tag:blogger.com,1999:blog-78202692461366104362024-03-05T14:28:47.458-08:00LIVING IN CINEAn independent study on the craft of filmmakingDanielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-7820269246136610436.post-18848660184878791722017-10-18T07:26:00.001-07:002017-10-18T07:26:05.221-07:00Creativity in a "Creative Environment"<div class="separator" style="clear: both; text-align: center;">
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<br />We don't go to "creative" school, we aren't taught how to think like innovators, nor are we equipped with an effective set of brainstorming tools. It's difficult in a group setting, and seems damn near impossible while flying solo. Creativity is a necessity for us all, yet there really aren't resources out there that delve into a more meaningful process.<br />
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An agency that nominates their employee pool with the distinct label of "Creatives" rarely invests in the process for their work to actually be "creative". We are terrible at creativity, and instead of it being a toned muscle that's been conditioned through your entire life, it's an old dusty shoebox full of mothballs, rubber bands, and other paraphernalia from a junk drawer at your grandparents house. <br /><br />Creativity in the workplace, is even more rusty— it's only dragged out of the closet when it's necessary, and it only comes in the form of pressure to deliver a solution that is directly tied to your job performance. Typically you're tasked with a problem, maybe with a brief, or maybe just as a passing favor from a co-worker. "I want you to take point to solve X, so we can do Y," they say. So you schedule a meeting with the people that you think should be involved in solving the problem.<br /><br />Everyone shuffles in; their body language all but groans at the task of "brainstorming". Everyone sits down, and you kick off the meeting with a loose "fun" interpretation of the brief, trying your damndest to cut through the "corporate speak" and spark something in the process... and while you yammer away, maybe one of your more trigger-happy team members volunteers to commandeer the whiteboard and wield the almighty dry erase marker (you don't know it yet, but they've cleverly worked themselves out of having to come up with any actual ideas during the brainstorming session).<br />
<br />
So your self-appointed Whiteboard Ambassador kicks things off writing maybe a single word on the board, or a question with an ornate question mark. "How do we solve X?" And then, the room falls to silence. It's uncomfortable as hell, and no one knows what to say. So you jump in and make a joke recognizing the awkwardness. It diffuses the tension, but still no one talks.<br />
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So you jump in and launch a battery of questions "Okay, well how do we feel about Y? What do we know to be true about it? What is it about X that uniquely allows us to experience Y?" A living corpse in the corner mumbles a one word response that sounds something akin to "potato." 42 minutes have gone to the grave already and all you have out of it is "potato."<br />
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This is not creativity. This is a drudge toward a dark cave where you're forced to tap dance in a sequenced jumpsuit for a one-man audience consisting of a sweaty, one-eyed pirate that's paying more attention to his phone than to your display of talents.<br /><br />
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There is certainly a better way to go about this process. In fact, I know there is. I've experienced it a rare few times. It <i>feels</i> different. The room is safe, the people are confident, and it feels like anything goes. Minds are in sync, and usually someone is leading the charge with enthusiasm, engagement, and knows what questions to ask, when to share a story, who to call on, what exercises to perform next, and it all gets the room buzzing... AND they can do it WHILE wielding the almighty dry erase marker. Those creative teams are rare baby unicorns.<br />
<br />
So how do we solve X, so we can do Y? I've been asking myself that question the last few months as I dive more into my new found role as "Creative Director", in order to educate, facilitate, and foster the baby unicorn. The variables of "X" and "Y" change on a daily basis, but I think right now, X is a Creativity Desert, and Y is the Oasis of Innovation- full of bountiful ideas, preparedness, and an eagerness in each team member to contribute. I think I'm onto a more meaningful process, but time will tell.Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-49286449438576745252017-03-03T07:58:00.000-08:002017-03-03T07:58:03.015-08:00Act On Your Ideas ViciouslyI'm constantly searching for new subjects, characters, or stories that I can eventually write into a screenplay. Most of them I just sit on, but occasionally one really speaks to me. The first time this happened, I spent a good year researching 1950's Greenwich Village for one of my first feature screenplays. I had finished my first draft maybe a year before "Inside Llewyn Davis" was released. (I had even read Dave Van Ronk's biography that the movie was based off of as part of my own research, well before they announced the production.) While I've got that screenplay filed away, I always felt like "hey if the Coen brothers are interested in the same subject matter, you must be doing something right... but just didn't act fast enough." And also... I realize that my talent doesn't hold a candle to what the Coen brothers could do for a story like that... so I let that one go with relative ease.<br />
<br />
Fast forward a few years, and I stumble across this biography of this kind of peripheral guy who played this tiny roll in a huge part of music history. The character is so faceted, the history is great, and the metaphors the film could explore are even greater. I had the perfect structure in mind and a way to explore the material in a deeper way than the "reality" had provided. I had an ideal cast in mind... I just needed to pen the project. I shared it with one of my collaborators who loved the idea so much, he was ready to pitch in his own money to buy the option with me, and suggested I wait on writing the project until it belonged to us (which is sound advice, mind you). We even went so far as to line up an executive producer on the project, and started talks with the author of the biography and his agent to discuss buying the rights... but our day-to-day kind of got in the way of obtaining that project and we just kept saying "when things calm down, we should revisit this idea."<br />
<br />
Well, a week or so ago, I saw the announcement... the property has been purchased by a pretty reputable filmmaker and it's at least theirs for another couple years.<br />
<br />
Since finding that out, it's been nagging me. A lot of "woulda shoulda coulda's". I <i>should</i> have just jumped into drafting the screenplay. If I <i>would</i> have bought the option when I found the project, those filmmakers would have at the very least approached me about it. I <i>could</i> have told such a great story. I realize I'm too young of a screenwriter to actually be hired by a production to write a draft cold turkey. BUT if I had it ready to go, I would have been in a bargaining situation and could have been involved in that creative process. It's nothing but toxic thoughts. <br />
<br />
This is the very reason why ideas are not able to be copyrighted. Only the expression of those ideas. You have to act on it in your own interpretation. The problem here is that the base material was curated and carefully presented by this author who technically owns that interpretation of the story.<br />
<br />
I'm trying to see the silver lining here, but it's difficult. Finding the property isn't enough.<br />
While I'm happy the story will be told, and that it was a gem I had found and started to pursue before these guys had ever found it, I didn't go after it viciously enough. They beat me to the top of the hill and had the capital to move quicker than me. If I was really going to go after it, I should have gone after it. Plain and simple.<br />
<br />
It sounds more foolish than ever, but as a writing exercise for myself and maybe an insurance policy IF the property sits parked until the rights are expired... I feel like I should still write it. I could at least learn from the process and have the product ready if the "other guys" run into misfortunes in launching it.Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-70052872237857415292017-02-24T16:12:00.000-08:002017-02-24T16:12:04.014-08:00A Simple Screenplay TestI came across this seven-point test to help you rate your screenplay and identify maybe some of its weak points. While my bullshit alarm immediately goes off visiting the guy's <a href="http://www.webfilmschool.com/got-guts-rate-your-screenplay-does-your-script-sck-take-the-test/" target="_blank">website</a> (using blog posts to help drive traffic towards a product he's hocking), the test is useful enough on its own that it's worth re-iterating. I've edited down the material and paraphrased a bit here just to cut to the chase:<br />
<blockquote class="tr_bq">
This fella opens up his pitch by talking about a very binary idea: there are only two types of scripts, good and bad. He speaks with too much snappy confidence here, so I've parsed the crap out. The only gem to set up the quiz is: "You got one shot… better make it great."</blockquote>
<blockquote class="tr_bq">
<h3>
<i>Screenwriters Only Have One Shot</i></h3>
<i>
</i><i>Upon writing, registering (WGA) and copywriting (LOC) your script it
is time to send it out and you will only have 1 shot with each person
you send it to, for if it isn’t great, then truly forget about ever
having that person read wittingly another script from you… Thus, what
you send better be great. </i><br />
<h3>
<i>Screenplay Test</i></h3>
<i>Score each Question with a 1-3 for “Very Poor”, 4-6 for “Adequate”, 7-8 for “Good”, 9 for “Very Good” and 10 for “Excellent”
</i><br />
<i>
</i><i><strong>ONE: “THE EYE QUIZ”:</strong></i><br />
<i>
</i><i>When reading your script do your eyes flow down the page, instead of
movie left to right, line-by-line? If they go left-to-right, while
reading, then you, the reader, are bored.</i><br />
<i>
</i><i>Please do not have to much exposition in your script. This is not a novel. Stop overly describing every scene.</i><br />
<i>
</i><i>Readers & Development Execs will always tell you “Want to see a lot of white space”.</i><br />
<i>
</i><i>SCORE (1-10) _______________</i><br />
<i>
</i><br />
<i>
</i><i><strong>TWO: “THE LINE # 7-9 QUIZ”:</strong></i><br />
<i>
</i><i>Grab-The-Reader instantly: You must hook readers/viewers in the first
15-20 seconds. These are people that have read 500-1,000 scripts and
have no desire to read yours. Thus, you better grab the reader super
quick.</i><br />
<i>
</i><i>Does something shocking happen in your script by Line 7-9 of page one
to grab the reader? Or are you taking 3-5 pages to allegedly
“establish” your characters and settings.</i><br />
<i>
</i><i>Grab-The-Reader instantly.</i><br />
<i>
</i><i>Do you have a Grabber around Line 7-9 of Page 1?</i><br />
<i>
</i><i>SCORE (1-10) ___________________</i><br />
<i>
</i><br />
<i>
</i><i><strong>THREE: “THE PAGE # 1 QUIZ”: </strong></i><br />
<i>
</i><i>Make-Reader-Turn-The-Page: Does something happen, a 2<sup>nd</sup>
grabber, at the bottom of Page one (one minute into the film) to hold
the tv viewer through the commercials or grab the reader who really
doesn’t want to read another bloody script from a nobody?</i><br />
<i>
</i><i>Do you have a 2nd Grabber on the bottom of Page #1?</i><br />
<i>
</i><i>Do you, when reading your own script, actually want to turn the page, after page 1, and are excited about what is on Page #2?</i><br />
<i>
</i><i>SCORE (1-10) ___________________</i><br />
<i>
</i><em><br /></em>
<i>
</i><i><strong>FOUR: “THE 10-PAGE QUIZ”:</strong></i><br />
<i>
</i><i>Yes, it is correct most readers only read 10 pages… that is assuming they get past Page #1.</i><br />
<i>
</i><i>Let’s be positive and assume your Page #1 is great (You have 2 Grabbers) and the reader turns-the-page to Page #2.</i><br />
<i>
</i><i>Now, do the next 9 pages, your first ten pages make the reader to want more?</i><br />
<i>
</i><i>SCORE (1-10) __________________</i><br />
<i>
</i><br />
<i>
</i><i><strong>FIVE: PLOT QUIZ:</strong></i><br />
<i>
</i><i>Do you manipulate your reader, every 10-14 pages (or minutes, in tv 2
commercial breaks), with expecting something to happen, and then throw
in a sudden twist out of nowhere…but is logical?</i><br />
<i>
</i><i>This can only be accomplished by creating a proper Step Outline (aka: Beat Sheet) prior to commencing your 1st Draft.</i><br />
<i>
</i><i>Is your script loaded with a roller-coaster ride of emotions and plot twists?</i><br />
<i>
</i><i>SCORE (1-10) ____________________</i><br />
<i>
</i><br />
<i>
</i><i><strong>SIX: CHARACTER QUIZ:</strong></i><br />
<i>
</i><i>Can you sit down and outline three reasons why each character is unique?</i><br />
<i>
</i><i>Make sure your characters are not simple 1-dimensional stick figures.</i><br />
<i>
</i><i>Everyone is not either Black (evil) or White (good). We are all some shade of grey.</i><br />
<i>
</i><i>Now, does each of your characters have depth?</i><br />
<i>
</i><i>SCORE (1-10) ___________________</i><br />
<i>
</i><br />
<i>
</i><i><strong>SEVEN: DIALOGUE QUIZ:</strong></i><br />
<i>
</i><i>Pick any page in your script. Put your thumb over the character’s
name above a line of dialogue. Can you tell from just the dialogue which
character is speaking? Can you even tell if the character is a man or a
woman just by the dialogue?</i><br />
<i>
</i><i>SCORE (1-10) _________________</i><br />
<i>
</i><em><br /></em>
<i>
</i><i>Now add up the score. It will be between 7-70.</i><br />
<i>
</i><i>What did you come up with? 33? 48? 67? 68?</i><br />
<i>
</i><i>If your score is anything but “70”, get back to work.</i><br />
<i>
</i><i>50-60 is horrendous.</i><br />
<i>
</i><i>65-67 isn’t good.</i><br />
<i>
</i><i>68 is close but not there.</i><br />
<i>
</i><i>69 still isn’t perfect.</i><br />
<i>
</i><i>70 is perfect…</i><br />
<i>
</i><i>If it isn’t 70… then back to the drawing board for a re-write.</i><br />
<i>
</i><i>If it is 70…now let’s find a reader who thinks like you.</i><br />
<i>
</i><i>Remember, you are a first-timer and you have to be perfect. Areader will only put forward a
script to have his boss to read…. If-It-Is-Perfect.
</i><br />
<i>Only perfect will do.</i><br />
<i>
</i><i>Thus, I guess it’s time for either a rewrite, or put the script away,
and write another totally new script, and then, a year or two later, go
back to your first script, that didn’t get a “70” score and try one
more re-write.</i></blockquote>
So that's the test. I feel like it's a derivative of what Syd Field and Blake Snyder both push in terms of approaching your work with a critical eye, but it's either going to be a great little confidence booster for you, or a kick in the pants and a dose of honesty for how much farther you need to push the work.<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-30290109261013336362017-02-20T14:15:00.000-08:002017-02-20T14:15:08.575-08:00DEAR BROTHER Official ReleaseAlmost two years ago, I walked into a bar to meet up with a good friend I hadn't seen in years. We reconnected as if no time had past. He's a fantastic and passionate actor, and we both have a lot of overlapping views about the world. Suffice it to say, I just greatly respect him and his work, and we kind of feed off of eachother's energy when we're together.<br />
<br />
While we're catching up, he tells me his buddy who he hasn't seen since college, is down the street and asks if it's okay if he joins us. I tell him sure! So come to find out, he's also an actor as well and his show had just finished up at the theater down the street. So he shows up and we all start talking. The two of them carry this rapport with one another and as I was sitting there listening to them talk, it became one of those conversations you just wish you could crawl deeper into what they're talking about. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7W3BrqIDc0keUbjYSFI4b8mV7I7woBnzc8clcNoSyGG0PKaDZUTKF1cKj8s6j_PEA2hv0oeq9L3gZjLR4D8X37hkmBabd0XAsY9eR4h_q-cIqycIzL7Z44XkfD3MZgBau61q9iti2jbE/s1600/DearBrotherPoster_v2_Web1000.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7W3BrqIDc0keUbjYSFI4b8mV7I7woBnzc8clcNoSyGG0PKaDZUTKF1cKj8s6j_PEA2hv0oeq9L3gZjLR4D8X37hkmBabd0XAsY9eR4h_q-cIqycIzL7Z44XkfD3MZgBau61q9iti2jbE/s400/DearBrotherPoster_v2_Web1000.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rufus Burns and Tosin Morohunfola star in Dear Brother</td></tr>
</tbody></table>
We all started talking about working together on something— that we should collaborate on a short film. And without missing a beat, the two of them stand up and start riffing off of one another as if it was an acting exercise. They set up this fact: a brother has died. The two of them are arguing about the brother's character. I throw out a what if: what if it is minutes before the brother's funeral service, and with their wildly different views of the brother's character, they have to decide who is going to read their prepared eulogy.<br />
<br />
It was a spark. They played the scene out and it was magic. In that instance, they had completely removed me from the bar full of people into a quiet side room of a funeral home. As the two stood there, crying and hugging one another after this exercise, I kind of snapped back out of the trance and realized where we were again.<br />
<br />
I furiously began taking notes about the story and the pieces I really latched on to. The next day I drafted up an initial script that I shared with the two of them and all but begged them to agree to let me direct this as a short film.<br />
<br />
Over the course of the next six months or so, we rehearsed a few times. Each time, I had a whole docket of games, exercises, as-if's, and angles for them to play but for the most part we just kind of ran an open forum as creators to explore the material. It was truly rewarding.<br />
<br />
In the background, I continued to refine the script and when I felt like it was ready, I presented it to them and we scheduled the shoot after buddies Will and Alejandro agreed to help make the project happen.<br />
<br />
I've talked a bit about this project in passing previously on the blog here, but I want to say this again. This was one of the single most rewarding projects I've worked on to date. It was like an aerobic workout for our craft and I think we all walked away from the shoot feeling like we lassoed the moon.<br />
<br />
After some post production issues with the sound, the release was months delayed. Once we finally completed it, we pushed it off to a hand full of festivals. It garnered a few awards and it looks like we may be an official selection for the last festival we entered it into, but until we know that officially I won't say any more about that.<br />
<br />
A couple weeks ago, I quietly released the film online just to add to my personal collection of public films on my Vimeo page. I admit it's not a perfect film, but for the experience I got out of it, it sure is something I am proud to have gone through with the actors and crew, and I cannot wait for the next chance I get to work with these two actors. For your viewing pleasure, I share with you Dear Brother:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/150932660?byline=0" webkitallowfullscreen="" width="640"></iframe><br />
<a href="https://vimeo.com/150932660">DEAR BROTHER— A Film by Daniel Skubal</a> from <a href="https://vimeo.com/danielskubal">Daniel Skubal</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-89101113670673288752017-02-10T10:28:00.001-08:002017-02-10T10:28:29.854-08:00Fresh Tools and Knowledge Hot Off My Last Feature FilmKnuckle down, folks. This is a doozy of a post. But I hope what follows helps bring some clarity to your own work:<br />
<br />
In early September, I was approached by an old colleague of mine who had just returned from directing a feature film that was shot in Italy over the course of the summer. Just coming off a two year feature documentary, I was in the market for my next narrative project and this came at the right time.<br />
<br />
After some negotiating with my company, we worked out a deal where I waived payment on the project in exchange of providing two full billable weeks of editing time through my employer, and all extra work was to be done off hours.<br />
<br />
Although the director asked to cut a few scenes himself, I knew I'd only be able to execute such a hefty project under these constraints with the help of an additional editor. So I called on a buddy of mine who had availability in his schedule to help take on part of the responsibility of the workload and essentially push through work in half the time. <br />
<br />
Once the team was together, I manually synced and organized all of the raw material myself to ensure it was organized properly. There were a few extra pickup days scheduled during the first few weeks of post production, so I worked on all of the AE tasks, prepping the project as they finished principal photography. As new footage came in, I would add it to the project and kept it managed across all the team's drives. <br />
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I had built a very aggressive schedule to have the film in picture lock by the end of the year (which gave us just 8 weeks of working time to get to that point), however due to the holidays and the director's wishes, we pivoted a bit on the plan and decided to put a couple extra weeks into the project to get it right, and instead worked on delivering the film in two large chunks. So we delivered the first half of the film as "lock" to the sound mixer at the end of December, and picked back up in January to finish out the second half and build the full master timeline by the third week of that month.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTzqyuN6wLklSTA_X1iCCGKFiVW698mFNdQKpscsZYZYyPTVgQBSaVUr5VnW4pvKDk1RYEZQAwF8cEV8Gk1lairdPiu4zP1rg-a0ul6j2ehu7DJIKUhTnbUMWOm3a50PS-FA9lRBE8JY/s1600/Screen+Shot+2017-02-10+at+12.01.33+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTzqyuN6wLklSTA_X1iCCGKFiVW698mFNdQKpscsZYZYyPTVgQBSaVUr5VnW4pvKDk1RYEZQAwF8cEV8Gk1lairdPiu4zP1rg-a0ul6j2ehu7DJIKUhTnbUMWOm3a50PS-FA9lRBE8JY/s640/Screen+Shot+2017-02-10+at+12.01.33+PM.png" width="640" /></a><br />
<br />
I'm still acting as the post production supervisor of the film so I'm helping see it through to the end, but the majority of my work is done and I felt like now was a good time to reflect on the project as a whole, while it was still fresh on my mind. There were a few major personal triumphs in this project. The first was the big reason I committed so early to it and proved to be a successful experiment.<br />
<br />
<b>Language Barriers:</b><br />
I don't speak Italian. At. All. I took an Italian cinema course in college, and studied a handful of semesters of Spanish which, as a romance language, gave me a basic aural guide to understand some root words. So this provided grounds for an interesting experiment that put Walter Murch's first commandment of editing: cut for emotion. Could I cut a scene solely based on performance, inflection, cadence and how the takes made me feel? The short answer is YES. <br />
<br />
To avoid a trainwreck of committing to a project I could potentially fail at, I chose to tackle this language barrier head on and the first scene I cut put this to idea the test. I chose a pivotal scene that sets the plot in motion that was sure to have enough meat in it to play with and put my theory to the test.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXOTGoq_qrK7JEAmQng7p8uBgJJYBRfoqUoDyWhry9ekxI4YqP7b4j3-RNYK_zjF-C6R0Ajx8D2D18WgQUDWnc7pBhF15VQQXFbwuJQ-1tTrnAVEd_BvmPTqp7GyTpyCN-L9fS5WyC_yI/s1600/SOUND+%2528CROP%2529+Final+Build.00_27_25_16.Still001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXOTGoq_qrK7JEAmQng7p8uBgJJYBRfoqUoDyWhry9ekxI4YqP7b4j3-RNYK_zjF-C6R0Ajx8D2D18WgQUDWnc7pBhF15VQQXFbwuJQ-1tTrnAVEd_BvmPTqp7GyTpyCN-L9fS5WyC_yI/s400/SOUND+%2528CROP%2529+Final+Build.00_27_25_16.Still001.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francesco tells his wife of a startling encounter he had earlier in the day.</td></tr>
</tbody></table>
The scene lands at the end of Act I, and our character comes home to his wife to tell her about an encounter that happened earlier in the day. He explains that his long lost brother he knew nothing about had approached him on the street to tell him his biological father has passed away and wants his help in scattering his father's ashes across Italy's countryside. His wife pressures him to agree to do the trip. The scene needed to succeed to set the tone for the rest of the film. Due to the credit of the director and the caliber of the actors playing the scene, the task wasn't nearly as difficult as I had anticipated, and I was able to cut it together with virtually no issues.<br />
<br />
While some of the film was shot improvised and loose, for the most part
they followed a basic <br />
outline and script for each scene that through
repetition, I could learn the beat breaks of the actors in each take and then could
really play with punctuating and accenting the emotional notes given in each performance. Even though it was the first scene I cut, it ended up being one of my
most favorite of the film. I think this scene in particular made me tune into the
electricity of the performances, and by stripping away things like factual information provided by the story, or even the added complexities that comprehending dialogue can add to the long list of decisions an editor takes into consideration in each cut, it sets contrivances aside that we typically try to prop up, and it simply puts emotion in the driver's seat. Watching the director's reaction to the scene once I was completed with the initial rough really invigorated me to push this project and "plus it" in every way I could.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifM95T1HTvO_f6fdnSrUT-IRhksjsKU5zz1_iGWmGuewJo0PE41vq942771s7D0rEIwz7Ark64Kxt_UYYXZiMhbCUspXmOgoOP7LLsnhxQT06ASaIjrYtRBfMe4HWTEgAbzkeGZb8pl7c/s1600/SOUND+%2528CROP%2529+Final+Build.00_27_05_12.Still003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifM95T1HTvO_f6fdnSrUT-IRhksjsKU5zz1_iGWmGuewJo0PE41vq942771s7D0rEIwz7Ark64Kxt_UYYXZiMhbCUspXmOgoOP7LLsnhxQT06ASaIjrYtRBfMe4HWTEgAbzkeGZb8pl7c/s640/SOUND+%2528CROP%2529+Final+Build.00_27_05_12.Still003.jpg" width="640" /></a></div>
