{"id":1757,"date":"2019-02-15T17:52:27","date_gmt":"2019-02-15T17:52:27","guid":{"rendered":"http:\/\/prnalumni.org\/members\/?page_id=1757"},"modified":"2019-03-15T18:16:23","modified_gmt":"2019-03-15T18:16:23","slug":"spotlight-scott-mccullough","status":"publish","type":"page","link":"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-scott-mccullough\/","title":{"rendered":"Spotlight: Scott McCullough"},"content":{"rendered":"

STORIES FROM THE PARK<\/h3>\n
\n\t

PRN Alumni Foundation is comprised of the former employees of Prince, Paisley Park, Paisley Park Records, PRN Productions, NPG Records, Love4OneAnother, any and all of Prince\u2019s companies spanning his impressive nearly 40 year career.<\/p>\n

There have been, quite literally hundreds of us in Prince\u2019s employ. The Foundation represents our collective voice.<\/p>\n

We are musicians, engineers, managers, lighting directors, wardrobe designers, stylists, makeup artists, drivers, bodyguards, admin staff, valets, drivers (and more!)<\/p>\n

This \u2018Stories From The Park\u2019 chronicle is a way for our colleagues of all tenures and job types to share a little bit of Prince\u2019s magic with you through our individual voices.<\/p>\n

We hope you enjoy getting to know us\u2026we feel as if we\u2019ve known you, Prince\u2019s fans (fam) forever <3<\/p>\n

With love and gratitude,
\nPRN Alumni Foundation<\/strong><\/p>\n

Read More Spotlights<\/a><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n\n
\n\t\t\"Scott\n\t<\/div>\n\n<\/div><\/div>

Spotlight: Scott McCullough<\/h3>\n
\n\t

\"IF SCOTT\u2019S IN THE ROOM, HE\u2019S WORKING FOR ME\"<\/em><\/h1>\n

HOW ONE SMALL AD CHANGED THE DIRECTION OF SCOTT McCULLOUGH'S LIFE<\/h3>\n

Interviewed by writer: Tony Kiene <\/strong><\/em><\/p>\n

As a teenager growing up in the Twin Cities, Scott McCullough was always a big fan of hometown hero Prince. In the mid-1980s, when he enrolled at the University of Minnesota to study architecture, Scott used what leisure time he had to frequent some of the downtown clubs. Occasionally, Prince would \u201cslip in through the back door\u201d at one of these spots instantly generating a palpable buzz throughout the crowd. <\/p>\n

\"People would whisper \u2018Prince is here,\u2019\u201d recalls Scott, \u201cHe was larger than life, even here at home.\u201d As cool as it was in those years to see Prince out and about, Scott didn\u2019t imagine that he\u2019d ever dwell inside Prince\u2019s universe beyond those few fleeting moments.<\/p>\n

Back on the West Bank of campus, it didn\u2019t take Scott long to realize that architecture might not be his calling after all. Not sure what to do with his life, he started to reply to want-ads in the Star Tribune. And, one of the ads he stumbled across just happened to be seeking extras for a Prince project at his newly constructed Paisley Park Studios, which still had not formally opened for business. <\/p>\n

THE EDUCATION OF SCOTT McCULLOUGH<\/h2>\n

Through May and June of 1987, Prince\u2019s celebrated Sign \"\u262e \" The Times Tour rolled through fourteen cities across Europe. Yet in spite of its success, Prince made the decision not to take the show to the states in favor of recreating the experience via a live concert film. Though footage from The Ahoy in Rotterdam (plus a couple other European dates) was used, most of the performance scenes were reshot on location at the Paisley Park soundstage. <\/p>\n

\nScott, who was cast as one of several hundred extras, couldn\u2019t believe his good fortune. Still, as excited as he was to see Prince perform in his \u201cnew house,\u201d he never dreamed it would be a life changing experience. As luck would have it, Scott knew one of the Assistant Directors on set, and thus was called upon to help \u201cwork the crowd.\u201d Happy to help the AD team, Scott couldn\u2019t have known at the time that dealing with all these extras would ultimately augment his own career development. But it was when the cameras began to roll that Scott truly started to discover his milieu. <\/p>\n

\n\u201cSince it was a film,\u201d he explains, \u201cthe process naturally resulted in cuts, retakes, and other stops in action.\u201d As Scott absorbed it all, he was immediately intrigued and thought to himself, \u201cSo, that\u2019s how they do it. Hey, I can do that!\u201d Perhaps the defining moment for Scott however was the \u201cfantasy\u201d element to everything. \u201cThe lights, costumes, music, the roar of the crowd; Prince! It was as if I\u2019d been dropped into a scene from Alice in Wonderland.\u201d <\/p>\n

