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the NATURAL — Mon, 09 Nov 2009 02:13:57 -0800

Just curious: What DVD commentaries absolutely enhance the movie they're attached to? Thanks for your concern, but I've already seen these two previouslys.

As an aspiring screenwriter (maybe, one day, filmmaker? -- but then, who isn't?), I'm particularly interested in the craft of storytelling and the art of filming (how shots are composed, chosen, etc.). So, while I can't lie that it's funny that X and Y tell hilarious jokes in Z's commentary, I'm more curious from a technical standpoint.

Since this was last done in 2004, maybe skewing this towards DVDs released since then would make this a more timely question, as well.

Thanks, MeFi <4

what the fudge...

the NATURAL — Mon, 26 Oct 2009 03:57:10 -0800

FilmFilter: Question regarding The Dark Knight, Public Enemies, and Collateral. I'm curious about these aforementioned films, which have been mildly trumpeted for some of their progressive filming methods.

In The Dark Knight: shooting in IMAX for four "major scenes," including the Joker's entrance, and, I'm assuming, part or all of the HK skyscraper leap.

In Collateral: according to different accounts (I blame Wikipedia), Michael Mann used a digital HD camera for parts of the movie -- apparently, low-light sequences and exterior shots.

In Public Enemies: acc. to Manohla Dargis, NYT, "shot in high-definition digital by a filmmaker who's helping change the way movies look..."

Why did the directors of these films (Nolan and Mann, respectively) choose to employ these methods (as opposed to conventional film)? And, what is the net difference in what I see as a viewer watching the movie?

Thanks, MeFi.

Film school scam or not?

irie1972 — Thu, 24 Sep 2009 09:27:37 -0800

Is anyone familiar with "the film connection film institute?" Are they a scam? Came across their site (will not link it here) while looking for info on learning to become a director. Idea they promote is that while you go to school you will also be connected with a real working mentor in the industry and you will be an apprentice. They say that for tuition of $7750 you get A private teacher in a real studio, station or production company; course curriculum taught by that teacher or mentor; opportunity to apprentice and/or intern in that studio so as to make real world connections as you train and take the course curriculum; own Student Counselor to make sure you are getting what you paid for; own website to promote yourself; Final Cut Express for Filmmaking Students; All your books; a certificate that certifies you and job assistance if you need it, for one year.

Thanks for any help on this!

How do I become a commercial director?

ManyNinjas — Tue, 12 May 2009 13:46:21 -0800

I want to direct commercials and music videos. What are my options? I graduated from a 4-year film school in LA last Saturday (hooray), and I know what I want to end up doing: directing music videos and commercials. I realize that there is no straight path to becoming a director, so I'd like to know: what's the best way to develop my career. Do I work any retail job I can and shoot little short films on the weekends? Do I try to intern, or become a front desk worker at any film company? Should I crew on sets or try an work at a post house for a while? (I'm a decent editor)

My skills and experience include:
-Several years of editing experience
-A 5-month internship at a VFX place
-Several short films and spec commercials

It's quite an overwhelming industry out there, so any advice is welcome.

How to direct an opera

roll truck roll — Tue, 21 Apr 2009 17:26:19 -0800

What's the difference between directing a play and stage-directing an opera? I've wanted to work on an opera for years, and it looks like the opportunity might arise in the next several months, working with a composer-friend in a new company. So, what can I learn in the next six months or so to make me ready to work on an opera?

Some background: I've been involved with the theater on some level or other for my entire life. I took a few directing classes in college. I've directed a handful of plays and writer-directored a few projects, all with no budget and very small casts. I'm not a big table-work person; I'd rather get people moving around onstage as early in the process as possible. I come in with a basic floor-plan and blocking mapped out for some key moments, but most of what happens between and around those key moments happens in the process of messing around and experimenting.

I'd like to think I'm pretty competent at text analysis. I do as much research as I can before the first rehearsal, and have the text divided into workable sections with some clear objectives laid out for each section. I try to plan rehearsals pretty meticulously and let people know what we'll be working on ahead of time, so as not to waste anyone's time. Directors whose writings have had a big impact on my approach to directing include William Ball, Peter Brook, Anne Bogart.

