Zak Wilkins: January 2017

Tuesday, 31 January 2017

Talk with Farren Blackburn (notes)

"we all have the right to try and fail"

Absorb everything you can with storytelling
send people your films, foster relationships
festivals = exposure
where are new directors needed? apply there

it's good to know the disciplines, but you don't need to be a master of everything - it's a collaboration

Daredevil - Taxi fight scene - Had idea but had to rely on others for it to pull off

you'll never read a perfect script so look for potential, even if it's only one scene
You will spend ages on one project so make sure you care

recycle EVERYTHING that works eg cast and locations etc

try your best with what you get
script development is key
you'll never get anything to be perfect, make it all as good as it can be
Scripts can sometimes be given to you on the day, be prepared
relationships and communications are key to getting anywhere
leraning to talk about scripts technically can save your ass

ask questions, especially if you don't like something from a script
Have suggestions and solutions but remember that you are looking from YOUR pov, they might know better - not that you don't know what you're on about
If you don't think it'll work, it won't. be prepared!
everything comes from the script - have courage in your conviction
'what do i do here to move the story on'
kiss - keep it simple, stupid

do everything for the story, not just because it's pretty

audiences can come in to stories midway through, everything must be coherent i your vision to help them along
beats and moments

know everything you can about script and character etc
voice and style emerge from the story
your life influences the way you work - that is your style
the world and tone of the film are important

THE FADES
wanted a sense of anytime any place
retro jackets
large settings that could be anywhere
finding the tone and the world is essential!!

DR WHO xmas speial could've been better wth a script for longer beforehand but is lesson in flexibility

on some sets you can turn up not knowing your script or location

FADES AND DR WHO HAVE SIMILARITIIES BUT THEIR TONES ARE V DIFFERENT

don't let fussy actors get away with it

rehearse on set w/ actor thenonce ready, rehearse with crew

Lut VS Int - two very similar shows but with VERY different tones
swapping tones would ruin shows
Luther is big and batman-esque Interceptors is street level crime
two different approaches
street level crime = street level vieew
buddy cop banter = buddy cop styles used occassionally

moodboards are always useful to give sense of ideas and vision etc

locations are the canvas against which you paint your story - they're important, don't waste them and don't be complacent. look for range

always push to get what you want and need - never settle unless you HAVE to - it's your name on the line
a lot of work can be done during casting - never judge until an actor's read - 'what does the role become under this actor?'
don't ask an actor to go from 1-10, give them subtle notes to see how they take it.
do you like them? you'll spend a lot of time with them
casting can be the first place you see your story taking it's life

PREP! PREP! PREP! PREP! PREP! PREP! PREP!

shotlists etc provide security but don't make them gospel law - can be limiting

don't tell an actor how to act, tell them what the story/character asks of them

The story is at the centre of everything we do. If it doesn't work for the story,, get rid of it.

Trust your instincts
be decisive

UK tv directors see everything start to finish
US tv - come in late, limited prep, shoot, 5 days to give cut, kicked out, showrunner takes over - better pay

make a decision and STICK TO IT, stick with your get

if you need an actor to be more emotive, tell them why their character WOULD be, root causes etc
give notes to everybody privately - publicly increases pressure on them

shoot to edit

shoot what you need to shoot to tell YOUR story.

Anybody can get base coverage and direct by numbers - how do YOU see it?

run your own race. Don't compare yourself to others. Where do YOU want to be?

tell audiences what's going on but not enough that they're knowing what you're gonna do

Monday, 30 January 2017

DIRECTIONS: Sound Design with SWelsford - 30/1

Clips:
Point Blank (Dir: John Boorman, 1967)
Apocalypse Now (Dir: Francis Ford Coppola, 1979) - helicopter blades
Once Upon A Time in the West (Dir: Sergio Leone, 1968) - sounds
Miller's Crossing (Dir: Coen Brothers, 1990) - (shootout scene) diagetic to non-diagetic
Breaking Bad, 5x16 (Dir: Vince Gilligan, 2013) (opening scene) detailed sound design
Heat (Dir: Michael Mann, 1995) real gunfire sounds kept
Goodfellas (Dir: Martin Scorsese, 1990) - using non-diagetic
Godfather (Dir: FF Coppola, 1972) - train sound
Breaking bad 4x13 (Dir: Vince Gilligan, 2011) - chair sound to punctuate moment

First film to credit somebody as a Sound Designer was Apocalypse now

7 different types of track
DIALOGUE
all recorded dialogue. v/o is separate track.
SYNC
All recorded sound from shoot that is NOT dialogue. Synced actions.
ADR
automatic dialogue replacement - re-recorded/dubbed after shoot
Most films/TV use adr
FX
sound effects usually recorded specifically for the production or more commonly found from a Sound FX library
FOLEY
live sound recorded on a sound stage using mixed materials to achieve a desired sound effect
ATMOS.
atmosphere sounds from a location. eg creaking house, wind, city elements etc
MUSIC
All music. Both diagetic and non-diagetic.

