You know when you're interviewing someone (for those of you who have had this arduous task), and you just feel uncomfortable and like you can't get the guy out of the office quick enough? Almost like the interviewee is really just there to see what they can get OUT of you and your company, and really not what they'll be contributing to the organisation(Organisation sounds grand - I mean to say: contributing to me)? Like that door-to-door-salesman that just can take a hint? Well, Philip's interview was nothing like that.
I was late for the interview (' suppose it's my prerogative) , and he waited patiently. From the moment go, as in seeing a guy patiently whiling away his time in the parking lot, I had a good feeling. He had no grandiose or inflated carry-ons about his skills, his experience or anything. His CV (lots of design and a stint in film school) fit the description well, and other than that he seemed very excited to be part of the make-up here (that's like, to hang with me) and he did really light up (he's a phlegmatic, really understated sort of guy) when I happened to mention "cinema". So he's really into movies. He's the guy to chat to about directors, producers, screenplays, feel and "noir". And he really digs my fascination with film and cinema lighting in stills (something I'm really leaning towards to lately). It doesn't hurt that we are able to listen to Metallica's Death Magnetic and catch up on some of Jeremy's left behind ELO.
Anyways, here is Philip du Plessis. You'll see him around. He might chat. He might not. He'll be friendly, cool, efficient and ready.
Philip pictured with the studio's Yaschica LM (circa 1970), lightmeter, and the studio gear in the background. He's frothing to go!
PS - he makes good coffee. He makes coffee often.