'I like to be the man'

Though this is a joke I frequently make in reference to bedroom exploits (I have half of my friends convinced I own a deadly, 12 inch strap-on), I can't help but feel that it is an apt call to make in reference to being director.

Being cast in a role where you call all the shots is at once exhiliarating and terrifying. The pressure associated with such an intimate duty of care is enormous, and you know that the failure of anything - on or off the scenes - is likely to be attributed to your own performance. Coming from a project where I had the bar minimum of say in last semester really meant that this was a 360 degree turn for me. At the same time, though, nothing has ever felt so natural.

As fantastic as Deno & Anthony have been over the months with their technical prowess and their willingness to contribute, neither of their interests in film are much concerned with creativity and aesthetics (though Deno does have a very smooth hand for operating a camera). What made this group dynamic work so well was that the visual side of the production was my forte - literally every decision made in post came down to my discretion. Right from the positioning of pictures, footage, transitions, music, etc, to making the end credits. Every cut on action, every smooth progression within the conversation, I oversaw.

And to have had people compliment the work is just the most satisfying experience for me. To literally have seen this idea materialise from a conversation with a friend to a tribute to their career is fairly mind-blowing. Directing is such a personal challenge - and by that I do mean, blood, sweat and tears. But at the end of the day, there's no way more fulfilling to be involved with something.

'Tis the season

Well, we're on holidays. 10 Weeks into the semester, and we're on holidays. Go figure, haha.

We're spending all of today putting the final touches to the rough cut. We figured this was the best approach to take, as 'stop-start' bursts of editing are far less effective.

I also stayed back last night putting together the intro, it took my FOUR FREAKING HOURS. For just 20 seconds of footage, what does that ratio work out to be?! Although due to the number of effects I applied, I reckon more time was spent rendering than anything else. Got the music happening & all. 'Stand Up' is going to be our intro track - gotta love the use of camp, club/house music. However, the idea is to have people glued to their seats, so we'll see what reaction that gets next week.

The dossier has finished, much to my dismay. As ridiculous as it sounds, I have actually enjoyed relaying my thoughts through the academic proofferings given to us. Will pick up where I left off next post.. for now I have to meet the boys.

I may be director, but that doesn't mean I don't get to have my moods pampered on occasion, too!

Spent most of today's tutorial once more bouncing ideas off one another as far as our docos were concerned. Josh's group have already got some stuff on tape, sons of bitches. Nah, good on 'em, this isn't a competition, but if it were they would definitely be a few goals ahead of us. We're going to be so behind by the next tutorial, because we decided not to get the gear out this weekend, either.. Yes, folks, it's my birthday in two days' time, and one thing I was NOT entirely enthused with the prospect of having to put on the 'uni face' for my once-every-365-days' respite from reality. My deepest apologies... BUT I had a presentation + 2 things to hand in on my birthday last year (my 21st) and I swore black and blue that uni could go to hell whenever I had a birthday next.. And as much as I love this subject, there's no breaching my credo!

Anyway, the 'Stacey' doco is looking pretty cool... I mean, for the first viewing of the rushes, they seem to have done well. Some cool pans, and for the most part the sound worked out well. It's good to know that lapel mics are pretty powerful devices. We're in two minds about using lapel mics or just relying on the boom in ours.. Now that we aren't using a public space anymore, it may work out better to just use the boom. Amazon's flatmate has agreed to let us use his (fairly decent sized) ensuite (which is also a laundry, which would account for its size). It's relatively enclosed, nothing like the theatrical back-stage feel the last location had.

We've short listed all the photos we'll be using in the doco. Some of them are real pearlers... haha. Gotta get my arse off to Teds and print them before next week. Other than that we haven't got much else to prepare for. All our questions are finalised and we are in a good space as a group for the upcoming filming process. I'm actually really glad to have landed a group of only 3... it's so nice only having to coordinate 2 other schedules besides my own, and the boys are really flexible when it comes to meeting after hours etc.

Time to do my Australian Cinema reading log. Yay :P

time is ticking away

Side note: Today marks the fourth week back at uni for the semester - and my head is totally spinning out at the fact that was are practically one third of the way through already. How scary is that??!!

The lecture today acted as a kind of follow-on from the last week. We're basically being given every hint/tool/tip and trick in the book in order to narrow our focus and establish our storylines on paper, the idea being that audiences will then have a reason to willingly sacrifice their time and embrace what you've put together.

