Upon invitation by Battlestar Galactica's producer and director Michael Rymer, photographer and cinematographer Dennys Ilic visited the set to supposedly take some pictures of Michael at work during the finale. What started as a one day visit turned out to be a six weeks stay until the very last scene was shot. Dennys carefully documented the cast and crew at work during their last days on set in both photo and video. Marcel Damen talked to him.
First of all I'd like to thank you for taking the time to do this interview. It's a real pleasure to do an interview with you for our website.
Since some people might not know you and what you do for a living, maybe you can start by introducing yourself?
My name is Dennys Ilic and I'm an international portrait photographer but I do a lot of different styles of work. My main focus is on individual portraiture -- anything from bands and actors to fully orchestrated and stylized photoshoots for major feature films like the Harry Potter franchise. I've done some work for The Matrix franchise as well as The Lord of the Rings and many Australian films as well.
photographer / cinematographer Dennys Ilic
And what's your relationship to Battlestar Galactica?
The Battlestar Galactica relationship started when I tried to organize and interview with Michael Rymer for some of the feature film work he had done for a TV show I was working on a few years back. Then he obviously directed the Battlestar Galactica Miniseries. So that's how I was introduced to that show, apart from being -- considering my age, growing up in the 80s -- a fan of the original series as well.
Cool. We'll get into that a bit later, but I'd first like to know how you got into the business since I've read on your website that you started as a DP at weddings and you won some international awards for that?
Yeah, actually my actual first self-employed business in the early 90s was as a wedding video producer. I was heavily influenced the way films were made so in shooting and editing my work had a very cinematic look. It kind of stood out, especially in the 80s and 90s when people wouldn't do anything out of the ordinary when it came to video. It caught the attention of a lot of people in the [United] States and they began to fly me out to America, to LA and Las Vegas to conduct seminars and do expos about how and why I shoot the way I do. That became a regular yearly thing from 1996, all the way through to 2000, when I finally moved on from that part of my work.
That's where I learned my trade as a camera operator and then from early 2000 I moved across to short films -- did a couple of feature films in Australia. Then in 2004-2005 I ended up in India in Bollywood shooting one of the first HD features shot in India.
How did you end up with the gig in Bollywood?
Basically I shot a B-grade vampire movie in Australia in 2001. It was actually done on a new, hand-held digital camera. Sony gave us the first 3 in the country. It was sort of cutting edge at the time and the film was very cheap. It cost around $40,000 to make. It actually did very, very well in the DVD market across the world and sold in over 30 international territories worldwide. It made millions of dollars for the distributor. One of the producers on that film was a digital imaging technician who ended up being a co-producer on a film in Bollywood. He basically wanted me to shoot it, because of my experience in digital cinematography. And again, because it was one of the first feature films in Bollywood which was not shot on film. They didn't have the technical knowledge and expertise there so he flew me across for that job.
How long were you in India then?
About three months. Three months in 45 degrees (113 F). (both laughing) It was very, very hot to work in. I'm not really good with hot weather. I'm a cold weather person myself. I like the winter, I like the cold. Working with these very big cameras in that sort of heat is very difficult for me. It was basically someone's fulltime job on set to pour water on my head all day, every day, while I was shooting (laughing). It was interesting. It's not quite like shooting in America or Australia. There are no laws when it comes to safety as occupational health goes. You end up in very dangerous situations quite easily on 30-40 foot cranes without harnesses and that sort of thing can be really scary.
cinematographer Dennys Ilic on a Bollywood movie in India
So how were the Bollywood films made? Do they make scripts, storyboards, shotlists, etc.?
Yeah, they do all that sort of stuff. Funnily enough this film was kind of their version of Harry Potter which is funny as I had no idea I'd be shooting for the Harry Potter franchise a year later! It had a bit of everything. Lots of songs, dancing, guns, people being shot... There's no safety screen so I and the camera were splattered in squib blood many times. There was lots of stuff to do. We had motion control cameras etc. Things I'd never worked with before so It was a very interesting experience, but not something I probably want to do again. I like a bit of order in life and work and this was a little bit too hectic and too much mayhem -- the right hand rarely knew what the left hand was doing. We would be all ready for a shot and the lead actor would have a new car delivered on set. He'd just jump in the car and go for a test drive for two hours without saying a thing. That's what it's like. We'd have all this stuff set up for a shot and be ready to go, but the director would be sleeping on the couch and everybody too scared to wake him up. So we're waiting for hours for the director to wake up from his snooze on the couch. (both laughing) It's a very, very different experience compared to when you're on the set of something highly efficient and meticulous like Battlestar Galactica.