Sound edit phase:
all tracks compiled and edited to picture, usually using software like pro tools or nuendo

The art of sound design is in adding depth and immersing audiences into a story, no matter how fictional.

Sound recording tips:
Proximity is key
Position actor w/w back to wind
Always record buzz track (one min of atmos sound)

Sunday, 29 January 2017

DIRECTIONS: Project Research [Character Descriptions]

The Office [3x18, Dir: J.J.Abrams]

Michael Scott (42):

The regional manager of paper company Dunder Mifflin Inc., Michael has worked for most of his team for many years and classes all of them as his closest friends - not that they'd all agree. A very lonely childhood has shaped him into a (sometimes selfish) man desperate for friends and companionship, Michael dreams of a house full of children to be friends with. Having worked up from a successful and charismatic salesman, Michael is the manager of one of the final branches of a dying company and desperate to keep his little family together and nearby.

Jan Levinson (45):

Divorced and in her forties, Jan very become a very humourless managerial figure. Jan can be erratic and sexually-domineering, jumping around dysfunctional relationships. Known to smoke when stressed and drink when possible, her self-destructive and indulgent attitude usually lead her to poor judgement despite her inherent competence and professionalism. Her professionalism can make her seem intimidating and standoffish to co-workers but she has proven to be efficient and decisive as a leader.

Michael Scott / Jan Levinson's romantic relationship:

Michael and Jan's relationship has always been on shaky grounds. His boss for many years, he found her humourless and demanding and she finds him childish and annoying. However, the pair spend a night together after Jan watches Michael land an important client and sees him in a new light. Jan denies sleeping with Michael and becomes annoyed at his constant romantic advances and furious when he lets details of their night together around the office. Eventually the pair holiday in Jamaica and begin a passionate but private relationship. However, Michael accidentally emails a risque photo of Jan around the office (without her knowledge) and he persuades her to take their relationship public.

Jim Halpert (28):

For 8 years Jim Halpert was a very competent sales rep at Dunder Mifflin Scranton. He claims the position is just a job to him and the idea of it becoming a career to him is like dying. Intelligent and mild mannered if not an occasionally childish prankster, Jim comes from a large, loving family including two older brothers.
He recently returned to Scranton after a short period as the assistant regional manager of Dunder Mifflin Stamford. His time at Stamford was short lived as the branch shut down a few months after he arrived but he returned to Scranton, keeping his new role back at the old branch.

Karen Filippelli (28):

Before Jim arrived at Stamford, Karen was a prime candidate for the role of Assistant Regional Manager. At first she doesn't like him, not thinking he fits in and questioning the way he looks at the camera. Karen is a hard worker - intelligent and motivated, she moves to Scranton with Jim to keep her job and new relationship.

Jim Halpert / Karen Filippelli's romantic relationship:

Jim and Karen began dating when they met at Dunder Mifflin Stamford, where Jim moved to escape his tong term romantic attraction to Scranton's receptionist Pam (who he kissed a few weeks prior). Despite initial friction the pair eventually begin dating and continue to see each other after transferring to Scranton. Since returning, Jim has used his new position to avoid seeing Pam as much as he used to, still struggling with his feelings for her.

Dwight Schrute (38):

Dwight Schrute is one of the highest ranking salesman at Dunder Mifflin Scranton, but also one of the most annoying, (second maybe only to Michael). What he lacks in social skills and common sense he makes up for in die-hard dedication towards his boss. He is Scott's right-hand-man in the office and holds the (pointless) title of assistant to the regional manager. Highly skilled in martial arts and with a craving for authority he only usually engages in jokes to appease Michael, although he often uses one-upmanship to try and get the better over Jim.

David Wallace (46):

A relative newcomer to Dunder Mifflin, David Wallace is the new CFO of Dunder Mifflin. Wallace is struggling to keep Dunder Mifflin a company that's relevant in an increasingly digital age.

