DATE : 2ND OF FEBRUARY 2021
Victor Nelli Jr. is an influential Director/ Executive Producers on shows such as Brooklyn Nine-Nine, The Office and Blacklist. In this interview with Victor Nelli Jr., he talks deeply about his beginnings on The Office and Brooklyn Nine-Nine. He also digs deeper into his shows like Ugly Betty, Superstore and The OC.
Hi, Thank you for being here, Mr. Victor Nelli Jr, and we are grateful to be talking to you be it through Zoom. We hope you are doing well in these times.
Victor Nelli Jr.: I’m doing good. It’s you know, I’m here in Los Angeles and I appreciate any time I get to talk and meet with somebody new, it’s I’ll take it through Zoom or anything like that. So I appreciate it. But, yeah, we’re doing good. I’m very blessed. I have a grandson that was born during the pandemic right at the beginning. So I’ve been able to they’re living in my house and so I’ve been able to spend some time with him and divert my attention to him, too.
Q. I mentioned Blacklist, The Office and Brooklyn Nine Nine and you have been a long time, Director, for all three of the shows. How does it feel to have such incredible credits to your name?
Victor Nelli Jr.: Well, I’m just I’m very blessed. I mean, that’s the biggest thing. I’m blessed that. These people want me to work on the show, you know, the office was such a long time ago, I came in so early on the show is very much like a second up, second episode and second season, so it was still very fresh and I think audiences were starting to get it and it really felt like you were doing something new and different and such a great cast. So I was very blessed. I got that. I got to do two episodes very early on, and it was but it was right after that. And because of that show that I got hired to be executive producer and director on Ugly Betty. So at that point, I had to go off. Blacklist. To be honest, I’ve only done one episode and it was, you know, that was. Right, again, it was right there, right at the beginning of the pandemic, we were. It was, I think was January and everybody was talking about it and it was like, oh, wow, there’s something going on in China, is it going to get over here? You know, every time I’m saying it was just a couple of cases. But for me to do a show like Blacklist was really exciting because I do a lot of comedy and so for me to, you know, go out there and, you know, I get to have a shootout with 40 people in the middle of the snow and, you know, fights and people getting run over by cars. And, you know, it’s an airplane. And it was it was really exciting. It’s good. I’ve done a lot of one hour, but to do something like that was great. And to work with James Spader was really, really exciting.
Q. Speaking of comedies you have looked at here and there, you have detected a lot of comedies throughout. So is Comedy your Genre or do you feel like maybe I need to shift to something else?
Victor Nelli Jr.: I have done a lot of comedies and I think. I’ve been able to I’ve been doing a lot out of one hour shows that do a little bit of both, so, you know everything from the bold type to, you know, to like I said to Ugly Betty, I’ve done it. Gilmore Girls have done, you know, I mean, all these shows that bring some drama and comedy together. It’s really where I like to be, I like to be in those shows God friended me is another one where it’s very, which was on CBS was kind of lighthearted and but still came with a really, really good, serious story. The comedy was just something I just I always I knew I wanted to do. I got kicked out of a couple of schools because I was the class clown. And, you know, I wasn’t a bully. They just I don’t think anybody could have got my sense of humor back then, but. But, yeah, I definitely want to do more. I like delving especially on the shows. You know what I did when I was doing the bull type, because I was also the executive producer on that show, too. It was really great to tell these stories about these young women and especially the millennial and just how important it is to, you know, to bring that seriousness to it, but also to bring this fun that there’s I know there’s this darkness and things that happen. And we’ve dealt with everything from the ME TOO thing to cancer. But how do you get through it? How do you know that these things are going to come up? I don’t care who you are, something’s going to come up and how do you kind of power through? So I like telling those stories and hopefully, you know. You know, I would say it’s a message, but maybe it’s one point of view of how to kind of get through things. So that’s what that’s what the long stories. It’s just sort of what makes me excited about doing more dramas.