Would you like to go back there as a still photographer to do some more photography work there?
Yeah. At that stage I just got my first still camera, so I hadn't really taken up still photography. For the longest time when I was there, I just had a pocket digital camera for reference photography for the film and I didn't really get a chance to do and creative stills work. I'll go back to India eventually. I've only ever traveled the world for work so never gotten the chance to take in anything for pleasure or art. I travel because I've been taken somewhere to do a job. Eventually I'll take a holiday and see things other than through a lens.
I've also read you had no formal training in still photography. So how did you get from being a cinematographer to still photography?
These two fields are closely related. They're visual and you need a little bit of understanding as far as composition and lighting to do either. One does help the other and they always say that a good cinematographer makes a good photographer and vice versa. I didn't really do any study in video production or cinematography either. I learnt by looking and feeling. With photography it was just the case of doing what I usually do. It just came down to capturing precious moments in time, rather than firing off 24 frames per second for ten minutes straight. There's something very peaceful about taking stills. Just you and the subject and their relationship with your camera compared to being in a set with 200 people.
I began by shooting stills of friends that were in bands then at film premieres. (Music based photography is still a passion of mine as music is very important to me). Eventually I started emailing those shots to the film distributors. The first one I did it for was actually the first Blade movie.
Because they needed their own source of images for publicity purposes, companies like Roadshow [Entertainment] and UPI began to hire me to do shoots especially for them. Before I knew it I was being wisked off to New Zealand for The Lord of the Rings or Sydney for the The Matrix, etc. It went from there basically.
photographer Dennys Ilic and actress Tricia Helfer
Very cool. Can you name some of your favorites? Like actors you think looked really nice in photographs or that you liked to photograph?
It's hard because every shoot is so different and offers an individual experience and result. Because I travel so much, I love the sort of lack of commonality in the shots that I do because the world is my studio. I'm always shooting in a very different random place. Liv Tyler is so beautiful very sweet. My shots of her are very angelic. I recently did shoots with Callum Keith Rennie and Tricia Helfer and on both occasions these people gave me something beautiful and extraordinary. Callum is dark and mysterious and a little cheeky. Theses images are some of my favorite male actor shots to date. Tricia on the other hand is just extraordinarily beautiful and soft. Her eyes are just pools of emotion and she is an incredible subject to shoot -- absolute consummate professional. You take 100 shots, you get 100 different things from her. And that translates to being an actor too. Every time I look at my shots of her I get overwhelmed and don't know where to begin! Just too much gorgeousness to deal with!
But in the end I have to say that probably the greatest experience for me overall -- because I've been involved with it for a good four or five years now -- has been photographing Daniel Radcliffe for the Harry Potter films. Partly because I shot him for the first time when he was fifteen years old and I now just finished shooting him when he's 20, Just seeing him change and grow from a young child to this amazing young man. He's so grounded and so intelligent and so focused on his work. Obviously he makes a good deal of money for someone his age, but he hasn't suffered any of trappings that come with that. He's a normal young man who probably works a hundred times harder than any of us can conceive or would do ourselves. He's just all about his craft. It's just amazing seeing a Harry Potter film being made and seeing how much he does -- how hard he worked on Equus, reading scripts for other projects while at the same time he was preparing for my photoshoot.
When I shot him two years ago, he'd just come off filming -- literally the day before -- Harry Potter V. He jumped on a plane and came to Australia and was reading for Equus. After that he went straight into making another Harry Potter film. I just have this incredible respect and admiration for him and his focus. That's probably the most pleasurable experience I had in the film industry, because just dealing with him and his family has been nothing but a positive experience. It just shows how wonderful and normal people work at that level of the film industry -- the biggest film franchise in the world.
Dennys Ilic photographing actor Daniel Radcliffe (Harry Potter)
You also worked with him on December Boys in Australia?
Yeah, we did some publicity work for December Boys as well, which is a beautiful Australian film directed by the very talented Rod Hardy who as you know did quite a few episodes of Battlestar Galactica as well. The great thing about December Boys was that that it did not try to capitalize on Daniel's fame. It wasn't a film focused on him. His great craft just added to it. It was a gorgeous movie and great role for him.