Wednesday, 25 January 2017

DIRECTIONS: Notes from directing workshop [23/1 + 25/1]

Notes from Steve Finn's directing workshop [23/1 + 25/1]
Back to camera promotes needs to cut - Can you make both characters face the same way?
Side views create distance between two characters, AVOID! Look for depth.

Think about what would be in the setting that actors can use, EG Coat rack, fridge

Monday, 23 January 2017

DIRECTIONS: Editing lecture with S. Welsford - 23/1

Clips watched:

Steven Spielberg - Duel
"The Great Train Robbery" Dir: Edwin S. Porter ,1903 (Earliest use of in-scene cuts)
"Breathless" Dir: Jean-Luc Godard, 1960 (French new wave editing)
"The Sopranos. 6x21 Made in America" Dir: David Chase, 1999 - 2007
"2001, A Space Odyssey" Dir: Stanley Kubrick, 1968 (Match-on action)
"The Godfather" Dir: Francis Ford Coppola, 1972 (Cross-cutting)

Further watching:
"The Cutting Edge" Dir: Wendy Apple, 2004

Editing creates emotion, drama, rhythm and action by combining shots.

Up to 2000’s, all films edited by steenbeck machine, cutting film and joining it with sellotape. Films were usually slower paced.

Development of video editing combined with growth of MTV and music videos brought a demand for quicker cuts.

French new wave rallied against Hollywood, cutting in jumpy fashion. little care to line or in-scene continuity.

The majority of drama comes from pacing, rhythm and emotion.

Pace too quickly = Audience gets lost
Pace too slow = Audience gets bored

Back and forth works but holding on one can change the dynamic - hence why coverage is key

scenes usually start wide and slow and get closer and quicker.
Slow tilted conv. becomes more free flow and ENDS abruptly.
What if you start with a bang and end slowly?
Always cut for a reason, never just cut. Must add to the scene.

tension is created by moments of holding shots and quickly cutting - timing is key

Match-on-action allows for dramatic and artful shifts in time

Cross cutting can create suspenseful action sequences. opens the story out to multiple levels
can be used brilliantly to contrast two moments

Montage - NOT RUSSIAN THEORY
always useful for showing growth/development

Fade/Dissolve
fades originally used similar to curtain coming down in theatre
time passing or end of significant sequence
Combining with matching action - EG Psycho eye to plug

Editing stages:
log and arrange rushes (all shot footage)
assembly cut (one shot from each, assembled into order)
rough cut (cutting into assembly)
fine cut (cut into scenes and create drama)
final cut (tweaking)

Friday, 20 January 2017

TECHNICAL WORKSHOP: LIGHTING (20/1)

Today presented a very useful technical workshop focusing on three-point lighting. I also found the workshop beneficial in becoming more comfortable with the cameras following my struggle filming 'On the Other Side'.

The three stages of my three-point lighting: key, fill and back lights. Before the fill light, I adjusted the [FIND SETTING NAME] on the camera to achieve a picture that better focused on the subject. Next time I need to try and reflect the key light in the subjects eye to try and give them more life. I found the backlight very visually appealing from a dramatic pov and would like to further explore it by mixing it with a soft light pointing at the subject from the front to illuminate the face and eyes better.

Monday, 16 January 2017

DIRECTIONS: Notes from Steve Finn's Workshop [16/01]

Clips watched:

"Le deuxième souffle" Dir: Jean-Pierre Melville, 1966 (Master shot)

"Pickpocket" Dir: Robert Bresson, 1959 (Choreographed movement)

"A Man Escaped" Dir: Robert Bresson, 1956 (What's not shot?)

"How Alfred Hitchcock Blocks A Scene" YouTube: Nerdwriter1 (Blocking)

Homework and prep is essential to any project
Directing is about being able to see the entire production/scene in your head as it will be shown on screen. (Usually looking for potential issues etc.)
Need to listen to others ideas. They're the experts in their fields and they will have ideas and input you don't - they're still creatives.
Directors are like composers, ensuring everybody is playing together and doing the right thing at the right time.
Your 1st AD is the most important person to a Director.
You rarely have the final say. You're always answering to the person(s) with the money.
You learn as much from bad directors as you do good directors.
If you're going to be a director, DIRECT!! Make sure everybody knows who's in charge when they walk onto the floor.
The best scripts have the story in the action.
If you don't know how to make a scene work, act it out and visualise it.
Think about a character's journey in a scene.
Good master shots develop. Less shots and coverage are needed by this.
Different shots allows you to vary pace when editing
Silent movies are visual storytelling gold
ROBERT BRESSON: Didn't hire proper actors instead people with interesting facial expressions. Told actors not to act or be emotive, only to follow the script and he would do the rest.
Style should come from the script, not be imposed.

