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.
Monday, July 30, 2007
Wednesday, July 25, 2007
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.
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.
what say you?
Alright, so this is the concept I am going to be pitching in today's class: opinions anyone?
Oh, and for those out of the know - I am a faghag by trade and Amazon is a good friend of mine. :D
What a Scene
When exotic stage performer Amazon celebrated her twentieth birthday in June of this year, Jamie turned thirty-four. With two decades of solid experience as a drag queen, What a Scene is an expose of the rich and colourful character that resides behind the glitz and glamour of a seasoned scene professional.
Hailing from New Zealand with Islander parents, Amazon spent the first fifteen years of her career establishing a name for herself overseas. Having ‘come out’ about her sexuality in her teens meant that she was able to establish herself as a name early on. However, this admission came at a personal cost as her lifestyle conflicted with the traditional beliefs held by her parents, who sternly rejected their son’s flamboyant homosexuality.
Consequently, the earlier part of her career was very much a lone journey that resulted in numerous risk-taking behaviours, almost jeopardising her career. Then, in her early twenties, Amazon was later diagnosed with ADHD (Attention Deficit-Hyperactivity Disorder), for which she sought treatment and promptly returned work. She literally took the Auckland gay scene by storm, performing 6 out of 7 nights a week (with one week off in each month) for the next 4 years.
In 2002, after re-establishing a relationship with her family, Amazon’s quest to broaden her sense of self brought her to the shores of Melbourne, Australia, whereupon she has continued to win hearts and wow audiences. Although she no longer performs full-time, she is a very prominent and respected figure within the queer talent scene. What a Scene will delve beneath the wig and false eyelashes, documenting a step-by-step transformation from being Jamie to becoming Amazon. It will critically explore the subtleties and nuances surrounding identity, femininity and performance, and how they affected the other areas of her life.
The documentary aims to reveal the difficulties she has overcome in order to express her inner creativity within a minority group that is becoming increasingly rife with exclusion and divisiveness.
Word count: 315
Oh, and for those out of the know - I am a faghag by trade and Amazon is a good friend of mine. :D
When exotic stage performer Amazon celebrated her twentieth birthday in June of this year, Jamie turned thirty-four. With two decades of solid experience as a drag queen, What a Scene is an expose of the rich and colourful character that resides behind the glitz and glamour of a seasoned scene professional.
Hailing from New Zealand with Islander parents, Amazon spent the first fifteen years of her career establishing a name for herself overseas. Having ‘come out’ about her sexuality in her teens meant that she was able to establish herself as a name early on. However, this admission came at a personal cost as her lifestyle conflicted with the traditional beliefs held by her parents, who sternly rejected their son’s flamboyant homosexuality.
Consequently, the earlier part of her career was very much a lone journey that resulted in numerous risk-taking behaviours, almost jeopardising her career. Then, in her early twenties, Amazon was later diagnosed with ADHD (Attention Deficit-Hyperactivity Disorder), for which she sought treatment and promptly returned work. She literally took the Auckland gay scene by storm, performing 6 out of 7 nights a week (with one week off in each month) for the next 4 years.
In 2002, after re-establishing a relationship with her family, Amazon’s quest to broaden her sense of self brought her to the shores of Melbourne, Australia, whereupon she has continued to win hearts and wow audiences. Although she no longer performs full-time, she is a very prominent and respected figure within the queer talent scene. What a Scene will delve beneath the wig and false eyelashes, documenting a step-by-step transformation from being Jamie to becoming Amazon. It will critically explore the subtleties and nuances surrounding identity, femininity and performance, and how they affected the other areas of her life.
The documentary aims to reveal the difficulties she has overcome in order to express her inner creativity within a minority group that is becoming increasingly rife with exclusion and divisiveness.
Word count: 315
Tuesday, July 24, 2007
belief: what is it?
Well, how do I define something that is so instilled in our beings since day 1...
Commonly, the term is used interchangeably with 'faith' - be it in religious or spiritual sense. But the term has quite a lot of versatility to it, given that our conditioning and beliefs are often held so deeply and with such conviction. I think it's fascinating that we were given this as a working concept for the medium of documentary, seeing as the crux of the medium operates upon being able to uncover the truth, or what to believe, per se.
