Week Eighteen
This week what have I learned? Hmm that some of my classmates get the POV concept, are rather creative and are up and coming directors in their own right, even at this early stage. Whilst others haven't quite got it yet, and maybe directing isn't their calling...but hey to each their own.
After a screening of the majority of the class' work and some sometimes harsh critiquing from lecturer and students alike, I'm feeling a bit of pressure to succeed where others have not. And with 234 assessments (artistic licence at it's best) all due now, still haven't even shot mine yet. Changed the script as my version was fuelled by delusions of grandeur with it's Tarantino like action sequences and dialogue, back story and even a flashback scene...simplify I tell myself. So hopefully when I screen mine next week in class, they'll have mercy. I'm almost positive a couple of objective shots will have crept in and be rather emphatically pointed out to me, but as long as the majority are subjective and the scene entertains I'll be happy.
So I guess this where the Men get separated from the boys so to speak, in terms of those serious about directing in the course and those who are just going through the motions to pass. Still trying to figure out which applies to me, as much as I love directing and Chris' class (which has taught me more about film in 6 months than all of Certs 2, 3, 4 and the other Diploma units combined. And yes Chris I know you read this but I'm not sucking up to you, just the truth.) I'm still leaning more towards editing and post-production. But contemplating doing two electives next semester, rather than only one which is enough to pass, and continuing on with directing. Time will tell I suppose, well said my piece so I'm done...for now.
Sunday, 17 June 2012
Week Sixteen
Weeks sixteen and we were left to our devices, given class time to work on our second assessment which is shooting either an all subjective or all objective scene. So effectively no lecture, no theory and discussion just go do your thing pretty much.
Now at this point in time planning to attempt (now I'm on record saying attempt) to breakdown the scene and select all subjective character shots, which will be challenging but a little lateral thinking and I think it can be done. Speaking with Chris about how to go about it and also watching previous years work, and learning from their shortfalls I have realised how integral editing is to making it work. I mean as an aspiring film editor I've always known and appreciated great editing, the invisible art as it's sometime known as because great editing is seamless and the viewer never notices it, which is the goal. Chris has being saying "It's all in the way it's edited!", so saying all of the above I'm really looking forward to both the direction and editing aspects of this assessment!
Weeks sixteen and we were left to our devices, given class time to work on our second assessment which is shooting either an all subjective or all objective scene. So effectively no lecture, no theory and discussion just go do your thing pretty much.
Now at this point in time planning to attempt (now I'm on record saying attempt) to breakdown the scene and select all subjective character shots, which will be challenging but a little lateral thinking and I think it can be done. Speaking with Chris about how to go about it and also watching previous years work, and learning from their shortfalls I have realised how integral editing is to making it work. I mean as an aspiring film editor I've always known and appreciated great editing, the invisible art as it's sometime known as because great editing is seamless and the viewer never notices it, which is the goal. Chris has being saying "It's all in the way it's edited!", so saying all of the above I'm really looking forward to both the direction and editing aspects of this assessment!
Sunday, 27 May 2012
Week Fifteen
Week fifteen's topic is another tricky one, this week we are introduced to Subjective and Objective point of views in film. When you think of point of view or POV for short you think of first person POV or seeing through another person's eyes. But that's not what I'm talking about now, Subjective POV basically means the camera is looking at the character's face whilst the Objective POV means the camera is watching the character doing something. This POV is from a storytelling POV, not a camera POV as normal! I know the naming of these camera techniques is contradictory to what you'd imagine they meant, so why do we have to make it hard for ourselves when naming these things?
Any ways I've had my rant and got it off my chest so I'll continue now.
We learnt about the 180 degree arc around the character and where the best places for the camera to be placed for Subjective and Objective shots sat in the arc and their ranges. Also learnt the rule that if there is no character in the shot, generally it is neutral and shot neither Subjective or Objective points of view.
Here is a great video explaining it really well, might get more of an idea after watching this (only 1 minute long).
Now we are thrown in the deep end as we are given our second assessment from Chris, which if you haven't guessed already is filming a page from a script demonstrating either Subjective or Objective POV's. Our choice which, but one or the other...we can't have both. This will be almost impossible in my opinion but I guess at this stage it's all trial and error, best way to learn I suppose.
So this should be interesting, here is an example on Subjective POV from some of last year's Diploma students, I hope I can at least match the quality.
Week fifteen's topic is another tricky one, this week we are introduced to Subjective and Objective point of views in film. When you think of point of view or POV for short you think of first person POV or seeing through another person's eyes. But that's not what I'm talking about now, Subjective POV basically means the camera is looking at the character's face whilst the Objective POV means the camera is watching the character doing something. This POV is from a storytelling POV, not a camera POV as normal! I know the naming of these camera techniques is contradictory to what you'd imagine they meant, so why do we have to make it hard for ourselves when naming these things?
Any ways I've had my rant and got it off my chest so I'll continue now.
We learnt about the 180 degree arc around the character and where the best places for the camera to be placed for Subjective and Objective shots sat in the arc and their ranges. Also learnt the rule that if there is no character in the shot, generally it is neutral and shot neither Subjective or Objective points of view.
Here is a great video explaining it really well, might get more of an idea after watching this (only 1 minute long).
Now we are thrown in the deep end as we are given our second assessment from Chris, which if you haven't guessed already is filming a page from a script demonstrating either Subjective or Objective POV's. Our choice which, but one or the other...we can't have both. This will be almost impossible in my opinion but I guess at this stage it's all trial and error, best way to learn I suppose.