Q. I had this question for later on. But since you’ve mentioned Ugly Betty, I wanted to ask you now you have grown from a director to an executive producer. So how do you differentiate between the two roles as an executive producer and as a director? How different are they?
Victor Nelli Jr.: Well, for the role that I that I come on to is an executive producer as I come on, is more, probably more of a physical creative producer in a way. So I don’t spend a lot of time in the writer’s room. I’m really there to hopefully get the script and get it made. I feel like my role my role once the script is written and OK, I’m there to get it made. And I hopefully I’m the voice of the show and I can translate what the show runner is and what the writers have written. And along with their guidance, get it done to physically get it done. How do we spend the money? Where do we spend the money, casting, locations. And then as an actor producer also help and being a director, I’m finding that I’m here to help shepherd the other directors through their episodes, give them a lot of, tools and things to play with. Give them some guidelines of what our show does and how we like to do it. And then also just be there as a voice on the set. And sometimes and maybe everything from, you know, is this the way we shoot the show stylistically to do we need a do we need to tweak on the line? Do we need to figure something out? I don’t want to say it’s like a glorified director, but I hate to say that. I just found it naturally because of my background, I was because I was a director of photography that I was directing earlier, but I just found I fell into being a director of photography early on in my career, that I had sort of that mindset of how to because in that role, you’re the guy lighting it. You’re the guy setting up the cameras. You’re trying to figure out how to put things in place. And so what I try to take what I learned from that and from being a director, bringing those two things together as a producer to help sort of guide the whole show and keep everybody going. I know that I know how to direct actors and how to get through something. I was a gaffer. I know how to put that flag up. I know how to build that scaffolding. I know what it’s going to take to put the camera there. So I just began being old enough. Now I bring a lot of that experience to help, that I could bring to the job as executive producer.
Q. You Spoke about Directing Actors but as a Cinephile, I adore Directors like Steven Spielberg and Christopher Nolan who are more Visualistic. As a director are you more focused on Actors and Acting or do you wish to make it Cinematic with the shot. Which kind of Director are you?
Victor Nelli Jr.: To be really honest, I think I’m both it’s really funny. In my career, I’ve always been, you know, when I first started because I was a DP, they’re like, oh, he’s a visual guy. And then and then later on in my career, I became an actor’s director. Also, I was like, oh, he’s an actor’s director and he knows how to deal with actors. That might be, a little more guidance or a little more help or whatever. It’s been an interesting career. So I’ve kind of run into both and I find myself both. Yes. Yes. I’m very jealous of, you know, Spielberg and Christopher Nolan they are auteur they get to kind of make what they want to make. And I’ve had the honor of meeting Christopher a few times and just even recently and got to talk to him about a few things. And we both talk about cars, too, because my dad my father was a racecar driver and my father was actually in the races that were in Ford versus Ferrari. And so we talked about the genre and those cars and things like that, so it was but it was interesting to see the way he works, the way he thinks, and he’s just a purist. He’s just so like, this is the way I’m going to do it in this way, you know? And I applaud him that he’s able to do that because the television rules are a little different. There are a lot of voices. You have studios and networks and, there are a lot of writers. There’s a lot of you know, you’ve got the DP and then you’ve got the actors and there’s a lot of voices. It’s not like, this is my film and this is how I’m going to make it. And this is what we’re going to do.
Q. As an individual, you spoke about talking about fighting with them as you like, normal movies or, you know, they should have messed up the timeline a little bit to make it better?