But belief can be any number of things. Courage, committment, certainty, throwing caution to the wind... and what about disbelief? Isn't that too a belief in itself? I guess the real difference is that belief is generally given a positive connotation, and rightfully so. So many people have fought for what they believe in, and for that I admire their steadfastness. Belief, to me, is inherently stubborn, but nonetheless, a necessity - for what kind of world would we live in if it were devoid of any of these things? Would the world even exist for us?
There's an idea worth pondering.
Commonly, the term is used interchangeably with 'faith' - be it in religious or spiritual sense. But the term has quite a lot of versatility to it, given that our conditioning and beliefs are often held so deeply and with such conviction. I think it's fascinating that we were given this as a working concept for the medium of documentary, seeing as the crux of the medium operates upon being able to uncover the truth, or what to believe, per se.
But belief can be any number of things. Courage, committment, certainty, throwing caution to the wind... and what about disbelief? Isn't that too a belief in itself? I guess the real difference is that belief is generally given a positive connotation, and rightfully so. So many people have fought for what they believe in, and for that I admire their steadfastness. Belief, to me, is inherently stubborn, but nonetheless, a necessity - for what kind of world would we live in if it were devoid of any of these things? Would the world even exist for us?
There's an idea worth pondering.
Monday, July 23, 2007
flashback
Today's lecture brought back missed memories from the Writing Media Texts days... it was great to have Christine back in the lecture theatre, and a treat to have her share her expertise in this field with all of us once more.
The primary topic for today's class was focus: we were forced to ask ourselves what we want to hone in out, topic-wise, so that our documentaries actually say something and now just show. To illustrate the case in point, we watched a bit of a documentary made last year about a Commercial Dominatrix - fascinating subject matter, but it didn't really hit the nail on the head with regards to storytelling. Thus, it didn't reach its full potential.
I think it's all too easy to get caught up in the 'drama vs doco' mindset and end up discarding elements that could enrich the genre you are working with. In the case of 'Dominate', the aforementioned doco, the group really neglected to shape the documentary with a beginning, middle and end. It might sound like basic narrative structuing here, but that's because it is - just because documentary is not fictional by definiton, does not mean that we can just do away with the basic premises that govern all forms of filmmaking.
I guess it was like a 'beware' to the rest of us - know your subject, know your focus. And most importantly, know your audience and what you want them to walk away feeling after seeing what you have to show to them...
The primary topic for today's class was focus: we were forced to ask ourselves what we want to hone in out, topic-wise, so that our documentaries actually say something and now just show. To illustrate the case in point, we watched a bit of a documentary made last year about a Commercial Dominatrix - fascinating subject matter, but it didn't really hit the nail on the head with regards to storytelling. Thus, it didn't reach its full potential.
I think it's all too easy to get caught up in the 'drama vs doco' mindset and end up discarding elements that could enrich the genre you are working with. In the case of 'Dominate', the aforementioned doco, the group really neglected to shape the documentary with a beginning, middle and end. It might sound like basic narrative structuing here, but that's because it is - just because documentary is not fictional by definiton, does not mean that we can just do away with the basic premises that govern all forms of filmmaking.
I guess it was like a 'beware' to the rest of us - know your subject, know your focus. And most importantly, know your audience and what you want them to walk away feeling after seeing what you have to show to them...
Saturday, July 21, 2007
leacock's reading - 'a search for the feeling of being there'
I gotta say, the tone and articulacy with which Richard Leacock recounts his experiences in filmmaking is quite inspiring. Maybe that's something for me to strive towards in this blog - getting just the right amount of description, infused with an insatiable zest and exuberance for a medium as addictive as the air we breathe.
After doing my readings this week, which have centered mostly on how to capture the essence of documentary - and how to define it - I feel like I am in a position to tackle it in a creative sense. Rabiger's reading, entitled 'The Director's role' makes a very resonating quote: "There are no limits to documentary's possibilities, but it always reflects a profound fascination with, and respect for, actuality". From thereon you can take the debate as to what constitutes 'actuality' in any direction you like, but the assumtpion remains the same. Documentary aims to uncover something tangible, something real, and the camera acts as the all-seeing visual apparatus at a level that our own eyes are incapable of reaching.
