9am  I had to put together a shot list for a shoot I was doing that night, a commercial. Most of the time I convince myself I know what I’m doing about an hour or so before I actually have to do it. 

Noon We always have lunch together; [business partner] Allan Nay and I aren’t willing to give it up. We can’t monetize the benefit, we can hardly even verbalize the benefit to eating lunch together, but we can feel it. 

12:30pm  We have this conch shell, and we figured out how to blow it to make a really nasty sound. It’s what we do to fire up a game of Call of Duty. Our code for it is “It’s time to S some MFs. Which is ‘shoot some motherfuckers.’” It’s what we do instead of going on a smoke break. It’s 20 minutes, and then we get back to work. 

1pm We got a call from a client, asking us to come up with ideas for a new job. So we started digging into it, brainstorming. It took this cohesive morning and turned it into a chaotic afternoon. 

4pm I don’t have what you’d call a couch in my office; it’s sort of a half-ass bench. I passed out for half an hour. 

7pm I went downtown for the shoot. We had four cops and we blocked off the Viaduct. We got to drive up and down the Viaduct at 80 miles per hour—this massive remote control camera was mounted on top of a Mercedes SUV. I was sitting in the backseat. There was no talent; we were just shooting the background. I got home at four o’clock in the morning, but I felt like we had gotten done in one workday more than most people get done in a week. 


Read more about World Famous.

 

 

Published: January 2013

This article appeared in the January 2013 issue of Seattle Met.
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