<br />
<b>Remote Collaboration:</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
As I said, this project was on a pretty lean schedule, and while I was awarded 2 full work weeks to work through the edit, most of the heavy lifting needed to be done in on weekends, off-hours and holidays. Bringing on a second editor was the only way I could survive, but that also brought along its own challenges. The first big hurdle was the fact that I was not only responsible for managing the hard drive and project organization for my drive, but for the other editors' drives, as well as the director's in order to ensure that we could swap project files freely.<br />
<br />
This wouldn't be so difficult if we were all operating under one roof, but we were each in remote locations. The solve for that was creating a centralized project, and as rough edits and additional footage would come in from the director and other editor, I would update my project with that that new material. I would then report where that material was filed, and on big milestones of the edit, would share that project with both the director and other editor. This "master project" would then become their new source to work from.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9V8fp1xF9R0g_WXsdV9LAuowiz0m06dtBOJxZbS6YZ1x9eutizagdyIPpGp82BBFtdaTlt7k7wiHV5IRMDU_wXlp05oqIKbtA5QZTmzZ3yG0OhmE4zpK-jhGiVvqwocE220NQ9QV9ag/s1600/Screen+Shot+2017-02-10+at+11.41.20+AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9V8fp1xF9R0g_WXsdV9LAuowiz0m06dtBOJxZbS6YZ1x9eutizagdyIPpGp82BBFtdaTlt7k7wiHV5IRMDU_wXlp05oqIKbtA5QZTmzZ3yG0OhmE4zpK-jhGiVvqwocE220NQ9QV9ag/s640/Screen+Shot+2017-02-10+at+11.41.20+AM.png" width="640" /></a><br />
<br />
The second big hurdle to solve was the actual collaboration process in moving each edit forward. We used a mixture of online screenings of rough cuts through the
wonderful review tool, Frame.io, as well as face-to-face sessions where
we'd work through scenes together. By the time we were ready to build
the first full assembly edit, my second editor's contract had been
fulfilled and it was on to refining the edit with just the director and
me.<br />
<br />
At which point, we blocked out several full day
edit sessions, working through the key scenes first, and then circling
back to the beginning and working sequentially.<br />
<br />
I've been involved in large scale projects in the past that either didn't have a post supervisor managing the flow of assets, a collaboration plan, or any sort of guidelines in managing the material. They quickly turned to disarray, files would go missing, confusion would come up as to which sequence on which project was the newest version to work from. Just hours and hours of time wasted and all kinds of headaches. So I made sure to run the collaborative process sternly to make sure that didn't happen. And for the most part, we succeeded. Things occasionally fell through the cracks. A temp track wouldn't get shared, or temp sound effects would get organized a little differently between each person's machine, but the problems were minimal enough that we could spot them right away and squash them out. So for that, I'm proud we were able to set that plan, execute it, and see the benefits of that system play out in real time.<br />
<br />
<b>Italian Cadence:</b><br />
Because I had to manually sync all of the footage myself, and the crew ran cadence spoken solely Italian, I took it upon myself early on to learn the cadence and set terminology in order to inform my editing decisions. I kept a little notes sheet next to me in order to help with that process:<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYkPgF7WhCeit_WnQMeP6Z60Rf_pc_HWySKrH0Ca0t6VM_D1KOQ0E3gJ-jU2Gp4aKRbPJMAZBmzU8C0tzrDhGv5kQsB9e5bwsZpZ0XhkgDOtK-oBKbw9YKzvxUYKj4FLmCbphK29BhRQ/s1600/Screen+Shot+2017-02-10+at+10.31.34+AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEYkPgF7WhCeit_WnQMeP6Z60Rf_pc_HWySKrH0Ca0t6VM_D1KOQ0E3gJ-jU2Gp4aKRbPJMAZBmzU8C0tzrDhGv5kQsB9e5bwsZpZ0XhkgDOtK-oBKbw9YKzvxUYKj4FLmCbphK29BhRQ/s640/Screen+Shot+2017-02-10+at+10.31.34+AM.png" width="520" /></a><br />
<br />
<b>Color Coding</b><b>:</b><br />
Color coding is nothing new to my process, but I’m just continually amazed at how well it works. My process typically goes as follows. Once the material is synced, I’ll duplicate my sequence and label it as the “Paredown”, at which point, I’ll parse away all of the pre-roll and false takes, and the remaining material goes through a color coding process. This gives me two things: A firmer knowledge of every take by watching through everything, it also gives me an impression that I can reference later on and save time without having to go back through every clip. My color code typically follows a stoplight’s colors. Red (or Rose as Premiere calls it) is typically useless material. It’s a pass for me to skip looking at, but still exists on my timeline if I need to get creative in solving a problem. Yellow (or Mango in Premiere’s world) is passable material. It may have great moments, but there’s something that’s holding it back from being fully usable. Maybe it’s a technical flub, or the talent misses their mark, or they stumble on a portion of their monologue. But there is still good material in it to work with. Green (or forest in Premiere), is good clean material. Lastly, I break the stoplight code a bit and use blue (Premiere’s cerulean color) for B-roll, inserts, MOS material, or sometimes I use it as MUST USE material.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqB7C0CPj0fVeVJ6Ivj5qwT327n_gjfjtGSumOCsNxtaBzlp0TcLVtBKJ7xNxmOqj33H-urm-G0wam_OFMAQNSE8OMV6aJtdy-CTnVoVwoR_nvQ1tViG9nkxeeVFED3nSAdZCsGY1QGs/s1600/Screen+Shot+2017-02-10+at+12.02.45+PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmqB7C0CPj0fVeVJ6Ivj5qwT327n_gjfjtGSumOCsNxtaBzlp0TcLVtBKJ7xNxmOqj33H-urm-G0wam_OFMAQNSE8OMV6aJtdy-CTnVoVwoR_nvQ1tViG9nkxeeVFED3nSAdZCsGY1QGs/s640/Screen+Shot+2017-02-10+at+12.02.45+PM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A
typical scene assembly after using the color coded paredown of
footage. (I realize the music track is unlinked, deal with it.)</td></tr>
</tbody></table>
It’s a great sketch to visually illustrate each scene’s material and to reference when you find yourself starting to refine rough edits in scenes you haven’t reviewed in months.<br />
<br />
I don’t know many editors who use this regularly, but any AE, or collaborative editor I’ve worked with, I’ve taught them this trick and they’ve come back to me sometimes years later to tell me that they’ve adopted it into their own process.<br />
<br />
Some editors solely use markers with little notes baked into the clips. If that works for you, do it. I usually do that as a second layer of defense on large form projects, when I have the time and liberty to make those extra notes. I find that most useful in long interviews to help earmark subject changes in extra long takes. For me though, it’s bitten me in the ass (especially when I used to cut primarily on Final Cut), that meta data doesn’t always stick to the metadata of the clip, but instead is saved locally on your machine. So when you’d share the project with someone, all of that work would be lost. Thankfully, Premiere’s better about that, and if you’ve got the ability and an AE, their application Prelude does wonders in expediting that process before even firing up Premiere.<br />
<br />
<b>Dynamic Health Chart As A Tool:</b><br />
Setting a schedule and enabling all team members to stick to it (as best we can) was crucial to pulling this project off and not letting it go long tail. I looked into ways we could kind of keep tabs on the progress of the project as a whole without having to hit the breaks and talk it out every time a new scene was accomplished. There are online system organizers and project trackers like Trello that could be used, but we just needed to get the ball rolling and I didn’t want to have to have everyone sign up for yet another account just to use the service. So I developed this handy tool that gave every team member the status of the project and where everyone was working.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmRazpj7nWVilNDPS4M7h-oB8ozQddmi_DPj1EaoQLZnwu7I4bJ28YCiCmKh5P5xTABUJVsVF8ScVHP1O85_Z-9RJmCku9OncFxKLBkNMIMVeeSABDD0KiZp_QYBSQEAX8avPBQuyrBCA/s1600/DynamicProjectHealthChart.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmRazpj7nWVilNDPS4M7h-oB8ozQddmi_DPj1EaoQLZnwu7I4bJ28YCiCmKh5P5xTABUJVsVF8ScVHP1O85_Z-9RJmCku9OncFxKLBkNMIMVeeSABDD0KiZp_QYBSQEAX8avPBQuyrBCA/s640/DynamicProjectHealthChart.jpg" width="640" /></a><br />
<br />
I called it the Dynamic Health Chart, and it was created as a Google Sheets that everyone could see and update live. There’s something just satisfying about having a checklist and crossing things off one by one. It makes you feel accomplished and instills vigor to keep going. I liked this chart for that very reason. It served as a very visual, complex checklist that we could see our progress on any given day at any given time.<br />
<br />
Each scene is plotted out in story order. Under each scene there are five cells that show if the material has been imported, synced and verified by the post super (myself), what editor was assigned to the project, if the rough edit has been completed, what current version the scene is on, and if it has been placed in the master timeline or not. Nixed scenes were still left in the chart but blacked out as “dead content”. I then set up a color code to mark the status of each cell. (Sticking with the simple stoplight code that I use for parsing material in my timeline), red is waiting to be worked on, yellow is being worked on, green is completed, and then breaking away from that, dark green is a lock, and magenta is held up (either waiting for new content from reshoots, shared project assets, or is simply waiting for review).<br />
<br />
See nearly 4 months of progress in a few seconds:<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKirhfv-7yxMc-5kRt6Sz8_PUnESSc-XibcGKKyIKmtrCyqIFDsWTd2RE_UjDOjuVrNXzk6lxxBQK8DMm1dETLUFigjW7gyxcGt0p3rA6JPJowQWnZwOaoSDkcgu9t9CHaQsmy2OMxozU/s1600/My+Country+Timelapse3.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKirhfv-7yxMc-5kRt6Sz8_PUnESSc-XibcGKKyIKmtrCyqIFDsWTd2RE_UjDOjuVrNXzk6lxxBQK8DMm1dETLUFigjW7gyxcGt0p3rA6JPJowQWnZwOaoSDkcgu9t9CHaQsmy2OMxozU/s1600/My+Country+Timelapse3.gif" /></a><br />
<br />
<br />
<b>The Editing Time Quotient</b><br />
I may be a little more meticulous at keeping track of my hours than most editors, but when the majority of time needed for a given project is coming from my free time, I want to use it efficiently and try to keep myself on track. Our office uses an hour-tracking tool called Harvest, which we manage per project. In the past it has helped us keep track of scope creep and profitability. Each project is broken out by basic phase:<br />
<br />
- Hard drive management/project organization/AE work<br />
- Editing<br />
- Color Grading<br />
- Sound Mixing<br />
- Mastering<br />
- Administrative<br />
<br />
For this instance, I used solely the editing data from previous narrative projects as a baseline estimate for amount of time per scene. The next thing I did was calculated total runtime of footage per scene. To start, there were 52 scenes in the film (four were off the bat nixed, and a few were eventually rolled into a bigger sequence with intercutting). Some scenes only had 5-6 minutes of raw footage, others had close to a couple hours. I took all of that information and built a total hour estimate for what I thought we’d need to collectively edit the project and get it to picture lock. We then figured out how many hours each of us could put into the project per week. I then broke out the Dynamic Project Health Chart and assigned each editor their scenes based on the proportion of time they could contribute in total against the total projected hour estimate.<br />
<br />
I believe initially I had projected out the project taking somewhere around 320-330 hours to picture lock and we ended up finishing in 346. For going past the schedule a few weeks, an additional 16 hours isn’t too far off. That’s about a 5-8% offset. <br />
<br />
And all the while, we were logging our hours spent working through each scene. So what did I do with this data? I built a spreadsheet (of course), that logged the scene, the editor, the estimated runtime of raw footage, the actualized time it took each editor to complete the first rough of the scene, the runtime of the edit of that scene and the true gold nugget: the efficiency quotient that’s calculated per minute of raw footage. This gave me an accurate estimate down to the minute of how long it was taking to sift through and edit every minute of raw footage. I could then average these per editor and now that I’ve begun this log, I can more accurately project out future narrative projects.<br />
<br />
While I still have about half of the logged hours to crunch into this spreadsheet, at last count I was hitting about 650 minutes per hour of footage, or 10.97 minutes spent per minute of raw footage to get it into a rough cut.<br />
<br />
At first I was a little embarrassed to reveal how long it actually takes me to get through footage, but I came to realize that number is truth. It’s the actualization of what it takes for me to thoroughly vet and familiarize myself with the material and gain enough confidence in making selects and assembling them together. It’s just the facts. And for future work, it means I can justify our hourly estimates when building out budgets for post production.<br />
<br />
For someone who doesn’t consider myself the most organized post production super/editor, this is one thing I am passionate about and proud of to have developed. I’ve gotten to roll in this quotient into the estimate process of approximately a half dozen projects over the last couple projects and it’s been surprisingly accurate. Occasionally there’s an outlier of a project that just kind of cuts itself because the material is just so dialed in, but in working on averages here, there are also other projects that take a bit longer than the quotient.<br />
<br />
Keep in mind with all of this though, there’s a variable to this quotient that can’t be calculated: the feedback and fine tuning process. That’s why the quotient just is calculated up to the rough cut, because that’s when the project is in my control. Once it turns into a collaborative process working with the director/producers and we begin refining the project, it’s a wild horse that can’t be tamed. The best you can do in that phase is to have a set expectation on the number of rounds of revisions, or in the case of most narrative work, just have a clearly communicated set of boundaries with the director. “I need to be done by 6pm tonight.” “If we want to have picture lock by the end of the week, we should probably try to get in one more full day session together before I build and organize the master timeline.” Statements like that can just help navigate the sometimes very gray and ethereal looseness that occurs during this phase and it helps make everyone accountable for making set deadlines.<br />
<br />
I’m sure I will continue to refine the quotient and the process, but for now it’s a unique and valuable tool that gives me a pretty great visibility into actual time needed to pull a project off.<br />
<br />
<b>A Project Worth Doing:</b><br />
As with every project I take on, there's always a rich number of takeaways that I can grown from and implement into the next one. This one is no exception. I've spoken with many editors who would turn down projects like this. It's too low budget. Too small. It won't help their reel. It doesn't further their career. They're waiting for that whale of a project that they know will land them an Oscar nom. That's fine if your work is at that caliber, but I bet it's not. You need to be conditioned, and build your craft as a discipline. The old adage is that you need 10,000 hours to master a craft. I think realistically it's something closer to ten times that number, but my philosophy through my entire career has been aimed at committing to being a life-long learner. And this project was just right for me where I am in my career. It provided just the right amount of challenges, the stakes weren't too high (i.e. budget scale, the schedule, the team's working relationship, the general demands of the project). It was just the right sized bite for me to take and enjoy through the process, and to walk away being just a slightly different, more honed human than I was going into it. Because what I've learned is that even the best projects are going to have their problems that you will need to be able to have solutions prepared for, far before you're even asked for them. And the only way to confidently suggest and enact those solutions are to have given them a "trial run" on a previous project; to understand and speak to how that given solution could solve the problem in front of you.<br />
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-21887619949657781162017-01-26T09:00:00.000-08:002017-01-26T09:00:05.426-08:00Respice FinemI've spent the last year working on a screenplay. It's a feature, and carries more complex characters than my previous works. I should also mention that it's a period piece, which has added its own level of glacial slowness towards gaining momentum... but I'm trying to embrace it. In previous screenplays, I've been hurried to vomit that first draft out on the page as quickly as possible without stopping to question the material, and at that point I just close my eyes and hope that I only need to do one or two re-writes on it before it's a masterpiece. (I know, it's naive but I can't fight my subconscious on that). On this project, I'm taking a different approach and trying to have it all figured out ahead of time before putting pen to paper.<br />
<br />
About 10 months ago, I ran into a stuck point— Writer's Block. It stemmed from what I believe is the actualization of an old writer's tale that you should never verbalize your story until it's completed in private. I had to do this, as I've been working with a partner on this project and I needed to fill him in on the details of what I'd figured out up to this point just to make sure we were in agreeance with the general direction of the story. But as I was explaining this story aloud, my confidence in what I thought was a surefire structure waned and it felt like maybe it wasn't as strong as I suspected it would be. The suspicion was confirmed when I shared the scene-by-scene story with another friend of mine who felt like the need wasn't clear enough. It deflated me a bit, and I've sat idle on it for close to a year now trying to find my point of passion to regain momentum in writing and research.<br />
<br />
This week, I had a little time to go back over some old material and I think I'm starting to diagnose the flaws here. The character is interesting, the premise is promising, the setting is unique and the obstacles are in place, but the previous critique was right on— his intent isn't super clear. Aaron Sorkin talks about the recipe for drama is intent and obstacle. Without both, you don't have a story. Things just passively happen, or even worse, NOTHING happens. What I thought was the intent of this character is a little too hazy to carry enough weight. It's heady and is a delusion of the character. Furthermore, because I'm drawing from real life events, I had kind of an omniscient view of this character's timeline. And because I knew this character was towards the end of his life, I was assuming the character could feel that as well... but when I think about it... this guy is a fighter, his ambition is great, and he refuses to consider his mortality until it's grabbed him by the collar. So with that insight, I've got to pivot on an attitude change.<br /><br />Another thing that's got me thinking on this narrative again is a little note I found while digging in the backlog of unfinished blog posts here for Living In Cine. It was a writeup I started several months ago that I had found reading a short story by Tolstoy. It was on the phrase "Respice Finem" which translates to "Consider the end", or to the character in the short story, it represents a rally cry to <span>live so that your life will be approved after your death. After considering where I am in the writing process, the phrase changed meaning for me. I considered the end for my character, and I loved how it worked as a theme in a very tragic sort of way, but was blinded by it as a blanket idea, which now needs to be weighed against a man who wants to live and succeed.</span><br /><br />My plan is to comb back through some research materials I had yet get to a year ago, and between that and re-arming myself with Syd Field and Aaron Sorkin philosophy fresh on my mind, I think I'll be ready to saddle back up and get this first draft written. And if it takes another year, so be it. I'm not under any sort of deadline with this, I'm not being paid for it. It's for myself, and it's timeless enough that I don't need to rush. With this project at least, I'm going to try to embrace the ebbs and flows and allow it to take as long as it needs to. I see the pitfall in that thinking... no constrictions, deadlines or accountability may mean the project won't ever happen... but I think I can curb that. The story itself is my carrot on a stick to see it through.<br />
<br />
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-62255349423855834742017-01-19T13:07:00.003-08:002017-01-19T13:07:38.069-08:00Some Self-Musings On The Creative MindI've been thinking a lot about the journey we all go on as artists. This past December, I went to a relatively small filmmaker's conference in Austin, TX with the video team at my office. I think we all got something a little different out of the experience but we all agreed that it was incredibly fruitful. For me, aside from reconnecting with a lot of film folks I've met over the years, I most enjoyed hearing all of industry professionals talking about their craft and individual approaches to putting their artistic sensibilities to practice.<br />
<br />
It left me with an invigorated sense to do... to just tear through the fabric of time, set the world ablaze, and thrust myself forward into unknown territories of the disciplines I practice. It was a kind of nervous energy that crashed a bit when I went back into the regular day-to-day routine... but it felt like a mental awakening similar to when I would read daily on my train ride into work. And while I haven't had a direct focus to put my energy into, it's left me looking at my career from a macro level. While doing this though, a few of the best ideas have continued to resonate with me.<br />
<br />
A few of the biggest gems I walked away with:<br />
<b>"Plus-It"</b> — David Salter, an editor for Pixar and Disney, introduced me to the idea of "Plus-It" which is a long-said mantra at Disney from decades ago when Walt was still kicking around. He would challenge his Imagineers to always Plus-It on anything they were a part of. It's so simple but its implications in a team-based project tap into the true spirit of what collaboration is all about. Krista Morgan, a fellow blogger, goes into <a href="http://www.dtelepathy.com/blog/inspiration/the-power-of-plus-it" target="_blank">further depth</a> on embracing the idea into a practical setting.<br />
<br />
"<b>Memetics</b>" — Two of The Daniels, who created the film Swiss Army Man, gave one of the most engaging talks on the idea of Memetics, which is kind of a sociological explanation of how ideas can catch on in a given culture. And just as fruitful, they also peeled back the curtain into their creative process a bit by creating, for lack of a better term, a stream of consciousness "thought cloud" that used the principals of memetics to explain why a given internet meme had stickiness. The whole process lit up my mind and got me thinking about my work in a whole different way. I even have been throwing around the idea of returning to my thesis I started years ago and after some due diligence and research, bringing the idea into the fold.<br />
<br />
<span><span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span>"<b>Every sound opens a story</b>" - Paula Fairfield, the sound designer for Game of Thrones, among other works, gave a great talk on storytelling through the use of sound and anchoring decisions in a train of thought. This is Paula's way of Plussing It, and the whole approach means that no matter what avenue of the industry you are chasing, a rich complexity is added as soon as you can justify and defend your decisions as an artist in practice.</span></span></span></span></span><br /><span><span><span data-ft="{"tn":"K"}"><span class="UFICommentBody"><span>"<b>Hate the edit. Don't hate the editor."</b> - Andy Baker, a creative director at Nat Geo, gave me a refreshing reminder that not everything I'm tasked to do is going to be a masterpiece, especially when performing in a vacuum without a script, or perhaps with too tightly crafted of a script and the mechanics of the story are too loud, or telegraph too much information for the audience. It reminded me that I can be a good editor but maybe just not be in a position to succeed given some set of circumstances.<br /><br />One of the other big pieces of value from that trip was the meetings we held afterwards as sort of a company retreat. In a few day's time we held a self-exploration and discussion about sensibilities, identity and the type of work we want to go after as a company. Dedicating a few days towards that forced me to think about the type of work I'm attracted to, how I approach storytelling and the philosophies of emotion.<br /><br />What that did for me was galvanize the intangible web of sensibilities that have been swirling around my work, and brought a whole new clarity to the idea that the best stories are the ones that are most human. It's very much the Judith Weston approach to drama in appreciating the many facets of the human condition, and embracing the flaws we all have in pursuit of sharing these truths with an audience on a quest to find, renew, reveal, and ignite the very nature of themselves.<br /><br />And so in my pursuit of bettering myself, I'm going to attempt to dedicate a majority of my work this year towards putting these ideas to practice, getting faster at my technique, abandoning some of my OCD thoroughness, going after some creative risks and moving from a safe "Construct" to a more "Abstract" approach.</span></span></span></span></span><br />