As a genre, I think documentary succeeds because it connects, most importantly, with our deeply-rooted desires for knowledge. Unlike drama, which plays upon our emotions, it offers us a sense of assurance and even privilege. This, I think, can be attributed to the switch in point of view, i.e. to an more observational mode of filming. Although the drama and doco are becoming increasingly convergent, I think it's important to remember exactly why each has its respective place - both in culture and in the industry.
After doing my readings this week, which have centered mostly on how to capture the essence of documentary - and how to define it - I feel like I am in a position to tackle it in a creative sense. Rabiger's reading, entitled 'The Director's role' makes a very resonating quote: "There are no limits to documentary's possibilities, but it always reflects a profound fascination with, and respect for, actuality". From thereon you can take the debate as to what constitutes 'actuality' in any direction you like, but the assumtpion remains the same. Documentary aims to uncover something tangible, something real, and the camera acts as the all-seeing visual apparatus at a level that our own eyes are incapable of reaching.
As a genre, I think documentary succeeds because it connects, most importantly, with our deeply-rooted desires for knowledge. Unlike drama, which plays upon our emotions, it offers us a sense of assurance and even privilege. This, I think, can be attributed to the switch in point of view, i.e. to an more observational mode of filming. Although the drama and doco are becoming increasingly convergent, I think it's important to remember exactly why each has its respective place - both in culture and in the industry.
Wednesday, July 18, 2007
'take it like a man'
Well, today was an adventure of sorts. I love my tute group. I don't think everyone was there, but still. It's a nice, small class and I'm not with anyone I've ever worked with before. And unlike in my last prac group, there don't seem to be any pretentious types out there to do my head in. Always a welcomed relief, what can I say.
So we were given the proposition to work with: "Melbourne is..." - At first, we thought of '..abuzz with infrastructure', but I think it turned out to be simply '..noisy', in the end. Each group took five shots to illustrate whatever description they had come up with... My personal fave was the random tractor we got coming up on LaTrobe St from the Swanston St intersection. It was a MasterCard moment - Priceless.
I love navigating my way around the PD170s... such a pleasant little electronic device compared to what we were using for drama. Sweet as. I guess the bonus with doco as well is that I'll have much more of a chance to familiarise myself with the equipment - as the roles sound as though they'll be quite fluid and flexible. Thank god for that - I did feel kind of constricted being limited to doing the same thing the entire time last semester.
Introducing myself in class today brought it to my attention just how much of what I love about Cinema and have been involved with can be traced back to documentary... Even just little things, like winning an award in highschool in Year 11 Media for our mini-advertisements for our school. It's stuff like that that you don't really think about unless asked to, but when you do, so much of what's in front of you becomes absolutely transparent. Or, if you're Paul - serendipitous!
So we were given the proposition to work with: "Melbourne is..." - At first, we thought of '..abuzz with infrastructure', but I think it turned out to be simply '..noisy', in the end. Each group took five shots to illustrate whatever description they had come up with... My personal fave was the random tractor we got coming up on LaTrobe St from the Swanston St intersection. It was a MasterCard moment - Priceless.
I love navigating my way around the PD170s... such a pleasant little electronic device compared to what we were using for drama. Sweet as. I guess the bonus with doco as well is that I'll have much more of a chance to familiarise myself with the equipment - as the roles sound as though they'll be quite fluid and flexible. Thank god for that - I did feel kind of constricted being limited to doing the same thing the entire time last semester.
Introducing myself in class today brought it to my attention just how much of what I love about Cinema and have been involved with can be traced back to documentary... Even just little things, like winning an award in highschool in Year 11 Media for our mini-advertisements for our school. It's stuff like that that you don't really think about unless asked to, but when you do, so much of what's in front of you becomes absolutely transparent. Or, if you're Paul - serendipitous!
Monday, July 16, 2007
the insanity resumes
Well, it was only a matter of time before I made my grand re-entrance into the land of academic blogging. Welcome.
