Warren Ostergard

Behind the Magic: Crafting Cinematic Wonders in Charleston

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Charleston isn't just steeped in history and culture; it's turning into our very own slice of Hollywood. Think of it as 'Hollywood East,' if you will. We're all buzzing about “The Righteous Gemstones” and Danny McBride's newfound love for our charming city. Like many of you, my romance with the glitz and glam of Hollywood started as a wide-eyed kid, dreaming of the silver screen. I even dipped my toes in the Los Angeles film scene, an experience that was nothing short of magical.

But here's the real scoop: I had the fantastic opportunity to sit down with Warren Ostergard, a maestro in the world of movie production. This is a man whose career reads like a blockbuster script – having worked in films with John Cusack, Rober DeNiro, Emilia Clarke and recently finished working on "The Hill" starring Dennis Quaid, and "Sound of Freedom" with Jim Cavieziel, among others. Forget LinkedIn – this guy has an IMDB page, where the real action is, so feel free to dive into Warren's cinematic universe.

Our conversation was a deep dive into the whirlwind world of movie production. We explored the highs, the lows, the unseen drama, and the triumphs that come with bringing stories to life on the big screen. From the nitty-gritty of production challenges to the magic of movie-making, Warren laid it all out.

So, grab your popcorn and settle in for a behind-the-scenes tour with one of Charleston's own cinematic wizards. Read on for our full interview below. (PC: Paolo Ciccone, WO: Warren Ostergard)

PC: Many of the people who watch movies are familiar with some roles in a production, like director or screenwriter. Some might not be clear about the role of a producer. Can you tell us what a producer does?

WO: I take a lot of pride in being a producer. If a director is the architect, I’m the general contractor. With the director, we look at the script, cast the talent together, find the right locations, lay the groundwork to deploy everything to that location, hire the crew, make the schedule, and so on. I’m not the kind of producer who oversees the production from afar, I’m on location making sure that everything runs smoothly.

PC: Just to keep thinks easy to understand for the general public, what are the macroblocks in a movie production?

WO: We start with the Intellectual Property. We need to make sure that we are legally able to produce that movie without issues. For example, a lot of true stories have a long history, you want to have the life rights of that person, and you want them on your side so that you can tell their story. And then you have to hire a writer to write the script. And all of that has to be documented. In some cases you develop all this with the director, in other cases you hire the director after the project has been approved. Lastly, you need to find the financing. And sometimes you need your cast before you have the financing.

PC: Wow, how is that possible?

WO: It requires a lot of organization. You have to be flexible. It all starts with those pieces, and then you have to hire your department heads: the production designer, the costume designer, the cinematographer,, the first AD and so on.

PC: And “first AD” stands for…?

WO: First Assistant Director. In the directing unit, there is a director, a UPM, a Unit Production Manager, that’s what I am, and then there’s a first AD, a second AD, and a second second AD. And on larger productions it could mean many more.

PC: It all depends on the scale of production.

WO: That’s right! And then there can be several units running at the same time. For example, you might have one unit shooting a car scene that doesn’t require the actors, just the stunt doubles, while simultaneously shooting the actors in another scene. A producer has to oversee all this. And all this has to be done within budget. Before production starts I build the budget.

PC: Right, the budget. That is one thing that always amazes me. How do you do that? How do you know in advance how much you are gonna need?

WO: In a perfect world you would have the time to do your due diligence, but often we don’t have the time to research every detail, so I have to use my expertise, and my past experience to make the budget. And then you better make it fit during production because you know how much you can afford and so you need to deliver the product for that number. I think that the best directors are the ones who have an ability, an internal ticking clock that tells them what they need to do to win the day. In movie-making, we live by what we do every day and good directors do that.

PC: How did you get your start as a producer?

WO: I cut my teeth by doing it. Fresh out of college, I accepted a job offer in Colorado to be a mountain guide, a role that aligned with my longstanding passion for climbing mountains. It was there that I met my wife, who was also a guide. A few years later, in my late twenties, I took a leap and started a marketing firm in Boulder. I built up the company, sold it, and used the profits to relocate to Los Angeles. All this time I had my wife's unwavering support. Moving to Los Angeles in 2003 was a huge step. Initially, I pursued acting, but after a few auditions, I realized it wasn't the right path for me. Then my entrepreneurial spirit kicked in again; I began making short films with friends and producing them. That experience was invaluable – I learned what it took to complete a film and made connections with directors who later hired me to produce larger feature films.

PC: What’s keeping you busy in these days?

WO: I just completed delivery for “The Hill” and I was fortunate to be the US Line Producer for the box office smash hit “Sound of Freedom.” I have my production company called “Vitamin A Films” and I’m working to find my next movie.

PC: Why “Vitamin A?”

WO: That’s a good question, vitamin A is good for your eyes! (laugh) Anyway, I was hired to produce the US unit of “Sound of Freedom.” That means produce all of the US border scenes, working directly with the US Dept. of Homeland Security and US Customs and Border Protection. It was a very cool experience.

PC: Because you cannot just start running cameras along the streets with guns…

WO: Right, you need to get all the permits, deal with the local bureaucracies… You just need to go through all that and make it happen. Anyway, I could go on forever.

PC: Me too! Thank you very much for your time, Warren.

We talked about many other parts of movie production but I think that this gives an idea of how fascinating the behind-the-scenes activities are that are part of a producer’s job.

It’s been a unique pleasure to connect with Warren and talk about the art of making movies and we are so lucky in the Lowcountry to have so many vital industries like the one where Warren works. If you have a movie project that needs a great producer, please contact Warren through his company Vitamin A Films.

And that’s why Warren Ostergard is a Lowcountry Influential.

Artist’s notes: Warren’s portrait was made on large format 4x5 black-and-white film. Only large-format photography delivers this perspective. The negative was then scanned and brought into the editing program where I hand-repainted every detail of it to create the final concept that you see here.