<br />Also, I need to get back into practice of regularly reading again. There. I said it, so I'm accountable to do it.<br />
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-48231014187753561672016-03-01T11:18:00.001-08:002016-03-01T11:18:04.585-08:00Screenwriting GrowthNot much in this world gives me more joy than learning and having "breakthroughs" in my understanding of what I'm passionate about. I like to think. I write a lot of notes. Most of them are kept private to me in quick emails, google documents or jots on scraps of paper. I do this until they've had enough time to gestate into a fully formed idea, and over the years it's just become my working process.<br />
<br />
The focus for me lately has been in my further understanding of screenwriting as an artform. And over the last few weeks a few big breakthrough pieces I've stumbled across have opened up the floodgates in my thinking. Somehow, every time this happens, it almost always is perfectly in-sync with something I'm needing to solve in a current project I'm working on, and this is no different.<br />
<br />
Since the start of the year, I've began plotting out and exploring a screenplay that I've been collaborating on with a fellow colleague. While in the past, I've typically been able to knock out a first draft in a matter of weeks— this one, I've been taking my time on and really trying to see the whole forest before I venture into the woods. I carefully wrote the first 20 pages or so, but felt like I was wandering into some bad territory in the story, so I deleted the last 6 or 7 pages and took a step back.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgqJm7oyfUJjsZtMWIjtusHcGtXjVvSzIRUV0sbgtrm6oQ3UFVhxKGnlVd0lkhld9yS_LIBjnIoJ4JLXkgbolAHCX-47d0S4X4jrYAtrKy2oVpZ6CBsjL9X-mVkQUjFh0EE6B0qPmIvis/s1600/Screencards+copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgqJm7oyfUJjsZtMWIjtusHcGtXjVvSzIRUV0sbgtrm6oQ3UFVhxKGnlVd0lkhld9yS_LIBjnIoJ4JLXkgbolAHCX-47d0S4X4jrYAtrKy2oVpZ6CBsjL9X-mVkQUjFh0EE6B0qPmIvis/s320/Screencards+copy.jpg" width="320" /></a>Something that has really helped me keep my head on straight has been the mixture of Syd Field's Screenplay: The Foundations of Screenwriting (which I've been kicking myself for not reading earlier), as well as this tool I devised for myself to keep things straight and in order for the events of my story that I've been calling "Screencards". It's really nothing more than some cards with the major "formulaic" beats of the story, and a little reminder of what each piece should contribute to the structure as a whole. Think of it as the blue print or "training wheels" to help plug in what you know about your story. It's the most commonly-identified beats (maybe identified with different names) within a screenplay structure that writers can settle on.<br />
<br />
I don't necessarily prescribe to the idea of formulas in the long run, but understanding how well-written screenplays function and the things they have in common with one another is certainly not a bad place to start as far as I'm concerned. <br />
<br />
I'm sure once I've been around the block longer in this world of screenwriting, I won't need them, but for now just having a place to pin ideas that says "This part of your story needs to generally do X" helps free me from worry about "what happens next".<br />
<br />
So I've been pinning the ideas I knew I wanted to have, and probably once a day, I'll visit the board, shuffle some things around and maybe a new spark will hit me that causes me to form an even clearer picture of what I'm after here.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQO-QYjH2OxJN-DxKNVNOf2cvnZd-_AHnAR4O7oc1HX0IBCrBlIwElaxOnaXZt7wCHVZmT4l1OQg7YSq1wccToHesFDgAZU4ADtDBdT0c479EyDRm2wIwZfY1axsKZMo7zuqFZIpI2Pu8/s1600/screenplay-syd-field_medium.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQO-QYjH2OxJN-DxKNVNOf2cvnZd-_AHnAR4O7oc1HX0IBCrBlIwElaxOnaXZt7wCHVZmT4l1OQg7YSq1wccToHesFDgAZU4ADtDBdT0c479EyDRm2wIwZfY1axsKZMo7zuqFZIpI2Pu8/s200/screenplay-syd-field_medium.jpg" width="125" /></a>Once I felt like I had exhausted my current ideas and pinned everything up, I took a break from the process and circled back to that Syd Field book I mentioned. Aside from his brilliant explorations and observations, a couple major things have really stuck for me. He says that before you should even think about putting pen to paper (or ehm, E-ink to screen, I guess?) that you should have 5 things figured out, in this order of importance:<br />
1) Your main character<br />
2) Your ending<br />
3) Your beginning<br />
4) Plot Point 1<br />
5) Plot Point II<br /><span id="docs-internal-guid-081adcb9-3385-eb20-0d37-90304482583a" style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline;"></span><br />
<br />
<br />
Well strike one for me, I suppose. I solved 1, 3, 4, 2 (kind of), THEN 5 in that order. But it's caused me to question a lot and poke holes in some ideas, and reaffirmed other ones.<br />
<br />
Another thing that was fascinating was his description of "sequences". I've always used the term as a catch-all for a nondescript duration of edits. For me a sequence could be three shots in succession, or it could be 3 scenes, depending on the context. But he defines the term as a clustering of scenes serving one objective, i.e. "Our main character attempts to do X". On the surface, it was rewarding because I had never really heard a screenwriter address the idea of the sequence (which maybe just makes me a newbie in the craft), but I think what really stuck out to me is the attempt at reducing the daunting task of writing an entire 120 pages screenplay. By clustering scenes together and saying "These 4 scenes are about INSERT OBJECTIVE", each scene is just the WAY that that objective is achieved or revised, and you've suddenly reduced the number of things to think about from 4 to 1.<br />
<br />
It sounds silly, and way too intuitive, but reducing the complexity of the job helps open you up to focusing on the more creative material, which I think is what Syd is attempting to achieve here.<br />
<br />
The other big lesson I'm learning here is that beyond simplification of the process, patience is the other takeaway I'm hearing from this book. I've always heard about screenwriters who spend a year or more working on a single screenplay, and my assumption was just that they were too exacting in their first draft. And while I'm a proponent of opening your mind and letting words flow from your fingertips as subconsciously as possible, I think I've perhaps neglected the other end of the spectrum; the consideration of the grand idea and structure of your story. It takes time, it really does, to write a genuine original piece without fudging and faking certain aspects that you don't yet understand.<br />
<br />
And it's been a compounded experience for me, as I'm a writer often drawn to period films concerning lifestyles and careers that are different from my own experience. This takes even <i>more</i> research to accurately portray their world. I think as I'm writing this, the reason I'm drawn to these types of stories is not in the exploration of "what it was like back then", but more from my yearning to bridge how human and similar their experiences were back then to ours today. Really, I'm going against the grain of the thesis I was so fired up about when I first started this blog; the anti-romanticist. Life is real, messy, gritty. It's not easy. We all deal with problems, and even though something that seems so different and distanced by the span of time from how our lives are in modern society, it really isn't so different. We're saying the same things as we were 100 years ago about politics, religion, economics, the world. The context is different, but the content is the same to a large degree. I just think that's cool. That's probably the closest thing we can get to an emotional time travel right there: connecting emotionally to past events by drawing comparison to similar instances in our modern day life. You're being reminded by both the unfathomable expanses of time, as well as the finitely minuscule separation we have from our ancestors. We're both totally foreign from our ancestors, and at the same time we're mirror copies of their fears, dreams and comprehensions. It's truly incredible.<br />
<span id="goog_1398721674"></span><span id="goog_1398721675"></span><br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-77402855775310887272015-09-25T13:33:00.001-07:002015-09-25T15:12:17.773-07:00The A to C and Audience Engagement<div>
<div>
<div>
I like to read what interests me,
that sounds like common sense but I say that because sometimes that
takes me to interesting places. In this instance, I'm talking about
improv comedy. I've never done improv comedy, but it sounded interesting to me. and I wanted to read
about it. So, awhile back, I bought <u>The Upright Citizens Brigade Comedy Improvisation Manual</u>,
where they break down their school of thought and theory in improv
comedy, and some of the games that they play. I finally got to read
through it this past week and barring a review of the whole book, there
were a few ideas that I really connected with.<br />
<br />
</div>
</div>
</div>
<div>
One
principal that came up was "A to C'ing", which I had never heard but
I'm sure some of you are familiar with. Essentially in improv, you're
constantly heightening the stakes, and building off of ideas.
Everything put out into the world by your partner, you're supposed to
treat as a fact and then propel your thoughts off of that. It's
constant listening and response— an often overlooked portion of good
acting.<br />
<br />
</div>
<div>
The A to C idea is that if your scene partner
introduces idea A (let's say they say the word 'truck'), rather than
jumping directly to a B idea (a direct word association or knee-jerk
response, like "driver") you go to the C idea, take your B idea and
compound that (something like "screw"). Suddenly the subject of your
train of thought evolved from a vehicle to a tool. It's an unexpected
move (which is often where the comedy lies), but has a train of thought
that could be followed logically, creating an organically complex
evolution of concept.<br />
<br />
</div>
<div>
In the editing world, I see A to
C'ing as a method of avoiding on-the-nose storytelling where we are
talking about the idea and showing it at the same time, and instead
drawing correlations, metaphors or emotional representations on screen
of the subject matter. So let's say we're talking about domestic abuse,
rather than showing someone getting abused, or even "aftermath" of a
bruised and beaten person in the fetal position looking out the window,
we show an insert shot of a tea kettle whistling. It's in a home
setting, so there's a trace to the original idea, and the whistling is
emotionally disturbing enough that the dissonance of that conveys an
emotional thread that is true to the subject matter. It's better
storytelling.<br />
<br />
</div>
<div>
A to C'ing is great because it goes back
to a principal of storytelling that I believe separates the men from
the boys, so to speak. This idea I'm talking about is playing to the
audience's intelligence rather than feeding them emotions. You allow
the audience to fill in the blanks and on a primal level, they become
more empathetic and emotionally available to the story. They're engaged
and receiving an award for slight cognitive work. It's active rather
than passive storytelling. I've often described it as "staying ahead of the audience" so they're constantly having to keep up.<br />
<br /></div>
<div>
I wrote recently about how
the feature documentary I've been editing had a big change in its last
revision where this very principal reared its head. Essentially, we had
a convention of voiceover in the edit that framed our entire story from
the perspective of our protagonist. Because we went that route, on the
surface it gave us the ability to hear the character's thought process
and psychology as he goes through his journey. It became a trap though
for two reasons. One, it became an outlet for information that wasn't
100% clear visually in the raw footage. So audience feedback was mainly
focused either on wanting more information, or wanting less dependent
on their personal taste. The more we tried to address those issues, the
less satisfied the audience was with the story. The second trap was
that the voiceover attempted to answer psychological questions and in
turn, alienated the audience by telling them what to feel. So in turn,
our feedback was focused on the distaste for our protagonist because
what he was feeling was not in line with how they felt.<br />
</div>
<div>
So
the solution was stupidly simple. Remove the voiceover convention and
suddenly test audiences stopped asking to learn more about the backstory
and instead began actively participating in the here and now of the
story, and rather than being told how things felt, they could perceive
and deduce their own opinions on the conflicts of the protagonist.</div>
<div>
We
moved the story from a passive framework to an active one and the
audience perceptions of the film completely changed. Suddenly they
engaged deeply with the material and were having meaningful discussions
after the fact.</div>
<div>
<br /></div>
<div>
I'm not totally poo-pooing
voiceover. I think it's a valid convention to introduce when necessary,
but perhaps not in an intimate film such as this one. It is a very
clear lesson for me though in the value of audience engagement.</div>
<div>
<br /></div>
Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-1722138161653371642015-09-02T16:20:00.002-07:002015-09-02T16:20:24.821-07:00An Epihpany In A Year Long Project But A Life Long Understanding<div>
</div>
<div>
</div>
<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigF5FnhHzIoILkEm6LDLQ4rQ8fc1EB_wFN4Qv6hMrO7sU71MRzZMBrr034XfdvfEsdrue-I0h0KgaMZ4RE60bTJ7M4pFibBneWytIkI4NWzhFBaqVVpT-_DpNZqLtSydNkEFWr51Ehxbs/s1600/zen_circle.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigF5FnhHzIoILkEm6LDLQ4rQ8fc1EB_wFN4Qv6hMrO7sU71MRzZMBrr034XfdvfEsdrue-I0h0KgaMZ4RE60bTJ7M4pFibBneWytIkI4NWzhFBaqVVpT-_DpNZqLtSydNkEFWr51Ehxbs/s320/zen_circle.gif" width="320" /></a>In working with this feature doc I've been editing, and my recent
reading of "Zen and the Art of Motorcycle Maintenance", the theme of
"purpose" has come up and all the questions along with it. What is a good life? What is the most primal
want I have?<br />
<br />
For me, I think I'd hope to approach everything with
'balance'. People call it Chi, or aligning chakras, or simply "having a level
head"... for me it's about trying not to get too excitable about the
high points, and keeping your head down and reassuring yourself you'll
get through the very low points, and reflecting and gleaning value from both situations.</div>
<div>
<br />
Things outside your control
aren't worth dealing with, and the things that are, deal with them
orderly and calculated way. Balance is in doing right by
your family, living a fulfilled career (taking risks when you can, and
pulling the plug when it's not working), helping others move forward in
their lives, and leaving behind something worth talking about with
others.<br />
<br /></div>
<div>
Maybe for me, that's partly what this blog
is. No one knows about it now, and while this is going to come off as
completely narcissistic, I suppose in a way, I one day hope people could
look back on my ramblings here, and see the seeds of the ideas that have
influenced my taste, my sensibilities and the types of stories I'm drawn
to in my future work.<br />
<br /></div>
<div>
If anything, I hope this gives
some other aspiring nobody out there permission to think freely, allow
yourself to ramble and make bolder statements in a forum that is fairly
unpopulated. It's like screaming into a pillow, or praying for some.
You talk out what's on your mind, talk in circles, poke holes in your
own constructions and what shakes out the other end is a clearer
understanding of concepts, abstract thought, and philosophies.<br />
<br /></div>
<div>
I
think there's a stigma in free thought, or at the very least, a lesser
perceived value in it than it than there once was. We're encouraged to be witty
and concise with our online content. Fuck that. I want to say what I
want to say with no limitation of characters, and no worries of people
picking apart an idea. A sculptor doesn't know how to sculpt until they
shave just a little too much off and have to start again.</div>
<div>
<br /></div>
<div>
I'm making mistakes and I'm thankful for that. This blog is my
sandbox. Not everything I say in it is going to be truthful forever. I'm sure
if I went back to some of my original posts, when I was swooned by
idealistic theories of storytelling based on whatever kick I was on at the time, my claims would appear a little too
bold and uninformed for them to be 100% true...<br />
<br /></div>
<div>
But I
can't negate their value. I needed to believe in something in the start of this
journey; I had to work with some direction for my compass to point in
order to find my way. And those ideas evolved. They lead me to other
terrains, they've opened up doors, invited me into more fertile lands
and new epiphanies. They're just as valuable to me as the conclusions
I've come to currently.</div>
<div>
I've come to value stumbles, because with unassuming reflection, they become lessons that last forever and cause impressions upon your future work. You essentially are growing more valuable at every step of the way.<br />
<br /></div>
<div>
This
week, we went through a major change in the edit of this documentary I've been working on.
My intuition upon completing my footage log and starting the structure
assembly of the edit nearly a year ago was that there was enough information in the
visuals that voiceovers and interviews were unnecessary.<br />
<br /></div>
<div>
Then
when I began editing, after the tracks were laid for the opening of the
film, I skipped to the end and began cutting the final
sequence so I knew what to work towards. I ended up with a very
impactful ending that was right in line emotionally with the logline we
had drafted up. The problem was, it required voiceover as a vehicle to
give us our protagonist's perspective in the story.</div>
<div>
<br /></div>
<div>
That
meant a commitment to that tool for the rest of the film... my
instincts told me no, but the edit felt like it was necessary. I began
to sell myself on the idea. Suddenly, we were then given permission to
inject context and exposition, as well as the protagonist's emotional state in times
when we wouldn't have been able to otherwise.</div>
<div>
We got
cozy with the idea, and wrestled with it to squeeze as much out of its
abilities as possible. We said what we wanted to with it and at that
point, we thought we were working towards a good destination for the
film.</div>
<div>
<br /></div>
<div>
Flash forward nearly 6 months later, 9
revisions, 6 screening sessions of varying success, maybe 15 hours of
voiceover logged after the fact, and a swimming pool's worth of coffee
consumed, we drew a pretty hefty conclusion: voiceover was a mistake.<br />
<br /></div>
<div>
The
problem was, we committed to a more indie/art house lean into our later
drafts of the edit. As such, the story is told in an intimate, and breathing voice as it examines a friendship and a failed road trip. The voice over
widened the scope too much, and called attention to an opportunity to
otherwise explain all loose ends within our narrative. And the more we
tried tightening up our story and the more screenings we had with
individuals in that art house camp, the more it became clear that voice
over was a contrivance and a distraction. We needed to tighten the
boundaries of our sandbox so as to not even allow the opportunity for
outside information beyond what was able to be derived from the screen.
Less is more. This was the biggest lesson in that old film school adage "show it,
don't tell it". We were creating a vacuum to a film that would thrive
with open interpretation.<br />
<br /></div>
<div>
After our internal screening today, our suspicion was affirmed and I believe this is the right direction to go.<br />
<br /></div>
<div>
So
we're now attempting to make a sprint towards this year's Sundance deadline, and hopefully that
will put us in a good place for the film and take me one more step in
understanding this crazy craft, giving me a little more equity for the
next story, and will eventually lead to that legacy I was talking about
earlier. Perceptions of your own work evolve no matter what: either you end up somewhere unexpected, or they travel in a
circle and you end up back where you thought you would. Either way,
whether your expectation is met or is completely derailed, you're
growing. Growing towards that more balanced self with a greater
understanding of your storytelling abilities and hopefully a more
realized comprehension of the human condition (because that's really
what good storytelling is, right?)<br />
<br /></div>
<div>
I can't call what
we've been working towards WITH the voiceover a failure, or a mistake even.
It lead us to the conclusion we're at currently. Had we not gone down
that road, and explored every avenue of it, we wouldn't be able to
confidently say that our presentation of the story in its current form
would be the most ideal iteration. So, I'm thankful for the gallons of
coffee consumed while banging our heads against the wall trying to make
the mechanism work. It has a time and a place, but not for this
particular story and there's a peace in admitting that.<br />
<br /></div>
<div>
Who knows, maybe another
epiphany will strike and we'll realize the avenue we're headed down
isn't ideal either. But I assert that I'll bring balance to that
situation. If it truly is right, we'll vet it and see the value for
the newest conclusion and appreciate even more the depths of exploration
we've gone through in getting to that point.</div>
<div>
<br /></div>
Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-82344211201819602692015-08-04T15:04:00.002-07:002015-08-04T15:05:19.879-07:00A Little Catch Up and Some Storytelling Knowledge!It's been over a year since my last post. Holy crap. A lot has happened— too much to catch up on. My character's been tested, the depth of my passions, and the integrity of my convictions... but I've been quietly moving forward with learning as much as I can about this wonderful craft.<br />
<br />
A few quick highlights since my last entry: <br />
I DP'd a feature film, which ended up being a live-and-learn experience. It brought me closer to a few crew members, but ultimately left a sour taste in my mouth for inexperienced microbudget productions. Never again, lads and lasses!<br />
<br />
I've been editing a feature documentary that's hopefully seeing picture lock soon. It's been a fantastic learning experience and has really taken my comprehension of storytelling and structure to a whole new level. <br />
<br />
Final Draft's been open quite a bit for me— writing a few shorts and a new feature. The feature is currently in exploration mode, where I'm just putting pen to paper and seeing what comes out. So far, I'm feeling good about it. It's kind of a darker family comedy and could be an interesting piece.<br />
<br />
I've been reading quite a bit. Biographies, philosophy books, potential stories to adapt to screenplays... it's been keeping the creative juices flowing. I'm currently reading Zen and the Art of Motorcycle Maintenance which has me thinking quite a bit... and leaves me wanting to go on a cross country motorcycle trip.<br />
<br />
Earlier in the year I directed a short film with two fantastic actors. It's been completely finished aside from an ADR session that's set to happen in November, so I believe we'll be sending it off to festivals once that's completed. It was honestly the best directing experience I've had to date and has really made me appreciate what good actors can bring to the table.<br />
<br />
Other than that, there are quite a few interesting things on the horizon for me. As they get closer to being a reality, I'll share them, but they're certainly exciting to say the least.<br />
<br />
SO the whole reason I logged back in here was to share with you this fantastic list of storytelling tidbits compiled by Chuck Wendig, who's a fantastic resource on the craft of storytelling. He put together 101 tips for writing a story. I suggest you read the full list: <a href="http://terribleminds.com/ramble/2015/08/04/100-random-storytelling-thoughts-and-tips-starting-now/" target="_blank">100 Random Storytelling Thoughts And Tips</a>... but I plucked a few of my favorites and wanted to talk about them a little bit. <br />
<br />
<div>
<div>
<b>1. If you’re bored, we’re bored.</b><br />
This is my modus
operandi when it comes to editing, and more and more in my writing as
well. Keep your sense keen and don't ignore the fact that you're not
feeling it. On the other end of the stick, don't let that talk you out
of finishing your piece either. Thick skin and momentum will keep the
ship moving forward.<br />
<br />
<b>9. One of your greatest skills is misdirection. You seed the truth of
the magic trick early on in the story. Then you convince the reader that
the truth isn’t the truth at all — until the time comes to reveal. And
okay yes fine sometimes you <i>are</i> a Druid summoning swamp-elves
out of the murk. Sometimes writing is sacrifice, not magic trick.