You also worked in the music industry. How did you end up in that? Did that come through working in the film industry?
Not really. That came more out of a personal interest. As a video producer and working on films etc, music is a very important part of what you do. Just look at what Battlestar Galactica is with Bear McCreary's music -- an amazing thing. I love music. It's just a very focused part of my life. I always listen to it. It's just something that I did. I would actually go out and photograph bands. It wasn't something an area that I was known in and an area that I could make money out of. But I love live bands, playing in dark clubs and pubs. I would actually go out and shoot those and again I would put the photographs on a disc and get in touch with them. There was a great amount of appreciation for that. A lot of bands then hired me to do photoshoots for them and eventually I would end up getting paid. It's all very karmic. If you give, you receive. That's just the way it is. From that I eventually ended up producing, shooting and directing a number of music videos as well.
What is your biggest love now? What do you enjoy doing most?
What I love doing most is doing one on one conceptual photoshoots for actors. Doing shoots that are a little out of the ordinary; a little bit different. I'm sort of designing a few shoots that I want to do with the Battlestar Galactica actors of the next 6 to 12 months. Some of out-there sort stuff with the likes of Eddie [Olmos] and Grace [Park] etc.
Did you actually meet Michael Rymer in Australia already before meeting him on Battlestar Galactica?
Yes, I met Michael Rymer in Australia quite some time ago. I was actually on my way to Toronto to visit some friends working on an amazing web-based TV show called Pure Pwnage and basically did a stop in Vancouver to visit Michael. it was only supposed to be for a couple of days and I ended up there for six weeks. I wasn't actually hired on Battlestar because they have their own photographer doing set photography. I've loved Michael's work for many years going back to his feature film work in Australia so when I dropped into Vancouver he invited me to visit the set of Battlestar Galactica.
While on the set did you also get a chance meet cinematographer Steve McNutt? Did you watch his work and pick up some extra skills you didn't have yet?
The one thing that initially captured my interest on Battlestar Galactica when I first saw it -- the thing is that really hit me was the way it was shoot and the way it looked. I I had been traveling a lot for work and you sometimes tend to loose touch with what going on and being made. I recall coming across the pilot of Battlestar Galactica and thinking "Here we go again, another remake". But I was curious so I watched it without initially paying any attention to the credits. At the end of the Miniseries I remember my jaw just hanging open. I was totally blown away and rushed to the credits to see who produced, directed and shot this masterpiece. So as you can imagine I totally flipped when I saw Rymer's name in the credits. I was so proud of him because it was such a great thing. I remember watching and thinking what an incredible show this was. Better than any cinema movie I've seen in a long time it.
I had his cell number and I remember sending him a text full of profanities intermixed with praise about how fantastic it was. I never heard back and thought that maybe I didn't have the right number anymore. He then did a talk here for an organization called "Popcorn Taxi", that shows a lot of great international stuff. They usually get producers, directors and actors to do workshops and talk about their projects. He came to do an appearance for Battlestar Galactica and I managed to get him on the phone, and we chatted and caught up.
photographer Dennys Ilic caught on camera by cinematographer Steve McNutt
on the Battlestar Galactica set
I was really amazed with Steve McNutt's work when I watched the show. Being DP myself you can imagine how excited I was to end up on set after watching 4 seasons of his art. It was just amazing. There would be so much movement on the set so there was none of this setting up of lighting for each angle. He would set up this meticulous lighting to cover massive scenes from every possible angle. It just simple looked like a real situation... like walking around in your home or in your office. The lighting was real and functional and he just nailed it every time. There's was very little messing around to getting it right. It was always just perfect. I don't think there's anybody better at it.
Being able to meet Steve McNutt -- I remember being on set in awe of him. I didn't even have the courage to step up and talk to him until like the third or fourth day I was there. He was so focused and serious; I was kind of scared of him. When we finally did end up talking he turned out to be an absolutely wonderful person and more than happy to talk about what he does and how he does it. That was probably one of the highlights, really. Aside from meeting all of these iconic actors on the show was meeting people like Steve and Ron Moore. It was a great thing.
What kind of amazed me was that you were on set almost at the end when nobody was allowed on set, and you were on set taking photographs and filming this crew video.
Yeah, it was crazy. I still haven't figured out how that came to be. I've got pictures of myself in front of the doors with those big signs that said that absolutely no visitors were allowed inside. It was the end of that story and they were just keeping a lot of things quiet until it aired. Even the set photographer had very, very limited access because of the potential of spoilers and things like that. It was just one of those things. It was a strange series of events that ended up getting me there in that situation. It was just really weird.