Despite the trials and tribulations of last semester, I did better than I expected. The break has also allowed me to rejuvenate and I can honestly say that I am excited about continuing this subject and getting another chance to put together another production project - and possibly my last during my career as an undergrad.
The lecture I suppose covered a few of the more basic principles of documentary filmmaking. Although I don't have the background some of the students do (those who are majoring in Cinema and did Documentary Studies last semester), I feel pretty confident in tackling the format - mostly because it's what I have been interested in from the beginning, and because I have a bit of a background from doing Broadcast Media last year, in which my group emulated a Getaway sequence. And some very classic documentary-style editing went into practice there.
Most refreshingly, I think, is the fact that the sky really is the limit with documentary - both subject-wise and as far as pushing the boundaries of convention go. There is such a vast amount of information out there that few of us are privy to - I'm not even talking in terms of political exposes... I just mean in general. And now that we have the ground workings in our mind from putting a short drama together, we can really afford to test ourselves as far as this next project goes.
Excited? I think, very :D
Despite the trials and tribulations of last semester, I did better than I expected. The break has also allowed me to rejuvenate and I can honestly say that I am excited about continuing this subject and getting another chance to put together another production project - and possibly my last during my career as an undergrad.
The lecture I suppose covered a few of the more basic principles of documentary filmmaking. Although I don't have the background some of the students do (those who are majoring in Cinema and did Documentary Studies last semester), I feel pretty confident in tackling the format - mostly because it's what I have been interested in from the beginning, and because I have a bit of a background from doing Broadcast Media last year, in which my group emulated a Getaway sequence. And some very classic documentary-style editing went into practice there.
Most refreshingly, I think, is the fact that the sky really is the limit with documentary - both subject-wise and as far as pushing the boundaries of convention go. There is such a vast amount of information out there that few of us are privy to - I'm not even talking in terms of political exposes... I just mean in general. And now that we have the ground workings in our mind from putting a short drama together, we can really afford to test ourselves as far as this next project goes.
Excited? I think, very :D
Friday, June 15, 2007
the final curtain draws to a close
So it's been two decent-sized weeks since my last real update, and I dont know that I have the energy to write about all that's transpired over them. So I'll just put post-production into a nice little nutshell for all of you, in the hopes that history never, ever repeats itself again.
In short, post was hell. I saw glimpses of it coming in pre-production, a wave of it in production (that I thought I could cope with), but after being told by Director dearest that if 'any of my ideas were good, they'd have made it onto (the Final Cut)'. Of course, hearing that made me livid, and made me realise why, subconsciously, I had given up any real hope of influencing the nature of this project a long, long time ago. I don't believe it was valid of the Director to make such a nasty comment, but at least I felt vindicated for not actually caring about how the final product turned out. That's right, they could have whipped anything up in there and knowing that my suggestions wouldn't have made a dent, I couldn't have cared less. It's just so uninspiring to be singled out like that. Yeah, the film IS good, but that is beside the point. It could have been much better, and time could have been saved along the way had my suggestions been heeded.
I am disappointed, mostly, at not having learnt my way around FCP as much as I'd have liked. I realise this is something I'll need to pick up in my own time, but still. I thought the objective of group work was to work as a team, not to pander to the whims of some hack-egomaniac who thinks he is gonna knock Spielberg off at the Box Office in the next 12 months. Bollocks. I put in a MASSIVE amount of work in pre-production, and my notes will indicate that. I did all that I could on the days of filming, despite what anyone else says, and went to great lenghts to try and learn as much about the technical side of things as I could (HELLO! did you I ever miss a class? I think not). In post, however, I got segregated and shut out, and basically told not to bother... and the only thing that has served to do is a) ignite my rage, and b) make me fifty billion times more determined to kick arse in semester 2.
If I can concentrate my energy on that, then maybe - just maybe - all this political group wank will seem somewhat worth it.
Let's hope that is the case.
'Til then.