But really, and despite the fact that I spend a lot of time around opera singers, I don't actually have much idea what takes place in an opera rehearsal. I hear stories of misguided theater directors dragging singers through useless activities that don't contribute anything to the final product, and I very much do not want to be that director. What will singers put up with?

In case it's not obvious, the piece we're talking about is modern and very minimal. It'll be a small cast - about 5 principals and a chorus of 4-8 people. The orchestra will probably consist of one or two people on various instruments. My friend will be the music director. There won't be any union people or anything like that.

I know the most obvious answer - sit in on some rehearsals, which I definitely plan to do. What else can I do? What can I read? What can I watch?

Thanks a lot.

How to get someone to actively listen

miles1972 — Mon, 30 Mar 2009 15:35:23 -0800

How do I get someone to focus and pay attention more? I am directing a play. I have directed many plays and this is a professional production with full technical support.

Myself and the entire company are friends, we laugh a lot we are generally having a good time in rehearsal. We've had a very productive first week, morale is good. The room is open to try things, everything great.

One snag: I have an actor who continually does not pay attention when I am talking to the room. I will tell everyone what we are moving on to, everyone begins to get ready for the next section, except for Don, who looks around, asks, "What are we doing?" He usually doesn't pay attention unless I preface everything with "Don!" wait for him to look at me and then give instructions.

Is there some other way that I can get him to be ready and attentive?

I'm not sure exactly what is pre-occupying his mind in these moments - it does seem to be his own script, etc. So it's not like he's checking text messages or something. It's just that I continually have to work so hard to get him to pay attention the first time.

Anyone, fellow theatre artists, teachers, leaders, etc have any tips or methods with dealing with this type of thing?

Making A Vagina Monologue Awesome

divabat — Sat, 06 Dec 2008 17:24:27 -0800

I'll be performing in next year's Vagina Monologues. How can I be awesome? Some friends from a nearby university are organising next year's V-Day and I've volunteered to help. I'll be performing "The Woman Who Loved To Make Vaginas Happy" (the story with the sex worker and the moans) - this story was suggested to me by my friends as they said I was "loud and energetic" enough to pull it off. Great! Now what?

I don't have a lot of acting experience - just a short skit here and there for school. I've done public speaking, choir, and poetry (recitals/slams) before, as well as other performance styles - but I'm just an amateur dabbler. I want to make the performance awesome - to capture the spirit of the story and entertain the audience.

Rehearsals are starting soon. What can I do to prepare? How do I effectively memorise the monologue without coming off stiff? (I've got a long list of moans to do.) Also, is it OK to adlib in TVM? Since we're performing it in Australia, I'm not sure if some of the Americanisms will translate well, and I'd feel more natural if I was able to add a spontaneous quip here and there.

Has anyone done this monologue (or one very similar) and found the material challenging? I liked the story but I'm worried that when I try to perform it I'll get a sudden case of nerves or some latent prejudice about sex workers will come up out of nowhere. This monologue requires quite a lot of confidence and slack inhibitions - how do I pull that off?

What else should I know about monologue work, stage work, or The Vagina Monologues in general? Actors, performers, directors - what are your tips for me?

(also, side question: who's generally responsible for the costuming with TVM? The actor or the crew?)

How do I make actors comfortable during sex scenes?

Anonymous — Sat, 19 Jul 2008 23:31:03 -0800

How do I make actors comfortable during sex scenes? I'm about to start directing an adult TV series that features nudity and simulated sex. I've never dealt with this as an actor or a director before.

I know the basic ideas of closing the set and having robes handy, but I really want to make sure I cover all the bases and be as obliging and high-class as possible. Most of the nude scenes involve series regulars and I don't want to scare any of the performers away.

Does anyone have any experiences from the set? Any do's or don'ts?

Lessons from pornography will of course be welcomed, but let me reiterate that this is NOT porn. I'm not filming actual sex acts.

Filmmaker training, online?

pseudostrabismus — Thu, 17 Apr 2008 22:59:19 -0800

Suggest online or DVD resources for a new filmmaker to learn about lenses, film formats, shot composition, camera moves, dialogue staging, and other aspects of cinematography & directing? I'd like to get good at directing film, and learning how to do this using books seems old-fashioned.

