I don’t watch that much TV, so I came late to this show, but even if my favorite directors are people like Manoel de Oliveira and Eric Rohmer, one simply has to admire the skill of people like Larry Teng, a young director who works in episodic television on such shows as Medium, Elementary, NCIS: Los Angeles, Criminal Minds and Hawaii Five-O, and has done a great deal to bring diversity to the director’s chair on television. Teng’s brilliance as an action director is simply stunning – fight scenes, car chases, shootouts – this is work much like that done by the gifted William Witney for Republic in the 1940s, and he’s obviously primed to make the jump to features.
Watching the show, and having been on as many sets as I have, it’s stunning that the cast and crew knock out each of these episodes in eight days flat – but as Teng told Cheryl Hollar,
“in Hawaii Five-O (on such episodes as ‘Ua Hopu,’ ‘Mai Ka Wa Kahiko,’ ‘Ka Hakaka Maika’i,’ ‘Ma Ke Kahakai’), there’s a visual grandeur built into the show. There’s a little more mission. It’s a different kind of storytelling specific to the need. You have to have the full cooperation of the island when you’re shooting. It’s one of the bigger budget shows out there. And it really shoots itself. It’s a beautiful location. That’s one reason we are able to do the big scope movie stuff that we do.
Anytime you work on a show as ambitious as Hawaii Five-O, you still try to do the show in eight days. You have to understand where you want to spend your time on a show like that. You have to have enough daylight to shoot a lot of different scenes. You’re always chasing the sun. And, there’s also the potential for breakdown of equipment that’s not always readily accessible to you as it would be in a production center like L.A.
Hawaii Five-O’s ‘Ua Hopu’ (2012) felt like a mini movie to do. It was an all-day shoot in the jungle. We had two and a half hours to do it. Alex O’Loughlin [one of the leads in the series] and Mark Dacascos [playing the villainous Wo Fat] only had about an hour that Sunday to really choreograph, which is like no time at all.
Normally, you have like a full day. So, coming on set, we narrowed about four hours work down to two and a half. Alex and Mark only had one hour rehearsal time. That is normally a full day as well. It was also the last scene of the day. So, the closer it got to quitting time, we started to lose a little bit of light.
Also, with something like that, you don’t want to harm your actors. So, you want to make sure it’s safe. You break down the fight scene into movements, like four separate sections.” In short, it’s hard work, which most people forget when they’re just sitting watching the tube.