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The Biz Interview: Ken Bates of Transformers: Dark of the Moon

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A native of Southern California, Ken Bates paid his dues as an extra and stunt player before earning a coveted role as protégé to the late Dar Robinson. Hollywood soon came calling, needing his unique talent and specialized equipment designed especially for high falls (ten stories and above). Since making a name for himself as Alan Rickman’s stunt double in “Die Hard”, he has served as the stunt coordinator and frequent second unit director on such films as The Italian Job, Training Day, and Con Air.


Having already teamed up with director Michael Bay on past films like Pearl Harbor, Armageddon, The Rock, and Bad Boys, Ken Bates served as the Stunt Coordinator/Second Unit Director/Co-Producer on Transformers: Dark of the Moon and last worked in the same capacity for his friend and director Michael Bay on Transformers: Revenge of the Fallen.


He joined us from Prague to discuss his refined approach to stuntwork with the added challenges of 3D and CGI in Transformers: Dark of the Moon.




Transformers is a series that uses a lot of visual effects and action sequences. What’s the creative process like for coordinating sequences that involve actors, stunt performers, and combine them with CG footage later on?


The most difficult thing that people don’t realize is that we’re shooting the movie with things that aren’t there, so we’re working with previews, we’re working with ideas and concepts. It’s not like we have solid scripts… Half of what we shoot is not on the page. It gets really complicated, but I mean the biggest challenge is story structure (and) characters… I think what we didn’t deliver in the second one – and what we delivered in the first – is definitely in the third. I think we have a story structure. I think the characters are great. I think Rosie did a fantastic job. I think Shia really stepped up to the plate. I mean we had so much great talent. The story, it just flows better.


It’s easier to build action when you’re building it around your characters and it goes within your characters and your story, but what people don’t understand is there’s a whole blind side to it. There’s the previews that no one sees that we have to shoot. We’re always shooting around things that aren’t there – for instance, we have to make frame size for robots that will be put in later and we have to know where they are, where they’re coming from, where they’re going, and where what moves, and don’t cross these lines and make space. I think it’s much more complicated than shooting a real film. There’s so much CGI. A real film has like one side to it, but when you get into so much action in Transformers, it’s got like 5 layers to it. This is a CG layer, this is the action, this is a CG layer, this is the visual effects layer, this is the 3D layer, and this is the coverage. I mean it’s just so much and we shot so much 3D. I’ve never worked on a film in my life where we shot so much 3D, just about every day… A lot of films are like 15% 3D or 10% IMAX. I mean we shot a lot of 3D and I think the audience is going to love it. I think we really went overboard in delivering a great film.




You’ve worked with Michael Bay for a long time. What is it that makes the two of you a great team?


I think the fact that we can talk to each other very badly on the set and go to dinner at the end of the day, but we don’t hold back. Michael – actually, to his credit – he respects me and I respect him. We have a very unusual relationship, but I don’t think it’s something that somebody else could walk into. We’re pretty close. We’ve spent a lot of time together and work is work and fun is fun… we always joke about it cause we clock in and it’s like kind of hitting the time card and going to work and we fight like hell all day long. It’s not about him and it’s not about him. It’s always about the movie, but we get into it. We fight a lot and the result is fantastic. I think we make great movies together. We always have and Michael will continue to make great movies and I will continue to support him.


What advice would you offer to anyone who’s interested in working in the stunt side of things?


The first thing is to do their homework to know what it’s all about because it’s not just about action. It’s about characters and story. It’s about vision and it’s about comprehension of the director. If you’re missing one of those elements, then you’ve missed the boat. Homework is homework. There’s a lot of stunt people, but there’s a select amount of stunt people who have the imagination to offer something to the director. I would like to think I’m one of those guys… For every picture, there’s a different approach. I think that knowing the style of filmmaking, knowing the style of the director – what he’s done, where he’s been, and what you need to do – it’s all part of it. I mean there’s stunt people that come to work that don’t even read a call sheet and they have no idea what they’re shooting, and they ask people sometimes “Hey, what am I dong? What do you want me to do?”. They don’t really keep the call sheet, they don’t read the scenes, they don’t ask questions, and yet they are very big in participation in the film. Without action, without stunt people, there wouldn’t be big action movies.