We've so far managed to get about halfway through the proposal.. We've written a synopsis, character analyses, and discussed the 'story' aspect of the doco. The working title we have so far is simply 'Amazon', but we've agreed to change it if any one of us comes up with something more fitting. We're hoping to cover style, structure, and the audio side of things befoe the next class, that way we won't have to run around like headless chooks before Friday. Here's a small taste of what to expect:

Story
The storyline will adhere to classic narrative-style conventions. It will begin with an initial premise – i.e. the vibrant side of being Amazon – before confronting the internal conflict surrounding duality, and how drag queens are both received and perceived within the gay community. By uncovering the personal story of one of the Melbourne (and formerly International) drag scene's hidden gems, the many aspects of his personality will unfold as multi-dimensional layers in and of themselves Indeed, for someone with so much talent and experience in this arena, precious few Victorians (let alone fellow Australians) are aware of his impressively unique - albeit somewhat trying - history. This two-fold process of ‘revelation’ will take viewers on a journey that may well not be far in physical distance, but will nonetheless transport them to a captivating, yet painstakingly realist atmosphere (one which audiences either young or old can certainly appreciate).

We want this doco to have a few different textures to it, in the same way The Butcher's Wife does - i.e., we want to include elements of 'intimate conversation' and infuse those with more character-based activities, such as getting ready and taking to the stage. We've also tossed about ideas of weaving popular culture, or at least iconography into the mix - seeing as drag queens are so often associated with the realm of celebrities and stagecraft. Amazon's already indicated that he's more than happy to dig up some old photos for us to include, so at least we'll also have stills to play with and edit accordingly if need be.

The more ideas we come up with, the more excited I am about seeing this thing come to fruition. It's gonna be a long haul - I know that - but there is something incredibly rewarding about knowing that your idea has a real tangibility to it.. like you have a purpose, almost. I really can't explain it any other way.

round of applause

Well, thankfully we managed to narrow it down to two choices in yesterday's class - either mine or Christine's (shop-a-holics). I guess that makes the research process slightly less cumbersome. Any progress is good progress at this stage :) And we also have a fourth member! Exciting stuff, it's good to have as many men as we can to lend a hand on deck. AND, most magnificently, I HAVE BEEN APPOINTED AS DIRECTOR. I am so freaking over the moon about this, considering how little input I was able to give last time 'round. THREE CHEERS FOR ME IN THE BIG CHAIR :D

Let's hope I can hold my game, eh?

It was good getting to dissect each group's ideas properly in the class. I guess what we need to focus on now are visual arrangements and how to best go about wowing our audiences with style as well as content... I love the thrill of the challenege though. Drama kept us so confined in what we could and couldn't do, whereas in this mode I feel like we can afford many more aesthetics or at least experiment with them on some level. Moderation is the key, folks, always remember that.

Off to catch the second run of the docos at MIFF tomorrow evening. Will be sure to report back on my observations :D No doubt I'll want to cry and throw in the towel and have a whinge about how jealous I am... but still..!

pre-production with a twist

So the course seems to be moving full steam ahead as far as moving our projects along is concerned. This week we're focusing on the research aspect of our proposals - seeing as the written draft is going to be due at the end of next week. Talk about a whirlwind process! But it's keeping us on our toes at least.

Having read Rabiger's reading for this week, I am starting to feel a little overwhelmed. There just seems like there is so much intense ground to cover, so much thorough preparation that we need to undergo... and we haven't even decided on what to do as yet! I know that a strong pre-production is essential for any final production to work out... Things can't exactly go according to plan if there is none! But it just feels like the undertow of the semester will drag us all with it unless we get cracking - sooner rather than later.

On the plus side, it's good that we have been told just what specifics we need to address. Thus eliminating the possibility of leaving anything out. I really do hope we get to follow through with my concept; I think a subject matter such as a drag queen will give us a better chance of crafting a documentary that is both engaging and contains a visual edge. Either way though, the way we go about it will determine the outcome - and as long as we're all prepared to put in 100% then I'm sure the outcome will speak for itself.

Getting the chance to make a documentary on a subject who happens to be my friend will also give me a chance to examine the nature of our friendship. Which, for reasons I won't detail here is quite complex. The lens of art would be a brilliant dimension to add to it though.. Which is why I am quite intent on seeing it through, because I really think it will be a positive dynamic not just for the purposes of this project but for the possible enrichment of one of my dearest friendships. Creativity is a wonderous thing.

getting it together

Groupwork is on the horizon again - this time I'm not the only Prof Commer in the group, in fact there are two of us so watch out folks: strength in numbers!