I want so see examples of shots using different lenses, film formats, compositions, camera moves, camera angles, etc. I've read Film Directing Shot-by-Shot, which is pretty good, but I think that seeing this stuff as a moving visual would be even better.

Is there a website with video tutorials? Or a DVD course somewhere out there?
Other resources I should think about? And I'm open to more book suggestions, too.

Thanks in advance!

OK, so strike a pose I guess?

chrisbucks — Tue, 29 Jan 2008 05:51:54 -0800

Where can I find some good resources about modelling and directing models, for photographers? I'm a self taught photographer, and have just landed myself a few shoots with a local street wear company, although I've realised one thing... I have no idea how to tell the models what I want, or actually I don't even know what would be a good pose for them to do. Occasionally I demonstrate myself what I think would be good, but would love some kind of guide or help understand what would be the best way to direct people. Resources on the web would be most appreciated but books will do as well.

Hello, I am awesome and here is my portfolio.

lauranesson — Fri, 16 Feb 2007 13:11:54 -0800

Hey, creative sorts: I could use a little help with a theatrical directing portfolio for an MFA interview. I haven't a terribly long resume, and hardly any pictures to speak of, so I'm looking for ideas on what I might include. (I do have a very kind and sparkly recommendation from a grad program head at the interviewing school, which will help greatly, I hope.)

Ideas so far are prompt book and script analysis samples, stage layouts, publicity materials (a little sparse), and naturally a pretty resume. Would it be crass to include some write-ups from actors and intelligent audience members? I remain a little unclear on what the portfolio is meant to convey in a directing interview setting. Would it be silly to toss in a few samples of scenic painting from shows I've charged, as an example of leadership skills and professionalism?

I also plan on visiting a few classes beforehand (with permission, naturally), so with any luck, I'll meet the interviewing professors beforehand.

So, kind people, any ideas about content and presentation? I'll appreciate anything you've got to offer.

Getting others to work for you.

Anonymous — Wed, 25 Oct 2006 23:53:51 -0800

How do you get people to do things you tell them to do? Pretty much in any situation, I feel like I have trouble asking people to do things for me. If I need a ride, I feel embarassed asking my friends. I'm also scared, scared of them saying no. I hate it when someone refuses a request. It happens at work all the time, and it frustrates me to no end.

My theory is that I don't know how to get people to do things I want them o do. I always feel like I'm coercing them, and I feel like they resent helping me out.

I've read How to Win Friends and Influence People, it's pretty good, but I want something more straightforward than influence. I want to be able to manage people and direct and make things happen, in addition to being able to ask my roommate to do the dishes tonight.

I don't want to boss people around, I don't want to control them. But is there a book or something that will help me get the right kind of ideas about getting people to do what you want them to do?

When good mentors go bad.

cornflake — Mon, 23 Oct 2006 05:00:00 -0800

My mentor makes unhelpful negative comments when I ask questions, and gets snippy when I don't do as she suggests. What can I do? The artistic director of my theatre group recommended me to direct our Shakespeare production for the year because she wanted to take a break. She offered to mentor and support me through the process.

Now as things are getting going she's making negative comments to the effect of "well I would have done that by now" or "this should have been sorted out weeks ago".

Often, these comments are about things that are being discussed for the first time.

She knew my experience and background before recommending me, so its not that she believes me unqualified to do the job.

It would be "politically" unwise to exclude her completely from the production, but I'm starting to dread asking questions or advice.

To make matters worse, if I make a decision that isn't in line with her opinion I get a minor temper tantrum.

My options seem to be:

1. Continue as things are, effectively doing things 'her way'
2. Listen to her advise, but make my own decisions, regardless of the 'political' fall out.
3. Find a new mentor

or some combination of all three. Any other suggestions?