In short, post was hell. I saw glimpses of it coming in pre-production, a wave of it in production (that I thought I could cope with), but after being told by Director dearest that if 'any of my ideas were good, they'd have made it onto (the Final Cut)'. Of course, hearing that made me livid, and made me realise why, subconsciously, I had given up any real hope of influencing the nature of this project a long, long time ago. I don't believe it was valid of the Director to make such a nasty comment, but at least I felt vindicated for not actually caring about how the final product turned out. That's right, they could have whipped anything up in there and knowing that my suggestions wouldn't have made a dent, I couldn't have cared less. It's just so uninspiring to be singled out like that. Yeah, the film IS good, but that is beside the point. It could have been much better, and time could have been saved along the way had my suggestions been heeded.
I am disappointed, mostly, at not having learnt my way around FCP as much as I'd have liked. I realise this is something I'll need to pick up in my own time, but still. I thought the objective of group work was to work as a team, not to pander to the whims of some hack-egomaniac who thinks he is gonna knock Spielberg off at the Box Office in the next 12 months. Bollocks. I put in a MASSIVE amount of work in pre-production, and my notes will indicate that. I did all that I could on the days of filming, despite what anyone else says, and went to great lenghts to try and learn as much about the technical side of things as I could (HELLO! did you I ever miss a class? I think not). In post, however, I got segregated and shut out, and basically told not to bother... and the only thing that has served to do is a) ignite my rage, and b) make me fifty billion times more determined to kick arse in semester 2.
If I can concentrate my energy on that, then maybe - just maybe - all this political group wank will seem somewhat worth it.
Let's hope that is the case.
'Til then.
Friday, June 1, 2007
pinch and a punch
Before getting my no-good arse into gear with this blog, my earlier entries were scattered between my old host and a bunch of WordPad documents. I fear the memory stick with a good half-dozen entries from April and at least 2 from the Easter break is at work, meaning I'll need to drop by after today's tute and pick it up. Arrgh. So much needless stuffing around. I guess it will be nice though to have them all in the one place, at long last. I kinda dig the look and feel of this blog now, I don't even have any desire to switch onto WordPess for TV2. And since I've figured out how to link everyone elses blog, there's no stopping me!
Last prac today - which will consist of viewing the rough cuts and doing our self/peer assessments. Thus, you can expect some nice, long-winded semesterly reviews in the not-so-distant future. Have I expressed my disbelief having at already arrived at the reflective part of the course yet?
I guess this was inevitable, though, like everything else. Stay tuned.
Last prac today - which will consist of viewing the rough cuts and doing our self/peer assessments. Thus, you can expect some nice, long-winded semesterly reviews in the not-so-distant future. Have I expressed my disbelief having at already arrived at the reflective part of the course yet?
I guess this was inevitable, though, like everything else. Stay tuned.
Monday, May 28, 2007
there's always someone cooler than you
Today panned out to be one of those 'which do you want first, the good news or the bad news?' type situations. So I think I'll just start with the good for the sake of our sanities.
GOOD: Everything looks amazing on film. The lighting is great, white balance is surprisingly consistent, the actors' expressions are flawless. Latch did a steady job as DoP, and things were generally well-timed.
BAD: The fucken sound is shot to shit. Half of it is good, the other half sucks some major hairy moose balls. How gutting. I don't even think we ca blame anyone as Kyle mentioned numerous times while holding the boom that a mysterious buzzing would appear and then disappear. This is exactly what I feared would happen! I never knew nightmares could come true like that. Just.. fuck.
It's just so painful to watch.. I mean to hear it, it literally grates on my ear drums. How can something so good be so inherently bad? argh.. Anyway. So we captured and that process went as well as could be expected. I stayed around until 6pm, putting together the first minute or so of the rough cut on my own. Some of the other stayed back longer, I think Latch was pretty intent on putting it all together in one hit before Friday's class.
There's always the ADR option but in essence that just means more dicking around. I can't quite describe this just-been-kicked-in-the-guts feeling properly. Or maybe nuts would cut it better. If I had nuts I'm sure the feeling would be similar. Drama, drama, drama. Does it ever end? Will it...?
GOOD: Everything looks amazing on film. The lighting is great, white balance is surprisingly consistent, the actors' expressions are flawless. Latch did a steady job as DoP, and things were generally well-timed.
BAD: The fucken sound is shot to shit. Half of it is good, the other half sucks some major hairy moose balls. How gutting. I don't even think we ca blame anyone as Kyle mentioned numerous times while holding the boom that a mysterious buzzing would appear and then disappear. This is exactly what I feared would happen! I never knew nightmares could come true like that. Just.. fuck.
