A Delightful Catch Up

I'm still failing. That still sicks. I'm still gonna do something about it.

I feel this statement is appropriate. After all, FILM IS A SERIES OF STILLS. 

...I'm a dork. MOVING ON.

I've read most of my classmates blogs and they often start with "I know I haven't been keeping up with these and blah blah blah."
Well...I am no different. Hey, who am I to shy away from being in a crowd. That means people will have to talk to me.
And no doubt, my lecturer is reading this and shaking his head with disapproval.

Hey. Stop it.

Now, to business! 

THE ASSIGNMENT: 

I screened my assignment along with my classmates this week. I was happy to see that there was a healthy dose of both objective and subjective assignments. Apparently, my assignment was on the mark and I did everything right (but I was informed that some shots, had I done them in a different style, wouldn't have been objective, and that some other small things could have been changed, but I still did it right.) so...Woo.

Here it is. Watch it. Or don't. I'm not the boss of you.

http://www.youtube.com/watch?v=tf00Dlospdk

AN UPDATE: 

Now, I'm supposed to give a rough look back at the semester and my opinions on how it has effected me as a (wannabe) director.

Things is...it hasn't.

Admittedly, we went through and learnt about a lot of things about directing that I wasn't aware of, such as director's statements (Is it weird that I'm looking forward to doing one of those?), themes, scene action and objectives (I've taken up reading a Thesaurus for descriptive words), character breakdowns (LOVE. DOING. THOSE.), storyboards, working with actors (taking particular note of the change of objectives and the "Do and Do Not" section for new directors), and subjective and objective shots (I think my subjective needs practice.) which are the directing techniques that I have yet to improve or perfect. It was great asking question in class and really starting to get a grasp of a directors real place in the production.

But, my expectation of myself, and of what a director could do, did not change. I still want to direct.

I still don't care whether it's a feature, a short film, animations, music videos or a documentary.
I still love it when some says they like or hate my work.
I still respect the work that the director has to do.
I still adore the idea of working with actors to achieve our vision of characters.
I still don't care about being rich or famous.
I still don't care if I have to spend ten years as a 1st AD to get there.
I still want to do it because I love watching my ideas, my vision, my passions come to life before me.

I still love the idea of becoming a director. Even once. Even if I only get one chance. Even if I make one film, then no one ever hires me again. I'll happily retire and work in deli somewhere flipping greasy burgers patties.

Because, for once, that film that those people just watched. Just enjoyed or despised. Just discussed and critiqued after the credits were done...

It would be mine.  

M'kay. I'm back. Or else I fail.

That would suck, so I can't have that.

Class with the actor: 


Theory is one thing, I suppose, but actually seeing the process with your own eyes in something else altogether. It was really interesting seeing the interaction between the actress (who's name has escaped me. Apologies.) and the class, or 'budding directors', as we should be called. Dunno who would call us that, but I'm ranting...

Especially seeing the difference once we changed the objectives. That was very enlightening. How the whole dynamic of the scene changed, and the interaction between to other "actors" was interesting too. I think I understand more about actor's work methods and, what the critics might call, "visual chemistry". I few friends who are doing acting or musical theatre at WAAPA. May ask if I could practice some methods with them and see how it pans out.

It was also great that the actress (Name is still missing. Sorry.) told us about the methods and work practices of directors she had worked with in the past. There was one director, a budding young female, whom she couldn't have spoken more poorly of, and horrible worrying sensation gripped me. Some of the things that young female director did, sounds creepily like the practices of another young female director who is writing a blog, that you might happen to be reading right now. Hmmm...

Coming from a background (when I say background I mean I've been doing it since I was 4.) in dance, I'm used to just placing people (or being placed, which more other that the previous), or "blocking", and then telling them (Or being told) something along the lines of: "OK. So the piece is [insert ballet words here] and we've got to make it feel really sad, romantic and melancholy, so when you're doing you adage, make sure you really reach for each other lovingly, and-" and so on and so forth until the feel was right. None of this objectives or script business. And God forbid, rehearsals WITH DIALOGUE. The horror! 

Oh well, you don't get anywhere with out practice and hopefully I'll get the practice I need and kick those "female budding director" habits of mine.

Also, the actress (No really point in trying to remember her name now.) look almost identical to a character I drew in my storyboards for an assignment. And I'd never met, or seen her before. Creepy.

Objective and Subjective Shooting: 

One has to be careful with the word "shooting". Mentioned it casually in a conversation the other day and my friend freaked out. I'm pretty sure she thinks I'm just moments away from "going postal.", which I'm not. I'm not particularly keen on killing other people, or myself, and I'm certainly not in favour of going to jail. I like being indoors, but only when I want to be (which is, let's it, all the time).

I'm ranting again.

