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| Meet Rick, the one all the way up there |
He has worked with a lot of indie filmmakers and actors who later became famous such as Liam McIntyre who went on to play the title role in Spartacus: Blood & Sand after the previous actor, Andy Whitfield, passed away.
Rick isn't always just supplying equipment though, he's also behind the camera at times and has shot some of his own short films including Niflheim: Blood and Bullets, Sarah's Jihad and Spawn of Evil: Sons of God.
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| And later Spartacus! |
Although well known in the business I found out about Rick through a comment he left on YouTube on a video of a model P-1 ship from the anime Marine Boy. He said he was planning on making a live action film of Marine Boy and at first I had my doubts but emailed the guy anyway because I love the old anime. He replied swiftly with a plethora of information about the film including actors, locations, ideas for shots and more! I was blown away and I'm very excited about this upcoming movie. So I stayed in touch with Rick over the past couple of months and he kindly agreed to this interview :)
Hi Rick, first of all let me thank you for agreeing to this interview. How did you start off in the film production business?
Hi Rick, first of all let me thank you for agreeing to this interview. How did you start off in the film production business?
Well I guess I always loved the whole photography, film-making aura. Like most kids growing up in the 70's I loved racing home after school and watching Japanese cartoons like Marine Boy, Astro Boy, Gigantor and the rest.
I started school in 1969. The Space Age was in full swing and I realised then my favourite live actions TV shows were science fiction.
To this day I am a great fan of Gerry Anderson and Irwin Allen's work. But it was while I was in the 2nd year of high school that a location scout knocked on our door and asked could they shoot an episode of 'The Sullivan's there. My mother said yes. Sullivan's was a brand new show then. Our home at the time was built in the 1940s when the series was set. It also had a great big size property where the crew could park their caravans etc.
When the crew came over and I saw the actors from the TV arrive, get their make up done, and everyone arriving setting up cameras, lights, jibs, reflectors; I don't think I blinked all day. Watching them work and tape measure for focus the hustle and bustle. I knew then, that's what I wanted to do.
Six weeks later I saw that episode shot at my home on TV. The magic of editing.
What is it that inspires you when filming and planning your own projects?
It's the story. Sometimes when we have production meetings and everyone is hyped and happy it washes off on you. If the cast and crew get on well, it's this magical high you get.
Sometimes I come in and have a well checked out location and shot list. Another project I don't get that luxury and ideas just hit you then and there.
I am lucky as most film projects I have been on were pleasant experiences. But some were ugly. Those ones I had to push myself to finish.
What inspires me sometimes is, I like to go to script reads. I love sitting there and hearing the actors do their dialogue. Just hearing it I work out how I am going to shoot that scene.
Which short film of yours would you say has been most successful?
My most successful short I worked on wasn't one I wrote. But a young script writer wrote a story called 'Sarah's Jihad'. The writer wanted me to shoot it. To be honest now, I didn't think much of the script. I just wasn't getting it. I said sure you get everything organised and I'll shoot it for you and supply most of the gear. To my surprise he called back. He had cast all parts, secured all locations, got me a crew to help, all the legals and insurances etc down to the catering.
Well I had to honour it now. Sarah's Jihad was played in many countries and was shown in many festivals. It was about a rich, white Anglo Saxon girl who befriends a poor Muslim migrant girl her age. When it was made it was after 9/11. Here in Australia we had a huge race riot where hordes of lets say white Aussies were fighting Muslim youth. We never had anything like that here before.
So the writer, Zev, who is Jewish, wrote a story where the rich girl and her friend sees a girl their age wearing a hijab so they go to cross the road to bash her. While doing that the rich girl's friend gets run over not looking out. The Muslim girl runs over and helps out.
When outside the hospital waiting for news, the two start talking and find out they both love jazz ballet. They have fallouts as the rich white girl's boyfriend was a white gang leader at the riots beating up Muslims. But in the end they both realise they were young girls and they had more in common than difference. The last scene has the rich girl come over to the Muslim girl's home and apologise and the last shot has them having fun dancing to jazz ballet to music after filming the Muslim girl's bedroom. I went outside the house and zoomed out very slow outside the bedroom window with the two girls dancing crazily as silhouettes through a curtain.
I went to one screening and everyone in the audience were crying then clapped. I was shocked.
Marine Boy has a cult following and I'm very happy and excited that you have decided to film a live action adaptation of the anime but why choose Marine Boy?
Marine Boy was my favourite cartoon, it still is and I'm 51 now. In recent years with filming equipment so cheap and laptops so powerful, I have seen a lot of fan films made of Star Trek, Star Wars, Wonder Woman, Batman etc
No one has made one of Marine Boy so I think it's time. I think Marine Boy deserves one.