It's just so painful to watch.. I mean to hear it, it literally grates on my ear drums. How can something so good be so inherently bad? argh.. Anyway. So we captured and that process went as well as could be expected. I stayed around until 6pm, putting together the first minute or so of the rough cut on my own. Some of the other stayed back longer, I think Latch was pretty intent on putting it all together in one hit before Friday's class.
There's always the ADR option but in essence that just means more dicking around. I can't quite describe this just-been-kicked-in-the-guts feeling properly. Or maybe nuts would cut it better. If I had nuts I'm sure the feeling would be similar. Drama, drama, drama. Does it ever end? Will it...?
Sunday, May 27, 2007
surreal
So, the past two days were spent lugging around cumbersome equipment and finally getting to film... I can't quite describe what it was like to hear 'action' for the first time, let alone in my house, where the first (not sequential, just the first to be shot) scenes took place. It was like being Alice in wonderland and taking a bit of magic cake, where everything around you instantaneously gets bigger, and you begin feel like the most insignificant cluster of atoms in the world. It was a pretty momentus feeling, and one I'm not sure to forget for a long time.
I'm pretty bloody drained, to say the least. Friday, despite the imminent stresses of having so many goddamn people (strangers) in my house, was probably more of an involved experience for me. Saturday, aside from the fact that I battled an unweidly migraine for most of the day, didn't really require as much of my input. Most of my production design ideas were canned (for no apparent reason, which I'm still not happy about), and the space inside Scott's kitchen wasn't really conducive to having as many people around while the camera was rolling. So I got stuck doing the odd jobs - picking up pizzas, picking up the dolly, etc etc... Sure, this stuff needed doing, but I wasn't exactly in my element. Still, things ran as smoothly as they could have, and I had a great time coaching the actors - Mel in particular.
Now I'm just looking forward to capturing our material and cutting it up into some semblance of a drama. Since everything was pretty much filmed out of order, my poor addled brain just wants to slot these scenes into formation so we can work out what effects will work best, and what sounds will enhance the viewing experience. I wouldn't call production an anticlimax, but it was certainly built up to be something in my mind that I'm not quite sure was realised - in full. Then again, that's probably a good thing.
I'm pretty bloody drained, to say the least. Friday, despite the imminent stresses of having so many goddamn people (strangers) in my house, was probably more of an involved experience for me. Saturday, aside from the fact that I battled an unweidly migraine for most of the day, didn't really require as much of my input. Most of my production design ideas were canned (for no apparent reason, which I'm still not happy about), and the space inside Scott's kitchen wasn't really conducive to having as many people around while the camera was rolling. So I got stuck doing the odd jobs - picking up pizzas, picking up the dolly, etc etc... Sure, this stuff needed doing, but I wasn't exactly in my element. Still, things ran as smoothly as they could have, and I had a great time coaching the actors - Mel in particular.
Now I'm just looking forward to capturing our material and cutting it up into some semblance of a drama. Since everything was pretty much filmed out of order, my poor addled brain just wants to slot these scenes into formation so we can work out what effects will work best, and what sounds will enhance the viewing experience. I wouldn't call production an anticlimax, but it was certainly built up to be something in my mind that I'm not quite sure was realised - in full. Then again, that's probably a good thing.
Thursday, May 24, 2007
stage fright
Wish I could have made last night's rehearsals.. am dying to meet the actors, but alas, my stupid job continues to get in the way of more important pursuits. Meh.
At least I know the test shoot went well and by the sounds of things, the cast all get along - which is fantastic, because I'd hate to think that the animosity-ridden atmosphere in the script could spill out into real life. One big bonus is that the actor playing Mike is happy to bring all of his own clothes, which seem suitable (overalls, shirts, typical dadsy stuff), so that will be one less strain on our budget.