Beginning Film Hopeful

theholotrope — Fri, 26 May 2006 15:08:20 -0800

Where should I start for film directing? A friend of mine is interested in learning film and asked me if I knew where he could get some resources for that. I thought I'd ask you guys. From what I understand, he is not doing this as a career. He likes it and would like it to be a rich experience as a hobby and maybe as a semi-pro. Here is his question:

"Im interested in learning film directing. Never studied this, never
practiced it, but, I have always had this on mind. I would like to know :

-where to read about introduction to film directing.
-what skills are needed to start this journey.
-necessary equipment for beginners (cameras, computer)

These are the main things I'm searching on.

The most I've done in this matter is taped some 2 or 3 trips to asia, and
south america, edited them in Imovie, and started to use Final Cut Express.
I like editing and filming."

How to create a full work with the actors?

Sticherbeast — Wed, 15 Mar 2006 17:30:03 -0800

How to produce and direct an collaborative, actor-created work? A cohort and I are heading up a project in which we would like to gather a group of eight or so of the best actors we know and to create a script and a universe with them. Through improv, guided improv, working from outlines, and so on, we'd like to begin with filmed shorts and, eventually, a full theatrical work from our combined efforts to evolve their characters, relations, and situations, and blabbity blabbity blah and other poncey stuff.

Long story short: we'd like to create the characters and their relations with the actors, and then build plots from there.

Anyway, what I ask for is guidance. We've done many similar things in the past, but nothing quite on this scale. What are people's experiences with regard to such things, whether in film or theater? What techniques, structure, and exercises would you recommend? Or to avoid?

Any examples, pitfalls, words of advice, tricks of the trade, or plaintive ocarina tunes would be most welcome.

The mid-1960s change in films

rolypolyman — Wed, 29 Jun 2005 06:43:48 -0800

What caused the sudden paradigm shift in Hollywood films in the late 1960s? Films up until the early-1960s were generally black & white flicks populated by smokers wearing suits & ties, with lush orchestra accompaniment and a firm emplacement in the studio. Suddenly there were films like The Graduate with a very modern feel, popular music, and many shots on location. By the 1970s the "modern" look was firmly entrenched.

I'm not film expert and can't put my finger on what it is I'm seeing that swept in the modern look, and that's why I ask you. Was this just simply a reflection of sudden changes in our society? Was it a change in the artistic possibilities with the introduction of color? Or did a lot of the "old fogeys" writing & directing films retire? I could almost swear that the writing style at movie studios turned a full 180 during the 1965 to 1969 period.

Also has anyone written any academic papers about these changes? Does the change have a moniker? And was the change all that profound, or do 1970s films seem just as alien to you by today's standards?

3CCD vs. 1CCD?

nitsuj — Tue, 05 Apr 2005 07:36:38 -0800

I'm considering the purchase of one of Panasonic's 3CCD camcorders - is it worth it? I'm in the market for a new camcorder. I've done a boat-load of research on the subject, but I can't seem to weed through the millions of contradicting reviews and myriad of models, makes and features that today's market offers. I've been thinking heavily on getting one of the Panasonic 3CCD models, but I'm curious:

--Is the extra money spent for a 3CCD worth it?
--Why are there similarly priced cameras under different makes that offer only 1CCD?
--Would my money be better spent on a camera in the same price range, but from a better brand (say, Sony?) and only 1 CCD?

I feel that I mostly understand the technology behind 1CCD vs. 3CCD, but what I am lacking is real-world experience and side-by-side comparisons. I've found some reviews and messageboards with video samples comparing the two, but most of these were compressed for the web, thus hard to tell what the final product will look like.

I've attempted to visit local retailers who stock the Panasonic 3CCD's and other cameras, but my attempts to fully test the products in the store failed. (Best Buy sucks - they claimed they weren't allowed to hook the camera up to one of their TV's, and claimed that "the resolution you see on the LCD is a good representation of what you'll see on TV"!). Their return policy also prevents me from purchasing the camera and taking it home for a few hours. They have a 15% restocking fee.

I'm looking to do amateur shots, nothing professional, but a bit more than "family picnic" style shooting. I'd like a camera that, with the right lighting and directing, can achieve a broadcast-like quality.

This post is a bit of a mess, and I apologize... but I appreciate any advice you could throw my way.

