: Final Conflict".
|
| | | |
| Tell us about your upcoming TV series "Gene Roddenberry's
Andromeda" which stars Kevin Sorbo?
|
|
I'm just finishing two episodes of the new "Gene Roddenberry's Andromedia",
My lips are sealed on "Andromeda". Okay, well I'll say this. One of the best
experiences I've ever had. Kevin Sorbo was an amazing person and actor -- He's
certainly broken the mold of Hercules with Captain Dylan Hunt. Also I got
the chance to work again for the best boss ever, executive producer Allan
Eastman. Tune in first week of October. I think the series is going to be
a big hit. I'm currently in Toronto filming an episode of "Earth: Final
Conflict", also for Tribune Entertainment. |
| | | |
|
How well are the cast and crew of "Andromeda" gelling at this stage in the
production?
|
|
This is the same production team that I worked with in Vancouver on three
episodes of the "NightMan" series in 1998. Headed by executive producer Allan
Eastman, it was as much fun then as it is now. This is certainly a bit
different though; the stakes are higher and we're all aware of the legacy
and the tradition -- not to mention the fanbase that no one wants to let
down. Director of Photography Gordon Verhuel is giving the series an
amazing visual look. My second episode ('The Pearls That Were His Eyes'
with John de Lancie) brought them to the half-way mark of the first season.
This is a group that works very well together and is very talented and
respectful of the material.
|
| | | |
| What problems are presented in working on a series which hasn't aired yet
and so has no audience feedback?
|
|
At last count there are already 94 websites in existence for "Andromeda".
How's that for pressure? Robert Hewitt Wolfe (DS9) who developed the series
from Roddenberry's notes has an excellent feel for the genre and has created
a very exciting group of characters and storylines for the first season. I
think fans will be pleasantly surprised. It is tough with a new series but
its a whole new universe!
|
| | | |
|
To what extent is the legacy of Gene Roddenberry felt on the show?
|
|
"Star Trek" (the original series) had an indelible impact on me as a teenager.
And I didn't discover it until reruns started in the early seventies -- on a
black-and-white TV no less! I've said many times that it taught me how to
make films. Even in the days of corny melodrama -- Roddenberry certainly
tapped into something special in 1966. The entire production team has an
enormous amount of respect for the Creator -- and hope we created something
equally special with "Andromeda". And yes, he's there on the bridge of the
Andromeda Ascendant even today :)
|
| | | |
| On the basis of what you've seen, which character, device or other aspect
of "Andromeda" is likely to be the one that everyone latches onto and
identifies with the show?
|
|
Too many to name. Seven exciting and vibrantly different main characters to
start -- and some incredible new alien visitors that should keep fans tuning
in. I really think there will be something for everyone. Stories filled
with action, drama, humor and intelligence.
|
| | | |
| How well is Kevin Sorbo exorcising the ghost of Hercules and establishing
his new character?
|
|
Kevin is an incredible actor and person. He's bringing a real warmth and
humanity to Dylan Hunt that I think audiences will respond to. He did seven
seasons of 'Hercules' and wasn't ready to jump back into television this soon.
I don't think he could resist this part when it came along. To start with,
Kevin is a huge Roddenberry fan. He's a very powerful presence on that
bridge.
|
| | | |
| How does John de Lancie's character Uncle Sid compare with 'Q', and is he
likely to return in future episodes?
|
|
First of all -- does he return? Well, that would be giving away the
plotline of 'Pearls' -- due to air in January 2001. John is kind of a
hypnotic performer. He brought so much likability to the character of Uncle
Sid in a portrayal that I'm hoping will entertain many fans when it airs
next year. On a personal level, he's a quiet, soft-spoken, very intelligent
man who is extremely busy juggling many projects at once. It was a fun
experience.
|
| | | |
|
Were there any challenges that you had to face in directing each Street
Justice episode? Any particular difficult episode?
|
|
Any episodic series is nothing but challenges. For some reason I'm
remembering an episode with a bit of a tricky dangerous stunt involving Carl
and Marcus. 'A Sense of Duty' guest-starring The Matrix's Carrie-Anne Moss,
involved a child-witness to a gang murder. Beaudreaux and Miguel are
talking with Jennifer and her son outside her house as it suddenly explodes
behind them. Blowing up a house in the midst of a residential neighbourhood
in Vancouver was no easy task. The boys insisted on doing the shot
themselves so we rolled cameras with them finishing a scene of dialogue --
just as the fireball explosion rocks the house just behind them. Reminded
me of the explosion in the first Lethal Weapon. No one was hurt fortunately
but I think even Carl wondered if we'd all been too close once the cameras
cut. Great shot though.
|
| | | |
| How difficult is it to direct a television show that incorporates martial
arts?