Sometimes it’s all of those things.</b>This one felt like just a
fantastic reminder of a powerful device in your toolkit. Setting a
scene is often difficult enough, but then going a step further and
realizing that the scene has too much information and gives away a
potential mechanism to illicit emotion. Stay sharp and keep that
misdirection in mind.<br />
<br />
<b>12. Love, hate, jealousy, life, death, betrayal, lies, revenge: these
are the widgets, levers and flywheels that keep the story running, and
that keep us coming back. Lubricate the gears with blood and tears.</b>I love the idea of blood or tears being the stakes. It's such a primal way to work.<br />
<br />
<b>20. Pretend while writing that your job isn’t to tell a story but it’s
to manipulate and emotionally injure the audience. Because that actually
kinda is your job. You monster.</b>I'm a people pleaser. It's hard
to break that cycle when writing. I have to remind myself constantly
to be crueler to my characters, and in turn toward the audience. A
cringe is a good thing. It means that paper thin vale of your story is
being upheld and the audience is feeling the emotion and engaged. I
just finished reading Mel Brooks' biography— the dude got away with
every taboo thing he could think up. He did it to shock people. It got
a rise out of them. It made them squirm in their seat. Then he'd turn
it on its head and make you feel okay about it. Something tells me
that type of thing wouldn't fly as easily today, but go for the jugular
and shed a little blood. <br />
<br />
<b>25. Humor is the hardest emotion to get right. Here’s a tip: don’t treat
it like humor. Humor is funniest when the characters don’t find it
funny. They’re not telling jokes. They’re not self-aware of the humor or
the absurdity. To them, it’s dreadfully serious. Sure, YOU think it’s
funny that they’re fighting a bunny rabbit with giant human nipples for
eyes and loud, eruptive fart sounds every time it attacks, but THEY
don’t think it’s funny and in fact they’re probably really terrified.</b>This
usually happens on such a subconscious level, but it certainly is a
great reminder to frame it up that way. The other tidbit to add to this
is from Robert McKee who says that comedy is drama under conditions
where you know the character won't get hurt. I think Wendig's point is
more on situational authenticity, where your character isn't aware his
story is a comedy, and McKee is on the reality, or the proscenium in
which that situational authenticity can take place.<br />
<br />
<b>27. Every scene is multipurpose.</b>Nuff
said. Actually, to add to that, every scene must have an emotional
core, and some would argue new information illustrating a new facet of a
character a new direction for the character to take.<br />
<br />
<b>33. Characters are not role models. Characters should never ever ever be role models.</b>At
the core, this is an extract from the idea that all characters must
have faults, and their mistakes are for our benefit. It is the human
condition to make mistakes. A super hero may be a role model, but it
often comes at the cost of an emotional emptiness or a moral dilemma
that they must wrestle with.<br />
<br />
<b>37. Embrace dramatic irony: when the audience knows something characters don’t.</b></div>
This guy goes with numbers 9 and 12. It's another core tool to work with to squeeze out emotion.<br />
<br />
<b>41. End chapters interestingly. Which means with uncertainty,
suspense, excitement. Lace the end of a chapter with the equivalent of
narrative heroin. Readers will turn a page to get the next hit.</b></div>
<b>42. But don’t always give them the next hit. Keep them waiting.
Tantric storytelling. They want you to keep driving straight. So, for a
little while, take a hard right. Make them want it harder. Give the
audience a straining story boner. Narrative blue balls or whatever the
equivalent to lady blue balls is. Cerulean Clitoris, perhaps.</b><br />
These
two go together. I think just developing your sensibilities and
anticipating the needs of your audience. The rough edit of the
documentary I've been working on began with three scenes in a row that
left the audience hanging with more questions and very few answers. We
thought it was a nice way to wring out some exposition while allowing
the audience to participate in the story and think about it. Well,
having that many "to be continued's" left people frustrated and felt
like they were being slighted. Be mindful and listen to Uncle Ben when
he said "With great power comes great responsibility". Use these tools
wisely.<br />
<br />
<div>
<div>
<b>52. Let the characters talk as long as they want to.</b><b><br />53. Be prepared to cut a lot of what the characters say.</b><br />
I
love this encouragement here, followed by harsh reality. Always be
willing to travel down a rabbit hole and see what comes out of a
character. Something a gem bubbles to the surface. But when your
story's all done and you're sixty pages over, show that discipline and
cinch up the rambling that lead to that one great idea.<br />
<br />
<b>73. Cause and effect. Action and consequence. This is the blood and bone
of storytelling. Character wants shit, does shit, shit happens.
Character discovers character is not the only character in the world and
is in fact in a universe dominated by many other characters who want
shit, too.</b><br />
It's momentum to your story. The most basic
building block of drama— being aware of this constantly and staying one
step ahead will keep your story interesting.<br />
<br />
<b>88. Active over passive. Character agency over character inertia.</b><br />
Going
back to McKee again, he separates stories into a triangular continuum:
Archiplot which is the commercial, by-the-book, happy ending type of
storytelling. Your character is proactive and seals the deal by the
end. On the other end of the triangle are Miniplot and Anti-plot.
Miniplot deals with a more intimate, passive character, and Anti-plot is
like cuckoo land where nothing makes sense.<br />
In traditional
storytelling, having a more active character is what's expected, but it
would be silly to completely ignore toying with a character who gets
swept up in the inertia of a world and has some sort of existential
crisis over it. Indie movies wouldn't exist if we didn't have the more
passive, whiny Eeyore character.<br />
<br />
<b>98. Storytelling is a series of promises, some broken, some fulfilled.
Know which is which and know why each must be the way it must be.
Fulfill more promises than you break.</b><br />
One of my favorite
film professors in college DRILLED into our heads the mantra "Everything
is Setups and Payoffs." We practically chanted it in a seance during
class. It's a wonderful lesson in economics of storytelling and being
mindful of purpose. Both Wendig and my film professor's ideas are
stemming from Chekhov's Gun principal which states "One must never place a loaded rifle on the stage if it isn't going to go
off. It's wrong to make promises you don't mean to keep." Stay lean, folks.<br />
<br /></div>
</div>
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-42205160933379534712014-05-12T12:30:00.001-07:002014-05-12T12:30:43.843-07:00My Journey Into Street Photography<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnbYzFqmmH3XRptPRYFJvB05G2PClm-PJr4HKMCBDLbGnPpExp83rlmInrt66yu6CatfXWXPN8euVMudiXfNgoDBfzliAlsq2-lOrxtKaNl4p1Gv6jyfWIMudG82zmaTndZahb5ohApo/s1600/1167416_10103634052601388_5417681209692410427_o.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnbYzFqmmH3XRptPRYFJvB05G2PClm-PJr4HKMCBDLbGnPpExp83rlmInrt66yu6CatfXWXPN8euVMudiXfNgoDBfzliAlsq2-lOrxtKaNl4p1Gv6jyfWIMudG82zmaTndZahb5ohApo/s1600/1167416_10103634052601388_5417681209692410427_o.jpg" height="320" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Matthew Mann</td></tr>
</tbody></table>
<br />
<br />
As some of you know, I've been getting back into shooting film photography over the past year. I picked up a cheap 35mm FED4 camera and carry it with me wherever I go. From this, I've improved significantly in reading exposure by eye and guessing where my settings should land on my camera in any lighting situation.<br />
<br />
After a year of shooting with it, I gained my confidence with film on the FED and was ready for a next step up. After seeing the documentary "Finding Vivian Maier" (watch the trailer below) I really began researching medium format cameras for all-around high end photography. After a few weeks of research, I invested in a Hasselblad 500cm, which was the holy grail of medium format film photography for a long time. They shot the lunar landing with a 500 series camera. It's been used for decades in fashion shoots and classic studio photography. It's robust, and is just a finely engineered piece of machinery.<br />
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I've done multiple outings with it as a street photographer with my buddy Matt and have really been struggling with shooting people. It's just an uncomfortable hump to get over, and is a very common problem to street photographers when they first start out.<br />
<br />
My goal is to be comfortable just approaching someone on the street, getting into their personal space and capturing an event or portrait of them. It's a lot easier said than done though. Several articles and videos I've come across have really helped me get my head into it and challenge myself to get over this anxiety. Hopefully some of you are in a similar boat and could use a good set of tools to help curb this issue.<br />
<br />
One of the most helpful tools I've come across is an e-book written by Eric Kim that gives a 30 day challenge to green street photographers. Each day provides a new challenge and new set of tips to go along with it. A lot of the material is common sense but it's helped align my mindset when going out and doing this. That can be downloaded <a href="http://erickimphotography.com/Downloads/Books/30DaysHowtoOvercomeYourFearofShootingStreetPhotography_5.pdf" target="_blank">here</a>.<br />
<br />
The next majorly helpful item I've come across is a lecture by Adam Marelli sponsored by B&H. He goes through seven major approaches he uses in the way he tackles street photography. Surprisingly, there's very little overlap between he and Eric's tips. Where Eric challenges the photographer to shoot first and handle the consequences later, Adam suggests picking a location that's photographically pleasing and almost like a wildlife photographer, waiting for the right people to walk through your scene. I think both approaches have merit and it's ultimately worth trying any and all techniques until you get over that fear. The lecture's about an hour and a half and can be seen below:<br />
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<br /><iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/mJHfT7lYqCo?list=FLFXfbv4ZMB-cC7SLdbyaHNA" width="640"></iframe><br /><br /><div style="text-align: left;">
The last thing that's helped me approach this anxiety is another article I came across through Eric Kim's site called "10 Things Garry Winogrand Can Teach You About Street Photography". Again, it's another list of tips, but they're from a great source for learning technique and the general message is important: Shoot a ton. The article talks about how Garry would shoot an entire 36 shot roll just walking down the street and not stopping! That's a challenge to find that many interesting things even with a digital camera. Let alone handling film. But I love the idea of it.<br />
<br />
There's kind of a dark and light side to shooting film. You are generally more selective on the shots, composition and subject of each individual shots because there is a finite amount of film and every shot is a little more money burnt up, but on the other hand that can be arresting as well. You may miss a shot because you go back and forth about it in your head. "Is this situation worth it? Is the light good? Are these people emotionally evoking enough?" and by the time you've decided whether or not you're going to shoot the photo, the moment's already passed and you're stick with zero photos for the day. I think shooting 36 shots in a matter of minutes, especially on film, is a bit absurd, but the idea is right. I think the more you do it, the more refined your sensibilities will become for spotting those moments and the quicker you'll become at getting the shot off.<br />
<br />
Another interesting piece that came from the article is a recommendation of Garry to not develop your negatives for a year. I'd never heard that before but I guess that's a common practice for street photographers. Shooting in the moment is important, but forgetting the moment over time can be just as important. Waiting for an extended period of time and then returning to the material without rose-colored glasses and truly reacting to the photo as a pair of fresh eyes would is important in curating your own work. I think you could do a similar method without so much "wait time" and only allow yourself to share three photos per roll of film you shoot. Maybe even be more strict and allow one photo per roll.<br />
<br />
I like that idea, as you're teaching yourself the discipline to ask "what is the best, most emotional and aesthetically rich material I've shot?" and severing any "maybes". It's about honing your sensibilities and remaining critical of your work. I know at this point in time, I typically post maybe 30% of my exposed photos online, and I'm learning that that's probably too much quantity, and not enough quality. I think as I receive my first few rolls of medium format back from the lab, I'll really start to incorporate a more strict filtering of my work. To read the full article, visit Eric's site <a href="http://erickimphotography.com/blog/2012/08/20/10-things-garry-winogrand-can-teach-you-about-street-photography/" target="_blank">here</a>.</div>
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Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-52637321977850741182014-05-12T08:09:00.002-07:002014-05-12T08:10:17.151-07:00Finishing My New Screenplay "Garage Boys"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQmMN2xg7EqdyZ3BNYmvIpx05YUYcnOeuIr0sISe4wRUGwcI0rKCeeOIk9CnGSy7tjImfNhNsLUk3mAIpJk4O7irRR7i5xAzC3BTs0nHG4Xh9jJacMIJXVN1M8R5CgLrFeoZRtyxgN0E/s1600/10256396_10103622014565708_7330921081267383695_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQmMN2xg7EqdyZ3BNYmvIpx05YUYcnOeuIr0sISe4wRUGwcI0rKCeeOIk9CnGSy7tjImfNhNsLUk3mAIpJk4O7irRR7i5xAzC3BTs0nHG4Xh9jJacMIJXVN1M8R5CgLrFeoZRtyxgN0E/s1600/10256396_10103622014565708_7330921081267383695_o.jpg" height="160" width="200" /></a></div>
About two months ago, I began really entertaining this idea I've had brewing in my noggin. The premise was simple: It's a buddy comedy set in the early 90's about a trio of late-blooming
friends who get the wild idea to start a tech company in their mom's
garage with the assumption that in doing so, they'll strike it rich.
Their friendship is put to the test as they soon face the hard realities
of their naive plan.<br />
<br />
This has been the most organic writing process I've experienced thus far. I had an idea. I gestated on the thoughts for awhile. I wrote a rough outline of how I saw things playing out in the story, and I sat down and began writing.<br />
<br />
Three weeks after beginning the screenplay, I now have a finished first draft and am feeling good about the first broadstroke I've put on paper. I realize there's a lot of work ahead for the project, in both the screenwriting and the potential of actually funding and producing it but this is the third feature I've written and it feels like it's getting easier over time. Perhaps it's because this was the first feature I've written where I've had a cast in mind for the key players, and was able to use my familiarity with their natural speaking voices to help guide the writing and focus more on the "want" of the characters and not think so hard on finding a voice for them.<br />
<br />
I filed "Garage Boys" with the copyright office last week and sent out the first draft to a batch of friends and colleagues for review. I have up and down moments in my confidence in the story as I eagerly wait for the first response to come back, but hopefully I'll either have that confidence restored, or will receive a hard dose of reality in identifying the true problems and plot holes within the story.<br />
<br />
My plan is to take the screenplay after I've received these first reactions to it, and begin a writing room with the intended cast and take another stab at it with them to help distill the story another level.<br />
<br />
As I wait for the responses to roll in, I'm beginning to noodle with my next screenplay that I want to write, which is a fictional political drama set in the very near future. This one may require quite a bit of research but it could be an interesting cultural tableau of a potential reality.<br />
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<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-41847821284506451062014-02-07T08:56:00.000-08:002014-02-07T08:56:12.052-08:00A Unique Look at Uniqueness in Filmmaking<div class="separator" style="clear: both; text-align: center;">
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Nelson Carvajal, a fellow Chicago native, filmophile and insightful writer over at IndieWire shared a video essay with me today about Aronofsky that really got me thinking. There are a lot of good filmmakers out there today but few great ones. I'd put Darren Aronofsky on the short list of great ones next to Paul Thomas Anderson, David Fincher, and the Coen brothers who all skate that fine line between unique, envelop-pushing auteurship and commercial success— but how are they all doing it differently? My gut tells me they're not.<br />
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In this wake of the passing of Philip Seymour Hoffman, a torrent of great material surfaced in interviews with the man, and many critics have turned toward retrospective analyses on the state of the film industry today and how people like Hoffman have changed that landscape and redefined what a "movie star" actually means.<br />
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Something that came across my newsfeed was an interview from Hoffman (which I can't seem to find anywhere on the world wide web) saying that great art is about speaking in the macro, but telling your story in the micro. Essentially speaking containing a large message within an intimate story about a single character or collection of characters in a given circumstance. Arguably all of these greats do that. They intimately examine and peel back the layers of these simply fascinating characters and give you a pervasively close look at who we are as a society.<br />
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Now getting back to Carvajal's essay: the topic has come up before with my fellow film geeks about how unique Aronofsky's films are from one another. But I think it boils down to that old adage about how every storyteller (or filmmaker in this case) tells the same story over and over again. Arguably, I think that, while Aronofsky's films may be different on the surface in the intellectualized, resulted sense, they're emotionally telling the same story. I've got to give credit to Mr. Carvajal for sparking that insight, as before this essay, I was just in the same boat as everyone else on the argument.<br />
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I would love to see a similar analysis done on Danny Boyle, as I've heard similar discussions arise from his storytelling. Without further adieu, read the article <a href="http://waytooindie.com/features/video-essay-social-anthropology-in-narratives-of-darren-aronofsky/" target="_blank">here</a> first, and then watch the essay.<br />
<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-69092799806725371322014-01-15T07:49:00.001-08:002014-01-15T07:49:27.368-08:00A Kick in the Ass by Folkloristics<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_-64lsttnU4zOIn5E8jMXmf_z0SCkzI8dq6Lk7DC6bGS19RtUNfGh3MHR8lhpIcJuRjfhE8YegN5BrfHp3JJ__dIc6rVwufSD-ItFOagGEI1XdERZzg3cTJxvsAHSCN6LoDUekkCPino/s1600/51XXiaejRKL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>As some of you may know, I began writing this blog for two reasons: 1, to document the progression of my short film "Your Milkman" from inception to completion, and 2, to use it as an open forum for ideas for a personal thesis I've been working on for nearly five years now.<br /><br />Obviously, the blog has veered and evolved into a greater scope of my personal education in film and observations on life in general. I took some time off from working on the thesis; about a year and a half actually. Occasionally I'd jot an idea down but I haven't done much more research on it for quite some time now. Part of this sabbatical was to work on a few feature screenplays I wanted to write, and part of it was because I'd hit a dead end in supporting research. The breadth of the idea quickly expanded from a little shell of an idea to a pretty large scale abstraction that spans across sociology, psychology, anthropology and communication sciences— it quickly became pretty daunting to me to work on, especially trying to regain footing on it and really finding the passion for the idea I had when I first began. Now it required research and supporting ideas for folklore, mythology, pop-culture, child psychology... it was just the tip of the iceberg. There were plenty of books available on each topic individually, but rarely could I find anything that bled between them so I got discouraged and just sat on it.<br /><br />I had a friend and colleague, photographer and fellow academic mind with mad Reddit/<a href="http://www.buzzfeed.com/ryanhatesthis/this-guys-mom-asked-him-to-take-a-proper-christmas-card-and" target="_blank">Buzzfeed cred</a>, John Cessna, look over where it stood about a year ago. In essence his feedback came down to continued research and obviously, one of the worst parts of writing anything academic: citation. I'd taken margin notes as I went along for citation but I haven't been that organized in keeping that its own document. For shame!<br /><br />So with my head spinning and my tail between my legs for not appeasing the citation gods, I just took time off. No big deal... except it was an unknown amount of time and I just didn't have my bearings.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_-64lsttnU4zOIn5E8jMXmf_z0SCkzI8dq6Lk7DC6bGS19RtUNfGh3MHR8lhpIcJuRjfhE8YegN5BrfHp3JJ__dIc6rVwufSD-ItFOagGEI1XdERZzg3cTJxvsAHSCN6LoDUekkCPino/s1600/51XXiaejRKL.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_-64lsttnU4zOIn5E8jMXmf_z0SCkzI8dq6Lk7DC6bGS19RtUNfGh3MHR8lhpIcJuRjfhE8YegN5BrfHp3JJ__dIc6rVwufSD-ItFOagGEI1XdERZzg3cTJxvsAHSCN6LoDUekkCPino/s320/51XXiaejRKL.jpg" width="248" /></a>Fast forward a year later and I'm at a co-workers apartment reviewing an edit and I look over at his bookshelf and this spine is jumping out at me. "FOLKLORISTICS" it says in big bold red letters. "What's that?" I ask. "Oh, it's this textbook I saved from a college course I took on Folklore and Pop Culture. "What?!" And like a prized Olympian firing off the running block, I dove for it. Luckily, he was kind enough to let me borrow it.<br /><br />I've been slowly making my way through it, meticulously making notes, quotes and examining references on every thought that comes to mind as I wade through it. It's fantastic. Most importantly, it's give me a long-lost footing to start thinking about the thesis again on both a macro and micro level. So as I sit typing this, I've got the book open, only a tiny dent of the way through it and I'm already feeling that juissance I felt working on the idea initially. Things are clicking and hey, I'm actually keeping citations this time. It feels good to be working on it. The carrot at the end of the stick for me is having a physical copy— even self-published and printed through an amateur site like Lulu, just so I can put it on my shelf and use it for my own interest. I've made it a goal of mine to make that a reality within this year so here's to hoping! Now if you'll excuse me, I've got some reading to do.<br /><br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-29404730417187602532014-01-13T08:21:00.000-08:002014-01-14T12:05:36.976-08:00Unifying and Dissonant Cuts: Guiding or Misguiding The Human EyeSomething I've noticed, but not seen much written about in editing theory is the use and abuse of what I call unified cuts. I often talk of saccade patterns and their role in editing and viewing films. For those who haven't heard of such things, a saccade is the physical movement of the eye from one location to another. You look in the upper right corner of the screen because that's where the actor is, and on the next cut, another actor is on the lower left part of the screen. Your eyes saccade from far right to far left and both a physical and subconscious emotion is associated with that "request" of a viewer.<br />
<br />
A heavy saccade is more strenuous on the eye and subconsciously dictates
an overall more negative disposition toward the content; whereas little
to no saccade movement is less taxing upon the viewer's physical state
and therefore subconsciously communicates a more pleasing and unifying
disposition— not to mention a lessening in the affect of a visible cut.<br />
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In the opening sequences of War Horse, as the protagonist begins to relate with the horse, their cuts are unified (i.e. where the boy is geographically on screen, the horse will be in the relative same third to quarter in the composition in the proceeding cut), whereas when the story unfolds and conflict builds, the cuts become more dissonant creating a subtension that may not otherwise be identifiable.<br />
<br />
The concept has been in the back of my mind since I've began ToneCutting films, but I have yet to come across a filmmaker or editor who discusses this idea and outright uses it as a guideline for editing. Perhaps the concept is felt more than called out and when you see the edit it just "feels right" and doesn't need any explanation beyond that.<br />
<br />
I'd find it hard to believe that filmmakers consistently think that far ahead into the framing and blocking of a shot, anticipating how those shots will cut together later and how they intend for those unifying and dissonant cuts to affect their viewer, but perhaps they do. <br />
<br />
More often than not for me though, it simply happens to work out that way. At least, I try to make those cuts happen when it serves the story. It's a hinge and you're most likely going to have at least a batch of your shots be on one side of the frame or the other so you're already part of the way there in achieving less visible cuts. And if they do clash, compositionally there's usually something in the negative space that helps "soften the blow" of guiding your eye toward something else, assuming you've got a good set designer who takes framing into consideration.<br />
<br />
I know as I cut projects with a director or a client, I'll speak in terms of 'guiding the eye' of the viewer and how in my opinion a certain cut works or doesn't work— most of the time, they simply nod their head in understanding but aren't truly registering the dramatic implications of this practice. It can sway the viewer subconsciously and affect their overall perception of the characters and the story. For me, this concept is as rudimentary and important as understanding the Kuleshov effect or action matching. It's a basic tool that an editor should understand and put into practice if they want to truly understand their craft.<br />
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<br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-74496909576257968042014-01-13T07:56:00.001-08:002014-01-13T07:56:16.626-08:00Act On Your IdeasAs a creative, you get sparks of ideas. Most of them flutter out back into the ether. Probably one of the best things I've learned to do is to write my ideas down; and not just in one place.<br /><br />In the "olden days" people would use composition books and journals to write their ideas down in. Now the pages have been torn away and there's a much more accessible medium to work with: the digital document.<br />
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Several years ago I saw a documentary on Woody Allen that talks about his body of work, and the method in which his ideas come together. One thing that really stuck with me was that Woody was just like everybody else in the way his ideas are conceived. He thinks, he comes up with ideas, and then he acts on those ideas. In the documentary, he has a little nightstand next to his bed that contains a pile of physical notes written down for film ideas and scenes he's thought about. He even reads a few of them— all of which he could probably turn into a film but what it did for me was that it made the idea of a successful end product in filmmaking an attainable concept. A living legend such Woody Allen simply acts on his ideas.<br /><br />I've taken it more seriously whenever I have an idea, I write it down as quickly as I can digitally in my phone and then when I get a free moment, I'll send it to my long-threaded e-mail I've been drafting to myself for several years that contains every fleeting idea that I've had for a film.<br /><br />Now it's not just simply writing down the idea, but it's also trying to convert that initial spark of emotion and excitement ignited by idea into words that can later on re-ignite that same passion. You often find yourself asking "What is it about this idea that I like?". I've found that breaking it down into the simplest terms and into the least contrived and least verbose way possible is usually the best way to go about it.<br /><br />I'll often go back through my thread and look at individual ideas. I can then tack on further thoughts to those ideas and simultaneously develop all of them at a slow, but natural and un-forced pace. That way down the line if for some reason someone says "Hey, I saw your script, it's great, but I'm looking for a low-cost, indie sci-fi film" I've got my ideas at least half-way developed and can have that pitch ready to go.<br /><br />My biggest advice is don't ignore your ideas. Learn to embrace them, even if they're a mere infant thought. There's probably something there that can be extrapolated; it's just a matter of self-reflection on it and asking yourself "What do I like about this?". Act on your ideas and at the very least write them down to revisit later!<br /><br />Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-1867277437563957772013-12-20T08:54:00.000-08:002013-12-20T08:54:01.122-08:0088 Cinematographers Share Their Personal Career AdviceEarlier this week, a link came across my newsfeeds that ended up being one of those sit-in-your-browser-tab-and-look-at-it-later type of articles. Well I finally got around to reading through it and all I have to say to you is read it.<br />
<br />
Having edited several Zacuto Great Camera Shootouts, I've met some of the minds of this list and have had the privilege of hearing similar wisdoms spouted on set of these things. The tough part of my job at the time was to filter out the best of of these gems and turn it into a cohesive piece. Those can be seen at Zacuto.com, but here's episode 1:<br />
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<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/42806211?title=0&byline=0&portrait=0&color=c42127" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/42806211">Revenge of the Great Camera Shootout 2012 - Part One: Starting With Darkness</a> from <a href="http://vimeo.com/zacuto">Zacuto</a> on <a href="https://vimeo.com/">Vimeo</a>.<br /><br />I feel that at least the sagely segments of that documentary series coincides nicely with the sentiments of this article, which I originally found <a href="http://www.theblackandblue.com/2013/12/16/88-cinematographers-advice/" target="_blank">here</a>. Even if you aren't particularly focusing on cinematography, a good sum of the advice applies to any career in the arts. One of my particular favorites is Saving Mr. Banks' cinematographer, John Schwartzman's quote.<br />
<blockquote class="tr_bq">
<i><b>From my grandfather, Carmine Coppola: What you do with your
non-working time is more important than what you do with your working
time.</b></i></blockquote>
So without further adieu:<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6-3hy4Iq4L1KczFpIPluoOCfyKKsDEbUDOWABlQEkhbtIt6p1O7qqotrs3d4b_VoY6Ke8HJ9h8ArGnbADxoeLTC7A8__O8pdqkeokWeaSOUBucspTPrBN_41hemJmmnFw8hl9KSBeFc/s1600/bestfilmjob.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6-3hy4Iq4L1KczFpIPluoOCfyKKsDEbUDOWABlQEkhbtIt6p1O7qqotrs3d4b_VoY6Ke8HJ9h8ArGnbADxoeLTC7A8__O8pdqkeokWeaSOUBucspTPrBN_41hemJmmnFw8hl9KSBeFc/s640/bestfilmjob.jpg" width="640" /></a><br /><br /><b><i><br />“What’s the best professional advice you’ve ever received?”</i></b><br /><br />
That’s a question famously asked in <i>American Cinematographer</i> magazine’s ASC Close-Up – a series of brief interviews with various ASC (American Society of Cinematographers) members.<br />
It’s also an extremely telling question as it demands ASC members dig
for the one piece of advice most important and most effective for them.