For starters if the writer's strike didn't happen I wouldn't have made it, because I couldn't visit in December when they were supposed to be shooting the finale. I remember getting an email from Michael saying they were in their final weeks of shooting so if you want to see it now was the time to come, but that being said he wasn't even sure if I would be allowed to visit the set for more than a day or so.
Of course I went out there and I did get on set for that day. What happened was that I had my camera gear in the car and I just wanted to take some photographs of Michael working. I remember asking Harvey Frand, who after seeing my photographic folio on my iPhone kindly allowed me to take some shots so long as they did not give away any details about the ending.
He Said: "Okay. Take a few shots of Michael. That will be fine.", which I did. It was so kind of him to do that. Harvey was such a great guy and so good at what he did. Everybody on set loved him so much.
photographer Dennys Ilic on the Battlestar Galactica set
So I did these photographs and Eddie Olmos comes up to me -- again another jaw dropping situation for me, because Blade Runner is my one if my favorite films of all time and I'm a big fan of Eddie's and all the other work he's done as well. He comes up to me and says: "You're a photographer right? ...I need you to do a favor for me." -- in that voice of his. Eddie asking me for a favor was totally mind blowing. What he wanted to do was -- because this was the end, and on that particular day there was an accumulation of a lot of the actors and the crew -- he wanted a cast and crew shot done. A lot of these have been done throughout the series but none like this. It was basically the last opportunity that a lot of these people would be together in the same room. He said: "You've got to get everybody together in the CIC and we're going to do a big crew shot. It's going to be really great, because nobody has done this before and nobody is ever going to have it again."
All of a sudden I just happened to be there on set and he's asking me to get everybody together. At that stage I hadn't met or spoken to most of these people. So it was a really funny situation trying to get this together, but we put everybody in CIC and we got a beautiful group shot that is really wonderful now in hindsight as it features Harvey Frand front and center.
From that point I seem to have integrated into the crew who were all warm and kind people. Occasionally someone would say: "Who's that guy? What's he doing on set?" They've been on this thing for 5 or 6 years and haven't seen anybody else doing what I'm doing. It was great. It wasn't before long until they really accepted me as a member of the family. The days I didn't turn up was through exhaustion, because I went home and processed the images until 5 o' clock in the morning, so I could show them on my iPhone the next day and I'd get up at 7 to go on to the set. So every now and then I'd take a day off and they'd all be going: "Where's Dennys? Where's he gone? Why isn't he here?" (both laughing)
It was kind of like -- I don't know if you ever saw that episode of Seinfeld where Kramer sort of just wandered into this office and somehow got integrated into the staff. So he was "working" and became a valued employee in the office, while he wasn't really paid or actually doing anything -- that was kind of what the situation was like. It's pretty funny and a great thing. I went there on a possible one-day visit to being there for many weeks right up to when the very last scene was shot. I was even invited to the wrap party. After that I created the Final Days of BSG video which everyone knows about by now and which was shown at one of the parties. It was really well received and brought a laugh and a tear to many people. That video was again shown at Harvey Frand's memorial this year at the main cinema on the Paramount Pictures lot. I was so happy that I everyone loved it enough to make it part of this very special persons goodbye. If it wasn't for Harvey I would not have been able to do all these shots in the first place so I'm very grateful and pleased that I could give something back.
At that point it was time to go to Toronto and leaving Vancouver was so difficult because I had to leave this family and this culture. It was kind of like leaving home but it was probably one of the best times I had in my life.
photographer Dennys Ilic on the Battlestar Galactica set
What about the video footage you shot on set?
Again this was one of those things where I was a bit ill-prepared, because I had no concept that I'd end up in this situation so I had no real video camera with me. Nobody, nobody was shooting any motion pictures on set of behind the scenes stuff -- nothing whatsoever. It was just inconceivable to me. I just couldn't understand that at the end of this series where things were so emotional, because people were shooting their last scenes, people were dying in the show itself that documentary cameras weren't running.
