Week One / Semester 2


Right time to bust off the cobwebs after a few weeks of holidays and get back in to the swing of things, this entry should have been done a couple weeks ago so I'll get started. This week in the lecture we discussed a couple topics which included:

The director's responsibilities particularly in pre-production.
This was quite interesting to really break down all the work a director has to put in to a project even before shooting a single frame to make it successful. Starting with the script and all the changes and amendments, the characters and all the layers that must be added is mind boggling. All the background research and script breakdown, shot list, storyboards before thinking of getting on a set/location. The director usually is involved in the process of sourcing crew, but not always. Once all Head of Department crew or HODs, are involved multiple pre-production meetings are required so they can get a sense of the director's vision and discuss their approach and add their expertise in their chosen discipline. Trying to workout a suitable schedule with the producer for all stages of production and give the client an estimate for finished product, which can be a lot easier than done considering all the logistical problems that usually can & do happen. One of which can be crew getting ill or injured, a cardinal rule according to Chris is to stay fit and healthy during a shoot. If you get sick to push through it and continue on (especially if it's the director) barring life threatening illness of course. This is where the first AD can be really valuable as it's there job to shield or protect the director from problems, squabbles and conflict so the director can focus on performance.
Casting & rehearsing which comes next, rehearsing with cast over and over, every time progressing and developing performances. Making decisions for shoot locations and starting department tests eg. camera, costume/wardrobe, art, VFX, SFX, and sound etc.

 Taking your opportunities.
In this industry as an aspiring film maker you will learn more from being on set than you will attending lectures, so taking opportunities when they present themselves is crucial. So trying to get on as many as you can will catapult your development and may just get your foot in the door in a very exclusive industry.
The old saying it's not what you know it's who you know is accurate in film and TV. Last semester one of my note-takers Richard Mellick, who is an accomplished Australian actor and voice over artist was starring in an ABC world war two documentary arranged to get me on set as an observer. It was fantastic, the whole time I kept thinking "and these people get paid to do this?". I made sure I talked to as many people in different roles as I could, when they weren't busy of course. They were all very approachable and eager to answer my questions, especially writer/director Steve Westhe who was very easy going and made me feel welcome and took time to explain how things worked. I thought that was invaluable and I'd jump at the chance to get on a proffessional set again any day!