The question doesn’t just ask for <a href="http://www.theblackandblue.com/2011/12/13/a-z-etiquette/" title="The A to Z Guide to Film Set Etiquette">general guidelines</a> or <a href="http://www.theblackandblue.com/2012/12/10/roger-deakins-advice/" title="25 Pieces of Juicy Filmmaking Knowledge from Cinematographer Roger Deakins">good advice</a>, but the <i><b>best advice</b>.</i><i></i><br />
<i><br />
</i><br />
At the suggestion of reader <a href="https://twitter.com/martinwarrilow" target="_blank" title="@martinwarrilow - Twitter">Martin Warrilow</a>, I went through AC magazine’s <a href="http://www.theasc.com/ac_magazine/archive.php" target="_blank">online archives</a>
and pulled the answers to this question from 88 different
cinematographers. Some are well-known while others are still under the
radar. Yet all have crucial insight, wisdom, and knowledge to share that
could <a href="https://www.theblackandblue.com/reel-deal/" title="Are You Ready for a Future In the Film Industry?">help you in your filmmaking career</a>.<br />
<br />
So get ready as these 88 ASC cameramen and camerawomen drop some serious knowledge…<br />
<br />
<h3 style="text-align: center;">
“What’s the Best Professional Advice You’ve Ever Received?”</h3>
<h3 style="text-align: center;">
</h3>
When I was an AC, a gaffer told me, ‘Don’t run on a set,’ because you
show everyone that you probably forgot something. I still don’t run on
set, and I try not to forget too many things.<br />
<a href="http://www.theasc.com/ac_magazine/July2011/ASCClose-Up/page1.php" target="_blank"><i><b>Bruno Delbonnel</b></i></a><br />
<br />
‘Keep it simple.’ It’s always exciting to try a new piece of gear,
but sometimes two grips pulling a camera on a blanket is still the best
solution.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/January2008/ASCClose-Up/page1.php" target="_blank">Glen MacPherson, ASC</a></b></i><br />
<br />
‘Never pass up the opportunity to keep your mouth shut!’ What they
don’t tell you in cinematography training is that your job is 50 percent
cinematography and 50 percent diplomacy. I’ve learned the hard way that
when things go south, as they sometimes do, it’s best to pause and
reflect on what’s happening and why before opening your mouth and
blurting out what first comes to mind. No one remembers what you didn’t
say, but they will certainly remember something you said in haste.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/June2006/ASCClose-Up/page1.php" target="_blank">Bill Bennett, ASC</a></b></i><br />
<br />
When I was in college, Nick Ray came to show his films, and I spent
the whole night talking to him in the lobby rather than watching the
films. As he left, he said, ‘Remember, it’s a way of life.’<br />
<i><b><a href="http://www.theasc.com/ac_magazine/July2006/ASCClose-Up/page1.php" target="_blank">Steven Fierberg, ASC</a></b></i><br />
<br />
I’ve learned so much from reading <i>American Cinematographer, </i>and
the best professional advice I ever received was from an interview with
Gordon Willis. In it, he stressed the importance of always having a
point of view when approaching a scene. It’s the first question I ask
myself when I’m designing my coverage: what is the point of view, or
whose? Once I’ve answered this question, everything falls into place
with much more ease.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/October2006/ASCClose-Up/page1.php" target="_blank">Ernest Dickerson, ASC</a></b></i><br />
<br />
From editor Irving Lerner: ‘Cut out all the comin’s and goin’s.’<br />
<a href="http://www.theasc.com/ac_magazine/January2011/ASCClose-Up/page1.php" target="_blank"><i><b>Jack Couffer, ASC</b></i></a><br />
<br />
‘There’s only one way to shoot this thing: two ways.’<br />
<a href="http://www.theasc.com/ac_magazine/February2011/ASCClose-Up/page1.php" target="_blank"><i><b>Barry Markowitz, ASC</b></i></a><br />
<br />
From Owen Roizman: ‘There’s no need to have an ego as a man. Let your work on that screen be your ego.’<br />
<a href="http://www.theasc.com/ac_magazine/March2011/ASCClose-Up/page1.php" target="_blank"><i><b>Crescenzo Notarile, ASC</b></i></a><br />
<br />
Jim Danforth taught me the value of critical thinking, especially
about your own work, and how to see your work as the audience will see
it. And during <i>The Empire Strikes Back</i>, George Lucas showed me a
helicopter shot and asked if I could add a creature running on the
ground, which at the time seemed impossible because of the six-axis
camera motion. He said, ‘Give it some thought,’ and within 15 minutes I
had a solution. That taught me that a right answer might be one thought
away.<br />
<a href="http://www.theasc.com/ac_magazine/April2011/ASCClose-Up/page1.php" target="_blank"><i><b>Dennis Muren</b></i></a><br />
<br />
Don’t shoot your demo reel. Be true to the story.<br />
<a href="http://www.theasc.com/ac_magazine/May2011/ASCClose-Up/page1.php" target="_blank"><i><b>Tobias Schliessler</b></i></a><br />
<br />
From George Miller: ‘Just be bold, Dino! Be as bold as you want!’<br />
<a href="http://www.theasc.com/ac_magazine/June2011/ASCClose-Up/page1.php" target="_blank"><i><b>Dean Semler, ASC, ACS</b></i></a><br />
<br />
I received early encouragement from Woody Omens, ASC; and Walter
Lassally, BSC taught me many crucial concepts over the course of several
projects. I also appreciated the opportunity to be on the set of<i> Fat City</i>,
where Conrad Hall was executing innovative ideas like using 8K (4x2K)
umbrella lights for the fight scenes. In dailies, John Huston would just
put his head down and listen, trusting Conrad to deliver their visual
plan.<br />
<a href="http://www.theasc.com/ac_magazine/August2011/ASCClose-Up/page1.php" target="_blank"><i><b>Tom Houghton, ASC</b></i></a><br />
<br />
It was actually given to my son when he was getting ready to direct
his thesis film at the American Film Institute. Jay Fortune, a New York
gaffer I’d just completed a film with, suggested to him, ‘Don’t lose
your sense of humor, even when everything seems to be going in the
opposite direction.’<br />
<a href="http://www.theasc.com/ac_magazine/September2011/ASCClose-Up/page1.php" target="_blank"><i><b>Dante Spinotti, ASC, AIC</b></i></a><br />
<br />
Life is like an airplane: you either get onboard, or you don’t. It’s up to you.<br />
<a href="http://www.theasc.com/ac_magazine/October2011/ASCClose-Up/page1.php" target="_blank"><i><b>Xavier Grobet, ASC, AMC</b></i></a><br />
<br />
When I was a focus puller on a movie with Adrian Biddle, BSC, I told
him I did not have focus marks, and he said, ‘Feel the Force.’ I use
that advice all the time.<br />
<a href="http://www.theasc.com/ac_magazine/November2011/ASCClose-Up/page1.php" target="_blank"><i><b>Dan Mindel</b></i></a><br />
<br />
‘The edges of the frame are often more interesting than the center.’<br />
<a href="http://www.theasc.com/ac_magazine/December2011/ASCClose-Up/page1.php" target="_blank"><i><b>Luciano Tovoli, ASC, AIC</b></i></a><br />
<br />
On my first day on my first job as a PA, the production manager was
late, and a grip said, ‘It is disrespectful to be late on a shoot day.’
That made a big impression on me.<br />
<a href="http://www.theasc.com/ac_magazine/January2012/ASCClose-Up/page1.php" target="_blank"><i><b>Rodrigo Prieto, ASC, AMC</b></i></a><br />
<br />
Listen to your gut instinct and believe in it. And remember that the
craft-service person on this job might be the producer on the next.<br />
<a href="http://www.theasc.com/ac_magazine/February2012/ASCClose-Up/page1.php" target="_blank"><i><b>Roberto Schaefer, ASC, AIC</b></i></a><br />
<br />
Stay calm, listen, observe and lead by example.<br />
<a href="http://www.theasc.com/ac_magazine/March2012/ASCClose-Up/page1.php" target="_blank"><i><b>Jonathan Taylor, ASC</b></i></a><br />
<br />
Don’t try to be someone you are not.<br />
<a href="http://www.theasc.com/ac_magazine/April2012/ASCClose-Up/page1.php" target="_blank"><i><b>Alar Kivilo, AS, CSC</b></i></a><br />
<br />
1) Learn how to listen; 2) Choose one strong idea per film; and 3)
Really understand your motivations, why you do something and not
something else, and the direction you take in your work.<br />
<a href="http://www.theasc.com/ac_magazine/May2012/DariusKhondji/page1.php" target="_blank"><i><b>Darius Khondji, ASC, AFC</b></i></a><br />
<br />
The film business is like a prizefight: It’s not how many times you
get knocked down that counts, it’s how many times you get up and go
again.<br />
<a href="http://www.theasc.com/ac_magazine/June2012/ASCClose-Up/page1.php" target="_blank"><i><b>Sam Nicholson</b></i></a><br />
<br />
Michael Chapman told me that if I didn’t want to shoot a project, I
should just double my rate — that way I could be happy doing it. I’ve
never tried it, but he made me laugh.<br />
<a href="http://www.theasc.com/ac_magazine/August2012/ASCClose-Up/page1.php" target="_blank"><i><b>David Boyd, ASC</b></i></a><br />
<br />
Know what you want to see in the shot before you plan logistics.<br />
<a href="http://www.theasc.com/ac_magazine/September2012/ASCClose-Up/page1.php" target="_blank"><i><b>John Newby, ASC</b></i></a><br />
<br />
After hearing complaints from an actor that I was putting too much
light in his eyes, an executive producer called me into his office to
remind me that I could be fired and he could be fired, but the actor
could not be fired. It was a great lesson in political reality.<br />
<a href="http://www.theasc.com/ac_magazine/October2012/ASCClose-Up/page1.php" target="_blank"><i><b>Robert Primes, ASC</b></i></a><br />
<br />
From George Folsey Sr.: ‘Whenever you go into production, eat a good breakfast and sit down whenever you can.’ Good advice.<br />
<a href="http://www.theasc.com/ac_magazine/November2012/ASCClose-Up/page1.php" target="_blank"><i><b>Peter Deming, ASC</b></i></a><br />
<br />
Cinematography is 10 percent cinematography and 90 percent bladder control.<br />
<a href="http://www.theasc.com/ac_magazine/November2013/ASCClose-Up/page1.php" target="_blank"><i><b>Seamus McGarvey, ASC, BSC</b></i></a><br />
<br />
Don’t let yourself become too obsessed with technology. Find a balance with your creativity.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/December2012/ASCClose-Up/page1.php" target="_blank">Jerzy Zielinski, ASC, PSC</a></b></i><br />
<br />
Find a way to keep shooting, no matter what. That is how I have learned and how I have grown.<br />
<a href="http://www.theasc.com/ac_magazine/January2013/ASCClose-Up/page1.php" target="_blank"><i><b>Newton Thomas Sigel, ASC</b></i></a><br />
<br />
My gaffer in England, Martin Evans, advised me to say
nothing during the first three weeks of production, to just watch and
listen. I wish I had followed his advice more closely.<br />
<a href="http://www.theasc.com/ac_magazine/February2013/ASCClose-Up/page1.php" target="_blank"><i><b>Stephen Goldblatt, ASC, BSC</b></i></a><br />
<br />
‘Every producer, every lab, every equipment house and every crewmember (from director to caterer) is your family.’<br />
<a href="http://www.theasc.com/ac_magazine/March2013/ASCClose-Up/page1.php" target="_blank"><i><b>Russell Carpenter, ASC</b></i></a><br />
<br />
From my agent: ‘Be the happiest guy on set.’ He was right.<br />
<a href="http://www.theasc.com/ac_magazine/December2010/ASCClose-Up/page1.php" target="_blank"><i><b>Frank B. Byers</b></i></a><br />
<br />
From Tim Beiber: ‘Show up early, don’t sit down, and act like you
give a shit.’ It’s easy to remember and has far-reaching implications.<br />
<a href="http://www.theasc.com/ac_magazine/October2010/ASCClose-Up/page1.php" target="_blank"><i><b>Jim Denault, ASC</b></i></a><br />
<br />
Lee Rothberg’s mantra: ‘Keep calm, cool and collected at all times.’<br />
<a href="http://www.theasc.com/ac_magazine/September2010/ASCClose-Up/page1.php" target="_blank"><i><b>Dejan Georgevich, ASC</b></i></a><br />
<br />
I’m not sure it’s the best advice, but when I first began working as a
camera assistant, Joe Ruttenberg, ASC lived next door. He took me into
his house one day and showed me his two Academy Awards and told me to
become an editor, because they had more control of his art than he did.
It didn’t deter me, but it made me aware that I wasn’t in complete
control of the finished product. It’s a lesson I’m still learning.<br />
<a href="http://www.theasc.com/ac_magazine/August2010/ASCClose-Up/page1.php" target="_blank"><i><b>Charles Minsky, ASC</b></i></a><br />
<br />
From Jordan Cronenweth: ‘Minimize compromise, be prepared for rejection, and save your money<br />
<a href="http://www.theasc.com/ac_magazine/July2010/ASCClose-Up/page1.php" target="_blank"><i><b>Thomas A. Del Ruth</b></i></a><br />
<br />
From my grandfather, Carmine Coppola: What you do with your
non-working time is more important than what you do with your working
time.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/June2010/ASCClose-Up/page1.php" target="_blank">John Schwartzman</a></b></i><br />
<br />
It’s the director’s movie. The director is always right.<br />
<a href="http://www.theasc.com/ac_magazine/May2010/ASCClose-Up/page1.php" target="_blank"><i><b>Fred Elmes</b></i></a><br />
<br />
Have a clear vision, design and objective for every scene. Then, by
lighting with your instincts along with your intention and setting your
own level of excellence, you will find satisfaction.<br />
<a href="http://www.theasc.com/ac_magazine/April2010/ASCClose-Up/page1.php" target="_blank"><i><b>Rene Ohashi, ASC, CSC</b></i></a><br />
<br />
The advice I got the first day I worked in the film business: Always
be five minutes early to work, never five minutes late. But more
importantly, live on the edge when it comes to your photography — take
risks. Put your ideas on film and fall down a few times; it will make
you a great filmmaker.<br />
<a href="http://www.theasc.com/ac_magazine/March2010/ASCClose-Up/page1.php" target="_blank"><i><b>Salvatore Totino</b></i></a><br />
<br />
Invest in yourself, and if you’re not willing to risk everything, then don’t bother doing anything.<br />
<a href="http://www.theasc.com/ac_magazine/February2010/ASCClose-Up/page1.php" target="_blank"><i><b>Paul Cameron</b></i></a><br />
<br />
Stay true to yourself. When everything is crazy around you and you
feel like you’re being forced into making all the compromises, do what
is right for you and make the compromises you can live with. In the end,
what people see on the screen is what they remember you by.<br />
<a href="http://www.theasc.com/ac_magazine/January2010/ASCClose-Up/page1.php" target="_blank"><i><b>Billy Dickson</b></i></a><br />
<br />
Michael Chapman, ASC said, ‘You have to give the impression you know what you’re doing even when you’re totally confused.’<br />
<a href="http://www.theasc.com/ac_magazine/December2009/ASCClose-Up/page1.php" target="_blank"><i><b>Paul Ryan</b></i></a><br />
<br />
I was working with Don McAlpine, ASC, ACS, and getting impatient
watching the director, producer and assistant director endlessly discuss
the next setup. Don turned to me and said in his inimitable Aussie
drawl, ‘Relax. Sooner or later they’ll have to come over to talk to us.’<br />
<a href="http://www.theasc.com/ac_magazine/November2009/ASCClose-Up/page1.php" target="_blank"><i><b>Anastas Michos</b></i></a><br />
<br />
I was honored to have John Alton, ASC visit my set when I first
became a cinematographer. He told me to light the people, not the sets.<br />
<a href="http://www.theasc.com/ac_magazine/October2009/ASCClose-Up/page1.php" target="_blank"><i><b>Lowell Peterson</b></i></a><br />
<br />
I think it was Sven Nykvist, ASC who once said, ‘Take chances, but
when you do, lower the ASA setting on your light meter.’ To this day, no
matter how great the latitude of the film stock is, I always calibrate
my meter to a lower setting than what the manufacturer recommends.<br />
<a href="http://www.theasc.com/ac_magazine/September2009/ASCClose-Up/page1.php" target="_blank"><i><b>Alexander Gruszynski</b></i></a><br />
<br />
When I was starting out, a veteran first assistant told me the 2-Make
Rule, ‘Make your leading ladies look beautiful and make your day.’<br />
<a href="http://www.theasc.com/ac_magazine/August2009/ASCClose-Up/page1.php" target="_blank"><i><b>Aaron Schneider, ASC</b></i></a><br />
<br />
When director Gil Cates chose me to shoot a love story starring Bea Arthur and Richard Kiley, he said he liked what I’d done on <i>The Fly</i>.