Transformers: Dark of the Moon is in theatres now.

Posted on July 7, 2011.
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The Biz Interview: Cameron Labine

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All of us here at Biz Books are in the business of helping others to be creative, in addition to working at being so ourselves. Based on that, it’s always a cause for celebration when one of the “Biz Books Alumni” has a new project to share.

Case in point: Cameron Labine, the director of Control Alt Delete.

In case you missed it in theatres or on the festival circuit at VIFF and TIFF, this former Bizzer’s cinematic labour of computer love arrives on DVD this week.

We figured that this was a great time to catch up with Cameron and ask him about how the film came to be and hear his own insights into the directorial process.

For those people who are new to the world of Control Alt Delete, what would you like them to know about the film going in?

I’d like them to know that they are going to see some things they probably
haven’t seen before. Like computer sex. Or compulation, as we call it. And
that it’s okay to become aroused.

Can you tell us about the casting process for the film and how that came to be?

I wrote the lead role of Lewis with my brother, Tyler Labine, in mind. I also wrote roles for friends Geoff Gustafson, Keith Dallas and Bro Gilbert. The rest of the cast came in to read for our casting director Sue Brouse and myself. Alisen Down was a wonderful surprise as the uptight office manager, Angela. And Sonja Bennett made the role of Jane something special. I got lucky.

As a director, what are the most effective ways to communicate your vistion to actors on the set?

I was an actor for years so I share a vocabulary with them. Although I’m not
very technical. I just like to talk it out, like we’re having a beer. Unless they’re making some left-field choice I generally work with what they bring, rather than micro-managing the performances. Once you cast them, you should pretty much know what you’re going to get.

What was the most difficult scene for you to film?

The first scene of the film! We did a slow dolly through Lewis’s apartment and then settled on he and his girlfriend fumbling their way through a 69 position. Laura Bertram and Ty were great sports but it was a tense environment, exasperated by me and the DP trying to do something technically challenging with the camera. Bad idea. But it turned out okay in the end.

After completing the film, you screened it at several film festivals, including Vancouver and Toronto, before securing Canadian distribution with E1 Entertainment. What can you tell us about your journey from the festival circuit to theatrical distribution?

Well, getting in to TIFF creates a nice buzz and we suddenly had the
distributors courting us. So we showed it to our first choice, E1, and they
bought the world wide rights before we even screened at the festival. That
was a thrill, and a relief. I had a lot of fun travelling around with the
film but the other highlight was receiving the Film Guide Inspiration Award
at VIFF, in front of the home town crowd.

What do you think are the biggest challenges facing Canadian filmmakers right now?

I would say our problems all start with the dismal box-office. Feature film is a tough business in general right now, but when Canadian films are only pulling in 1% of domestic box-office, you know it’s unsustainable. So it’s becoming increasingly hard to put together financing. Even with all the “soft money” (telefilm, tax-credits) available here. Frankly, it’s very discouraging. I’ve been looking to TV as a relatively vibrant alternative.

As a filmmaker, how would you describe your stylistic footprint? How do you try to be different from what’s out there and who’s work are you influenced by?

I’m interested in exploring the darker parts of the human experience in a
fun and irreverent way. Control Alt Delete is about some pretty serious
stuff — addiction, pornography, fetishism, anxiety — but it’s always
encouraging you too laugh at it. I mean, come on, you think you’re the first
person to want to screw a computer? Well, maybe that’s a bad example. But I
feel that if we can laugh at ourselves, our problems become manageable.

I’m influenced by everybody. And I usually think of specific influential
films more that artists. But I would say I draw especially on Woody Allen,
Hal Hartley, Billy Wilder and The Coen Brothers.