\nNow that Scott had an idea of what he wanted to do with his life, he learned how to work a camera from top to bottom. He also changed his major to filmmaking as his new ambitions began to take shape. And, since it was not lost on Scott that the Twin Cities offered immediate access to a throng of artistic talent, he wasted little time seeking work on his own. <\/p>\n

\nOut at a club one night, Scott befriended a couple of musicians from an aspiring Minneapolis band. Upon telling them that he was looking to make a music video, they agreed to split the $600 cost. So, after rounding up about 100 extras and getting Club Casino to donate its space for free, Scott had his first video in the can. Even though he cringes at the thought of watching it some thirty-plus years later, it actually garnered him some local awards. <\/p>\n

\nScott was now building an impressive portfolio reel of music videos and other short projects, but he didn\u2019t stop there adding to his r\u00e9sum\u00e9 by joining film crews on local commercials and other promotional shoots. He says, \u201cI did whatever I could to learn every aspect of the business. I worked as a grip. I was a PA. I was game for whatever.\u201d Before long, fate would step in again and lead Scott back to Paisley Park, this time in an official capacity. <\/p>\n

NONE OF YOU HAVE TO BE HERE <\/h2>\n

Toward the end of 1989, Propaganda Films \u2013 the outfit that helped launch the careers of Michael Bay, David Fincher, and Antoine Fuqua among others \u2013 selected Minneapolis as the site for a music video by the English band Bros. Scott, who\u2019d become quite adept at attracting and dealing with extras through his own endeavors, was brought in to help cast. <\/p>\n

\nBy this time Scott\u2019s solid reputation, coupled with him impressive work on the Propaganda set, led one Casting Director to share his name with Lynn Blumenthal, who was slated to cast Prince\u2019s next movie, the long awaited sequel to Purple Rain. So, right after finishing the video, Scott made his way out to Chanhassen to serve as a Casting Coordinator on the set of Graffiti Bridge. Hence once again, at least in Scott\u2019s mind, he was \u201cliving the dream.\u201d <\/p>\n

\nBy day two of filming, many of the extras were complaining about things such as camera time and their placement in proximity to Prince. In recognizing that this behavior couldn\u2019t fly any longer, Scott called all the extras together and declared, \u201cLadies and gentlemen. You have the extraordinary opportunity to work in the presence of an icon. This is a time you\u2019ll never forget. For each one of you there are ten others willing to take your place at a moment\u2019s notice. None of you have to be here.\u201d <\/p>\n

\nJust like that, remembers Scott, they all pretty much fell in line. Moreover, they came to trust and respect Scott as he repeatedly stood up to protect the female extras who were being harassed by some of the crew members in town from Los Angeles. <\/p>\n

\nScott himself spent two or three months on the set never getting the chance to work with Prince per s\u00e9. That said, he made sure to observe Prince\u2019s direction and soon established a few mantras that would later serve him quite well. Like, for example, \u201cDon\u2019t mess up,\u201d and his favorite \u201cYou\u2019re not there, if you\u2019re not working.\u201d <\/p>\n

\nIt also occurred to Scott that being on the set of a major motion picture might connect him to other people who could help his career. As such, not only did he make it a point meet folks from the camps of Mavis Staples and George Clinton, he was soon invited to work on the Eric Leeds video \u201cLittle Rock.\u201d That in turn brought him to the attention of Eric\u2019s brother Alan, who at the time was still vice-president of Paisley Park records. And, after his work caught the eye of yet another individual in Prince\u2019s employ, Scott got the telephone call he\u2019d been waiting for. <\/p>\n

DIAMONDS AND PEARLS <\/h2>\n

Nineteen ninety-one proved to be a huge year for Prince, highlighted by the opening of Glam Slam, appearances at Rock in Rio II and the MTV Video Music Awards, and culminating in the release of the multi-platinum Diamonds and Pearls. In between this flood of activity, Prince also earned the honor to headline the opening ceremonies of the International Special Olympics at the Metrodome. <\/p>\n

\nScott, hired to film the rehearsals for this performance, kept telling himself, \u201cThis is your chance. Don\u2019t mess up.\u201d When he arrived at Paisley Park it didn\u2019t take long to see that there was no additional crew, just him and a camera. To make matters worse, neither his sound recorder nor light meter were working. Wrestling with both extreme excitement and anxiety, Scott wasn\u2019t sure what kind of quality, if any, he\u2019d be able to capture. <\/p>\n

