Archive Twenty-two
December 5,
2006 - Production Lessons
Hurry
up and wait, hurry up and wait, hurry up and wait ...
Anybody
who's been involved in the production of a feature film knows
about the ongoing starts and stops that occur throughout most days
on the set. Well, in the first week of production on UNDER THE KNIFE
it certainly wasn't any different. In fact, without
divulging any details or speaking out of turn, it seemed more
painful than normal ...
Of course,
there were the normal problems and pressures of shooting a film
with both time and monetary constraints. Compromises have to
be made and conflicts arise when different departments compete for
the limitations of both, each hoping to win out so they can
achieve their original vision. Which at some point sometimes
has to be abandoned by the wayside, just so the film can actually
be completed ...
Going into
the second week of a three-week shoot, this production is
struggling exactly with that. Their main location will
disappear at the end of next week, and they have to finish when
they had originally planned. But they are currently behind
schedule, and ...
Well, I
have a sneaking feeling they will figure out a way. I know
the writer/director and am plugging for him. He has some
monumental tasks ahead, but he seems to have a dedicated cast and
crew, even if periodic conflicts flash up here and there.
That is about par on most productions, to some extent anyway.
The trick is to turn those situations around and make them work
for you, not against ...
On another
front, when I have the time I'm still cranking on the latest script
draft (5th). It's been slow this last week and half, but I'm a
little over halfway and am trying to get clear of this by the end
of the year so I can start the next phase of the adventure ...
Just
floating a new concept idea for DREAMS AWAKE:
'Look outside and dream, or listen inside and awaken.
Sometimes you have to give up
the world to discover yourself.'
What do
you think? Yeah, probably needs work, huh? ...
Tidbits: Check out this article -
Cinema’s Future Belongs to Indies - very
good read ...
J-Alden
Comments --
The End of the Year Thank You -- 12/11
I just wanted to take a moment to thank everyone who helped make
2006 a success!
In the last year I have done three tours. I drove 28,000 miles,
flew to the UK, gave over 100 lectures and work shops, screened my
work 84 times, talked to hundreds of students, eaten my weight in
patty melts and club sandwiches, drank a swimming pool full of gas
station coffee, (okay maybe a wading pool...), and ate three
cases of Tums. And I am ready to do it all over again in 2007.
The tours worked out great. I had some amazing audiences, was
only stumped on a few questions in my work shops, met a lot of
talented people, and sold a lot of DVD's.
From January 12th - 14th I am going to be in Eugene, Oregon at
the Open Lens Festival, (I'm the visiting Filmmaker), teaching a
couple work shops and screening Kicking Bird. On January 20th &
21st I am going to be at the Hollywood Theatre in Portland,
Oregon teaching 2 work shops (Making the Extremely Low Budget
Movie, and Marketing & Self-Distribution). I'll be screening
Kicking Bird on Saturday and showing the rare 35 mm print of
Birddog on Sunday the 21st. Check out
http://divamedia.proscenia.net/ or
www.hollywoodtheatre.org for further details.
Moses and I had a great time on the road, and I am looking forward
to 2007. Thanks to everyone. Take care and we'll see you on
the road.
Angrily yours,
Kelley & Moses
www.angryfilmmaker.com
December 13,
2006 - Production Lessons #2
C'mon
let's go, and hurry up and wait ...
Coming
down the home stretch, this production has a head of steam to
rocket across the finish line. I think it's about time
for a sports analogy, especially the way sports is played in the
21st century. What with big bucks, free agency,
out-of-control egos and a global media market, the film industry
and professional sports have a lot in common. Another one is
how well teams can gel once they've been together awhile and learn
how the different pieces can function at a higher and more
efficient level ...
Going into
the third week of production I can see it happening on the set.
Sure, everyone's blitzed out and worn down, but they're also
working better and more efficiently together. In most team sports
it takes being together a while to make it work. When it
doesn't work then obviously the right pieces (people) or elements
just aren't there. Or, the coach hasn't put together the
right system or strategy in place to match the personnel.
You can see these same dynamics also at work on a film set and
during meetings ...
What's the
winning formula? Depends on what you're trying to
accomplish, and who your key people are. But even as
important (if not more), who you are, the person running the while
operation. As the Alpha Horse, in the end it's always up to
you. Isn't it? ....
Next time,
some very specific lessons about working on a low-budget indie.
Think preparation, vision and teamwork. Obvious? Not
to everyone, but it better be your holy trinity if you want to
have any hope of success ...
J-Alden
Comments --
Happy Holidays from IndieTalk -- 12/20
While you are enjoying your holiday season, why not read a short
screenplay that you can produce in our Challenge?
IndieTalk's Script to Screen Challenge!
The scripts are available to read now, and you have until Jan 4th
2007 to register (FREE for Premiere Members). You then have 6
weeks to make the film!
You can win:
Glidecam 2000 Pro
Final Draft software
Gorilla software
CompanyMOVE software
SunFrog software!
All the info is right here!
www.indietalk.com/challenge It's FREE for IndieTalk
Premiere Members.
