Bill Thompson: Saltworks Creek
By Molly Ring Winans
Film and TV
work is kind of like sausage,” says Bill Thompson. “You
really don’t want to watch it being made.” This film
and television production company owner may try to de-glamorize
his world by telling you about the dull hours when the camera’s
not rolling, hours spent waiting for prop and lighting set-up.
However, when he warms up and starts to talk about “loading
up a jib crane,” which is a camera on a long arm “that
gives you a cool move,” “zooming in and dollying out,”
“DP-ing” or acting as director of photography, and
using background smoke, it sure sounds like a sexier job than
most of us have.
Bill
and his wife Debra named their Annapolis-based company Saltworks
Creek after the Severn River creek of the same name which they’re
fond of. Debra oversees the books while Bill directs photography
and hires film crews with sound and lighting experts for each
project. The four categories of Saltworks Creek’s clients
are film, corporate, government and broadcast. FBI, USAirways,
BGE, The Kennedy Center, National Geographic, Dateline, PBS and
20/20 are among them. Widely varied in scope, current projects
range from a government counter-terrorism training video to a
film documentary about the Philippines.
Becoming a director of photography wasn’t in Thompson’s
long-range plan when he was studying industrial design. All he
knew was that college wasn’t as interesting as he had hoped.
When taking some time off in Florida, he saw an ad for a “television
bench man,” which sounded exciting. It turned out to be
a repairman job for which he wasn’t qualified, but the spark
for the television idea remained. He landed a part-time job at
a small television station where he worked through college at
the University of Maryland.
“Mine was all hands-on experience. That was the way it was
back then in television,” Bill explains. “There wasn’t
a TV production department at school. I didn’t have any
classroom theory. At the station, we had a sales guy who’d
find a local business, say a laundromat, and we’d go shoot
a commercial for it. We also did longer format eight-minute news
specials or investigative report segments. We got more into it
than just a 30-second news story. I just loved it.”
After graduation, Thompson became an editor for Channel 20 and
then “badgered” the local CBS station until they hired
him. His 12-year tenure at CBS as an editor and later as a cameraman
ended when corporate restructuring forced him to either move or
take early retirement. He chose the latter. “Had the structure
of my CBS job not changed, I’d probably still be there,”
he admits. “I know guys who have been there for 30 or 40
years. I’m so glad it happened.”
Thompson’s next adventure was launching Video Works, an
offline editing and production company. Offline editing involves
preliminary film cuts and writing the EDL, or edit decision list,
for the final online editing process. Video Works specialized
in cost-effective editing for clients who didn’t have their
own offline editing equipment. When marketplace and equipment
pricing changes shrunk the demand for their services, Bill’s
investment partners eventually bought him out, which freed up
his time to do production work, his passion and specialty.
His consulting work, which became his production company Saltworks
Creek, has given Thompson creative and personal flexibility. “Working
for myself is something that just evolved,” he explains.
“I don’t know how anyone just starts doing it. You
have to have a stash of cash for the slow times, especially for
someone raising kids. I am very fortunate to be in a position
where the kids are grown. The boat’s paid for. I’m
not pressed to take everything that comes through the door, so
I can pick and choose my projects. All of my business comes to
me by referrals.”
Bill and Debra paid their dues burning the midnight oil and sleeping
on the office futon at Video Works. “Sure, we were profitable
the first year, but we had no life,” he remembers. “That’s
pretty typical in this business. People who are really immersed
in it tend to overwork until they burn out.” The Thompsons
feel lucky to be in a place in life where, in lieu of frantically
chasing down business, they can relax and go sailing in the quieter
moments.
Another positive aspect of such versatile work is that no day
is typical. One day Bill may be editing a government training
video, and the next he may be scouting out a location for a television
commercial to see if there is adequate light and enough space
for the film equipment. Like any job, there are dull administrative
and time-intensive proposal writing days, as well as days spent
waiting for prop crews and lighting directors or gaffers to properly
set up.
“Shooting the picture” is Thompson’s favorite
part. Shoot days always begin early so that he can film during
“the golden hour,” the best lighting being in the
early morning or late afternoon. Professional filming takes longer
than the layman expects. A recent television commercial for insurance
fraud consisted of one shot of a phone on the floor. The idea
was to focus on the telephone, then have it become clear that
the office was empty and that the insurance company was bogus.
It took seven hours to film the 30-second commercial—after
a full day of preparing the location. “That’s nothing,”
claims Bill. “More complicated shots take much longer.”
When he’s not shooting them, Bill loves to watch films.
His list of favorites is constantly expanding. Recent films he’s
enjoyed are Ron Howard’s “The Missing,” Andrew
Davis’ “Holes,” and Harald Zwart’s “One
Night at McCool’s.” He admires anything by Hitchcock
or Fellini, who he says, “really had an eye for making outrageous
stuff work.”
Thompson likes Annapolis’ proximity to Baltimore as a film
hub and to D.C. as a news and magazine mecca. Although he likes
the whole town, Eastport feels most like home. The couple’s
abode, a 41-foot ketch-rigged sailboat called Phantom, is docked
a few blocks from Saltworks Creek’s Fourth Street office.
“I have Davis’ Pub and Café Guru’s on
one end, my office in the middle, and Boatyard Bar & Grill
on the other side,” Bill says. What more could a local want?
Molly Ring Winans finds that oil painting, cooking, and training for triathlons
are all great ways to procrastinate writing.
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