I reminded him that Jeff Goldblum and Geena Davis were in a horror
film, not a love story. He said, ‘No, they were in love, and that’s what
the audience saw. Sometimes you have to ignore the words and let the
pictures tell the story.’<br />
<a href="http://www.theasc.com/ac_magazine/July2009/ASCClose-Up/page1.php" target="_blank"><i><b>Mark Irwin, ASC, CSC</b></i></a><br />
<br />
From John Frankenheimer: ‘Alan, whatever you do in this business,
don’t ever let them push you into shooting something you know is just
bad, something you’ll end up regretting or hating. Simple rule of thumb:
don’t shoot s**t!’<br />
<a href="http://www.theasc.com/ac_magazine/June2009/ASCClose-Up/page1.php" target="_blank"><i><b>Alan Caso</b></i></a><br />
<br />
When I wanted to quit a miserable show, the director, Virgil Vogel,
said, ‘Kid, never quit. If you have to leave, get fired. If you quit, it
will always reflect on you.’<br />
<i><b><a href="http://www.theasc.com/ac_magazine/May2009/ASCClose-Up/page1.php" target="_blank">John Lindley, ASC</a></b></i><br />
<br />
Legendary gaffer George ‘Popeye’ Dahlquist used to tell his lamp
operators, ‘Boys, if you’re not 10 minutes early, you’re 10 minutes
late.’ Readiness is a big part of what we do.<br />
<a href="http://www.theasc.com/ac_magazine/April2009/ASCClose-Up/page1.php" target="_blank"><i><b>Thomas Ackerman</b></i></a><br />
<br />
‘Be yourself.’ I was about to interview for the aforementioned pilot,
and I was nervous. My good friend Dominique Fortin said, ‘Just be
yourself; they will like you.’ I didn’t try to fake it. I thought it
went badly, but in prep, the producer told me, ‘You came in and only
spoke about the work, and that’s all Chris Carter cared about.’<br />
<a href="http://www.theasc.com/ac_magazine/March2009/ASCClose-Up/page1.php" target="_blank"><i><b>Peter Wunstorf, ASC</b></i></a><br />
<br />
I was once invited to a dinner where Billy Wilder was one of the
guests. He asked me what I was doing, to which I replied, ‘Oh, a small
movie.’ He said, ‘There’s no such thing, just good ones and bad ones.’
For the rest, I listened to an inner voice that said, ‘Develop as many
interests as you can, as you will need them to fill the long gaps
between movies and enrich life in general.’<br />
<a href="http://www.theasc.com/ac_magazine/February2009/ASCClose-Up/page1.php" target="_blank"><i><b>Peter Suschitzky, ASC</b></i></a><br />
<br />
Kate Nelligan, a superb actor, once told me that if I could light
women beautifully, I would not only help many careers, but I would also
definitely help mine.<br />
<a href="http://www.theasc.com/ac_magazine/January2009/ASCClose-Up/page1.php" target="_blank"><i><b>Gabriel Beristain, ASC</b></i></a><br />
<br />
Spend less than you make.<br />
<a href="http://www.theasc.com/ac_magazine/July2013/ASCClose-Up/page1.php" target="_blank"><i><b>Don Burgess, ASC</b></i></a><br />
<br />
From Harry Stradling Sr.: ‘Never be afraid to take a chance. It may be the best thing you ever did.’<br />
<a href="http://www.theasc.com/ac_magazine/April2006/ASCClose-Up/page1.php" target="_blank"><i><b>Sol Negrin, ASC</b></i></a><br />
<br />
The late and wonderful Phil Gersh, my agent for many years, listed
the directors one should avoid working with. I’m not going to publish
that list. Reports and anecdotes over the years have been an indication
of grief avoided.<br />
<a href="http://www.theasc.com/ac_magazine/December2008/ASCClose-Up/page1.php" target="_blank"><i><b>Donald McAlpine, ASC</b></i></a><br />
<br />
‘Be nice to people on your way up because you never know who you’re going to meet on the way down.’<br />
<a href="http://www.theasc.com/ac_magazine/October2008/ASCClose-Up/page1.php" target="_blank"><i><b>Ross Berryman, ASC, ACS</b></i></a><br />
<br />
At ILM, Dennis Muren, ASC had a simple, powerful phrase: ‘One shot,
one thought.’ When we lapse into gilding the lily on a setup, that quote
provides a reality check.<br />
<a href="http://www.theasc.com/ac_magazine/September2008/ASCClose-Up/page1.php" target="_blank"><i><b>Pete Kozachik, ASC</b></i></a><br />
<br />
‘Light the set, then turn off half the lights and shoot.’<br />
<a href="http://www.theasc.com/ac_magazine/August2008/ASCClose-Up/page1.php" target="_blank"><i><b>John S. Bartley, ASC, CSC</b></i></a><br />
<br />
When I asked Freddie Francis for his secret to glamour lighting, he
said, ‘Put a great big light right over the lens. And get Brooke Shields
if you can.’<br />
<i><b><a href="http://www.theasc.com/ac_magazine/July2008/ASCClose-Up/page1.php" target="_blank">Bill Taylor, ASC</a></b></i><br />
<br />
Using the Pentax spot meter, John Toon taught me the relationship
between incident and spot readings. I have used this method of exposure
calculation ever since.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/August2013/ASCClose-Up/page1.php" target="_blank">Stuart Dryburgh, ASC, NZCS</a></b></i><br />
<br />
My dad told me it didn’t matter what I did for a living as long as I
loved it. Also, much later, Richard Leiterman caught up with me at the
CSC Awards, where I’d just gotten my fourth consecutive award for a TV
series and was on a bit of a roll. He told me not to ‘get too damn
comfortable’ and to ‘get the hell back to the USA while ya can!’ A year
later, I was divorced, living in my native California, doing my most
satisfying work ever, and shooting a big studio feature. My career and
life have only gotten better since then.<br />
<a href="http://www.theasc.com/ac_magazine/June2008/ASCClose-Up/page1.php" target="_blank"><i><b>Rob McLachlan, ASC, CSC</b></i></a><br />
<br />
This is directly related to my memorable blunder. When Conrad Hall,
ASC gave a lecture at AFI, he was asked what single piece of advice he’d
give to aspiring cinematographers. His answer: ‘Get enough sleep.’<br />
<a href="http://www.theasc.com/ac_magazine/May2008/ASCClose-Up/page1.php" target="_blank"><i><b>Antonio Calvache, ASC, AEC</b></i></a><br />
<br />
When Levie asked me to work with him at Corman’s, the pay was $50 a
day. Levie said, ‘They’re not paying for experience. Take the job and
you’ll meet people.’<br />
<a href="http://www.theasc.com/ac_magazine/April2008/ASCClose-Up/page1.php" target="_blank"><i><b>Rodney Taylor, ASC</b></i></a><br />
<br />
Right after I was accepted into the union as an operator, I was
offered a job at Warners as an assistant. I needed a letter from a
producer to re-rate me. The producer told me I’d be an idiot not to
pursue operating because it might take me 10 or more years to get there
again. He was right; it was a struggle. But I established myself as an
operator and was working steadily within a year.<br />
<a href="http://www.theasc.com/ac_magazine/March2008/ASCClose-Up/page1.php" target="_blank"><i><b>Wayne Kennan</b></i></a><br />
<br />
I once worked with Irving Penn, who told me a simple rule: less is
often better. He used a single soft light for most of his shots. We shot
a number of Pepsi commercials that way, and those spots won several
Clios.<br />
<a href="http://www.theasc.com/ac_magazine/February2008/ASCClose-Up/page1.php" target="_blank"><i><b>Torben Johnke, ASC</b></i></a><br />
<br />
My dad told me: ‘Always be prepared, do your homework.’ I can only do
my best if I know what a scene is about, what the purpose of every shot
is, how it needs to advance the story and how it fits into the overall
editing puzzle.<br />
<a href="http://www.theasc.com/ac_magazine/December2007/ASCClose-Up/page1.php" target="_blank"><i><b>Christian Sebaldt, ASC</b></i></a><br />
<br />
‘Lead through respect, not intimidation.’ Words of wisdom from Dad.<br />
<a href="http://www.theasc.com/ac_magazine/April2013/ASCClose-Up/page1.php" target="_blank"><i><b>Christopher Baffa, ASC</b></i></a><br />
<br />
Always let the people you’re working with know if you are unsure
about something. It’s much better than explaining why a mistake was
made.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/October2013/ASCClose-Up/page1.php" target="_blank">Steve Gainer, ASC</a></b></i><br />
<br />
Learn from your mistakes, not your successes.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/June2013/ASCClose-Up/page1.php" target="_blank">Shelly Johnson, ASC</a></b></i><br />
<br />
We’re all replaceable.<br />
<a href="http://www.theasc.com/ac_magazine/September2013/ASCClose-Up/page1.php" target="_blank"><i><b>Ron Fortunato, ASC</b></i></a><br />
<br />
‘It’s only a film,’ which, coupled with ‘This too will pass,’ pretty much takes care of it.<br />
<a href="http://www.theasc.com/ac_magazine/November2007/ASCClose-Up/page1.php" target="_blank"><i><b>John Hora, ASC</b></i></a><br />
<br />
Early in my career, as an assistant doing commercials, I found myself
sitting at the top of a Titan crane next to the great Phil Lathrop,
ASC, waiting for the sun to set for a wide beauty shot of cars. He sat
there patiently behind the lens. I leaned toward him and said, ‘I’m just
starting in the business and hope someday to be a cinematographer. What
advice could you give me?’ He looked at me so hard I felt like bailing
off the crane. ‘Only one thing, kid,’ he said. ‘Sit down whenever you
can.’<br />
<a href="http://www.theasc.com/ac_magazine/October2007/ASCClose-Up/page1.php" target="_blank"><i><b>John Bailey, ASC</b></i></a><br />
<br />
Do not be afraid to push yourself and trust yourself.<br />
<a href="http://www.theasc.com/ac_magazine/August2007/ASCClose-Up/page1.php" target="_blank"><i><b>Bill Roe, ASC</b></i></a><br />
<br />
The thing that makes you a filmmaker is the act of making a film.<br />
<a href="http://www.theasc.com/ac_magazine/July2007/ASCClose-Up/page1.php" target="_blank"><i><b>David Stump, ASC</b></i></a><br />
<br />
Never give up. Always keep a positive attitude. Attention to detail.<br />
<a href="http://www.theasc.com/ac_magazine/June2007/ASCClose-Up/page1.php" target="_blank"><b><i>Richard Crudo, ASC</i></b></a><br />
<br />
Never take rejection personally if you don’t get a job. There are so
many cinematographers vying for so few jobs, and there are many forces
at work that have nothing to do with one’s talent.<br />
<a href="http://www.theasc.com/ac_magazine/May2007/ASCClose-Up/page1.php" target="_blank"><i><b>Nancy Schreiber, ASC</b></i></a><br />
<br />
‘There are never any problems, only solutions.’<br />
<a href="http://www.theasc.com/ac_magazine/April2007/ASCClose-Up/page1.php" target="_blank"><i><b>Vincent Cox, ASC</b></i></a><br />
<br />
I was invited to join the cinematographers shooting <i>The Last Waltz,</i> for
which director Martin Scorsese prepared an elaborate shooting script
for each camera position and every performer. David Myers, an
accomplished and wise cameraman of much greater experience than I at the
time, took me aside and whispered, ‘Go with your instincts.’ His advice
stays with me even today.<br />
<a href="http://www.theasc.com/ac_magazine/March2007/ASCClose-Up/page1.php" target="_blank"><i><b>Hiro Narita, ASC</b></i></a><br />
<br />
While I worked in construction with my dad, he told me that if I gave
customers more than they bargained for, they would return and never
question the bill. I worked with some of the same commercial-agency
clients for 30 years.<br />
<a href="http://www.theasc.com/ac_magazine/January2007/ASCClose-Up/page1.php" target="_blank"><i><b>Ron Dexter, ASC</b></i></a><br />
<br />
Early in my career, an old veteran told me, ‘The industry is a lot of
fun, but never forget it’s a business with a lot of money being spent
every second. Don’t laugh your way out of your job, and if you stretch
your arms out and you can’t touch the camera, then you’re probably in
the wrong place.’ Good words to remember.<br />
<a href="http://www.theasc.com/ac_magazine/December2006/ASCClose-Up/page1.php" target="_blank"><i><b>Craig DiBona, ASC</b></i></a><br />
<br />
All one really has in this business is one’s reputation as someone who can be trusted.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/May2013/ASCClose-Up/page1.php" target="_blank">Paul Maibaum, ASC</a></b></i><br />
<br />
Make friends early so you have allies in this business. They are the ones who call you first.<br />
<a href="http://www.theasc.com/ac_magazine/November2006/ASCClose-Up/page1.php" target="_blank"><i><b>Karl Walter Lindenlaub, ASC</b></i></a><br />
<br />
Always view your dailies. This may sound silly, but a lot of times,
especially today, you never get the chance to see how a shot will look
up on the big screen.<br />
<a href="http://www.theasc.com/ac_magazine/August2006/ASCClose-Up/page1.php" target="_blank"><i><b>David B. Nowell, ASC</b></i></a><br />
<br />
‘The only reason to be late for a call is being dead.’ This was drilled into me by Mel London or Freddie Young, BSC.<br />
<a href="http://www.theasc.com/magazine/june05/closeup/index.html" target="_blank"><i><b>Jon Fauer, ASC</b></i></a><br />
<br />
Always strive for perfection in every image you create, not so much
technically but in terms of feeling that you have completely understood
what you are trying to convey.<br />
<i><b><a href="http://www.theasc.com/ac_magazine/May2006/ASCClose-Up/page1.php" target="_blank">Kees Van Oostrum, ASC</a></b></i><br />
<br />
One piece of advice I gave myself was not to follow any rules.
Another, from Jean-Jacques Annaud, is, ‘Always wear the appropriate
shoes on set.’<br />
<i><b><a href="http://www.theasc.com/ac_magazine/September2006/ASCClose-Up/page1.php" target="_blank">Philippe Rousselot, ASC, AFC</a></b></i>Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-30299377761248054312013-12-11T09:37:00.002-08:002013-12-11T09:55:14.350-08:00The Music That Kissed My Ears This Year<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrX0F2lX8q1ZfVHCNUc0yamP5bgCOw77_C5Ac7iIWUATxhoEwQ2vbrW1_9oeTNqJMjBgmTLqdXNoDjNEFhdQM60WvVlD9uQb-qTaJ6IC3stuXwQGnCO7n0St6krvzWLf1n3_-ldUoAp_g/s1600/2197_699517534228_182_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrX0F2lX8q1ZfVHCNUc0yamP5bgCOw77_C5Ac7iIWUATxhoEwQ2vbrW1_9oeTNqJMjBgmTLqdXNoDjNEFhdQM60WvVlD9uQb-qTaJ6IC3stuXwQGnCO7n0St6krvzWLf1n3_-ldUoAp_g/s200/2197_699517534228_182_n.jpg" width="139" /></a></div>
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Okay, okay. I know I typically write about film-related things here... but this is my blog and I can write what I wish. I promise I'll try to tie it into film when I can. I'm a HUGE music geek. A hobby of mine is scouring the interwebs for that next amazing musician and listening to it at a minimum of100 times before you even hear whispers of their name. Okay, I'm a music snob... but I want to share with you what I've listened to this past year, in the hopes that you'll like them too and become fans of some awesome artists.<br />
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<b>Daft Punk- Random Access Memories</b><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/FbCTG0-PkRA?feature=player_embedded' frameborder='0'></iframe></div>
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This is definitely the most mainstream album I fell in love with this year and is likely to be in the top 3 of every major music blogger out there; but it's just a fun ride all the way through. I had a bit of the 'ole internet fame by making the front page or Reddit upon the album's release when I mashed up the end of 2001: A Space Odyssey against the final track "Conact". Without making a single edit, it synced nearly perfectly. This is just, all-purpose album. If I could direct a music video for one track, it'd be "Touch" as I've dreamt up this grand idea of a lifeless woman ballroom dancing with a brain in a jar, hooked up to a computer. Listen to that track again, and try to tell me that wouldn't be a swell idea. Favorite track: Doin' it Right featuring Panda Bear. The story behind it is pretty neat too. Look it up if you're interested.<br />
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<b>Django Django- Django Django</b><br />
This was a late introduction to me this year. I first heard this album on a film shoot a few weeks ago and kicked myself for missing them at the same music festival that I met the Avett Brothers (read below), as I've been hearing about them for months. The album doesn't have a ton of substance, but it's fun music to listen to and reminds me of some weird crossbreed between The Beta Band, Vampire Weekend and Brad Sucks. This one will for sure continue spinning on my playlists for awhile. I particularly like "Default", "Hail Bop"and "Waveforms".<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/30175361&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
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<br />
<b>Avett Brothers- Magpie and The Dandelion</b><br />
Aside from getting to film and meet the Avett Brothers this summer at Firefly Music Festival, upgrading me from superfan to groupy status, I just can't help but love their music. this album took me by surprise the first time I heard it, as it's nearly all ballads, but it's just great music. It's hard to articulate what it is about them that I like but the NPR release writeup of the album described their music as the soundtrack of "lives lived messily" and I thought that was the most poetic, perfectly-encapsulating and honest way of putting it. No one lives a perfect life and they're first to admit fault in their music. But they just ooze with honesty, talent and love for their families. I just appreciate their values, I suppose.<br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/110967516&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
<br />
<br />
<br />
<b>Luke Howard- Sun, Cloud</b><br />
Holy crap. The first time I heard this album, it was a Sunday afternoon in the fall. My wife and I had just gotten in after driving a few hours up from my mom's house and we were exhausted. This album knocked us out. As we fell asleep on the couch, the album penetrated my subconscious and invaded my dreams. I described the album to people as "an album to cry and fall asleep to". Upon listening to it, you'll either be totally sedated and entranced, or will weep. The choice is yours and yours alone, but it's seriously fantastic.<br />
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/3416259&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
<br />
<b><br /> </b><br />
<b>Alexandra Streliski- PIANOSCOPE</b><br />
This is a compliment to the Luke Howard album. I put both on a playlist together and listened to it on loop for a few months. Together, they're writing fuel. Gorgeous, original songs from the ivory. Hoping Alexandra spits out a new album soon, as I'm a huge fan.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=1978010836/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://alexandrastreliski.bandcamp.com/album/pianoscope">PIANOSCOPE by Alexandra Streliski</a></iframe>
<br />
<br />
<br />
<b>Charity Children- The Autumn Came</b><br />
This was a random album I stumbled into on Bandcamp one evening. It's a short, contained little joy. It reminds me of a soundtrack to an indie movie. Favorite track: "World's Tallest Man Meets World's Shortest Man". And the band (or at least whoever is managing their bandcamp account) is humble to boot. When I ordered the CD, I asked if they'd sign it. They did and tossed in a postcard as well. The horns mixed against the ukelele and her delicate voice make for a perfect storm of happiness. Listen and your mood will improve, that's the Skubal guarantee.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3580772530/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://monkeyrecords.bandcamp.com/album/the-autumn-came">The Autumn Came by Charity Children</a></iframe>
<br />
<br />
<br />
<b>Josh Garrels- Love & War & The Sea In Between</b><br />
The dude's melodies are awesome. Just some catchy indie folk/pop right here. This one gets a mention, as it served as the soundtrack to us moving and I can't say a bad thing about it, other than I wish the album had more songs in it.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2172528119/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://joshgarrels.bandcamp.com/album/love-war-the-sea-in-between">Love & War & The Sea In Between by Josh Garrels</a></iframe>
<br />
<br />
<b><br />LUM- Glass Hammer</b><br />
I found this album the same day I came
across Josh Garrels' album and served as the second part to our moving
soundtrack. Solid, original music that has high repeatability. Love
it. It's poppy, with an echoy surf sound, but with its own flavor to
it. Half Way and Conquering Hearts are particular favorites.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=4291124145/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://lumtunes.bandcamp.com/album/glass-hammer">Glass Hammer by LUM</a></iframe>
<br />
<b><br /><br />Chvrches- The Bones of What You Believe</b><br />
This album will forever remind me of the time I learned the basics of color grading on DaVinci Resolve. I've been working through the post on a short film for a friend of mine and for some reason, this album was always on while I worked on it. I'd heard an alternative version "The Mother We Share" months ago and had it cycling through my playlists since. When I heard the album in full, it was a real treat.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2511677912/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://marianoradio.bandcamp.com/album/chvrches-the-bones-of-what-you-believe">chvrches - the bones of what you believe by radio547</a></iframe>
<br />
<br />
<br />
<b>The Haxan Cloak- Excavation</b><br />
Here's my curve ball. I could picture this as the soundtrack to Chuck Palahniuk's mind. The album is something straight out of a nightmare. It's moody, atmospheric tones laid thick in a soundscape that tickles my ear drums... and something I totally wouldn't listen to often. I've only listened to it a couple times, but I had such an emotional reaction to it that I had to put it as an honorable mention. If you've got writer's block and you're looking for some dark inspiration, hit this one up. And apparently, the album's not on their bandcamp page anymore... so here's the Spotify link.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="80" src="https://embed.spotify.com/?uri=spotify:album:16DAUZi7MAWliYIiJvaQyk" width="300"></iframe>
<br />
<br />
<br />
<b>Turquoise Summers- A Touch of Turquoise</b><br />
In a time where all of this funk/disco revival is on the rise, most of
it starts to sound the same after awhile. Well, Turquoise Summers and Shook (of whom you'll read about below) are the
exception. This album is just fun to listen to. It has an early 90's west coast hip hop type of vibe to it and I love that.<br />
<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2318672600/size=medium/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://omegasupremerecords.com/album/turquoise-summers-a-touch-of-turquoise">TURQUOISE SUMMERS - A TOUCH OF TURQUOISE by Omega Supreme Records</a></iframe>
<br />
<br />
<br />
<b>Wallpaper.- Ricky Reed Is Real</b><br />
I don't know how Wallpaper. isn't famous and his music infectiously sneaking into the playlists of every frat party in America. I've described his music as white people dance music; the Andrew W.K. of hiphop. He skates a fine line between making radio-worthy pop music while at the same time making fun of that very genre. I keep hoping one day I'll hear a track of his on the radio. Give him a listen and tell your friends.<br />
<br />
<iframe frameborder="0" height="80" src="http://www.purevolume.com/_iframe/audio_button_player.php?songId=3471001" width="100%"></iframe>
<br />
<br />
<b>Poolside- Pacific Standard Time</b><br />
This one's cheating... as I've been listening to it since last year. But if you're unfamiliar with them, I want you to know that this is one of my favorite listen through albums I own. They've got such a fun sound that reminds me of being on vacation in Jamaica. Enjoy it.<br />
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/10129187&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
<br />
<br />
<b>EP's:</b><br />
<b>Hunter Hunted- Keep Together</b><br />
I'm happy to see they've begun getting radio play. I'm a bit of a music snob when it comes to finding music early, and usually by the time it hits the radio, I've overplayed it and I've moved on with my life, but these guys just keep going. Strong EP and I can't wait to hear the full album.<br />
<br />
<b> </b><br />
<b>PHOX- Confetti</b><br />