December 21,
2006 - Production Lessons #3
They
did it, they did, and no more waiting ...
Production
on UNDER THE KNIFE wrapped late Sunday night and it appears they
might have themselves a decent little film. Time will tell,
as they say ...
Anyway,
thought I'd just throw out a few random thoughts, feelings, points
that working on this film reminded me of and also some things I
learned and relearned. In that respect, although I was not
able to be on set every day, doing this was well worth my time ...
Things to
ponder, consider, remember:
1) The Director and Director of Photography need to be on the
same page. Sure, creative differences spring up and can
help fuel the fires, but they both need to be making the same
film. Or else, we actually do see more than one film up on
the screen. Sometimes when a first-time director teams with
an experienced DP, the DP will step in to fill moments of a vacuum
made by a director's inexperience, indecisiveness or competing
vision. Now sometimes the conflict is not in vision but in
the path to this vision. But their clash can create problems
of cohesion on the set with the crew, who many times is loyal to
the DP, as he is usually the one who hired them. This can
put a bind on the director, and create problems throughout the
whole shoot. This type of situation should be ironed out
before the shoot, and at least by prep time.
2) The Director, DP, 1st Assistant Director, Line Producer,
power circle. It's going to be natural for the 1st AD
and the DP to clash some. The 1st AD is trying to keep on
schedule and get all the setups and shots for the day, but the DP
(as well as the director) may not being using this time as
economical as the 1st AD would like. He may run the set on a
moment by moment basis, but if the DP feels he needs more time to
get a shot exactly how he wants it (which he will lobby the
director for, who will many times agree with him, and in fact, may
want himself), he's probably going to get it. The 1st AD may
in turn lobby the director to cut the fat and move on, but the
director, who has to weigh a lot of things, is still the Alpha
Horse on set. And if the director wants to take the time,
then the 1st AD may have no other choice but to go to the Line
Producer, if he really wants to push it. Realistically, this
situation may have to be going on for a while for the 1st AD to do
this. Anyway, say he does. He had better feel that the
production is in jeopardy, and needs the LP (or some higher level
producer) to step in. A bit risky, politically, but maybe
necessary? Anyway, this may cause some tug-of-war between
the director and producer, and depending upon what the power
structure is here, various scenarios could play out. In very
low budget indie projects such as the one I've been discussing
(and mine coming up), there are probably only a minimal number of
people involved. In fact, the director may be one of the
producers, and even the writer (which will be the case in my
project). But during production there needs to be some kind
of delineation here, so these types of problems can be worked out.
If not, other crew people with certain responsibilities and power
will have no one to turn to when you, as the
director/producer/auteur is busy doing your thing on the set, just
don't have the time or the inclination to deal with these issues.
Well, you will have some frustrated, demoralized people drooping
around the set. And you may not know why, but you should.
3) Production Designer, Propmaster, Makeup & Hair, Costume.
I have seen differing opinions on how the PD's time is managed.
While it's the DP's job to photograph a created world, it's the
PD's job to create this world. But he is always ahead of the
shoot, always doing so in advance of everyone else. I've
actually seen PD's leave the production in the last week, once all
the sets were done or locations dressed, and let an art dept.
assistant wrap everything up at the end of the shoot. Well,
some DP's (and directors) like to have the PD's on the set the
same day they're filming. Mainly, if changes need to be
made, and/or for consulting on how to do that. If they're
not around the DP and/or director may make that decision on the
spot under time constraints without thinking of the whole color
palette the PD has created for the film. On low budgets,
sometimes the PD and/or Props may be the set dresser. The
props person needs to be meticulous in planning what needs to be
in each scene. It's amazing what can be forgotten that seems
so obvious. I don't know for sure why this is, but it
seems like the makeup/hair person usually knows all the scuttlebutt
going on around the production. So, if you get in good with
them, they make perfect little spies, letting you in on the
production you thought you had so much control of. One
little note here. Keep your main makeup person off set,
allowing them a safe quiet place to do their work. If
touchup is needed on set, train a PA, or have a makeup assistant
there. Trust me here. Same with the costume person,
unless the talent is providing their own stuff, which is common on
shoots like this.
4) Script Supervisor, Production Coordinator (Manager), 2nd AD.
Detailed-oriented, organizational freaks (they should be). I
personally believe the SS job is one of the most difficult on set,
and one of the most thankless. Keeping track of what they do
seems almost impossible, and why you almost always see continuity
gaffes in most films. More power to 'em (and treat them
right - they know where the bodies are buried). On lots of
low budget indies, the PC's, PM's and 2nd AD's jobs overlap and
you may have just one or two people do them. However that
works out, they must be anally fixated to a high degree, keeping
the production office organized and the paperwork flowing freely.
The 2nd AD in this case will probably be rotating between the set
and the office, and may get quite jangled in the process.
Anyway, these people are essential to keeping the wheels greased
and everyone on task.
5) Etiquette and protocols. Treat people right, even
the Production Assistants. Yes, PA's are people too.