DIRECTIONS: Contextual Research [JJ Abrams]

J.J. Abrams: On Filmmaking [16/12/16]

· - Feels he has no distinctive style
- Tries to balance intimate, character moments with spectacle and hyperreality
- Television is about open endedness and evolution of story. Pilot is about promise and should end with loads to come. His shows and stories change as the show grows, reflecting actors and story. Films need more disciplined storytelling.

http://www.cinelinx.com/movie-stuff/item/3931-directors-trademarks-j-j-abrams.html - 14/01/17

-Started as a writer / producer

-Collaborated with Michael Bay on Armageddon

- Moved to TV - Felicity, Alias and Lost

- Revived Mission Impossible franchise with MI3

- Has since revived Star Trek and Star Wars

- First major motion picture - Super 8 (w/ Steven Spielberg)

- Tropes include: Lens Flares, Sparks, Parent death

- Magpie director

How to Direct Like JJ Abrams - Visual Style Breakdown - The Film Guy [14/01]

-Very fast paced directing, usually having conversations whilst moving/travelling

-Lots of contrast with colour and light (V Colourful - lots of planning with art department - Doesn't use much CGI - lots of flashing lights)

-Loves that movies are an escape/fantasy hence big action sequences that use the whole screen and are sometime dramatic

-Lots of lens flare but self aware

-Snap zooms(like Snyder and Whedon) [conflicted opinions because very stylistic approach)

-Uses lots of handheld like in MI

-Can be criticized for not planning action sequences but hopes for a spontaneous, realistic feel, rarely storyboarding and often planning scenes on-the-day

-Uses a lot of close ups for empathy

-Takes a lot of risks

Sunday, 15 January 2017

DIRECTIONS: Director Statement [JJ Abrams]

JJ Abrams

Born in New York and heavily interested in film from a young age, JJ Abrams has become known for his work on both TV and Film; having written, produced and directed many greats such as 'Lost' (2004), 'Armageddon'(1998) and 'Cloverfield' (2008). His directing usually takes a very stylistic approach, although this has been received in a very mixed manner.

Major directing credits include:

Felicity (1999 TV Series)
Lost (2004 TV Series)
Mission Impossible III (2006 Film)
Star Trek (2009 Film)
Super 8 (2011 Film)
Star Wars: The Force Awakens (2015 Film)

JJ Abrams is somewhat of a magpie director, commonly referencing inspirations work in his own, either through pop-culture references in his writing or mimicing shots in his directing. Although he believes he has no distinctively personal style, he is well known for films that heavily play on contrasts with colour and light. His films are usually very colourful and he plans very heavily with the art department, preferring real-life effects to CGI.

He can be criticized for not often planning action sequences but does this hoping for a spontaneous feel and rarely storyboards scenes and plans on-the-day (even sometimes taking ideas from actors). He has a very fast-paced directing style and often has conversations take place whilst moving/travelling to keep the pace up.

Tending to have a very stylistic approach to film-making, he often using techinques like snap zooms (also used by director's such as Zack Snyder and Joss Whedon) to very conflicted critical review. However, it's hard to argue that JJ Abram doesn't take a lot of risks in his directing - something that truly makes him stand out to me.

I plan to re-direct the episode of 'The Office' that JJ Abrams directed in 2007, 3x18 'Cocktails'. Whilst the script is somewhat dialogue heavy, 'The Office' typically uses it's faux-documentary handheld style to bring cleverly instil drama into what may typically be quieter moments in another show. I also think that re-directing an episode of 'The Office' presents a challenge within itself because one of the show's most unique features was the way that the camera interacted with the characters and was able to break the fourth wall in a believable and effective style.
 One of the key things I want to focus on in my directing approach is the way that characters relationships build and change throughout the night and how that is reflected on screen. Certain scenes such as Michael and Jan in the bathroom and the entire exchange where Dwight asks David about the house were immediately set in my head and cutting down the script was a tough task, purely because I was trying to make sure I included enough of a coherent story whilst still using visually interesting scenes. 

After agreeing to take their relationship public, Michael and Jan (with Dwight) go as a couple to Michael Wallace's cocktail party.