\nNevertheless, he understood that there was no use in complaining. He was a professional now and he\u2019d have to do the best he could with what was available. That night Scott couldn\u2019t sleep at all, anxiously waiting to see how his images would transfer. To his relief, both the rehearsal itself along with interviews featuring members of the New Power Generation came out rather well. And although he might have been shorthanded, his work clearly must have impressed Prince because Scott was invited right back for more. In fact, Scott\u2019s ability to often do more with less soon earned him the nickname among the band \u201cMacGyver with a camera.\u201d <\/p>\n

\nAmong the first projects he filmed was a video for Carmen Electra. Then, one particular day he was summoned to Paisley Park to direct a music video for Prince, the details of which were unknown, as least to Scott. <\/p>\n

\nThe video in question turned out to be the rather memorable \u201cGangster Glam,\u201d part of the \u201cGett Off\u201d Video EP which was released on home video by Warner Bros. Still, in the moment, Scott had little idea what it was he was supposed to direct. He\u2019s quick to point out that this was not at all unusual, but usually quite exasperating. Always the team player, Scott forged ahead.\n <\/p>\n

\n\u201cWe started in Prince\u2019s office,\u201d recounts Scott, \u201cjust arbitrarily filming whatever.\u201d After shooting a couple rolls of film, everything moved outside where again he found himself perplexed. <\/p>\n

\n\u201cPrince, Tony, Damon, and Kirk were roller skating around the parking lot. A few of Prince\u2019s cars were lined-up. Everyone is doing their own thing. It was just a mess.\u201d During a break, Prince nods to Scott and asks, \u201cYou\u2019re the director, what do you want to do next?\u201d When Scott informed him that \u2013 up until this point \u2013 he had no clue of what exactly they\u2019d been trying to capture, Prince looked him in the eye and said, \u201cDon\u2019t worry about it. We\u2019re just having fun. We get what we get.\u201d <\/p>\n

\nScott\u2019s frustration was lifted and he embraced Prince\u2019s advice. The next day the shoot moved nearby to Prince\u2019s home on Galpin Blvd. and ultimately into the backyard by the pool. \u201cIt was so much fun, yet so surreal,\u201d notes Scott, \u201cHere is Prince doing push-ups, strutting around the deck in his \u2018mankini\u2019 with matching suspenders and designer shades. Then he jumps up on top of his yellow BMW and screams as loud as he possibly could. It was so funny. Tony and I just howled with laughter.\u201d Prince actually claimed credit as the director of \u201cGangster Glam\u201d under the pseudonym Paisley Park, but Scott didn\u2019t mind. <\/p>\n

Scott also served as the Director of Photography for most of the other videos on the \u201cGett Off\u201d EP including \u201cViolet the Organ Grinder,\u201d \u201cGett Off (Housestyle),\u201d and \u201cClockin\u2019 the Jizz.\u201d Prince even offered him a small role in the principal video for \u201cGett Off.\u201d He explains, \u201cPrince and director Randee St. Nicholas wanted me to open the door for Diamond and Pearl at the beginning of the video. I modestly declined and said, \u2018Thanks, but I\u2019m not your guy.\u2019 He was cool with that.\u201d <\/p>\n

\nLONDON CALLING <\/h2>\n

In the early summer of 1992, Scott joined Prince and The NPG on tour in London to film live segments for another home video release associated with Diamonds and Pearls. To that point, and in a relatively short period of time, Scott was either Director, Director of Photography, Camera Operator or Film Editor on dozens of music videos and related projects for Paisley Park, many of which have never been released.
\nScott always liked to think that he had a connection with Prince, but of course, it was hard to know for sure. He did take solace in the fact that Prince often told others that \u201cIf Scott\u2019s in the room, he\u2019s working for me.\u201d Knowing that he wasn\u2019t going to work for Prince forever, Scott still wanted the ride to last as long as possible. <\/p>\n

\nHe had been especially excited about the shooting to take place at the legendary 19,000 seat Earls Court Exhibition Centre, where Prince and The NPG were scheduled to play for eight nights that June. Prince wanted Scott to film from the stage and gave him free reign to move around as he saw fit. In addition to Scott\u2019s camera, another camera unit had been contracted to get footage from the floor of the venue.\n<\/p>\n

\nDuring the first night of filming Scott returned to his designated staging area to reload his camera. When he noticed the raw film was missing, a Production Assistant informed him that someone from the other camera unit claimed they \u201cneeded it\u201d; Scott was being sabotaged. This wasn\u2019t the type of thing that you\u2019d bother Prince with, but the producer was told this has got to stop. But after three consecutive nights of the same shenanigans, Scott had enough. <\/p>\n