Remember the Golden Rule? No, not the one where the person
who owns the gold makes the rules. The other one. A
little bit of good will on a set goes a long way. A lot of
good will can get you all the way through production alive and in
one piece. You may want to work with these people again, and
even if you don't, word travels fast in this biz. Plus,
don't we want to make and keep our work enjoyable? Then hey,
it's up to you. You lead and set the tone. Others
should follow. If not, like I said, word travels.
6) The Food. The meals better be the best you can
afford. And if you can't afford it, do it any way. An
army travels on its stomach. So does a film crew. You
will have mutiny in the first week, walk offs in the second, and
be shut down by the third. Fuel, baby, fuel. Keep them
primed and ready to ignite into action.
7) Cast. Oh yeah, the talent. Why save this for
last? Well, these people demand special attention. Am
I being facetious? Maybe, maybe not. Does it make a
difference? Damn straight. There is something unique
about actors that I just can't put into words. You just have
to see them work to get it. Truthfully though, they are the
gold of the film. Whether they are recognizable talent, or
complete unknowns you plucked from some Podunk community theatre,
you hang all your hopes and dreams on their performances. So
why not coddle them some? Or even a lot. What they do
is very difficult, putting themselves out there for all to see.
Most of us shy way away from that, but they seem fed by it.
So let them feast, and in the end maybe your film will be a feast
for the audience. Remember though, never let them take over
the production to get what they want. That will only be a
disaster, as they are usually only concerned about their role and
their narrow perspective. You have the whole film to
consider. In a sense, they are children who just want to
play. Let them be creative and play, but you make the rules
of the game. It's your sandbox they're playing in, but it
should be big enough for everyone to have fun in ...
Disclaimer: Of course, each production is different, and
some, if not all, of the above described
situations/conditions/progressions may or may not ever occur on
yours or anyone else's. Got that? In fact, of course,
lots of other situations, etc. will rear their head and drop right
into your full lap, when you never ever expect it. Welcome
to filmmaking. Have fun! And Happy Holidays!! ...
J-Alden
December 28,
2006 - Risk
Putting yourself out there, and end of the year remarks ...
Got a few
emails from some of you on my last comments. Seems some of
you feel I left a few things out. Funny, I thought this
might happen. Just a little surprised it actually did.
My comments were not meant to be all-inclusive by any standards,
but only a few thoughts on the process (in my humble experience).
Anyway, I do have a couple minor items to add that did come to
mind later. Camera Operators; they tend to be quite
meticulous, nimble and quiet, and I love talking to them, cause it
seems hardly anyone pays attention to them, unless its just about
what they shot and didn't shoot. On low budget shoots, DP's
sometimes operate the camera (or one of the cameras, as on the
shoot I was just on). Grips; the true blue-collar
grunts who literally carry the production on their backs, never
get their recognition but without who nothing would really get
done, always more power to 'em. In addition, I reserve the
right to be wrong in my opinions and to always add more later ...
In fact, a
few comments on risk-taking and putting yourself out there.
DP's and Talent. You gotta love 'em no matter what you have
to put up with. But think about what they do. Think
about the fact that everything they do is right up on the screen
for us all to see and usually judge, often harshly. Then
think about all the jobs all of us do in the world. How many
of us have jobs where the whole world can see how well we do at
our work? For most of us usually just our boss or co-workers
see the specific direct results of our work. What if all the
work we do could be seen and judged by everyone? Wow,
wouldn't that put the pressure on? Well, guess what.
When the cinematographer has to set up, light, frame, move, etc.
the camera and scene to be shot the way he and the director have
decided on, that's exactly what is probably in the back of their
mind. Same with talent. When they put themselves in
that scene, physically, emotionally, mentally, spiritually, and
make that scene come alive. Wow, are they putting themselves
out there or what? For everyone to see, totally exposed,
figuratively naked (well, literally for some). Sure, others
on the film put themselves out there, but none so directly as the
DP and the talent. My point being, if your DP and your
talent are not absolutely dedicated, meticulous and driven in
doing their jobs to the highest level they can reach, then be
concerned. They need to be, not in a worrisome, tense way,
but in a way in which they refuse to do anything other than better
than they've ever done. As a director, producer or both,
make sure they do that, or find someone who will. And if
they are doing what they should, don't just be in awe of it.
Give them lots of space, encouragement and support in allowing
them to help you create the film magic you all seek. It will
pay off with huge dividends ...
On the
script front I haven't accomplished a whole lot lately, what with
the holidays and everything. Got about the last quarter
left, but the part that has the most changes. Shoring up
that second act, and ramping up the climatic third act where it
needs to finish up. But I'm pumped to finish out this year
and begin the new one with this script well in hand. I
started this blog almost twenty-one months ago and it's mostly
been about developing the script. Well, that's nearing its
last phase, and I'm greatly anticipating pushing this into
production next year. Hallelujah! ...
Tidbits: Check out this article on
Ten Pivotal Events of 2006 (related to film, technology,
online, etc.). Until next year, have fun, be well, and
always try to do more than you think you can, because, guess
what!? You actually can ...
J-Alden
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