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Lights, camera, Rush.

What does it take to create the tone on Rush? TV Tonight talks to director Daniel Nettheim about getting the money shots.

RUSH2The script has all the makings of a furious scene. The cast are poised to sprint on cue. But how does a director bring a script to life, and more specifically, create a visual DNA for Rush?

TV Tonight recently spoke with director Daniel Nettheim on the set of the TEN drama.

Nettheim is, like many directors in Australian drama, one of several regulars employed to work on any given series. They are hired because they are good at being thrust into the frenetic cycle of series television who can hit the ground running with actors, crews, script, locations, weather, time and the unforseen.

On the day TV Tonight visited Rush, one senior crew member required serious medical attention following an on-set  emergency. After due attention, it was back to the day’s filming. The clock never stops in television.

Rush dnNettheim approaches Rush in ways that enhance the storytelling as well as keeping actors in the moment.

“I rarely do more than two takes on this show,” he says. “Because you want to establish a culture of getting it right the first time, and getting everyone primed for that first take, and then move on. You’ve got so much to do in any given day.”

Having also directed for All Saints, Satisfaction, The Elephant Princess, Last Man Standing and White Collar Blue, Nettheim says the look for Rush is designed to match the action of its police cases. He shoots in a style that reflects its adrenalin and provides ample options for post-production.

“We prefer never to cut back to the same shot more than once. Even if there is something that doesn’t quite work on set, we just move the cameras to a different position. And get a different angle anyway,” he says.

“That way the editors have always got the material to keep changing the angles, keep moving forward.”

In just over twelve months the series has developed a loyal fan base, and in a new timeslot in 2009 is seeing it grow. Confidently, TEN increased its production output to 22 episodes.

But there have been some who have cynically commented on the show’s penchant for hand-held camera work.

Nettheim jokes that the tripod isn’t entirely banished from the set.

“I’ve used it a couple of times if I’ve wanted to create a still moment amongst all the busy-ness. Some breathing space. Or to establish geography.

“The first series was all very tight.”

RUSH jbFor the second series he has added more levels of distance from the action.

“Just looking at it I felt the need to step back a bit. And just to get a sense of the space where people are,” he says.

“For example in the first episode this series we shot a whole lot of stuff at Southern Cross station. It was such a vast space, and such a great bit architecture. We were really there, we weren’t cheating it. So I kind of wanted to say that.

“So I jumped right back and got the whole caverness space with this stand-off happening, and real trains coming in and out.”

Rush prides itself on urban locations, using actual street names to create a sense of authenticity.

“I like to try and show it’s happening in a real city with everybody going around their lives.”

Rush airs 8:30pm Thursdays on TEN.

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