All I had my little digital pocket camera that, like every camera these days has a video mode. It's not too bad, but the footage is a bit grainy in some of the Galactica's darker sets. So, I was a bit torn between photographing these moments or videoing them and I kind of did a little bit of both. I was actually shooting stills with one hand and shooting video with the other hand. Shooting -- running in and capturing these last moments for the actors. When there was a scene that was wrapped I was back out because there wasn't much room in the Galactica itself. You should know that these sets were kind of real. They were real rooms and corridors. Not like TV sets that are half sets with break away walls. The Vipers did everything but actually fly, CIC was completely enclosed. So you had to set up and move around with cameras in the actual environment with a 360 degree real set. That's why the show looked so amazing. Why you really felt like you were there.
I still have 100s of video clips and thousands of photos of these last scenes that haven't been seen by anyone. Hopefully I'll be able to do something with it one day.
Yeah. It's an editing process going through them because you're shooting with very low lighting in these situations and on sets as well. Plus you're firing off these shots to get the one that's just right. Certainly I shot a lot of photographs. At the moment I'm trying to put together a book of those images which will be something of a personal gift from me to the actors as well. What also happened was that the actors would love my on-set shots, so I would end up doing personal shoots for them too. To this point Tricia Helfer, James Callis, Jamie Bamber, Aaron Douglas, Callum Rennie, Michael Hogan, Steve McNutt, Luciana Carro and even Michael Rymer have done personal photo shoots with me. You end up getting to know people on a more personal level when you do such shoots which is the sort of thing I love.
I like to take a few hours for such photoshoots. You hang out with the actors and make a connection with them and that comes out in the images. Like with Aaron Douglas. I just went to his house, we started talking, having a beer and getting to know each other. Then doing photographs and ending up with amazing shots where you really get a deep look into his personality. It was great.
So the book you're bringing out, is that also a commercial book that every fan can buy?
The one that I'm working on at the moment is quite beautiful and full of rare images and is going to be a "thank you" to the cast and crew and the producers. At this stage it's self-published and a very small run at my own expense and will be dedicated to the Memory of Harvey Frand.
I am currently working on another book idea which will feature many actors and be Battlestar Galactica cast heavy. That's still in its early stages of inception at the moment.
photographer Dennys Ilic on the Battlestar Galactica set with actress Grace Park
That crew wrap video caused quite a bit of a storm on the internet when it was leaked.
Yeah, it did cause quite a bit of a storm. I don't know how or who let that go out because there were only a couple of DVD copies of it to show at the wrap party. Some people at the high end of the production who couldn't be there or couldn't see it were emailed a Quicktime of it. It just goes to show that you the second you let something get out of your hands, no matter how much you trust people, it doesn't take much for it to end up on YouTube.
The funny thing is that it didn't really have much in the way of spoilers on it but it was imagery of the closes set so there was always going to be some concern about the leak. In the end the consensus was that it did more good than bad because it actually led people down the wrong path -- Because so many actors were coming in doing flashbacks the public that saw my video started thinking: "Oh, they're not dead after all. There's something funny going on here. " It made people make all the wrong assumptions about who the Final Five were. All of a sudden Nicki Clyne is back on set and shooting. It was quite funny to read the blogs and threads about what people thought were happening in the story after they'd seen my video. It wasn't as disastrous as I thought it was going to be. It's interesting how something so loved as Battlestar doesn't take long to leak out and get spread like wildfire.
I was talking to Steve McNutt for the interview we did with him and he also said: "Have you seen this great video already?", but he never got the chance to send it to me since it was already on the net and taken down again within a few days time.
Steve is great that way. I was kind of a bit worried when it got leaked and he said: "Don't be silly. It will be great. There are no spoilers in it and it's a good video." He kind of made me feel better about the whole situation. It turned out not to be such a big deal after all.
I literally edited it the night before the party. it was just a random idea which came to me at 11 o'clock in the morning. I thought: "I should put together a little slideshow." It started off as something that I thought of just dropping into iMovie - just drop in a few photographs and let iMovie do its own thing and turn it in a slideshow. I'd throw some music on it and it would be 30-40 photographs and that would be it. It would run for 3 minutes. But being a bit of a perfectionist and obsessive nut when it comes to my work I soon ended up working in Final Cut Pro and choosing music that started to really get to me emotionally. Music is a very powerful thing. Then I thought "Why don't I just throw in a bit of video at the beginning and the end? That would be pretty cute too." The next thing I know, it's 7 pm, the next night, so we're talking from 11 am the day before the party and it's now 7 pm on the evening of the party, just finishing it and I hadn't been to bed. I basically worked on it for all these hours straight.