Victor Nelli Jr.: He seems like, with my short conversations with him, he’s into films he really likes them because I know that he doesn’t watch television. He doesn’t I mean, I don’t even know if he owns a television, but I know that he really and it was interesting to talk about the Ford versus Ferrari film, just because specifically because we both like cars and in my father being in that era and I was around during some of that when I was younger because it ended in 66 and in 63. And it was really fun because he hated the ending of Ford versus Ferrari. He was like, oh my God, the crashes the car at the end and it’s like so soon. And I was like, Christopher that really happened. I mean, it’s like that’s real. But you can see the filmmaker up and go. Now, they should there should have been something else. But I got this. He came back from France when testing like the following month or something and crashed and died. I mean, it’s so it’s interesting, you know, where he was like the timeline was right. This was too soon. And but yeah, you could tell he’s just such a purist. And he, you know, being is a big part of the DGA. And he’s always fighting for the rights of the director, always fighting for, you know, films being released and how they’re released. And I know he really take him, as, you know, his wife to produces his films. You know, they really take a lot of pride in doing a lot of in camera effects. You know, I know they were talking a little bit about Tenet and how, you know, there weren’t a lot of visual effects done in that show. They really did stuff in camera and on film. And that’s kind of cool if you have that budget and that power and you can kind of do what you do, what you want to do.
Q. I read an article somewhere that said that movies have become pieces of product rather than entertainment. Would you agree with?
Victor Nelli Jr.: Yeah, it’s amazing where television is gone right now. I’m just sort of like we’ve been, you know, this whole epidemic and how much you watch and we’ve gone through so, so many shows. And it even that I still haven’t seen everything. I mean, you just can’t see everything. And it’s funny, I’m a big Coen Brothers fan, raising Arizona is like my go to comedy if I need to see a comedy. You know, that’s you know, that is, you know, if I need a dramedy kind of comedy, I love, you know, The Big Lebowski. Their sense of humor, their visual storytelling is exactly. Like, right in my realm, so like right now, I just started watching the fourth season of Fargo with Chris Rock and it’s great and Chris. He’s good. He’s trying to be a serious actor. It’s a great story. There’s a lot of you know, there’s like four or five stories going on at one time. But yeah, I mean, when you see the crown or you know, I just watched the flight attendant on HBO. I don’t know if you saw it. Yeah, that is really good. That’s a show that I’m trying to get. I know some of the producers and I’m like I’m like knocking on their doors, like, let me in. I want to do this.
Q. You worked on the office and you mentioned that it was pretty early when you were working on the office and then you mentioned working on Brooklyn nine nine. You know, those stores, they started out small, but now they’re pretty big sensation. When you were working on it of did you have the same pressure? Because I don’t think so you would have had the same. How was it like working when they were nothing and then it blew up to be something else?
Victor Nelli Jr.: Well, the office was it was interesting that it was very different because I was such a huge fan of the British version of the office. And I thought it was funny. I know I had meetings. I was up to do the pilot of the American version, and it was me and Ken Coppice who finally got it. And it was funny because we were both working on the Bernie Mac Show at the time and we knew that it was going to be sort of a documentary style. We both were fans of it and I think what it was when I got there, I think they got past the post where they were taking the British scripts and trying to bring them over in and I just you could tell that it just wasn’t quite hitting. So once Gregg really switched, it said, you know, we just got to take the tone of this and put it in our language is when I feel like I got there and I was lucky, I got Paul Lieberstein Rogan and Mindy Kaling wrote one. And, you know, it’s so funny, my kids friends, until this day, I just keep. You know, they’re still right now like, oh, my God, I just saw your episode, the carpet or I just saw, Take your daughter to work day, and it’s it’s hilarious that, you know what, 14 years ago or something like that, that it’s still funny and striking it, but it tells you where they found that town, where it’s just every day it’s not completely topical, where it’s like, oh, it’s sort of fills out of date. It still feels like. And that’s and that’s what was so great about it, it was that it just felt like people working every single day, doing the same thing, pushing paper and what do you do to entertain yourself? Humans are human. And it was just starting to get a buzz, it’s just I mean, it was really just start it was it was like it kind of was taking off in those I remember those coming out and that year just kind of went big. I was like, holy cow. And that helped me. It opened me up. And that’s how I ended up on, you know, a bunch of other shows, you know, and again, I was able to get to, you know, Ugly Betty. You know, did an episode of that, and they asked me to come on full time after that, but. Yeah, I mean, I still can’t believe it was 14, 15 years ago.