I'm with Antony and Christine this time around. Really looking forward to working with these guys, they seem really enthusiastic and willing to include others which is always a plus.

Both of this weeks readings served to reinforce what Christine covered in the lecture - that is, to focus on the nature of storytelling and to define that burning question in pre-production (in other words, to pin down the 'main point' that you wish to illustrate).

Unfortunately I won't be able to make it to MIFF this week - being flown to Sydney tomorrow afternoon as part of a work function. BUT I will be getting my rear into gear next week, so hopefully there will be a few familiar faces there. Would hate to think of myself as the one and only doco geek in this entire course :P

Also, not that is even deserves a mention, but the final of Big Brother is going to be on next week. Even though I never watch the show during the 'season', I always like to tune into the final, keeping up appearances with popular culture so to speak. And, although it pains me to admit it, reality TV has changed the face of communications forever, and as annoying as it is, I can't really spend an entire year of my life having studied the intricacies of both 'drama' AND 'documentary' without fostering some kind of appreciation for the formats in which they converge.

And that, friends, is what the real success of 'reality TV' - for all its unmistakable crassness - can be rightfully attributed to.

the production designer: an integral part to the collaboration process

This post is purely for my own understanding of production design - but may contain something useful for any other people who may be presently undertaking a similar role:

----------

The term 'Production Designer' was coined in 1939 in respect to the work of William Cameron Menzies on the film Gone with the Wind, for the amount and calibre of design work he single-handedly accomplished on set. Previously, and often subsequently, the person(s) with the same responsibility had been called "art directors," but it is clear nowadays that this term is often both insufficient and inaccurate.

From early in pre-production, the production designer collaborates with the director and director of photography to establish the visual feel and specific aesthetic needs of the project. The production designer guides key personnel in other departments such as the costume designer, the key hair and make-up stylists, the special effects director and the locations manager (among others) to establish a unified visual appearance to the film.

Production Designers have one of the key creative roles in the creation of motion pictures and television. Working directly with the director and producer, they must select the settings and style to visually tell the story. They are the person ultimately responsible for the overall look of a filmed event.

Some of the crew who work in the art department under the production designer include: art director, assistant art director, set designer (draughtsman), set decorator, concept illustrator, graphic designer, model maker, although these roles can sometimes be interchangeable.

The set decorator, often someone with experience in interior decoration, finds decorative items for the sets such as furniture, wallpaper, knick-knacks and lighting fixtures. Working under the decorator are buyers, as well as a crew of set dressers who bring the items to the set, arrange furniture, hang curtains and “dress” the set.

A prop master coordinates with the production designer, but also works closely with the director and actors to provide the items handled directly by the actors such as newspapers, weapons, musical instruments and food. For the most part, the prop crew, along with an on-set dresser, maintain the integrity of the production designer’s vision during the shoot and manipulate the items for the camera.
[adapted from wikipedia.org]


Clearly, my role in Potato Cakes includes several components of 'art direction', none of which can really be simplified. However, Production Design is probably the closest summation we are going to find, as I dont think the term 'creative gopher' would resonate with too many folks out there... do you?

chop chop - and a smorgasboard of fresh ideas

Well, I probably couldn't have picked a better flick to apply the principles of yesterday's lecture to. Chopper makes some of the best and most deliberate use of lighting I've seen in a film since Gattaca (at least as far as modern films go), and has brought a lot to the table for our group to work with as far as organising our set for Potato Cakes is concerned.

The first half-hour or so of the film is shot within a prison set, so as you can imagine, there are plenty of tungsten lights and filters used to create a shady, gungey atmos that gives the viewer a sense of unease. The key lighting used is minimal, because the white walls refract most of it back into the space and onto the characters. During the more climactic moments, i.e. stabbings and brawls, the lighting has a tendency to become harsher, signifying an elevation in mood and adrenaline, similar to what the main characters are experiencing. Shadows, however, seem to follow Chopper wherever he goes - and with good reason. His jeckyll-and-hyde criminal persona plays out not only through the plot but via the careful use of mise-en-scene. Below, pictured with his girlfriend 'Tanya', you can see the way lighting has been manipulated to always keep some part of his face out of view:



This either suggests that he is constantly hiding something, or there is some dark part of his personality that cannot be revealed. Perhaps both. Throughout the film, there are several scenes filmed in the dark that seem to add to the overall insidious feel of the piece. However, some of the artier non-plot events or sequences that operate inside Chopper's mind employ some very contrasting lighting techniques - bright, cabaret-style lighting, blinding bulbs, in-your-face sort of stuff to jar ones own consciousness. I wish I could get some of my own stills happening so ya'll could see what I'm talking about. Bana's performance is flawless, and it's well worth a look for those who are keen on indulging in a hearty slice of Aussie gangster culture. Pretty gory in parts, but worth watching for its technical innovation.