So for the next 18 or so hours I'm left to tie up the loose ends, and prepare my house for an entire entourage of crew. Never did I imagine that my involvement with a subject would penetrate my bedroom door, but I believe I have been proven otherwise :P How's that for dedication folks? Can't fault the ultimate sacrifice of privacy, ESPECIALLY when it's willing! Although, my nervousness is growing about it, as I want the room to look like an absolutely perfect set... Like I want to prove my worth as a production designer, so the pressure's on, in that respect.
Dig these posters though: [1] [2] [3] [4] [5]
(was I an emo kid in a past life or what? ahah, acutally don't answer that question, I might go cry and kill myself :P tsk tsk)
Also, in a serendipitous twist of fate (Hi Paul), I FOUND MY GODDAMN TV1 LECTURE BOOK! It disappeared into the ethers around week 5 and decided to rear it's head again all of a sudden... Couldn't possibly have had anything to do with the fact that I was forced to clean my room from wall to wall in preparation for tomorrow's guests.. oh no. haha. Solved that mystery at long last. Such a relief, too, mind you.
Before picking up the gear tomorrow I shall make a last minute venture into savers to buy a netball skirt. After that, we're all set. I think it's safe to say that I'm more jittery than those actors.
Fingers crossed...
At least I know the test shoot went well and by the sounds of things, the cast all get along - which is fantastic, because I'd hate to think that the animosity-ridden atmosphere in the script could spill out into real life. One big bonus is that the actor playing Mike is happy to bring all of his own clothes, which seem suitable (overalls, shirts, typical dadsy stuff), so that will be one less strain on our budget.
So for the next 18 or so hours I'm left to tie up the loose ends, and prepare my house for an entire entourage of crew. Never did I imagine that my involvement with a subject would penetrate my bedroom door, but I believe I have been proven otherwise :P How's that for dedication folks? Can't fault the ultimate sacrifice of privacy, ESPECIALLY when it's willing! Although, my nervousness is growing about it, as I want the room to look like an absolutely perfect set... Like I want to prove my worth as a production designer, so the pressure's on, in that respect.
Dig these posters though: [1] [2] [3] [4] [5]
(was I an emo kid in a past life or what? ahah, acutally don't answer that question, I might go cry and kill myself :P tsk tsk)
Also, in a serendipitous twist of fate (Hi Paul), I FOUND MY GODDAMN TV1 LECTURE BOOK! It disappeared into the ethers around week 5 and decided to rear it's head again all of a sudden... Couldn't possibly have had anything to do with the fact that I was forced to clean my room from wall to wall in preparation for tomorrow's guests.. oh no. haha. Solved that mystery at long last. Such a relief, too, mind you.
Before picking up the gear tomorrow I shall make a last minute venture into savers to buy a netball skirt. After that, we're all set. I think it's safe to say that I'm more jittery than those actors.
Fingers crossed...
Wednesday, May 23, 2007
the home stretch - remember to breathe
It's week freaking 12, people.
It seems like only yesterday we were sitting huddled in a circle with Di and Paul, tossing around ideas for characters and script-crafting.
And now we're here. Some of us have already filmed, other are just about to. My group falls into the latter category, but I'm kind of glad we chose to grad it out. Especially considering that no matter how much time you get in pre-production, you're always going to feel half-baked when you venture out on set.
This week's lecture was another Final Cut intensive. Timely, I must say, and it's nice to have it shown on the overhead so that we can get some kind of mental feel for the software. I swear that program has a level of complexity that not even I'm used to coping with.. argh. Anyway. It was good to learn how to insert text - we are reccommended to use the fade in/out technique as opposed to lame-o rolling credits. I think we'd have gone that option anyway, considering the feel we have chosen to embellish our piece with.
It's good to know, too, that we have options in post to make our film look spiffy, should some of it turn out underexposed or just plain droll. The formula Paul used went something along the lines of 'white whites, black blacks, saturation, softened edges' - sounds simple enough, but I swear it made a hell of a difference to the footage once the settings were applied. Just like magic :P
Grounded some of the basics once more, I think more than anything so as to solidify them in our skulls. Some key things to remember when shooting, and I think Robin summed this up nicely back in week 9: 'Sun is light and silence is still sound'. Omission is a very deliberate move in film - which is why post counts for so much.
It seems like only yesterday we were sitting huddled in a circle with Di and Paul, tossing around ideas for characters and script-crafting.