Q. Was it the same one, Brooklyn, Nine Nine?
Victor Nelli Jr.: Brooklyn was yeah, I think there’s a lot of expectations, I felt like for Brooklyn, you know, coming out because of, you know, Andy coming out SNL and all that stuff. So I think there was you know, they really wanted something big. And again, what was so great at the beginning of that was Dan just really wanting to do something just different. It felt good. I just remember being on the set, oh, God, these are just a lot of talented people. These people are funny, it clicks, it works. When I saw the pilot of Modern Family and I was like, oh, my God, this is the best casting. Pilot I’ve ever seen in my life, everybody, that that pilot came out like it was Episode 21, like it just there was no because usually pilots are clunky and weird and, you know, trying to figure things out. That one just click. But and Brooklyn felt that way, too. Everybody was just they really nailed on to their characters. And I remember. You know, I’ve done a bunch through the years and all that, I haven’t been there in the last couple of years when I went to NBC, but. Even when I get back, it don’t matter what, it’s always the same, it was just everybody was sort of nothing that really changed. And I think there’s something to be said about shows that do that, that really. Try and not reinvent them all the time, really try to stay within the world. I mean, you know, the show The Middle is perfect example. I mean, that show nine years, same house, same couch, same cat. I mean, it just they didn’t you know, it wasn’t they didn’t move into an apartment in New York City or something. And it was and it’s, you know, in a testament to just kind of. Stay true to your storytelling with the story, you know that you’ve got good characters to write for and Superstore right now is the same way. You know, we’ve got a few left there. It’s a Wal-Mart, it’s this is where we’re at. And Nothing’s changed. You know, there’s a pharmacy and there are groceries and checkouts and so I think there’s something to be said about, you know, once you kind of grab on to a situation and you have a good cast that you can really go on. I think usually what happens is, is that in most shows that may not work so well as it is casting. It’s, you know, who did you put together who’s who? And not to say anybody who’s bad, it’s just like what clicked, what group clicked together.
Q. Your bio read as a local boy born to starred in Hollywood projects. So my question was, not that you were growing up in L.A. you stumbled onto a movie set, but how did you decide that? Movies are my life. I’m going to direct. Was it a particular movie for you?
Victor Nelli Jr.: I don’t think I don’t. It was really I think it was just really. It was a way to I mean, a stumble, I mean, there’s movies that sort of, you know, that I remember watching when I was out of film school and things like that, but. I think as a kid, I just, you know, my parents, my mom and dad, they had a automobile shop and my dad was a racecar driver and very, very low. Just, you know, he was always broke. And but I was just I was a kid who I was always just fantasizing and telling stories. I was doing ear bands. And as a kid, I would set our backyard up. We had a pool in our backyard and I would set up and make these like carnival rides. And I would put people in wheelbarrows and dump them in the pool. And but I would set, you know, Halloween. I always had a haunted house. So it always was setting things up. I was always and then my mom had a Super eight camera and film. So I just started trying to learn and, you know, and what’s this? And I remember shooting, like in whole animation, you know, sequence with cars and all this. And I resented it and getting the film back. And it was completely out of focus. And I was like, all right, well, you learn about focus. You know that there’s something in there you got to make. But again, it was yeah, there was nobody in my family. There’s nobody in my neighborhood or anybody that I knew that was in the business. I really didn’t know anything about it. I just I love I watch films and things like that. But I was I was always making stuff. That’s why I’m saying I was always doing something I was not. Somebody was into all. I got to go see this. I got to go this film. I got to watch. I just I was always busy making I was out there and so through finally in high school and some friends had a rock and roll band. I sang in a once in a while and we there’s a friend of ours who is a little bit older, went to finally went to college and we went into the music video. And I remember seeing this facility and it was just like stages and cameras. And I was like, oh my God, this is let me I want to go here. So I think it was just. You know, I kind of fell into it a little bit, it just threw all this stuff at one point I thought it was going to be a deep sea diver and, you know, I thought I was going to be running my dad’s race team. I mean, it was, you know, I want to be a magician. When I was a kid, I was I thought I was maybe the next Harry Houdini. And I was sort of all over the place. But when I saw this, I was like, wow, this is this is cool. This is not what I really got to see the film tools and then not just slowly. You know, unraveled and again, just doing my own thing, I just, you know, made my own commercials in college and things like that and breaking rules. And people were upset because I was messing with the cameras and turning the color off. And I mean, it was so. Yeah, but