When casting for Marine Boy what do you look for in actors and actresses?
I looked for actors that strongly resemble the cartoon drawings. I showed the cartoon characters from DVDs to the actors who I had in mind. To start to mimic their cartoon characters. I also look and find out if they saw it as kids or know the show. It's a bonus as they try harder and know the subject matter.
I hate how Hollywood changes things, something fans feel strongly about. They always want a superstar actor in that looks and behaves nothing like the original.
In the update Thunderbirds movie 2004 they changed the character of Brains from a boy electronic and engineering genious to a father with a teenage son. Tin-Tin went from an Asian late teen, early twenties girl to an Indian looking 13 year old, along with Alan being 14 or so as well to fit in with the changed Tin-Tin age. It became Spy Kids.
Lost In Space was another Hollywood stuff up. The humble family of the 1960's that were so close and faced dangers and disasters in the best early episodes became a dysfunctional Jersey Shore with attitude family.
I don't want to destroy anything. I'd like to pay as much homage as I can.
Marine Boy's best friend is Splasher, who happens to be a dolphin. What methods are you going to use to recreate him?
I am thinking of doing Splasher as a 1/3rd or 1/4th scale animatronic model, then have him green screened with actors.
I also considered Splasher as a real dolphin and made to look whiter by After Effects or some other software program. That's still not out of the question or plan. He may be done that way.
But I see Splasher as different to other dolphins. He comes across as being born different. Stubbier, white with a blue strip.
Marine Boy's family may have adopted him because Splasher was different.
Splasher is too important a character to leave out. He must be in the show.
Do you plan on adapting an original episode of Marine Boy or creating a brand new story? Also after Marine Boy has finished filming do you have plans to go on a film any future childhood favourites?
I'll see how the Marine Boy film turns out and the response it receives. If it is all positive I may shoot another Marine Boy story as costumes, props, sets would already be made. In the last few months another filmmaker and I (Colin Paxman) are thinking of shooting a fan film of a cross between Gerry Anderson's UFO and Space 1999 series. I plan to send off copies to sci fi cons etc and upload to YouTube for others to hopefully enjoy.
Colin has already shot some teasers for YouTube. On my end I have been buying studio scale replicas. So far I have a 20 inch Shado Mobile, 1/48 and 1/24 scale Shado Interceptors.
It will be a much slower process as there needs to be so many miniatures.
Colin and I plan to shoot a 10 or so minute short of UFO saucers coming to attack Earth. Moonbase is alerted and Interceptors are launched along with Eagle's from Space 1999 series.
Earth forces take out most of the invaders but a few get through and it is up to Shado ground forces to hunt the aliens down. Very much like the original 1969 live action TV series.
My long term plan is to form a film-makers club for fans and have a warehouse as a studio complete with green screen and empty spaces for fans who are lets say, in a Dr.Who club, make their own interpretation. I'd love clubs to have their monthly meetings and network etc.
I of course can provide the filming equipment so the clubs can go on location as well.
In regards to stories original or made up...a bit of both. Take a few elements of a favourite episode and maybe throw in some new ideas.
If you could give young indie filmmakers any advice starting out what would it be?
Determination, I mean it. I have seen so many young crew fail. They come through the sets. Not sure if it was for them. Or they expected the phone to ring them as if there was a huge shortage of filmmakers and actors. Trust me it's not like that anywhere in the world. If you want to make it you have to work at it. Volunteer on film sets. Start off getting experience on small indie films on weekends. Do as many courses as you can.
Learn the craft, get good at it. Also do any job, McDonalds, a trade, sales etc. The secret? Save money. Then buy cameras, a good sounding recording set up. A few lights, a good tripod. Offer yourself to other small indie filmmakers. You'll get known around town.
Start shooting weddings, music videos, any occasion to hone skills. The other big thing, be punctual. Always be early. Always answer calls, reply to emails. Send emails to film production businesses around your area. Tell them you're after experience and you're keen. Work free at first then you'll find a small allowance later. Politeness is a thing respected by all.
Always keep a cool head. Sometimes a director flies off the handle, but you never lose your cool. Show them you're not cracking up under pressure.
It's a little different for me now being in the business so long. A few years ago I saw a director go off at a young girl about some lines she goofed. He was going apeshit. I raced over, grabbed him by the collar and said, 'you do that again and I'll put you through that wall'. I meant it too.
He knew all the equipment was mine, if I left he'd be stuffed. Also I was a lot bigger and heavier than he. Bambi after that.
Thank you Rick for your time, those are some amazing answers!