|
|
Bryan Genesse knew what he was doing and we had a great stunt/fight team on
the series headed by World Kick-boxing champion Tony Morelli.
|
| | | |
|
Overall, what was the best part of working on "Street Justice"?
|
|
I had a great time with a really wonderful crew and cast. Personally for
me, it was my introduction the television market in Vancouver and a chance
to work for Cannell. I was just 30 and pretty green.
|
| | | |
| Did you enjoy filming in the Vancouver area?
|
|
Vancouver was my home from 91 to 95 until I moved to Los Angeles. Most of
my friends are here so it's nice to back on "Andromeda".
|
| | | |
| What were the actors like to work with?
|
|
Carl and Bryan were as great as you'd expect. Charlene and Marcus were a
wonderful support team. I made a great friend with Eric McCormack (Will
from "Will & Grace") -- we went on to do my favorite movie together,
"Exception to the Rule" with Sean Young and William Devane. Eric played
Rothman in the series. I think the strongest most amazing actor in the
series would have to be a tie between Eric and Marcus Chong -- Tank in The
Matrix. The second "Street Justice" veteran to show up in The Matrix!!
|
| | | |
|
What was the "Street Justice" set like? Any amusing stories?
|
|
The police precinct -- if you look really careful -- is a re-dress of the
High School in "21 Jump Street". And Malloy's is a redress of the chapel set.
|
| | | |
|
How involved the cast was in the direction of the show?
|
|
As in most series, the regulars (certainly the star) always have input into
the scripts from week to week. After all, they get to know the characters
intimately because they play them every day. Carl was very involved.
|
| | | |
| "Street Justice" is a Stephen J. Cannell production. Were you always on the
project? Do you know where the idea for the show came from? And what
prompted Mr. Cannell to act on it? How were you chosen as the director?
Have you continued to work with Mr. Cannell?
|
|
I directed two episodes in season one and was asked back for five more
episodes in season two. I think the series was originally created by
tv-veteran David Levinson and Jonathan Glassner.
|
| | | |
| Have you worked with any of the cast and crew on other projects?
|
|
The film community in Vancouver is pretty small, so yes I've had that
pleasure. Gordon Verhuel who was a lighting technician on "Street Justice"
has graduated to being quite an excellent Director of Photography on 'Gene
Roddenberry's Andromeda' series with Kevin Sorbo. Blu Mankuma who played the
leader of the Vietnam support group on SJ, was the head of the FBI in my Fox
Family thriller "Don't Look Behind You" with Patrick Duffy and Pam Dawber.
I mentioned Eric and Exception. If you haven't seen it -- "Exception to The
Rule" is currently available on video through Artisan. It won first place
Gold at the Houston Film Festival in 1997.
|
| | | |
| Did you agree with the direction of the episodes you did not direct?
|
|
Haven't seen alot those episodes to be honest. One of the hidden secrets
about the film business is alot of us in the business have very little time
to watch anything!!
|
| | | |
| Carl Weathers and Bryan Genesse are both directing. Do you believe you had
any influence on them?
|
|
I wish them both luck. Carl Weathers and I currently share a directing
Manager!!
|
| | | |
|
What prompted you to construct your official web site?
|
|
I think everyone should have a website -- to advertise themselves and their
plans and dreams. Makes the world a smaller place. Like having an
international billboard. Also I find there are many many fans of the shows
I've worked on who seem to love having more information on
behind-the-scenes.
|
| | | |
| What's a day of filming like for a director?
|
|
Extremely hectic and the clock is your enemy. On normal big budget features
with a "normal" schedule, you shoot in the area of 2-3 pages per day. On
episodic television, because of the nature of the beast, you're tackling
anywhere from 8 to 12 pages a day. Makes the day go very quickly.
|
| | | |
| Do you start directing the moment you get the script? Are you already
forming a plan of action during pre-production or do you wait until filming
commences?
|
|
The first time you read the script, you begin to formulate exactly how you
will stage the sequences and scenes. You have to do alot of the planning
ahead of time so that the entire army of a creative and technical production
team can assist and support you in getting the show made. Quite often the
specifics of scene blockings happen on the day when you have the actors on
set. Often this is their first chance to add input. It becomes a
conglomeration of elements.
|
| | | |
| What's the hardest part of being a director?
|
|
Getting out of the car. It's a line I've borrowed from Stanley Kubrick and
Steven Spielberg. Always
makes me laugh.
|
A great big Thank You to David Winning for taking the time to answer The Movie Insider's questions. You can also visit his online home at - www.davidwinning.com for more information.
And hey David, we'll be in touch soon to get the scoop on your next project...
|
|
|
|
Search
Discuss in Studio Commissary
Print-Friendly Version
Forward to Friend