once I got there, I said, oh, man, this is it. And so I kind of busted through and but yeah, there wasn’t like a really a film. I know as a kid, I really enjoyed movie soundtracks. That was like the records, you know, the Shining, you know, Vangelis, you know, there was a lot of. Movie soundtracks that I like to listen to, so again, not knowing like all this is this movie from the music, from the movie and what it meant for the movie and all that. I just I enjoyed it. So, yeah, following is, was it was not that it doesn’t really say I fell into it, but it was. Yeah. It just sort of. And my parents were very much behind me, they really supported me and, you know, and. You know, and really blessed, and I was just able to just work hard and, you know, I just felt like I was able to come move up and I did it all. I was a P.A.. You know, on a comedy show, when my first jobs, I worked at a liquor store. And there was a customer that came in all the time and I was in college and I didn’t even finish and she said, hey, when yappers and. So next thing I know, I mean, this is mid 80s. Next thing I know, I was buying doughnuts and bagels and for the writers room, so that was my first shot. So in the morning, I hit all these places that I go to Bob’s house and get the Coke and But I was just like, all right, this is welcome to Hollywood.
Q. Speaking of Hollywood, I’m just guessing that you guys must be having movie conversations. What’s that one movie which you have never seen. But you always admit that you have seen that.
Victor Nelli Jr.: A film that I haven’t seen, but I say that I have seen it. Oh, that’s well, that’s a good question. Have I done that. That’s such a great question. I’m just trying to think through. I think there are movies I talk about, and I’ve probably seen enough of the trailers. I’m pretty honest about that stuff. I’m really trying to think of something I’ve gone. And such a funny question.
Q. As I mentioned, and calling from Mumbai, and since we are based in Mumbai, we are Indians and Bollywood is a big phenomenon in India. So have you watched any Bollywood movies?
Victor Nelli Jr.: I remember I when I was doing I was doing them outsourced for NBC and which was great. It was you know, it was so much fun to try and create Mumbai, you know, in Studio City California. And I remember I watched, I did watch, oh, God, there was something about an uncle, something. It was like a comedy was about somebody’s uncle was sort of big and during that time. Just to get the flavor and we should remember, because it was sort of big, I remember it was well known but the first couple things I remember seeing, it was like the Segway to these bands playing, you know, there’d be the girl crying in the rain and you’d hear the music start up and the camera would pan off and there would be the band over on the street playing. I was like, this is fantastic. This is just like you get it all. It’s like drama, poor girls crying. And then there’s this guy singing behind her. And I remember the whole movie being like that. It was really good. And that’s I was like, oh my God. I just and I first of all, I just fell in love with the culture. I mean, I’ve always sort of my second love is cooking. And so, you know, I’ve always enjoyed trying to make it sort of Indian dishes. So and the culture is something that’s in the area and all that I’ve always wanted to go to. Just such great actors and, you know, again, people have been there so many times and, you know, Sasha on and Rizwan Manji and Parvez Channa and these guys are just, you know, such great actors and, you know, and it was great to talk to them to just kind of get the flavor. Yeah, it’s kind of turned there was the thing I really enjoyed was probably a lot of the music videos, though, and I’m sure there’s really popular song. I’m going to have to I have to look it up, it’s been so long, but I remember these people were dancing on top of a train. And it’s just like I remember, I think we even had it in our show and it was just like I remember. And they’re like, it’s crazy. It was insane. They’re like trains ripping through it and they’re dancing on top. And it’s like no one has got ropes; oh, my God, it was everything about the people, the color, everything just sort of turned me on so much that I don’t want to go. And I know season two of outsourced, we were talking about going to India and shooting the parts for the first couple episodes in the streets and be there and you know, and, you know, right to you know, so we’d have a couple episodes, you know, a couple of scenes to go to while we were there and we were going to do it. We’ve figured on budget and we figure out how to. How to get there and, you know, it just yeah, unfortunately, you know, it didn’t work. We got canceled, so. I’m still very close to those guys we did at the very beginning of the pandemic; we did a table read of the pilot. We got all the actors together. It’s on YouTube and we were raising some money and we did a table read with all the actors. And Ken Coppice, the director, was there. And, you know, we got Matt Walsh and Baylor and all these guys that are huge now from Veep and all these other shows. And it was great. It was a great and it was so much fun to put this together. I missed those guys, it was definitely a great family and it was the show should have been on for a few years and it definitely was not. You know, unfortunately, we were we were canceled a little earlier with the new regime, so not the first time, not the last time.