I completely agree with Rick about how Hollywood changes the original and makes it into something they think will be huge but it turns out to be awful.
It's been really good getting to know Rick, a very nice, down to Earth man who is dedicated to the business. I'm looking forward to Marine Boy, especially the underwater scenes as Australia has the Great Barrier Reef and I'm confident the movie will be great! Rick also has scale models for the P-1!
If you're planning on shooting your own film then take Rick's advice above. That is some seriously great advice from someone who has been in the business a long time.
Rick will also be setting up a Facebook page for his business and Marine Boy film. As soon as they're up I'll post the links.
To find out more about Rick Idak visit his StarNow page
I started school in 1969. The Space Age was in full swing and I realised then my favourite live actions TV shows were science fiction.
To this day I am a great fan of Gerry Anderson and Irwin Allen's work. But it was while I was in the 2nd year of high school that a location scout knocked on our door and asked could they shoot an episode of 'The Sullivan's there. My mother said yes. Sullivan's was a brand new show then. Our home at the time was built in the 1940s when the series was set. It also had a great big size property where the crew could park their caravans etc.
When the crew came over and I saw the actors from the TV arrive, get their make up done, and everyone arriving setting up cameras, lights, jibs, reflectors; I don't think I blinked all day. Watching them work and tape measure for focus the hustle and bustle. I knew then, that's what I wanted to do.
Six weeks later I saw that episode shot at my home on TV. The magic of editing.
What is it that inspires you when filming and planning your own projects?
It's the story. Sometimes when we have production meetings and everyone is hyped and happy it washes off on you. If the cast and crew get on well, it's this magical high you get.
Sometimes I come in and have a well checked out location and shot list. Another project I don't get that luxury and ideas just hit you then and there.
I am lucky as most film projects I have been on were pleasant experiences. But some were ugly. Those ones I had to push myself to finish.
What inspires me sometimes is, I like to go to script reads. I love sitting there and hearing the actors do their dialogue. Just hearing it I work out how I am going to shoot that scene.
Which short film of yours would you say has been most successful?
My most successful short I worked on wasn't one I wrote. But a young script writer wrote a story called 'Sarah's Jihad'. The writer wanted me to shoot it. To be honest now, I didn't think much of the script. I just wasn't getting it. I said sure you get everything organised and I'll shoot it for you and supply most of the gear. To my surprise he called back. He had cast all parts, secured all locations, got me a crew to help, all the legals and insurances etc down to the catering.
Well I had to honour it now. Sarah's Jihad was played in many countries and was shown in many festivals. It was about a rich, white Anglo Saxon girl who befriends a poor Muslim migrant girl her age. When it was made it was after 9/11. Here in Australia we had a huge race riot where hordes of lets say white Aussies were fighting Muslim youth. We never had anything like that here before.
So the writer, Zev, who is Jewish, wrote a story where the rich girl and her friend sees a girl their age wearing a hijab so they go to cross the road to bash her. While doing that the rich girl's friend gets run over not looking out. The Muslim girl runs over and helps out.
When outside the hospital waiting for news, the two start talking and find out they both love jazz ballet. They have fallouts as the rich white girl's boyfriend was a white gang leader at the riots beating up Muslims. But in the end they both realise they were young girls and they had more in common than difference. The last scene has the rich girl come over to the Muslim girl's home and apologise and the last shot has them having fun dancing to jazz ballet to music after filming the Muslim girl's bedroom. I went outside the house and zoomed out very slow outside the bedroom window with the two girls dancing crazily as silhouettes through a curtain.
I went to one screening and everyone in the audience were crying then clapped. I was shocked.
Marine Boy has a cult following and I'm very happy and excited that you have decided to film a live action adaptation of the anime but why choose Marine Boy?
Marine Boy was my favourite cartoon, it still is and I'm 51 now. In recent years with filming equipment so cheap and laptops so powerful, I have seen a lot of fan films made of Star Trek, Star Wars, Wonder Woman, Batman etc
No one has made one of Marine Boy so I think it's time. I think Marine Boy deserves one.
When casting for Marine Boy what do you look for in actors and actresses?
I looked for actors that strongly resemble the cartoon drawings. I showed the cartoon characters from DVDs to the actors who I had in mind. To start to mimic their cartoon characters. I also look and find out if they saw it as kids or know the show. It's a bonus as they try harder and know the subject matter.
I hate how Hollywood changes things, something fans feel strongly about. They always want a superstar actor in that looks and behaves nothing like the original.
In the update Thunderbirds movie 2004 they changed the character of Brains from a boy electronic and engineering genious to a father with a teenage son. Tin-Tin went from an Asian late teen, early twenties girl to an Indian looking 13 year old, along with Alan being 14 or so as well to fit in with the changed Tin-Tin age. It became Spy Kids.