You wrote the screenplay for the film, as well. Where do you get your inspiration from and what comes to you first — the words or images of the story?

In the case of CAD it was the image…of the dude…doing it. But then came
the words, and I would say that I generally think in words more than images.
For better or worse.

If you could recommend one book about screenwriting or directing, which would it be and why?

Right now, it would be Inside Story by Dara Marks. It’s a brilliant examination of how story, character and theme work together in a screenplay. Overall though, it would have to be Sculpting In Time by Andrei Tarkovsky, the greatest film director of all time. Reading that book is like going to church.

What upcoming projects are you developing that you can share with us?

As I said, television is looking pretty good right now, so I have several
projects in development with different production companies and
broadcasters. It’s cool, it pays, and I don’t know about you, but I love TV
right now. I just started Nurse Jackie and Breaking Bad and it hurts my brain to choose which episode to watch next. I cant even keep up with all
the cool stuff on TV. It’s become a really exciting form over the last
while, ever since The Sopranos and Six Feet Under busted down the door.

Posted on June 15, 2010.
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Nadatodo? Add a dot com and there's no reason to be bored.

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While the site refers to her as a “brazen force”, we found Anastasia Koutalianos quite nice when she visited us at Biz Books to tell us about her online events listing site.


So impressed were we with her presentation that we pledged to spread the word to you so that you are able to avail yourselves of her great service and thereby increase the eager audiences for your screenings, readings, performances, recitals and other happening happenings. There is also tons of stuff listed there that you might want to check out as well. Be sure to check out NADATODO.COM and start filling the pages of that shiny new 2010 calendar!

Posted on December 17, 2009.
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Holiday Flower Fundraiser

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Biz Books is pleased to support The Good Company Collective in their fundraising efforts for their 2010 production of Marsha Norman’s award winning play ‘Night Mother. Featuring Biz Books’ own Bronwen Smith in the role of Jessie along with the venerable Wendy Morrow Donaldson in the role of Thelma this anticipated production will take the stage in October 2010 at Studio 16 (1545 West 7th Ave., Vancouver) under the direction of another member of the Biz family, Carol Hodge.

This Pulitzer Prize winning play is an eloquent, enthralling and ultimately shattering story that explores the final hour in the life of a young woman who has decided that life is no longer worth living.

“…honest, uncompromising, lucid, penetrating, well-written, dramatic, and…un-manipulatively moving…” — NY Magazine


The Good Company Collective with the support of Heathers The Flowershop, have two beautiful holiday flower arrangements for order through Biz Books. These beautiful and affordable flower arrangements are a thing of beauty to share with family and friends this holiday season.

Call, e-mail or visit Biz Books in store or online to place your orders.

You will receive notification within two days of placing your order that your arrangement is available for pick up from our neighbours at Heathers The Flowershop (422 West Cordova Street, Vancouver).


Delivery service is available at an additional cost and arrangements can be made through Heathers The Flowershop directly by calling 604.603.4995.

Posted on December 16, 2009.
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Biz Books is Serious, Man, about A Serious Man

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Last time out, the Coen Brothers (Joel Coen and Ethan Coen) put a number of big name Hollywood types (George Clooney, Brad Pitt, and John Malkovich) into some big trouble for last year’s scathing satire, Burn After Reading.

At Biz Books, we’re looking forward to their latest film, A Serious Man, a close inspection of domestic squabbling involving a married couple and the prolonged stay of an troublesome in-law. Told in a darkly comic way as only the Coen Brothers can, the story is set in the 1950s and stars Michael Stuhlbarg, Richard Kind, and Sari Lennick.

Look for A Serious Man in theatres on October 16th, 2009.

Can’t get enough of the Coen Brothers? Biz Books invites you to read Almost an Evening, a collection of three plays written by Ethan Coen.

Stay in the loop for Biz Books movie contests in Vancouver by signing up for the regular Biz Bulletins .

Got a favourite Coen Brothers movie that you’d like to share? Start a discussion below.

Posted on October 16, 2009.
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