So this should be interesting, here is an example on Subjective POV from some of last year's Diploma students, I hope I can at least match the quality.
Week Fourteen
This week the office messed up and so I had no note taker during this lecture, so trying to go on memory alone is tough. Luckily we had a more "hands on" approach (if you'll pardon the pun), we had a work shop with Chris and actress Rhoda Lopez on castings and rehearsals. Probably the most fun I've had in any lecture so far, we actually got to get involved with a professional actress and get an insight in to what goes on in castings, script read throughs and rehearsals in the industry.
Reading through the page from Chris' script we were previously working on, I was pleasantly surprised to see Rhoda's interpretations and the subtle changes on each read through and there impacts on the the other character's (played brilliantly by classmates I must note) interpretations. Hopefully Chris if you read this know that everyone enjoyed the workshop and I noticed the class slowly coming out of it's shell and really getting involved even though it was during a Monday morning lecture...so yeah more of this would be great. But seriously it was a bit of a revelation actually doing a read through, doing it on paper so to speak just doesn't give a realistic representation.
There were lots of subtle nuances I noticed just by watching Rhoda listen to Chris' direction and listening to her explaining her thought process behind her decisions was invaluable. Hard to articulate exactly what I'm talking about, but was great to get away from purely theoretical lectures and start getting in to lectures where we can attempt to put in to practice what we've learned to date.
Hint hint, wink wink.
This week the office messed up and so I had no note taker during this lecture, so trying to go on memory alone is tough. Luckily we had a more "hands on" approach (if you'll pardon the pun), we had a work shop with Chris and actress Rhoda Lopez on castings and rehearsals. Probably the most fun I've had in any lecture so far, we actually got to get involved with a professional actress and get an insight in to what goes on in castings, script read throughs and rehearsals in the industry.
Reading through the page from Chris' script we were previously working on, I was pleasantly surprised to see Rhoda's interpretations and the subtle changes on each read through and there impacts on the the other character's (played brilliantly by classmates I must note) interpretations. Hopefully Chris if you read this know that everyone enjoyed the workshop and I noticed the class slowly coming out of it's shell and really getting involved even though it was during a Monday morning lecture...so yeah more of this would be great. But seriously it was a bit of a revelation actually doing a read through, doing it on paper so to speak just doesn't give a realistic representation.
There were lots of subtle nuances I noticed just by watching Rhoda listen to Chris' direction and listening to her explaining her thought process behind her decisions was invaluable. Hard to articulate exactly what I'm talking about, but was great to get away from purely theoretical lectures and start getting in to lectures where we can attempt to put in to practice what we've learned to date.
Hint hint, wink wink.
Week Thirteen
Unfortunately I was absent for this particular lecture as I was unwell, so I can only go on what I was told about the topic of discussion. Apparently Chris introduced us to the concept of a director's statement and what should be in it.
A director's statement should inform the reader of the director's vision for the project and assist in persuading investors to support it. It should also outline the director's intentions and is the second most important document behind the script of course.
These statements are usually revised, amended and updated due to the ever changing nature of film making. Typically director's in feature films may spend years working on many statements, and as there are no definitive guidelines on writing a director's statement it can vary dramatically between directors and submission requirements. All statements however must discuss certain areas of the film making process no matter what, below is a simplified diagram illustrating this.
Unfortunately I was absent for this particular lecture as I was unwell, so I can only go on what I was told about the topic of discussion. Apparently Chris introduced us to the concept of a director's statement and what should be in it.
A director's statement should inform the reader of the director's vision for the project and assist in persuading investors to support it. It should also outline the director's intentions and is the second most important document behind the script of course.
These statements are usually revised, amended and updated due to the ever changing nature of film making. Typically director's in feature films may spend years working on many statements, and as there are no definitive guidelines on writing a director's statement it can vary dramatically between directors and submission requirements. All statements however must discuss certain areas of the film making process no matter what, below is a simplified diagram illustrating this.
Sunday, 6 May 2012
Week Twelve
In this week's lecture we talked about how to correctly cast the best possible actors for your project and what you as the director need to consider to achieve this. Acting consists of many subtle nuances and is an art that is very demanding & requires a wide skill, so you need actors that have honed there craft and know exactly what's required of them.
When casting actors for your parts you should look at:
2. Are they right for the part?
In this week's lecture we talked about how to correctly cast the best possible actors for your project and what you as the director need to consider to achieve this. Acting consists of many subtle nuances and is an art that is very demanding & requires a wide skill, so you need actors that have honed there craft and know exactly what's required of them.
When casting actors for your parts you should look at:
- Actor's ability.
- Intuitive equipment.
- Skills.
- Physical abilities.
- Heart.
2. Are they right for the part?
- Actor's experience, character, to fit the circumstance?
- Is there an immediate connection with the other actors?
- Can they fulfill the physical requirements?
- Are they "yes" people, people who always agree with you and never challenge you and never offer something more. If so then don't hire them, because that's not what you need, need people who at times will question you.
- They should embody characters.
- Should talk concisely about objectives related to the scene.
- Should respect them and earn their respect as it's a two way street.
4. Should cast the relationship as well as it's role.
- Chemistry between actors important so as they work well together.
- Use the acting fraternity to your advantage - recruit actors that know each other well.
- Different actors equal different approaches.
Just remember "Film is forever!", and as such you must be able to live with your casting decisions at the end of the day. So take a little extra time and thought and make sure to consider the above points before hiring actors, and don't just hire them because they are attractive...make sure they can act!
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