It went from a 3-minute slideshow to a 15-minute video with titles and credits of actors, and really emotive scenes of the actors' final moments on set. I put in 6 tracks of music I had the intention of refining it but decided that it is what it is -- the environment it was made in, it was cut together at the last minute in Vancouver for 24 hours straight. That's what I love about it.
Did you also meet the on-set photographer Carole Segal?
Yes, I did. I met her on a number of occasions. She came on set from time to time to do her work which was mainly action-sequence photography. Set photographers have silent housings for their cameras so you can shoot while the film cameras are rolling. I couldn't do that with my big noisy Canon on the Galactica or Cylon Base ship but in outdoor scenes like Caprica City or in "New York" where Ron Moore did his cameo, I was able to get a lot of great shots because it was out in the open and I could use a long lens and so forth. Carole does beautiful stunning photography for many of the great shows in Vancouver. We met on a number of occasions and she's a lovely and very talented person, a great photographer
I have a great deal of interest in behind the scenes and set photography. I guess I comes down to my being a big sci-fi fan and growing up with the original Battlestar Galactica and classic science fiction books as well as great movies like Planet of the Apes, The Omega Man, Star Wars, etc
Though my work is about editorial and conceptual photography of A-list movie stars I still love shooting cinematographers, directors, first AD's and grips at work, because, you know, nobody ever really bothers to do that. To me they're the backbone of the show.
I always find that crew, like directors and cinematographers, are themselves actually kind of camera-shy. Was that difficult for you?
Yeah, they can be. The thing is that directors are so intensely involved in what they're doing that you can photograph them doing their thing and they'd be quite unaware of it. Ron Moore is actually a very quiet, genuinely, down to earth person -- not really out there like most producers that I've met. They can tend to be over the top, harsh people. Ron is a genuinely decent, nice guy. The fact of him having no problem of me being there doing what I was doing was great. I think at the end of the day -- you really need to see this in context -- I literally was a total stranger that turned up on the set of one of the most important occasions of one of the best written and made television shows ever. I'm just this 6 foot tall person walking around with all of these cameras just wandering around and taking pictures and doing my own thing.
I think there was just this understanding and realization that I have a professional background and a profound respect and great deal of love and passion for the show so I was just accepted as somebody that wouldn't do anything wrong. And that was justified. For people like Harvey Frand, David Eick and Ron Moore -- all of them knowing that I'm there and to let me do what I was doing was just a testament on how intuitive and incredible these people are as well. All I wanted to do was to create beautiful images of these very important last few days. I have a very warm place in my heart from that experience.
I've worked on a number of films and shows and I've never experienced the warmth and kindness that I did on the Battlestar set from absolutely everyone. It was just great and I really loved it. Something that I don't think I will ever experience again.
photographer Dennys Ilic on the Battlestar Galactica set
Very cool. So next thing up for you now is the Battlestar Galactica cast and crew book?
Yeah. I've just come from London where I was on the set of Harry Potter VI. I'm just finishing up the post production work on that. That's going to be done within the next couple of days and basically I'm then going to spend the next three or four weeks finishing up my design of the layout of the book and getting it ready. And what I'm trying to do is to get quotes and words from the crew that can be in the book so there can be some text involved; which can be quite a personal sort of thing because it is the book for them. I have an editor working on it as well at the moment so hopefully it will be finished in a month or so.
For the fans I'll keep my fingers crossed that it will be published commercially later.
I'd love it to go commercial. I don't actually care about money because this book is really about a gift from me to the cast and crew. I'd just love the fans to be able to have it because it will have some incredible photographs of sets and props. People haven't seen that in the detail before. It just hasn't been done. The photographers that work on set are more about doing shots of the actors for the magazines. They didn't grow up drawing vipers in the back of a school books like I did. There will be some amazing stuff in there.
Did you see the auction catalogs? They had some amazing set shots in that as well.
Yes. They did some awesome shots of the set pieces as I guess you must do if you are trying to sell off a viper for $30,000!
I think that's because there simply isn't a book out there like that, so there may be a commercial interest in your book.
Yeah, that would be nice but that's not the reason behind it which is why I've taken so long to do it right. If it was really about trying to make money I would have, and could have had it done by January this year. Though we have seen the internally produced crew book that was given out at the wrap party selling on eBay for thousands of dollars. That was a massive and beautiful book. Mine will be about 120 pages.
Great. Looking forward to that. Thanks again. It was great talking to you.