\n\u201cI really wanted to stay, but under the circumstances I didn\u2019t see how I could,\u201d admits Scott, \u201cI thought about going directly to Gilbert Davison, who I was always really cool with. But I was so discouraged by it all that I decided instead to simply pull the plug and fly home. Unfortunately, the actions of that company were simply representative of petty territorialism that permeates my industry.\u201d <\/p>\n

\nGLAM SLAMMIN\u2019<\/h2>\n

A few months after returning from the UK, Scott made his way to Glam Slam one evening, which after all \u201cwas still the place to be.\u201d Upon arriving he heard that Prince was behind the club filming the video for \u201cMy Name is Prince.\u201d And, when Scott stepped outside to say hi to everyone, Prince instantly spotted him from his car. <\/p>\n

\nPrince wanted Scott to stay around to shoot the next scene, a request which he happily accepted. It just so happened that the same production company from the recent London fiasco was filming that night. Reluctantly, they turned over the camera to Scott with but a single roll of film. Undeterred, he found a way (as he always did) to make it work. <\/p>\n

\nWhen he handed the camera back, the production manager said, \u201cSend me an invoice.\u201d Without breaking stride, Scott simply countered, \u201cNo. That one\u2019s on the house.\u201d To Scott\u2019s way of thinking, he was doing a favor for Prince because Prince asked him to. Nothing more. As an aside, Scott is eager to report that it didn\u2019t take much longer for the company in question to go under. \u201cThey just didn\u2019t get how this business is supposed to work.\u201d <\/p>\n

\nLA IS CALLIN\u2019<\/h2>\n

Scott had done some additional work that later appeared on the 1993 home video collection 3 Chains O\u2019 Gold, but beyond that his time with Prince was over. Scott took his talents to Los Angeles where for the last two decades he has made his mark primarily in the arenas of commercials and more recently feature films. The awards received for his work are too numerous to count. At present Scott has about a dozen film projects in various stages of production, including director of the World War II film The Mission (working title), which starts filming soon. <\/p>\n

\nWhen he reflects on how he got his start in the business, he wonders where he might be today if he had not answered that ad to be an extra in Sign \"\u262e \" The Times. Not only does he treasure the time he spent with Paisley Park, but values all the hard lessons he learned along the way. Still, there is one memory that makes him smile every time it enters his mind. <\/p>\n

\n\u201cI was just scrambling around to set up a shot, when Prince, while talking to someone pointed at me and said \u2018See him. That guy is the s#@%.\u2019 That was pretty cool. Let\u2019s be honest, what greater compliment could I have been paid.\"<\/p>\n

\n***<\/p>\n

\nFor more information of Scott McCullough visit scottmccullough.com<\/a> <\/em><\/p>\n

\u00a9 Tony Kiene & PRN Alumni Foundation<\/strong><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

PRN Alumni Foundation is comprised of the former employees of Prince, Paisley Park, Paisley Park Records, PRN Productions, NPG Records, Love4OneAnother, any and all of Prince\u2019s companies spanning his impressive nearly 40 year career. There have been, quite literally hundreds of us in Prince\u2019s employ. The Foundation represents our collective voice. We are musicians, engineers, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1581,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nSpotlight: Scott McCullough - PRN Alumni Foundation<\/title>\n<meta name=\"description\" content=\"The PRN Alumni \u201cStories From The Park\u201d Spotlight series continues with this interview with Kimberly Arland\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-scott-mccullough\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spotlight: Scott McCullough - PRN Alumni Foundation\" \/>\n<meta property=\"og:description\" content=\"The PRN Alumni \u201cStories From The Park\u201d Spotlight series continues with this interview with Kimberly Arland\" \/>\n<meta property=\"og:url\" content=\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-scott-mccullough\/\" \/>\n<meta property=\"og:site_name\" content=\"PRN Alumni Foundation\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/PRNalumniFDN\/\" \/>\n<meta property=\"article:modified_time\" content=\"2019-03-15T18:16:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/prnalumni.org\/members\/wp-content\/uploads\/2018\/05\/prnalumni-share.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"951\" \/>\n\t<meta property=\"og:image:height\" content=\"499\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@PrnAlumniFDN\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-scott-mccullough\/\",\"url\":\"https:\/\/prnalumni.org\/members\/spotlight\/spotlight-scott-mccullough\/\",\"name\":\"Spotlight: Scott McCullough - 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