While actors, directors, writers, and producers often get the limelight, the film world is full of unsung heroes and heroines: the workers of the camera, grip, electric, costuming, sound, art, and other "below-the-line" departments. You only have to look at the end credits of a movie to see how integral they are to production. Watching a good crew in action is like watching a well-made clock. Timely, steady, and dependable. Without them, films could not get made-- plain and simple.

Since moving to Los Angeles in 2001, Jennifer Lai has worked with the camera department on such films as “Me, You, and Everyone We Know,” “Walk Hard,” and “My Blueberry Nights.” She's also been involved with so many commercials and television shows there's not enough space to go over them all. Filmmaker.com was lucky enough to catch her on a day off, sit down with her, and pick her brain.

FM.C: What inspired you to get involved in film?

Jennifer: I just started watching films to better my English, and then I got drawn into the glamorous world of “Hollywood.” I always knew I wanted do something with film, but I had to be realistic. So I wanted to choose a school where I could major in biology and still take film classes, and that's why I went to [Washington University]. So it was always a parallel path, science and film.

I was in a movie my junior year of college. I got to know this guy -- he was everything: director, writer, cinematographer. I helped him, and I got really into it. It was like a kung-fu fighting thing.

FM.C: And then you decided to go to film school?

Jennifer: I met the guy who was also into film, and he was applying to film schools. And that was when I learned, “oh, there are film schools; there are actually schools that will teach you [filmmaking].” So he went to USC, and I went to Florida State.

FM.C: So how did you get started in L.A.?

Jennifer: I helped out with a short for free. I did [craft services]. I did crew scheduling. And 2nd. From that I met more people . . . like Rory King, who was a camera assistant at the time, and I kept in touch with him. I knew that him and Paul Marshall were the two camera assistants at the time; and I knew they were starting a feature in October. So I called Rory . . . and he hired me as a film loader.

They were working with Panavision cameras. Kristian Bernier -- he was the D.P. Shortly after production started, Rory had to leave, so I became 2nd AC, and towards the end I became the 1st. Kristian was a great cinematographer and a great people person. Rory wanted to get more into lighting; he wanted to be a cinematographer, so he mentored me to take his place.

I did four or five features that first year. I owe a lot to Rory and Kristian cause they supported me. I worked with Panavision cameras, so there was stuff I had to learn about the camera itself.

FM.C: Did you find it challenging?

Jennifer: Learning a new camera? No, it wasn't that challenging, but Kristian was so nice. It was a great opportunity where everybody was nurturing.

FM.C: You say you did four or five features in your first year? You must have had enough days to join the union.

Jennifer: I had my days approved in February of the following, so it was a year and half.

FM.C: Did you know you always wanted to do this?

Jennifer: No. Not at all. I didn't even know there were focus-pullers.

FM.C: So how did you know you wanted to something with camera?

Jennifer: When I was doing camera I just felt that I really liked it. It was really tough because no one would let me go near the camera during my first year of film school. But then by the second year, I shot and operated on one of the D3s (Directing 3 projects), and it was a 360 shot on the western dolly, on sticks [ie, tripod], and I did it . . . it was very smooth. When people saw that they were like, “Wow, Jennifer's a good operator,” and from there, they let me on the camera. First years would ask me to help me on their stuff; within my class I operated and pulled focus. I got a lot of experience my second year . . .

FM.C: Do you have any favorite Directors of Photography?

Jennifer: Darius Khondji. Chris Doyle. I think Wally Pfister is overrated [laughs]. Oh, I like Mauro Fiore. He shot “Training Day.”

FM.C: What project are you working on now?

Jennifer: I just finished the first week. It's with the Red camera.

FM.C: What's it like working with that camera?

Jennifer: The camera itself: the image -- it looks great. But it's not a really operator and focus puller-friendly camera. It's really little and a lot of attachments to put on there. It's too much of a piecemeal thing. But in terms of technology, the camera itself, it's great.

FM.C: Do you think that's where film is heading, to digital?

Jennifer: I hope not . . . I prefer film.

FM.C: How's digital filmmaking and new media going to affect the film industry?

Jennifer: I'm in a dilemma. If you use video, you shoot Genesis, HVX, or whatever. You capture an image, and then later you're processing it in the computer or the software program. But look at what you shot-- you used software to change it. I know it's still your vision, but I don't feel like it's an art form anymore.

