Films & Celebrities
Family Pictures

Anjelica Huston & Jaie Harrold in "FAMILY PICTURES."

There are several technical differences between feature films and TV movies, but one of the most significant is time. While feature films might shoot just 2–3 pages of dialogue per day, TV movies often film up to 10 pages in the same amount of time. This faster pace means that still photographers on TV productions usually have to capture their shots during live takes, rather than in staged setups.

In this particular case, we were filming in a real house rather than on a soundstage, and the room was so small that I physically couldn’t enter while filming was underway. My only option was to wait until the director called “Cut,” then quickly step in to grab the shot.

I spoke with the director beforehand to get his permission, and also coordinated with Anjelica, who agreed to hold her pose briefly after the scene ended. Thanks to my reputation for working quickly, the director and crew—including the talent, camera, and lighting departments—were all willing to accommodate the request. As a result, I was able to capture both a colour and black-and-white version of the image in under a minute.

Family Pictures

Anjelica Huston & Jaie Harrold in "FAMILY PICTURES."

There are several technical differences between feature films and TV movies, but one of the most significant is time. While feature films might shoot just 2–3 pages of dialogue per day, TV movies often film up to 10 pages in the same amount of time. This faster pace means that still photographers on TV productions usually have to capture their shots during live takes, rather than in staged setups.

In this particular case, we were filming in a real house rather than on a soundstage, and the room was so small that I physically couldn’t enter while filming was underway. My only option was to wait until the director called “Cut,” then quickly step in to grab the shot.

I spoke with the director beforehand to get his permission, and also coordinated with Anjelica, who agreed to hold her pose briefly after the scene ended. Thanks to my reputation for working quickly, the director and crew—including the talent, camera, and lighting departments—were all willing to accommodate the request. As a result, I was able to capture both a colour and black-and-white version of the image in under a minute.