Q. Anything new coming from you?
Victor Nelli Jr.: Well, right now I’m just I’m just trying to finish up, you know, superstore right now. I think we’ve got five more episodes to do. And I know the writers. I just talked to the head writers. And we’re just trying to figure out. How we’re going to end the series, it’s been six seasons and we’ve got five more and it was a little surprise for us. So, you know, for us not to be picked up for next year. And but I think we’re good. I think Ferreira is going to come back for an episode or two at the end and. Yeah, I think I think it’s pretty good, I think we’re trying know I think we’re trying to just kind of tell a strong story because the show is very much like the office in L.A. is very much, you know, we dealt with the pandemic. When you see the show, everybody’s wearing masks. Everybody there’s no we don’t go. We didn’t run away from it. We didn’t create our own little future, so. It’s good, it’s a little sad, and so for I mean, for me, for the future, I’ve got I’ve got a couple of projects that I’m trying to get off and I’ve got one that I’m. That I’ve been kind of sitting on for a long time, that’s a period piece that takes place in Alaska and very much, very much, you know, the way I describe it, it’s sort of Deadwood meets the Coen brothers. Yeah, so that one I’m not giving that one up, that one, I’m just I’m hanging on. I know I’ve had it for a while and just I’m not giving that one up. There’s a few other riders that I’m working with and I’ve got a project and I’m just doing a lot more. I’m just doing a lot of research right now. I’m really interested in just sort of the father son relationships right now in this time of the Metoo movement and what that sort of you know, I have a son who was in high school and I’m sort of trying to, you know, get through all this and this message that’s being sent to him. Be a little confusing at times because it’s these you know, these times when he doesn’t feel like is what did I do wrong? What did I feel like? I’ve already done something wrong and how to talk him through, you know, and know that, look, you’re a good guy and things like that. So how do you how do we talk how do we talk to our sons now? You know, how is it that, you know, when this when you’re bombarded with all this information of you guys are bad and there’s bad guys out there and young kids can’t filter that. I can sit there. OK, Harvey Weinstein, somebody you know, these guys are I have the I have the filters in me to. To break those things apart, where my son is just hearing this, he’s like, well, if I if I just go to a girl, am I how do I it? It’s hard. And I think it’s really important for fathers to help guide their sons through this a little bit, because it is it’s know just as much as was. You know, women, their voices to finally speak, it’s just like everybody needs to be heard. Everybody needs to be. And I think it’s going to be interesting to see us go through this period of time, you know, and hopefully I think it’s going to get us to a better place where we’re all just respectful and we just love on each other. No matter who we are, what we do. It’s really, really when it comes down to. I’m reading a lot, I’m also trying to read a lot recently, read and read books. So it’s a big part as well. No, I do have up there those are scripts of the show’s. And I like to keep yes, those are all scripts of all the episodes of television I keep I like to keep my notes together and I don’t know, I’m not too sure what’s going to happen to them. I think my kids are just gonna throw them away when I die, so. But I have, but I have them it has and it’s the scripts it has my you know, my shot list and camera plots and all my script notes and, you know, and then that’s this guy over here, this weird creature in the back. That is that’s a mock up of me. I, I did a small part on Ugly Betty where I was in a bus with Vanessa Williams and Michael Yurie. And I was just a homeless guy and I was eating cat food, so someone our department guys made up a little doll of my character.