Anyway, last week (which was actually this week) we started learning about shooting subjectively and objectively. We have to shoot a short script (with no dialogue, thank God) and either shoot it subjectively (must always show the face, 100% relying on facial expression to tell the story.) or objectively (never showing the whole face. Mostly shot from the back and the side, using body language to tell the story. Much more my style.)

I was delighted to learn that we could opt to shot objectively, because, apparently, it was more difficult. (LOLNO.) However, I was less delighted to learn that I couldn't play all the parts myself. Split screen editing. Oh, how I love it. But I suppose, the fact that I rely on editing so heavily, is just another "budding director"'s habit to break. Also, I was happy to learn that we could alter the story as much or as little as we wanted. Always a good fact to have...

My storyboard is currently sitting next to me, since I became irritated about an hour ago, when I couldn't seem to draw a three dimensional briefcase.

On that note, I shall take my proverbial leave (I'm not leaving at all. In fact, I'm probably not going to move from this spot for another, say, three hours.) and I you won't see me and I won't see you.

But you will read my brain vomit, commonly referred to as "thoughts".

And I, hopefully, will not be failing.

Toodles.

Short Films

HURRAH HARIZZLE. IT'S WEEK THREE! 

So, this week were learnt about short films. I love shorts films. They're little doses of awesome that can make laugh, cry or change your whole perspective of something or someone. Feature films do that too, but they just take longer...

REVIEW: 

Some of the reasons we make short films are: 

• Little or no budget. 
• To test out a foundation or an idea
• Experiment with different techniques
• Short films are more accessible to audiences. 
• To put yourself, and your work, on the market. 
• It's fun! Duh! 
• Time restrictions
• Refine your idea for future projects
• Build relationships with other people in the industry. 

But most importantly, it's so you can TELL A STORY! 

Storytelling is something I've always wanted to do, even when I was doing 3D animation. I always wanted to do something that involved telling a tale; animation, writing a novel, directing and dancing. The best thing about telling a story for me is that you don't always have to rely on words or dialogue.

The question we were asked to answer this week was "What kind of director do you want to be?"

I suppose the answer "A nice one" isn't what my lecture wants to read (Even if it is true).

For me, it's a hard question. Because I don't really know.

In term of WHAT I want to direct, I like comedies and romantic comedies, whether it's in short or feature film form. I love those kinds of movies, and I like to make people laugh/smile/be happy. It's all I've ever wanted to do.

I don't really understand the question, but the only kind of director I want to be is a happy one.

...I probably just failed. *facepalm* 

Themes

Every film has a theme, but what is a theme?

• What the film is trying to say?
• What is driving the story?
• What's the moral?
• What's the message?

A theme is a one sentence description of the physical and phychological arcs of the main character.
Best way to establish a theme from a film is using this formula:

                                                      VICE leads to DEFEAT

                                                  VIRTUE leads to SUCCESS

For example:

The Matrix

                                           SELF DOUBT leads to DESTRUCTION

                                                         BELIEF leads to LOVE

And that's all for Week 2. Thank you and goodnight!

A Director's Qualities

OK. So, now I know what I have to do with this blog!

Week 1: What are the qualities of a director?
Let's face it; the role of 'the Director' is the most coveted role in production (supposedly), but what does one need to be a director?

1. Clarity of vision, a.k.a: having a very clear idea of what you what the final project outcome to be. The last thing you need is when you ask the director something and their response is "Dunno."
2. Originality. Unique techniques and creative thinking will ensure a successful production. (Along with the DOP and other HOD)
3. Being able to trust their crew's abilities and talents. Doubting them with only cause the production to look horrible. Directors also need to have faith in themselves (which, I will admit, sometimes I don't. Must be a female thing...)
4. A passionate leader. Some who inspires all of the crew and cast to work really hard to get a great outcome.
5. Previous experience as a director in a production. Even with a amazing script, excellent crew and acclaimed cast, an inexperienced director will (99.9% of the time) destroy the production and the final film will be horrendous.
6. Open to other people's opinions. Directors don't know everything (despite what they might think.)
7. A tactful approach to other people's ideas. Directors are notorious for having big egos, and believe they they are the most important person in the world. However, this doesn't mean that other people don't have good ideas too.
8. Fun to work with. If your cast and crew like you and enjoy working with you, they are going to give 200% effort. If you not nice to people and constantly put them down, not only will people not work as hard, but they won't want to work with you again.
9. Not easily distracted from the project. Friends, family, significant others, spacial events and holidays, meals and sleep all fall by the way-side when a production is on.
10. Ready to go with more projects. Once one project is done, a good director throws themselves right back into the game!
11. Creativity. A very important value in a good director. Think outside the square you live in!
12. Attention to detail. Whether it's details in the set or costumes, or in the performance of the actors, or a specific camera motion in a scene, the director sees the tiniest things that maybe the rest of us don't see.

Directing

...is difficult/fun/time consuming/rewarding in the end. :D

That's all I have to say for now.