Back to Potato Cakes - we've decided we want to make this more of a 'dark' comedic take on dysfunctional Australian family culture, so a lot of our cinematography will be relying upon similar lighting set-ups. To begin with, we're also filming at night, which means the fine line between dull mood lighting and being too dark is something we'll have to be constantly mindful of. We don't want to cross over into the abyss of shooting poor quality footage when in reality the flick of a switch and some careful angles could have added ten thousand times more meaning to a scene... Need to discuss this one with the guys, but I'm going to suggest that we have at least one red head spare in case we run into the problem of 'dead space'. Tbe last thing we want is poorly lit shots that offer nothing in the way of subliminal fodder... I guess that's where my role as Production Designer becomes important, because I can afford to take note of this stuff while the others do the more 'hands on' kinds of roles. Hmm.

Going to go and work on some character stuff now. Fingers crossed Jen gets back to me with some actor profiles to trawl through.

opportunity knocks

I found out today that I didn't get the PR job I applied for. Apparently I was at the top of the ranks until a girl who's graduating this semester had her interview, so it turned out her availability was more ideal. I'm not entirely bothered by this - if anything it means less chaos on my end as I won't have to juggle my set hours at the bank with being on-call - and it means I can be more directive with my degree and the focus I wish to take with it.

I've always been somewhat torn between the two quite divergent disciplines of PR and Media Production. Majoring in both has been pretty full-on at both ends, and my reasons for enjoying them have been radically different. With PR it's had more to do with my desire to become a better communicator through the practice of writing and theorising - whereas with production it's been purely a matter of creative release, as instinctual as breathing and just as necessary. I have a few theories about serendipity, and I think the fact that I missed out on this job is suggesting that I get my priorities straight. I have the chance now to settle for good on the goal of working in production instead of getting sidetracked with what is basically a hobby over a passion... It's exciting, but a little daunting - I always like to have a back-up plan, but that kind of seems like a cop-out when we're talking in terms of life ambitions and dreams...

I'm pulling myself up on yet another introspective rant. My bad.

Next week I'm helping film the PR breakfast (ironic, eh) with Ed and Josh from 3rd year Media - should be good, although we've gotta rock up to the Windsor at some ridiculous hour like 6:30am... The free breakky had better be worth it!

Production meeting in about 20 minutes. Fingers crossed we'll have decided our roles, scripts, and formulated some plan of action for Friday's class. I wish our schedules were coordinated a little better so we didn't have to wait around for each other, but so it goes with these things. Daresay I'll be considerably less antsy once we've actually chosen a script...

should have put this up before, but it deserves a place

[concept]
“…you can’t blame either of them for leaving me to rot like this”


Fiend is a short film that deals explicitly with the intense psychological conflict surrounding chemical addiction. Following on from the dramatic themes touched upon in Crank (2006) and Spun (2002), the film explores the insidious nature of substance abuse – notably, of the prolific street drug "ice" (methamphetamine). Peering beyond the realm of Melbourne's social castes, the film centres around the zombie-like existence of a young man on a seeming-downward spiral. As he tries to grapple with the death of his mother, a failed relationship and a financially debilitating speed habit, Arty's world is thrown off balance as he questions his ability to live with himself – whoever that might be. Unable to reconcile his ‘inner’ persona with the ‘bright and shiny’ euphoria wrought by the drug, he embarks on a confronting quest to find his way back to self-acceptance. In so doing, Fiend examines and rejects popular conceptions of reality, faith, and humanity, while offering solace in the enigmatic beauty of art and cinema.

[/end concept]

Also, getting a start on next week's readings. That dossier is one fat little comprehensive sumbitch. No-one can say they weren't advised on how to do anything! The emphasis on group work is a little jarring, but necessary all the same. Got to get out of solo-mode at some stage, I just wish I knew more folks who had gone into the telly stream. Damn you all for going over to the dark side(s)! We'll show 'em.. we'll show 'em up good.