FM.C: Have you worked with the Genesis?

Jennifer: “Walk Hard” was the first time working with the Genesis. I was there when they were doing all the theater performance and singing.

FM.C: What was that like?

Jennifer: When I work on films like that I'm reminded of why I wanted to be in the film business. I feel like it's very magical, and it's such a collaborative kind of project. I feel the energy of everybody, and you hear John C. Reilly on stage singing and 150 extras all wearing 50's costumes... girls with poofy skirts and button down cardigans, and making these facial expressions -- like how girls go crazy over Elvis. And you don't think about extras and background people, but they really add energy and atmosphere. So just being there was such great energy; it was really great.

FM.C: Do you do mostly features?

Jennifer: I do a lot of commercials and TV shows. Features are the world I want to be in. I don't know as many people in the film business as I know in the commercial and TV world, and it's kinda funny cause there's all these separate areas, and it's hard to break into another. In TV I do two camera. I'll do one hour-episodic: CSI, Ghost Whisperer, NCIS. The last feature I worked on was with Darius Khondji: “My Blueberry Nights.” I did their West Coast location.

FM.C: How are features, television, and commercials different from a camera/crew perspective?

Jennifer: Commercials, you usually go a day or two. They have more toys . . . but it can be really boring at times. It's kind of repetitive. You do the same thing over and over again. This is only going to be a thirty-second end product, and today's going to be sixteen hours and tomorrow's going to be sixteen hours. TV is like a smaller version of film, but much longer length wise. It's much longer hours, and the pay is okay.

Commercials -- the rate is great, but it's a lot of work for just one day. You have to do the prep the day before. It's very rushed. Very quick, very fast, so it's kind of tiring. If you do two commercials in a week, you bring all your gear to this camera house; you do the prep; you load up the cart; you shoot a day; you put everything back in your cart; you drive home; and then the next commercial, you drive all your stuff back, prep, and dump it all. And then you cart it, so it's a lot of work just for one day of work.

Whereas if you're on a feature, you do it once in the beginning and then six months later you wrap out. But then again it is six months later, and it does take over your life; so that's why a lot of people prefer commercials because it's quick, short, and pays well. And then TV is long, long, long hours, but it's steady; and features is kinda of in the middle. Not as long as TV, but it pays well.

FM.C: Does everyone want to do features then?

Jennifer: I think it depends on where you are. TV- if you have a family, because most likely you have kids who have to go to school, you probably have a mortgage on your house... and then the studio option would be a lot better. I think commercials are kind of nice if you're single or married and have no kids yet.

FM.C. I think anyone who's worked on set has had their fair share of horror stories. Do any come to mind for you?

Jennifer: I remember on “My Blueberry Nights”, we were filming in the middle of nowhere in Ely, Nevada. In the middle of the road, on a process trailer. We worked nine hours before we [broke] for lunch, and by then it was cold. And we had five minutes to eat. And then we worked another ten hours. And there was no way to go the restroom. It was with Darius [Khondji], and he was very gracious and nice about it.

FM.C: Who is the coolest DP you've worked with?

Jennifer: Darius Khondji. He was great. Darius will say good morning, and he'll know everyone's name by the end of the week. He apologized for the nineteen-hour day.

FM.C: So what makes for a good on set experience?

Jennifer: Decency. Consideration . . . ultimately it's just a film. I did a union feature where I was miserable for five weeks because my boss was screaming in my ear, and I think you can't do that -- you have to talk to the person. We're all in it together. It's not like I'm slacking off.

This feature I'm working on right now. It's great! Everybody is so friendly; everybody is so kind. It's fun. You have a family.

FM.C: What words of advice would you give to people who are just starting out in the film business?

Jennifer: My advice would be to just make sure you're having a good time. That's really important -- you're being true to yourself and taking care of yourself. And being in this business has taught me a lot about being a people-person. They key to surviving in this business is to be malleable. When I'm working with this person, I'll adjust.

Make sure you're having a good time. And if you're not, I don't think that the money is worth it.

FM.C: Tell me about a fun time.

Jennifer: It was off-set, but I went hiking with Norah Jones and Natalie Portman for the day. We hiked for three or four miles and then we went swimming in a glacier lake.

FM.C: Really! Were they cool?

Jennifer: They were really nice.

FM.C: Thank you so much for you time. It's been a pleasure.