I stumbled across these guys on Bandcamp in April or May. The gem of the EP is "Slow Motion", which they blew out of the water on the iTunes music festival this fall. What's cool is that they're not too far away from me, up in Baraboo, Wisconsin. I'd love to shoot a music video with them, as they seem like a hive of ubertalent that could make my brain melt with inspiration.<br />
<br />
<b> </b><br />
<b></b><b>Shook- The Rise And Fall EP</b><br />
The EP speaks for itself. Their music's got this funky dance vibe, but has originality behind it and is just a fun one to put on in the background. Playlist mashup bonus points putting this on the same list as Daft Punk, Chromeo and Turquoise Summers.<br />
<br />
<b>Singles:</b><br />
<b>Eli "Paperboy" Reed- WooHoo</b><br />
This track punched me in the face this past spring when I first heard it. This guy's a relatively undiscovered talent who's got the science and alchemy of vintage sound mastering perfected. This one deviates a bit from his other tracks and appeals more towards a younger crowd but hopefully that's what he needs to become known. I had a vivid image of this track being used against a season promo for an HBO series. It's just got that "it's coming, new season, more excitement, more twists" type of vibe they love. I was hedging my bets on it serving as the track for a new Boardwalk Empire promo when that premiered this fall, but no luck. Maybe next year! <br />
<br />
<b>Frightened Rabbit- The Woodpile</b><br />
It kills me that I've never seen Frightened Rabbit. I drove 3 hours in a snow storm up to Chicago, back when I was living in Lafayette. When we arrived, we were first in line, waiting outside in the snow for an hour. Finally a fella comes out and informs us that the concert sold out; despite being assured that it wouldn't. And now they're a well-known band and it's hard to catch wind of their shows<b> </b>before they sell out. Some day! Either way, I loved this single when it came out, especially with the video.<b><br /></b><br />
<br />
<b>James Blackshaw- Fix</b><br />
This was a song I had on loop when I was working late nights at the office on a big project and it kept me sedated enough from tearing the flesh off my face every time my Premiere project crashed because it was so bloated and unstable with all kinds of mixed media and formats. Thanks for helping me keep my face intact, James.<br />
<br />
So this rounds out the year for me. Hopefully you've found a few choice tracks to add to your collection. I could keep going but these particular tracks were my main jams, as the kids say. Hopefully this becomes a consistent thing I can release each year! Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-4609313209542303802013-11-20T08:57:00.001-08:002013-11-20T09:15:05.495-08:00Three Reasons Why We're Drawn to Faces in FilmU.K. Film colleague, Tim Smith, posted this article on Facebook earlier today. I reposted the article from <a href="http://www.psychologytoday.com/blog/what-shapes-film/201311/3-reasons-why-were-drawn-faces-in-film" target="_blank">PsychologyToday.com</a><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: inherit;">. I'm a sucker for film theory like this especially when it's in line with my beliefs as well. There's truth behind the visceral draw of the human face in film. Such an important part of communication is the undercurrent of emotion that comes out as we broadcast our thoughts and ideas. Body language, subtle gestures, cadence, intonation; it's how we determine truths and sincerity in a person and ultimately decides if we subconscious decide to listen to what they have to say or not. It's no wonder that our eyes are drawn to faces moreso than scenery. It's our subconscious starving for seeking hidden meaning behind messages. So here's the article in full:
3 Reasons Why We're Drawn to Faces in Film</span></span></span><br />
<span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: inherit;"> </span></span></span><span style="font-size: x-large;">
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<h2>
<span style="font-size: x-large;">
The power of the human face in film: Up close and personal </span></h2>
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<div class="article-meta">
<span class="submitted">Published on November 20, 2013 by <a href="http://www.psychologytoday.com/experts/siu-lan-tan-phd" title="View Bio">Siu-Lan Tan, Ph.D.</a> in <a href="http://www.psychologytoday.com/blog/what-shapes-film">What Shapes Film? </a></span>
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<a class="pt-basics-link" href="http://www.psychologytoday.com/basics/mating" title="Psychology Today looks at Mating "> </a><br />
<div class="article-image-wrap article-image-wrap-article-top">
<img alt="Charlotte Rampling 'Swimming Pool' Juliet Binoche 'Three Colors: Blue' 'Diva'" src="http://rsrc.psychologytoday.com/files/imagecache/article-top/blogs/135433/2013/11/137912-138195.jpg" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Scenes from 'Swimming Pool' (c. Fidélité 2003), 'Three Colors: Blue' (c. CAB 1993), and 'Diva' (c. Les Films Galaxie 1981).</span></div>
</div>
<br />
Look at the array of film frames above – where do you find your gaze lingers the longest?<br />
If
we were to measure looking time (for instance, with an eye-tracking
device), we would probably find that most people would scan all the
pictures, but focus mostly on the frames with the faces. Even though
the exterior shots and full-figure frames are more complex and colorful,
our gaze would tend to fix on the faces.<br />
<br />
<b>What makes the human face so compelling? </b><br />
Even
newborns are drawn to faces. In a classic study by Robert Fantz, young
infants stared twice as long at a black-and-white simplified human face
than black-and-white concentric circles. Even though a bull’s-eye target
is particularly eye-catching, babies spent twice as much time gazing at
a simplified human face.</div>
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<br /></div>
The vision of the newborn is sharpest at about 8 inches
away—perfect for gazing at a caregiver’s face while feeding. This is an
important face to learn by heart, for provision of all the basic needs
of life. By around eight months, infants search the faces of those they
trust for clues as to whether something new is safe to explore—or a
possible threat from which to quickly withdraw (<i>social referencing</i>). <br />
The
ability to orient to, and accurately read, human faces has high
survival value throughout our lives. We must register quickly if there
is a stranger in our midst, and sense if this is a friendly or
threatening presence. <br />
In short, we may be hard-wired to focus on faces because they provide information that is <b>fundamentally important to our physical and social survival.</b><br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Audrey Tautou in Amélie looking out of the window of a diner" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138191.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Audrey Tautou in 'Amélie' (c. Fox 2001)</span></div>
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<br />
<b>Why are human faces so compelling in film?</b><br />
Hungarian film theorist Béla Balázs believed that it is <b>the close-up of the human face</b>
that distinguishes film from other performance arts, especially
theater. Unlike a staged play, the camera can bring us up close to a
face—to gaze deep into the eyes and examine every contracted muscle in
intimate detail. During a time when the sweeping wide shot was in style,
Balázs was instrumental in bringing attention to the power of
expression through face and body in film.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="close-up Jimmy Stewart as George Bailey in 'It's a Wonderful Life', desperate " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138213.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Jimmy Stewart in 'It's a Wonderful Life' (c. Liberty Films II, 1946)</span></div>
</div>
Here, I offer three reasons that we are drawn to the human face in film.<br />
<br />
<b>1. Close-ups of faces personify the drama.</b><br />
We have difficulty computing emotion on a large or abstract scale. The close-up of the distraught <i>face of a single victim</i>
helps us to understand the real consequences of a devastating flood or
tornado on the nightly news. Balázs writes about how the close-up of the
human face captures ‘the very instant in which the general is
transformed into the particular’ (p. 260). <br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="close-up of Tom Hanks as Captain Miller in Saving Private Ryan" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138188.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Tom Hanks as Captain Miller in 'Saving Private Ryan' (c. DreamWorks 1998)</span></div>
</div>
While wide shots reveal landscape and broader
context, close-ups of the face personify and embody the emotional
character of the film events on an intimate scale that can move us to
the core.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Extreme close-up of Tom Hanks as Captain Miller in Saving Private Ryan " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138187.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Extreme close-up of Tom Hanks in 'Saving Private Ryan' (c. DreamWorks 1998)</span></div>
</div>
<br />
<b>2. Close-ups of faces can elicit our matching emotions.</b> <br />
Humans
have a natural tendency to mimic and synchronize emotional facial
expressions and postures and other emotional behaviors of people they
are interacting with, leading to eventually taking in or ‘catching’
someone else’s intense emotions. Social psychologists call this <i>emotional contagion,</i> the subject of my <a href="http://www.psychologytoday.com/blog/what-shapes-film/201311/why-does-baby-cry-when-her-mother-sings-viral-video">previous post found here</a>.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Crowd shot in Amélie, people laughing, social contagion" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138192.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Crowd in 'Amélie' (c. Fox 2001)</span></div>
</div>
<br />
Philosopher Amy Coplan and others have proposed that we can ‘catch’ the emotions of a film character through <i>contagion</i>,
just as we do in real-world interactions. For instance, in one study
when students watched a video of a man recounting a happy or sad story,
and were videotaped without their knowledge, their facial expressions
mirrored those of the storyteller. While watching a film, you may have
caught yourself mimicking expressions of film characters, arching or
dropping your eyebrows, grimacing or smiling in the dark!<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Audrey Tautou in Amélie watching a movie or film" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138190.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Audrey Tautou in 'Amélie' (c. Fox 2001)</span></div>
</div>
<br />
Psychologist Elaine Hatfield and others
have shown that our tendency to mimic emotional gestures of others can
eventually lead us to feel the intense emotions of another person.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="close-up Jimmy Stewart as George Bailey in 'It's a Wonderful Life', desperate " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138214.png" title="" /></div>
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="close-up Jimmy Stewart as George Bailey in 'It's a Wonderful Life', desperate " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138215.png" title="" /></div>
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="close-up Jimmy Stewart as George Bailey in 'It's a Wonderful Life', desperate " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138216.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Jimmy Stewart as George Bailey in 'It's a Wonderful Life' (c. Liberty Films II, 1946)</span></div>
</div>
<br />
Film theorist Carl Plantinga goes a step further, proposing that close-ups of the face may provide a route to <i><a class="pt-basics-link" href="http://www.psychologytoday.com/basics/empathy" title="Psychology Today looks at Empathy ">empathy</a></i> for the character (not just sensing the same emotions, but experiencing and understanding the feelings of another).<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Jessie and Woody in Toy Story 2, Woody showing empathy for Jessie's abandonment" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138193.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Jessie and Woody in 'Toy Story 2' (c. Walt Disney Pictures presents Pixar Animation Studios 1999)</span></div>
</div>
<br />
<b>3. The close-up of a nuanced face
is open to interpretation - allowing us to project our own feelings,
beliefs, and personal meanings.</b> <br />
Lastly, I suggest that
while intense emotions may elicit emotional contagion, more subtle
expressions may serve as a canvas for our own projections. These may be
influenced by transient states such as mood - and more enduring factors
such as our personal histories and associations, our own needs and
unresolved conflicts.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's looking pensive" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138185.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Audrey Hepburn in 'Breakfast at Tiffany's' (c. Paramount 1961)</span></div>
</div>
<br />
The lingering close-up of a face presents <i>only the illusion</i>
of being able to read the inner thoughts of another. What we think a
film character may be thinking may reveal as much, if not more, about
the inner recesses of our own minds.<br />
<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Faye Wong as Wang Jing-wen and android in 2046, Wong Kar Wai" src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138297.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Faye Wong as Wang Jing-wen in '2046' (Jet Tone Films 2004)</span></div>
</div>
<b>The Impact of Music</b><br />
Other emotion-evoking elements of film—especially the <b>presence of music</b>—can shape our interpretations of close-ups of faces with subtle or neutral facial expressions.<br />
Musicologist
Berthold Hoeckner and colleagues found that when a film excerpt ending
with a close-up reaction shot with a neutral facial expression was
paired with <b>thriller (suspenseful)</b> or <b>melodramatic music</b>,
college students rated the character as more likeable if they had seen
the scene with melodramatic rather than suspenseful music. More
interestingly, when presented later with a still image of the face, they
recalled the character's emotion to be ‘sad’ if they had seen it with
melodramatic music, and ‘angry’ if it had been accompanied by
suspenseful music. <br />
In a study my colleagues and I published in
2007, Matt Spackman and Matt Bezdek and I found that music does not even
have to be playing at the same time as the close-up of a neutral face,
to influence our interpretations of characters’ emotions. We paired film
excerpts (shown in the Figure below) with pieces of music that had been
reliably judged by a pilot group to convey <b>‘happiness’ ‘sadness’ ‘anger’ </b>or<b> ‘fear’</b>.
In each case, the music was played only at the beginning—during
exterior shots, fading at the entry of a full-figure shot of a film
character—or only at the very ending of the excerpt, after the character
had left the scene.<br />
<br />
<img alt="" src="https://my.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138195.jpg" title="" /><br />
<br />
Even
though the music was never played during the close-ups of the faces,
the viewers’ interpretation of characters’ emotions tended to migrate
toward the emotion expressed by the music. The most surprising finding
was that even music played <i>after </i>the character left the scene still colored viewers’ perceptions of what they had <i>already</i> seen. (We interpreted this as a case of <i>backward <a class="pt-basics-link" href="http://www.psychologytoday.com/basics/priming" title="Psychology Today looks at Priming ">priming</a></i>).<br />
To
end with the words from the strongest advocate for close-ups of the
face: ‘Good close-ups are lyrical; it is the heart, not the eye that has
perceived them’ (Balázs, p. 274). <br />
<br />
<br />
- by <b>Dr. Siu-Lan Tan</b>, co-author of <i>Psychology of Music: From Sound to Significance</i> (Psychology Press) and co-editor of <i>The Psychology of Music in Multimedia</i> (Oxford University Press).<br />
<br />
<b>Related Posts</b><br />
<i>On face and melody, and emotional contagion: </i><br />
<a href="http://www.psychologytoday.com/blog/what-shapes-film/201311/why-does-baby-cry-when-her-mother-sings-viral-video" title="http://www.psychologytoday.com/blog/what-shapes-film/201311/why-does-baby-cry-when-her-mother-sings-viral-video">http://www.psychologytoday.com/blog/what-shapes-film/201311/why-d...</a><br />
<i>On how film music shapes the storyline:</i><br />
<a href="http://www.psychologytoday.com/blog/what-shapes-film/201310/how-film-music-shapes-the-storyline" title="http://www.psychologytoday.com/blog/what-shapes-film/201310/how-film-music-shapes-the-storyline">http://www.psychologytoday.com/blog/what-shapes-film/201310/how-f...</a><br />
<br />
<b>Acknowledgments</b><br />
The
first and last figures appear with permission of University California
Press, as this composite was first published in Tan, Spackman, &
Bezdek (2007) as listed in below. The actors are Charlotte Rampling in <i>Swimming Pool</i> (c. Fidélité 2003), Juliet Binoche in <i>Three Colors: Blue </i>(c. CAB 1993), and Wilhelmenia Wiggins Fernandez in <i>Diva</i> (c. Les Films Galaxie 1981).<br />
<br />
<b>Mrs: Potato Head (outtake):</b><br />
"... I'm packing you an extra pair of shoes. And your angry eyes, just in case..."<br />
<div class="article-image-wrap article-image-wrap-article-inline-full">
<img alt="Mr. and Mrs. Potato Head outtake " src="http://rsrc.psychologytoday.com/files/imagecache/article-inline-full/blogs/135433/2013/11/137912-138318.png" title="" /><br />
<div class="article-image-caption">
<span style="font-size: x-small;">Mr. and Mrs. Potato Head in outtakes to 'Toy Story 2' (c. Walt Disney Pictures presents Pixar Animation Studios 1999)</span></div>
</div>
Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-80828878872492966162013-11-16T06:53:00.000-08:002013-11-16T06:53:01.219-08:00Getting That Next Draft DoneI've been relatively quiet this year on Living In Cine. It's been a busy time for me; starting a new job, working through several personal projects, moving, and just trying to keep up with day-to-day stuff.
Part of what I've been working on has been a feature screenplay called Ten Weeks in the Cuckoo Clock that's now in its fourth draft and I've been stuck here for several months. I'm finding as I go through each draft, I set out on a major objective, and try to correct and inject that objective throughout the script.
The rough draft was spitting it out on the page. Just saying everything I wanted to say.
Draft one was a clean up— a first pass at correcting my sloppy job from the rough draft.
Draft two was purging entire scenes that didn't fit, and attempting to fit the structure of draft one into the sort of "<a href="http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=sr_1_1?ie=UTF8&qid=1384357118&sr=8-1&keywords=save+the+cat">Save The Cat</a>" structure as best I could.
After plotting the story out on notecards and really identifying the weak areas, I had my objective for draft three: strengthen the characters.
Well, everyone was strengthened, except for my main character who still needed more work. And after having several reads from fresh eyes, the general feedback was "love the world you created, now make a protagonist deserving of existing in that world." So I've sat since then, parked on this idea, racking my brain of how to improve the guy.
Sometimes, you just have to take a break from your work and give it some time to breath. Hopefully, you'll forget enough so that on the next read through, you'll be reinvigorated to write again. That's what I'm hoping happens with this.
I've got a core idea of strengthening the character, but I still fear that he's a weaker character than he could be. So here's to hoping that a spark of inspiration happens and we get through draft four.
Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-813647758850534012013-11-13T06:12:00.000-08:002013-11-13T06:20:13.318-08:00More Love From The Margins<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMl9QeYnUvzDa7xZC60InCYejlPj5aVYyvtVg1gY0FC1GgCj0iHZLPe0HIPi88XRBKFrCJ9exOiEV1V4aezg747dPZf46-DRxqUI4gLgSyfthPbtwjTH411r_zHbkATjYwxJPYoCFSfz4/s1600/41-oATFYEQL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMl9QeYnUvzDa7xZC60InCYejlPj5aVYyvtVg1gY0FC1GgCj0iHZLPe0HIPi88XRBKFrCJ9exOiEV1V4aezg747dPZf46-DRxqUI4gLgSyfthPbtwjTH411r_zHbkATjYwxJPYoCFSfz4/s200/41-oATFYEQL.jpg" width="158" /></a><br />
<br />
In an article I wrote over a year and a half ago, titled<a href="http://www.livingincine.com/2012/02/from-margin-to-imagination.html" target="_blank"> From Margin to Imagination</a>, I discussed my love for the sidebar conversations and notations that come about in used books. There's a tale that is spawned in my mind every time I come across one.<br />
<br />
Apparently J.J. Abrams has a similar love for such things (Bad Robot's headquarters is even labeled on the outside as "<span class="st"><i>The National Typewriter Company"</i></span>). In his newly-published novel, <i>S</i>., The printed story is a mystery complicated further by a more meatier story in the margins between an undergrad and a university-shunned grad student.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDr_8JmwDNo_B6nE4T3c9nX1rcFin1QCTyA_2cnEZsS76r_j56WgPxjxPMz7z9n0xwG-0IFIH8iRiwEfonYNuwuY_CZR9lqmc3AKvOvErGG1dPLeXkVPnR0pzRx3YWGnLK2hyhqiftoNE/s1600/A1TzcxY6iBL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDr_8JmwDNo_B6nE4T3c9nX1rcFin1QCTyA_2cnEZsS76r_j56WgPxjxPMz7z9n0xwG-0IFIH8iRiwEfonYNuwuY_CZR9lqmc3AKvOvErGG1dPLeXkVPnR0pzRx3YWGnLK2hyhqiftoNE/s640/A1TzcxY6iBL.jpg" width="640" /></a></div>
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Only a quarter of the way through, I can say I've enjoyed the experience, although slightly difficult to sift through if you attempt to follow both stories at the same time, but well worth it once the momentum picks up.<br />
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The dual story is shrouded in brilliant packaging and presentation designed to look, smell and feel like an old library book that these two students happen to be sharing.<br />
<br />
This is Abrams' love letter to the printed word and truly emphasizes Marshall McLuhan's idea that "The medium <i>is</i> the message."<br />
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A trailer was released several months ago for the book, which shows a man washing to shore in an oddly-claustrophobic pool of light on the beach in an otherwise black night. In Abrams' fashion, there was little explanation for the trailer and left people wondering if it were a new film coming from the Mystery Box team, perhaps even a teaser for the new Star Wars Episode VII.<br />
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<center><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/FWaAZCaQXdo?feature=player_embedded' frameborder='0'></iframe><br /></center>
Later, a little more came out and a more realized trailer was released:<br />
<br />
<center><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/OuZfpt8nxtk?feature=player_embedded' frameborder='0'></iframe><br />
<br /></center>
I could see Abrams' <i>S.</i> not being a book for everyone. Older generations who aren't as conditioned to extreme saccading and multitasking that younger internet-savvy generations are, might find this a difficult read. With that said, it has been an extremely engaging and unique experience and I look forward to finding more time in the coming weeks to make my way through the rest of the book.Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-18657682122779856632013-11-12T10:07:00.002-08:002013-11-12T10:07:48.361-08:00Channeling Energies of Life Experience and Hobbies Into Creative Efforts<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLpcIltFuYeGrnrVTQWgnNs0-dGv59Q1zLii2qu44dXBRuQy7x7gljRlQ7jRpzk1PcU7e8BvpTCQ6zvWkpkoXTDE82wkcYVapcD1WYmKHpyTy_WsXP9Rxdj4dPdgVS5AjpPJ0C7_XL2Ps/s1600/7-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
The last few months have been a growth spurt for my creativity. I've been trying out different hobbies to gain some perspective and explore some ideas to apply in my screenwriting.