Q. To wrap up this interview. I would like to go the cliché route and ask you what piece of advice would you give to young aspiring filmmakers who are trying to make it? I mean, they can they can be from any part of the world to be a global community now. What sort of advice would you give them?
Victor Nelli Jr.: Probably the best advice that I got here, it’s just. You got to make stuff. It’s too easy now, it’s too you know, when I was starting out, it was still really film and you barely we barely had we didn’t really VHS camcorders came in just as I was getting into getting into college. So everything was on film. And so it was hard. She had to shoot it and transfer it and, you know, get on a bed and all this stuff. And so I was in that transition where it finally went to three quarter inch. And you’re able to look at it, you know, it was still linear, which was a pain. It was, you know, but the biggest thing is I just remember just someone said you just got to make stuff. And it really is, I think, right stuff. Shoot it, edit it, and put it out there. Have people watch it. It is too easy to do it now. It’s on your phone. You can do everything on your phone, you can shoot it. Edit posted on YouTube. It’s all you don’t have to go anyplace else. So the biggest thing is to put stuff out and try it and make mistakes, does it? But the biggest thing is what I find is, is when I talk to people especially trying to just not making stuff, they’re just sort of like they’re waiting for that operator. They’re waiting for someone to, you know, hey, instead of creatively making things and going and knowing that sooner or later something’s going to click, somehow, you know something, someone’s going to see something or else then you’re going to go, oh, I need a certain I need a prop. And also that person that you’re talking to is like, hey, I need someone to help me out. So now you’re doing a short film or you’re doing on that boom that leads on. I mean, that’s how I got my job. I mean, it was a play and then I was a production coordinator. And then I talked to a guy that. Knew that I knew how to drive ARV’s and he gave me a job, and then I knew that the video engineer was leaving that show. So I went in and said, hey, I can do that job. I learned how to do all that stuff. So I became a video tech on the on this TV show. It just all leads, but my biggest thing is just people making stuff, because you got to get out there and make mistakes. You know people need to realize there’s a lot of really great jobs out there. Production designers and costume designers, painters, Set painters, sound design mixing; there’s so many jobs out there. And I just I think what happens is people put so much and it it’s hard to put so much on, like, oh, I’ve got to be this Christopher Nolan a tour and I’m just going to do my show. And it’s only me and knowing that, how much behind him is making that happen? That director of photography and that camera operator. You know, that sound mixer that’s you know, it’s there’s just so many other jobs to do and be involved in the filmmaking part of it, I mean, and even people that are wine producers, we need good. Line producers that are better for me is I don’t want a line producer that’s a filmmaker first, I don’t need someone just constantly the budget, the budget. But, you know, how do we make something happen? How do I take five dollars and get a crane? That’s the filmmaking part of it. That’s the fun part is OK, guess what? We can’t shoot this location. That or I need to get rid of extras. I need it. So all I’m saying is but there are so many jobs out there that everybody can do and get yourself into the business, you know. So don’t just people just sometimes really hone in and like, they’re just I’m going to be on it. Who is going to be just a writer or I’m going to be an actor? Or just if you look at some of the greats and they all we’re doing other things, man. There’s very few very few of them came straight into it that are, you know, special longevity to.
The Movie Culture Synopsis
Incredible chat with Victor, such great insights and the deadwood thing he is working on sounds cool. Victor Nelli Jr. also has a lot of experience and the beginning he shared for both Brooklyn Nine-Nine and The Office is nostalgic and its fascinating to ponder upon them after this chat.
The most unexpected part of this interview the peak inside to Christopher Nolan’s love and hate for Ford V Ferrari.
He was trying to remember the song Chaiyya Chaiyya, which is another great interaction from this Interview. And it does not take us much to remind you of where you can find Victor’s work as he has done so many from which you can take your pick.