Directing novice actors

cilantro — Sun, 12 Dec 2004 12:30:32 -0800

I'm directing The Vagina Monologues here at my university. Rehearsals are going well, for the most part. The younger women, all students, mostly theater students, listen when I speak, take direction well, and are basically a dream to work with. My problems are with the older women, who are all professors or health care professionals who have never acted before(MI). The older women never stop talking during rehearsal, even when other women are performing. They take any direction I give as a personal affront. Part of the problem is that I look younger than I am, but mainly it's just that, due to the nature of The Vagina Monologues and the positive space we're trying to create, I can't just come out with the director-as-dictator persona that has solved these problems in more conventional performances. So, basically, what I'm looking for are tips for getting these women in line without looking like I'm trying to get them in line.

What to do in early stages of actors rehearsing a film?

Keyser Soze — Fri, 09 Apr 2004 03:34:55 -0800

Continuation of my film:

I have a good passage written out, and I had my actors recite it today. It sounds pretty good, and I gave them direction during the rehearsal, but I still don't know exactly what I am doing. What should I make sure to do at this very early stage in rehearsing? (Script Inside) Ok I am an ametuer I think this script sucks but fuck it here goes:

---------------------------------------------------------------------------

Pete
You think your a man? Cmon pussy. Take another beer bong.

Chris
I can't.

Pete
Yes you can.

Pete looks chris in the eyes. Chris drops beer bong and runs to the backyard.

Bob is talking to girlfriend in backyard
I don't care.

Ashley
you never care.

Bob
Look its just a party. Who cares if some guy grabs your ass? Its all in good fun.

Ashley
But hes your friend! You have to do something about it.

Bob
Do what? Codies passed out in the basement.

Ashley
If you really cared about me you would make an example out of him

Bob
I guess I could piss on him.

Ahsley looks at bob in disbelief
(angry) If you want me ill be in the car
Ahsley walks off deck towards front of house

Bob sighs, lights cigarette
sound of people moving out of way, "clear!" "hes gonna blow!" "make way!"
Bob looks at screen door.

Chris runs out, puking on deck before he makes it to the grass.

Scene of Pete holding beer bong. Pete shrugs, opens two beers and loads the beer bong.

Kyle, Alex, Joe in Kyles room. Kyle takes a hit, passes it to Alex. Kyle is to the left, Alex in middle, Joe to right.

Kyle
I dont think it was Ramses.
I believe it was tootinkamen.

Alex
Tutankhamen.

Kyle
Tutankhamen?

Alex
Yes.

Kyle
Color me surprised.

Joe
Anytyhing left?

Alex takes a hit, checks the bowl, shakes his head.

Joe pulls out more weed from his pocket.

Joe
I feel that both of your contentions are incorrect. You see, the great pyramids have inextricably linked mankind to the heavens for centuries. It does not matter which pharoah did what because it was the aliens all along.

Kyle, Alex look at Joe. Joe has a serious look on his face.

Kyle
Right on man. Right on.

Joe
Knowledge. The fundamental trait that seperates us from the aliens.

Alex
now your full of shit.

Alex is getting up

Kyle
Where you going?

Alex
hit on the ladies

Kyle smiles
Good luck.

Joe gives agreed look of satisfaction on his face.

Alex
I dont need your luck.

Kyle
Yes you do.

---------------------------------------------------------------------------

I brought 3 copies over, we all sat down in the living room, and everyone who had their part spoke out the scene. We did no physical acting, only dialog. Everyone liked it and was excited to keep going. We then brainstormed (more like I brainstormed and they threw some yes/no answers) over what the characters should be doing next. This is not the entire scene, only a prime cut from it.

Take one step to the left, then two to the right.

dhoyt — Sat, 17 Jan 2004 10:58:21 -0800

In modern screenplays written for movies and television is it acceptable to include a fair share of Direction? I understand it used to be more common but has fallen out of vogue. (more) I've been finishing up a teleplay while reading some of William Goldman's screenwriting books (which are fantastic), and opinions really seem to differ on this. In his screenplay for Butch & the Sundance kid there is significant direction, even down to very specific camera instructions. Yet I've read that this is widely discouraged these days.

In short: is it best to assume there is a skeletal "writer's copy" of the screenplay which is eventually transformed, via the director, into a more fleshed out "director's copy"?