The first of which has been film photography. Of course my wife thinks I'm a hipster at heart, but it's been a truly valuable and relaxing focus of my time; allowing me to unwind from work and really practice a craft. Luckily, my dad had a 35mm negative scanner that I inherited, so I've only had to pay for the development of the film and nothing more.
Here are a few:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4wvvvRdgelF9eAMeKw0lXP83Yq-aCXMpoLdEB8-0LAZQTUMVpZoA5CDmxQr1j51IUo_a5UTzg5HofIIhazxBQrRoxJ9ROP-DSNyziS1qYzVlFQ9NgYjM6oJkOpSlH_eLFpdgc5TKdfw/s1600/Scan-131030-0035.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLpcIltFuYeGrnrVTQWgnNs0-dGv59Q1zLii2qu44dXBRuQy7x7gljRlQ7jRpzk1PcU7e8BvpTCQ6zvWkpkoXTDE82wkcYVapcD1WYmKHpyTy_WsXP9Rxdj4dPdgVS5AjpPJ0C7_XL2Ps/s1600/7-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLpcIltFuYeGrnrVTQWgnNs0-dGv59Q1zLii2qu44dXBRuQy7x7gljRlQ7jRpzk1PcU7e8BvpTCQ6zvWkpkoXTDE82wkcYVapcD1WYmKHpyTy_WsXP9Rxdj4dPdgVS5AjpPJ0C7_XL2Ps/s200/7-2.jpg" style="cursor: move;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ7foJDEDOVfDryZrqu9q0le_K-baOEzPv_f5p-epokZoNGG2afd20kTFrRQkhvFmPH94wKhUjScp-fkGEAPEuZoa3riCWgSaVd-Dafh6fsD_5g6TF3AaTLrmRBB9TWGMsZPQf_GOGKyY/s1600/Scan-131023-0042.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ7foJDEDOVfDryZrqu9q0le_K-baOEzPv_f5p-epokZoNGG2afd20kTFrRQkhvFmPH94wKhUjScp-fkGEAPEuZoa3riCWgSaVd-Dafh6fsD_5g6TF3AaTLrmRBB9TWGMsZPQf_GOGKyY/s200/Scan-131023-0042.jpg" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4wvvvRdgelF9eAMeKw0lXP83Yq-aCXMpoLdEB8-0LAZQTUMVpZoA5CDmxQr1j51IUo_a5UTzg5HofIIhazxBQrRoxJ9ROP-DSNyziS1qYzVlFQ9NgYjM6oJkOpSlH_eLFpdgc5TKdfw/s1600/Scan-131030-0035.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiXdrNuTae4Zn_TNyubR7Tlfgurbn-J4wt8KEeq-sUGT7zmidn_VHQM-fik2exJxWHXHH9hqegwYRBw3cvVL2-U9b6ulre4KoM8UCEphkpXok6-9p-bwQ0F6cSMMuUxaSsMKVtwtGaek/s200/Scan-131029-0023.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwtD4pBTVw-rZwgyBU5GrTDTfV3kF2P75-8-TTrpW_h-tGqU9JxHiL-VJdrFSPVdIrFmt5bJ9awkv3TXXuWss9Ieq9U4qDwMWN3VWZyAo9jDQO2LoI2rcSIHUd6PdKDdX4NIy12zGK5II/s1600/029_29A.jpg" imageanchor="1"> <img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwtD4pBTVw-rZwgyBU5GrTDTfV3kF2P75-8-TTrpW_h-tGqU9JxHiL-VJdrFSPVdIrFmt5bJ9awkv3TXXuWss9Ieq9U4qDwMWN3VWZyAo9jDQO2LoI2rcSIHUd6PdKDdX4NIy12zGK5II/s200/029_29A.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4wvvvRdgelF9eAMeKw0lXP83Yq-aCXMpoLdEB8-0LAZQTUMVpZoA5CDmxQr1j51IUo_a5UTzg5HofIIhazxBQrRoxJ9ROP-DSNyziS1qYzVlFQ9NgYjM6oJkOpSlH_eLFpdgc5TKdfw/s1600/Scan-131030-0035.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4wvvvRdgelF9eAMeKw0lXP83Yq-aCXMpoLdEB8-0LAZQTUMVpZoA5CDmxQr1j51IUo_a5UTzg5HofIIhazxBQrRoxJ9ROP-DSNyziS1qYzVlFQ9NgYjM6oJkOpSlH_eLFpdgc5TKdfw/s200/Scan-131030-0035.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_sCCNDrnzuq6WV3VbeZPIEIS9cnI-nRp0INO_ZqfFcOH4iU3R2Xptm7nhW54Xu4WWyWW4tCdWVzVGEckJGqUKlfrGdIt8ZLyvsYejWoawtjq2S7dJhEYPP44OkAhI_BrTkRm5F1YYNw8/s1600/Scan-131023-0007.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_sCCNDrnzuq6WV3VbeZPIEIS9cnI-nRp0INO_ZqfFcOH4iU3R2Xptm7nhW54Xu4WWyWW4tCdWVzVGEckJGqUKlfrGdIt8ZLyvsYejWoawtjq2S7dJhEYPP44OkAhI_BrTkRm5F1YYNw8/s200/Scan-131023-0007.jpg" /></a> </center>
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It's been truly wonderful to get back into photography and has reignited my passion for portraiture. There's something indescribably magical about shooting on film and I only wish I had more experience under my belt doing it in film production. Knowing you had a good shot when you took the photo, followed by the waiting for processing and then seeing it for the first time sometimes weeks later is rewarding. Especially when it turns out better than you had hoped. It's about catching that right moment and praying that it turns out. It's wonderful.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgKv2_4PLzUI9N-0bNvVGlg-t0VrU2N3OfXGRl-vXLP0FAQ89_kyRwaZnaaDeaduLINrJ0izONXcU3ywDL9nxSTWQYKcuBNEtg15WPmeEqrIyO-i-kpAFW38DBBz6EQYUoupPs0Px-DQ/s1600/558922_10102933393892058_1989428863_n.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgKv2_4PLzUI9N-0bNvVGlg-t0VrU2N3OfXGRl-vXLP0FAQ89_kyRwaZnaaDeaduLINrJ0izONXcU3ywDL9nxSTWQYKcuBNEtg15WPmeEqrIyO-i-kpAFW38DBBz6EQYUoupPs0Px-DQ/s200/558922_10102933393892058_1989428863_n.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgKv2_4PLzUI9N-0bNvVGlg-t0VrU2N3OfXGRl-vXLP0FAQ89_kyRwaZnaaDeaduLINrJ0izONXcU3ywDL9nxSTWQYKcuBNEtg15WPmeEqrIyO-i-kpAFW38DBBz6EQYUoupPs0Px-DQ/s1600/558922_10102933393892058_1989428863_n.jpg" imageanchor="1"> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnEtB3tVvMfCR1t8egJPAh54uECubep4RoTfFqFvnOZM2WodPxB6ziyjrKcIvJdKffN_RkAXpuDGpVE0XkwLjImI55E061WNIPLh_0nf90cBDjUkduNpOYA7MlH5Om7vShvVIl95IyE5g/s1600/1391656_10102936258910538_1609862535_n.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnEtB3tVvMfCR1t8egJPAh54uECubep4RoTfFqFvnOZM2WodPxB6ziyjrKcIvJdKffN_RkAXpuDGpVE0XkwLjImI55E061WNIPLh_0nf90cBDjUkduNpOYA7MlH5Om7vShvVIl95IyE5g/s200/1391656_10102936258910538_1609862535_n.jpg" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLI1duNkGRkgTbDWRADpaqCkzUkkUEpywfixujRMXvGM_5VaOviC4FiybgeEkKzOXpEXY3sm1VFMu-0Q5rfS_bGdlTnuZTpf-J6Otvq2WoTtwELaRLnZ4rkwnAE2dIAE-qZ0RAJ0IbGZo/s1600/1069263_10102975831212328_1904519905_n.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLI1duNkGRkgTbDWRADpaqCkzUkkUEpywfixujRMXvGM_5VaOviC4FiybgeEkKzOXpEXY3sm1VFMu-0Q5rfS_bGdlTnuZTpf-J6Otvq2WoTtwELaRLnZ4rkwnAE2dIAE-qZ0RAJ0IbGZo/s200/1069263_10102975831212328_1904519905_n.jpg" /></a></center>
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Along with that, I've taken up a hobby that my dad taught me when I was
little. I'm talking about whittling. Ever since I got my Blackmagic
Cinema Camera, I've had my eye on an Aaton-style wooden hand grip but I
just didn't want to spend the $600 that people have been charging for
them. So I bought a knife and a block of basswood and got to work.
After a week of working on it in my free time (maybe 15 hours total), I
wound up with the the grip I set out to make. Again, it's been relaxing
and almost meditative to craft this ergonomically-molded device by
hand. It's something that I'm proud of and will get great use out of,
and at least to me, is a beautiful little piece. </center>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfGUN2y5tKjWC39H_RutG9gA1Q__BcbyKehT17-PQtzCxW5DmC9gPbiPcQR5slx3_bEynF14bfZsmixc7S_1EpB2VA_Ys7M4X2gM0ou_53N17zoPWugrLExCNY9zcpWqV2lNkgJLzEsnc/s1600/GoldenGhost-Teaser+Poster1WEB.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfGUN2y5tKjWC39H_RutG9gA1Q__BcbyKehT17-PQtzCxW5DmC9gPbiPcQR5slx3_bEynF14bfZsmixc7S_1EpB2VA_Ys7M4X2gM0ou_53N17zoPWugrLExCNY9zcpWqV2lNkgJLzEsnc/s320/GoldenGhost-Teaser+Poster1WEB.jpg" /></a>And now, I'm about to embark on an experience in metal detecting, which is something I've always been interested in and finally forced myself to commit to. From this, the spark of interest in deteching has inspired my next screenplay, which I'm calling "Golden Ghost"; it's There Will Be Blood meets Castaway in a gold rush-era historical fiction film.<br />
<br />
The tale is about a man left alone with only his thoughts and dreams of striking it rich as the last remaining citizens of a mining town abandon ship; forcing him to face the possibility of failure and question his sanity in the process as he attempts to find the largest rumored gold deposit in US history.<br />
<br />
I think my boon into sort of 'rustic' hobbies has been a backlash of me searching for a creative muse with which to jump into the next draft of my current screenplay, Ten Weeks In The Cuckoo Clock, as well as finding the right idea for my next screenplay, and after several months, I feel asl though I've finally struck on something.<br />
<br />
I'm about twenty pages in on this screenplay, and have the rest of the film plotted out on 27 note cards, which describe individual sequences and signposts that occur for the rest of the film.
I took a lead from Vince Gilligan and the rest of the Breaking Bad writing team by framing these note cards as newspaper headlines rather than dry descriptions of characters. By taking this approach, there's motivation, objective and the enabling of creativity to approach each piece of the film.
Now, I probably should just be focusing on writing, but after penning a very visually-interesting scene, I was inspired to create a rough teaser poster seen above.<br />
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I've always heard you can only become a better writer if you first write more, and secondly have something worth writing about. "Write what you know," they say. And the only way to write fresh material is to seek out experiences, and "know" more. I feel as though providing yourself opportunities to have experiences and appreciate the romanticism of life will only help in articulating thoughts and ideas onto the page.Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0tag:blogger.com,1999:blog-7820269246136610436.post-78540920996282345612013-05-28T13:55:00.001-07:002013-11-13T07:33:59.060-08:00Long Lost Book on 2001Sometimes the universe aligns and you just can't escape the call of a great piece of artwork. In this case, I'm talking about 2001: A Space Odyssey.
Upon the release of the Daft Punk album that just came out last week, I paired the final song on the album with the 'journey' at the end of 2001 in a little short edit I put together. To my amazement the track synced up incredibly well with the film. So I tossed it up on Vimeo for a day with very limited reception. As soon as I put it on Youtube, it found its way on the front page of Reddit within a matter of hours and quickly became fodder for debate as trolls waged war with one another regarding whether or not the song actually synched up with the video. It did. Screw you if you think otherwise.<br>
<iframe width="560" height="315" src="http://www.youtube.com/embed/FbCTG0-PkRA" frameborder="0" allowfullscreen></iframe>
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And then just a few days later, something popped up in my newsfeed on Facebook about a book that was released in limited print in the 70's that somehow was buried in the archives of cinephiles' libraries until now.
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Cinephilia And Beyond released a blog post about it and (for now) are offering the e-book scan of it for download. Get it while it's still hot and learn a thing or two! I haven't had a chance to read it yet, but it looks fantastic and there's a neat picture of my friend Bruce Logan in it working on some of the miniature work!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfKVwT1s0xGFjJ2gslU4z6-lrHySeuMio_diBiWeHrE7o0qY_9ITHhkCtUT-lCC-A5cQdRMDiIhdzcZ-KRH86ycjCtO9X31E0lPwx9UXS_m2aNutJojl9NvMd3HBvDWVMXS-B8rvjp2k8/s1600/400914_10151742145820809_328042417_n.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfKVwT1s0xGFjJ2gslU4z6-lrHySeuMio_diBiWeHrE7o0qY_9ITHhkCtUT-lCC-A5cQdRMDiIhdzcZ-KRH86ycjCtO9X31E0lPwx9UXS_m2aNutJojl9NvMd3HBvDWVMXS-B8rvjp2k8/s320/400914_10151742145820809_328042417_n.jpg" /></a>
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<p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Making of Kubricks 2001 on Scribd" href="http://www.scribd.com/doc/143395393" style="text-decoration: underline;" >The Making of Kubricks 2001</a></p><iframe class="scribd_iframe_embed" src="http://www.scribd.com/embeds/143395393/content?start_page=1&view_mode=scroll&show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_48789" width="100%" height="600" frameborder="0"></iframe>
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To see the full article about it go <a href="http://cinephilearchive.tumblr.com/post/50996999612">here</a>!
Also, I hope to have more posts coming your way soon, I've been pretty swamped working at my new job and working through the next draft of my feature film script which is officially registered with the US copyright office! Anyway, more news to come!
Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com1tag:blogger.com,1999:blog-7820269246136610436.post-63792469136879014942013-01-05T12:42:00.001-08:002013-01-05T12:42:38.750-08:00 6 Tips to Re-Build Your Story From the Ground Up<a href="http://www.raindance.org/toronto/6-tips-to-re-build-your-story-from-the-ground-up/" target="_blank"> Originally written on Raindance.org</a>, this is exactly where I'm sitting with my screenplay. I thought it'd be helpful to share with others as well.<strong> </strong><br />
<h2>
<strong>1. Remember: The first draft of anything is shit</strong></h2>
I’m quoting Ernest Hemingway here. And when asked about rewriting, he
answered that he rewrote the ending to “A Farewell to Arms” thirty-nine
times before he was satisfied. Unfortunately, oftentimes new writers
believe that their first draft is gold and that it will only take a
little bit of fixing before it rocks. They naively assume they’ll just
need to improve lines of dialogue, transitions, or formatting errors.
They hand me their babies thinking it has a cold, but most of the time
it turns out it has a bad case a pneumonia and needs more than a
spoonful of cough syrup to get it back on its feet. In fact, their
script often needs a total RE-STRUCTURING of the plot. There is a great
French word, RESTRUCTURATION, which has a better ring to it than
“re-structuring” and is sadly missing from the English vocabulary!<br />
<h2>
<strong>2. Accept that bruises to your ego are part of the process</strong></h2>
The problem is, as soon as I prescribe a “RESTRUCTURATION” of their
script, many new writers go into panic mode: they just can’t picture
themselves re-building the wobbly castle they took so long assembling.
Or their ego is so wounded they bury their script six feet under the
earth and prepare the noose and chair for a hanging. Which is a shame
because most of my literary patients have something in them that is
worth saying and saving. Believe me, I have been there many times. When I
was honing my craft at UCLA, I freaked out when a screenwriting
professor ripped apart a script I had sweated over for two years. It
takes eating large portions of humble pie to become a professional
writer and get the best out of your story and characters. It’ll never
stop wounding our egos, it’s only human nature, and it’s okay. Go to the
gym, go for a walk, sulk for a few days, do whatever you need to do to
get past your disappointment. But at some point you need to roll up your
sleeves and get back to developing your screenplay.<br />
<h2>
<strong>3. Stop putting pressure on yourself</strong></h2>
Too many new writers want to have their script completed by
Christmas, or for a looming competition deadline. Giving yourself a
deadline for each rewrite is a healthy thing to do (I always give myself
deadlines) but the truth is you never know how many drafts you’ll need
before a script is rock solid and there is no point in sending a
half-baked script to a competition. Just accept that some scripts take
more time to develop than others. After all, if took a decade for Darren
Aronofsky and his writing team to hone “Black Swan.” Similarly,
Christopher Nolan spent ten years developing “Inception” before it was a
shooting script. Originally, “Inception” was a mere heist story and
it’s only when C. Nolan threw the Marion Cotillard character into the
mix that the script truly came together.<br />
The less experienced you are the more time it might take to complete
your script. So unless you’re being commissioned to write a script and
you have a REAL hard deadline to meet, relax and enjoy the process. And
besides, developing your script, aside from it being necessary to get it
sold/optioned/placed in a competition, etc., is good practice because
the horrid reality is that once it’s good enough to land a producer,
actor, agent, financier, etc., then it’ll be regarded as draft 1 from
that point on – and then you’ll need to start incorporating other
people’s notes, producers, directors, actors, etc., which means your ego
and your script are going to be challenged again and again and again.
The more you get used to this and accept it as part of the process, the
closer you are to becoming a professional writer.<br />
<h2>
<strong>4. Re-outline your screenplay</strong></h2>
Proceed methodically. Don’t dive in blindly into your script as it’s a
sure-fire way to hit a wall and get lost. Instead, step back from your
screenplay and re-outline your story. A script is like a house and you
can’t build it if the foundations aren’t rock solid.<br />
First write a <a href="http://www.ehow.com/how_4786947_write-onepagesynopsis-%20%20treatment.htm">ONE-PAGER</a>
delineating the 3 acts of your script. On the back of the page, write
down your protagonist’s outer goal, inner goal/need as well as their
transformational arc (and if this terminology is alien to you I urge you
to buy a screenwriting book ASAP!). Then, turn your one-pager into a
4-PAGER, with one page for Act 1, two pages for Act 2, one page for Act
3. Workshop your 4 pager, read it to your friends, etc. until it’s rock
solid, and then, and only then, turn it into a treatment. <a href="http://www.wordplayer.com/columns/wp37-xtras/wp37x.SINBAD.html">TREATMENTS</a>
are usually 10-12 pages but can be up to a hundred pages if you detail
every beat, scene, etc. In any case it’s a prose version of your story.
Before commencing with the screenplay format, some people then write
their treatment into a <a href="http://dramaticarc.files.wordpress.com/2011/04/step-outline.pdf">STEP-OUTLINE</a>
(also known as a Beat Sheet), meaning a description of the content of
each scene. Others feel it impedes their creativity and skip that step,
which is absolutely fine.<br />
<h2>
<strong>5. Don’t be stubborn</strong></h2>
Many new writers scream out “No way, I’m not going back to square
one!” They are scared their beautiful words and witty dialogue will go
down the drain. So they haphazardly toy around with their script, add
and remove lines of dialogue and shuffle up their scenes in the hope the
script will come together in the end. I’m not saying that strategy
never works, but in my experience – I’ve read hundreds of scripts for
film and TV over the years – it seldom does work because for most
writers and their screenplays it doesn’t solve the problems in the
script. You have to take it apart and carefully reconstruct it. And it’s
a lot easier to do that with a one page document, and then a four pager
document, etc.<br />
I hate it when a writer comes back to me one year after I script
doctored their work, admitting they tampered with their script without a
roadmap, got lost, and now they need me to help them re-outline their
story from the beginning. What a waste of time! I much prefer when
writers devote their energy rewriting their outline for a few weeks or
months until it’s structurally sound and come back with a solid new
draft the next time around. You know why? Because then we can move on to
the fun stuff like dialogue, visual transitions, motifs, imagery;
things that are a lot easier to fix once the house is properly
constructed so to speak. I liken this step in the development process to
choosing the color of paint for the walls in your home, the style of
carpet, the fabric for the curtains, etc., meaning you wouldn’t and
shouldn’t do this until the foundations, walls, roof, number of
bedrooms, style of kitchen, etc. have all been designed well and
properly constructed – then you can do the finishing touches to your
home/script.<br />
<h2>
<strong>6. Find the tools that work for you</strong></h2>
If you struggle with structure, I’d encourage you to use a structural template. The <a href="http://timstout.wordpress.com/story-structure/blakesnyders-%20%20beat-sheet/">BEAT SHEET </a>provided in Blake Snyder’s “Save the Cat” works great (by the way, if you haven’t read his book get is asap!), the <a href="http://www.lexwilliford.com/Workshops/Screenwriting/Assignments/The_Ackerman_Scenogram.pdf">Hal Ackerman SCENOGRAM</a>
is a fine tool as well, but there are other ones out there that can
prove just as helpful. Make charts if you like charts, use 3 x 5 cards,
highlighters, whatever works for you. Develop your own tools, but by all
means don’t jump in blind to rewrite or restructure your script.<br />
I can’t yell it loud enough, RE-OUTLINING is an effective treatment
against wobbly structures. Re-outlining might save you months, if not
years of your life as a screenwriter. And no matter how badly
side-tracked you were when you wrote the first draft it’s never a waste
of time to go through the process of “restructuration.” Even if you
bungled your story structure or picked the wrong protagonist (which
happens in a lot of scripts I read), things will fall back into place if
there is some method to the madness of developing screenplays. The
essence of your script, the diamond in the rough will eventually jump
out at you and make itself clear. Make no mistake, writing is a
difficult, long process. It takes a lot of hard work, frustration and
floundering around. And if you don’t believe me, here are a few words by
John Irving for you to ponder:<br />
<strong><em>“More than a half, maybe as much as two thirds of my life
as a writer is rewriting. I wouldn’t say I have a talent that’s
special. It strikes me that I have an unusual kind of stamina.”</em></strong><br />
As E.B. White said in “The Elements of Style”, “The best writing is rewriting.”<br />
Or as I like to say, the best writing is re-outlining. Happy “Restructuration!”Danielhttp://www.blogger.com/profile/12421232550815813969noreply@blogger.com0