Lost In Space was another Hollywood stuff up. The humble family of the 1960's that were so close and faced dangers and disasters in the best early episodes became a dysfunctional Jersey Shore with attitude family.
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| Classic |
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| Meh |
I am thinking of doing Splasher as a 1/3rd or 1/4th scale animatronic model, then have him green screened with actors.
I also considered Splasher as a real dolphin and made to look whiter by After Effects or some other software program. That's still not out of the question or plan. He may be done that way.
But I see Splasher as different to other dolphins. He comes across as being born different. Stubbier, white with a blue strip.
Marine Boy's family may have adopted him because Splasher was different.
Splasher is too important a character to leave out. He must be in the show.
Do you plan on adapting an original episode of Marine Boy or creating a brand new story? Also after Marine Boy has finished filming do you have plans to go on a film any future childhood favourites?
I'll see how the Marine Boy film turns out and the response it receives. If it is all positive I may shoot another Marine Boy story as costumes, props, sets would already be made. In the last few months another filmmaker and I (Colin Paxman) are thinking of shooting a fan film of a cross between Gerry Anderson's UFO and Space 1999 series. I plan to send off copies to sci fi cons etc and upload to YouTube for others to hopefully enjoy.
Colin has already shot some teasers for YouTube. On my end I have been buying studio scale replicas. So far I have a 20 inch Shado Mobile, 1/48 and 1/24 scale Shado Interceptors.
It will be a much slower process as there needs to be so many miniatures.
Colin and I plan to shoot a 10 or so minute short of UFO saucers coming to attack Earth. Moonbase is alerted and Interceptors are launched along with Eagle's from Space 1999 series.
Earth forces take out most of the invaders but a few get through and it is up to Shado ground forces to hunt the aliens down. Very much like the original 1969 live action TV series.
My long term plan is to form a film-makers club for fans and have a warehouse as a studio complete with green screen and empty spaces for fans who are lets say, in a Dr.Who club, make their own interpretation. I'd love clubs to have their monthly meetings and network etc.
I of course can provide the filming equipment so the clubs can go on location as well.
In regards to stories original or made up...a bit of both. Take a few elements of a favourite episode and maybe throw in some new ideas.
If you could give young indie filmmakers any advice starting out what would it be?
Determination, I mean it. I have seen so many young crew fail. They come through the sets. Not sure if it was for them. Or they expected the phone to ring them as if there was a huge shortage of filmmakers and actors. Trust me it's not like that anywhere in the world. If you want to make it you have to work at it. Volunteer on film sets. Start off getting experience on small indie films on weekends. Do as many courses as you can.
Learn the craft, get good at it. Also do any job, McDonalds, a trade, sales etc. The secret? Save money. Then buy cameras, a good sounding recording set up. A few lights, a good tripod. Offer yourself to other small indie filmmakers. You'll get known around town.
Start shooting weddings, music videos, any occasion to hone skills. The other big thing, be punctual. Always be early. Always answer calls, reply to emails. Send emails to film production businesses around your area. Tell them you're after experience and you're keen. Work free at first then you'll find a small allowance later. Politeness is a thing respected by all.
Always keep a cool head. Sometimes a director flies off the handle, but you never lose your cool. Show them you're not cracking up under pressure.
It's a little different for me now being in the business so long. A few years ago I saw a director go off at a young girl about some lines she goofed. He was going apeshit. I raced over, grabbed him by the collar and said, 'you do that again and I'll put you through that wall'. I meant it too.
He knew all the equipment was mine, if I left he'd be stuffed. Also I was a lot bigger and heavier than he. Bambi after that.
Thank you Rick for your time, those are some amazing answers!
I completely agree with Rick about how Hollywood changes the original and makes it into something they think will be huge but it turns out to be awful.
 |
| Rick's family often help out filming |
It's been really good getting to know Rick, a very nice, down to Earth man who is dedicated to the business. I'm looking forward to Marine Boy, especially the underwater scenes as Australia has the Great Barrier Reef and I'm confident the movie will be great! Rick also has scale models for the P-1!
If you're planning on shooting your own film then take Rick's advice above. That is some seriously great advice from someone who has been in the business a long time.
Rick will also be setting up a Facebook page for his business and Marine Boy film. As soon as they're up I'll post the links.
To find out more about Rick Idak visit his StarNow page
Awesome read buddy :) he gave gave great answers and very detailed
ReplyDeleteIndeed, I quite enjoyed his answers :) Really nice guy
Deletenice read mate. never herd of this guy or marine boy but still cool stuff
ReplyDelete