And now we're here. Some of us have already filmed, other are just about to. My group falls into the latter category, but I'm kind of glad we chose to grad it out. Especially considering that no matter how much time you get in pre-production, you're always going to feel half-baked when you venture out on set.
This week's lecture was another Final Cut intensive. Timely, I must say, and it's nice to have it shown on the overhead so that we can get some kind of mental feel for the software. I swear that program has a level of complexity that not even I'm used to coping with.. argh. Anyway. It was good to learn how to insert text - we are reccommended to use the fade in/out technique as opposed to lame-o rolling credits. I think we'd have gone that option anyway, considering the feel we have chosen to embellish our piece with.
It's good to know, too, that we have options in post to make our film look spiffy, should some of it turn out underexposed or just plain droll. The formula Paul used went something along the lines of 'white whites, black blacks, saturation, softened edges' - sounds simple enough, but I swear it made a hell of a difference to the footage once the settings were applied. Just like magic :P
Grounded some of the basics once more, I think more than anything so as to solidify them in our skulls. Some key things to remember when shooting, and I think Robin summed this up nicely back in week 9: 'Sun is light and silence is still sound'. Omission is a very deliberate move in film - which is why post counts for so much.
Tuesday, May 22, 2007
a sneak preview of my pre-production
1 - mike's pipe, tv hits mag, tablecloth
2 - dull kitchen painting by request of jen
3 - gwen stefani - emo bedroom fodder
4 - fruit bowl, 2 oranges, 2 aprons, there's also a hairtie for the lou that isn't in the shot
5 - 2 x 2 placemats, one being of reverse phallic design (peaches, ahahahah *ahem*)
6 - marilyn monroe poster as per the script
Enjoy.
2 - dull kitchen painting by request of jen
3 - gwen stefani - emo bedroom fodder
4 - fruit bowl, 2 oranges, 2 aprons, there's also a hairtie for the lou that isn't in the shot
5 - 2 x 2 placemats, one being of reverse phallic design (peaches, ahahahah *ahem*)
6 - marilyn monroe poster as per the script
Enjoy.
Saturday, May 19, 2007
the inner shop-a-holic gets her fix
So this arfternoon, after work, I pretty much raided every Asian variety store in the Brunswick/Coburg area, scouting for the props that would best suit our quaint little production otherwise known as Potato Cakes.
And boy did I strike gold!
I can't wait to show the rest of the group the Monroe poster I found. I also got one of Gwen Stefani, looking hot and pouting accordingly, as well as a bunch of stuff for the kitchen, Lou's outfit, tacky shit that will come in useful on the day. I'm so proud of myself. AND it's all within out budget. Score! Got to love doing things the cheap and nasty way :P I think it has salient thematic connotations for our film as well, just quietly.
I gotta say, I am thoroughly enjoying this role right now. I've got such a clear idea in my head of how I want these sets to look, and how I want them to translate onto film. It's kind of phenomenal. I guess being this visually orientated is finally serving a productive purpose in my life. Can't say I haven't waited long to draw that conclusion! Point being, however, that if we don't nail the look and style of the film it isn't going to elicit the desired reaction from our audience... which in my view, is basically going to undermine the whole reason for making it. True?
Gonna get some pics of these babies up and running so all can see... ahh.
And boy did I strike gold!
I can't wait to show the rest of the group the Monroe poster I found. I also got one of Gwen Stefani, looking hot and pouting accordingly, as well as a bunch of stuff for the kitchen, Lou's outfit, tacky shit that will come in useful on the day. I'm so proud of myself. AND it's all within out budget. Score! Got to love doing things the cheap and nasty way :P I think it has salient thematic connotations for our film as well, just quietly.
I gotta say, I am thoroughly enjoying this role right now. I've got such a clear idea in my head of how I want these sets to look, and how I want them to translate onto film. It's kind of phenomenal. I guess being this visually orientated is finally serving a productive purpose in my life. Can't say I haven't waited long to draw that conclusion! Point being, however, that if we don't nail the look and style of the film it isn't going to elicit the desired reaction from our audience... which in my view, is basically going to undermine the whole reason for making it. True?
Gonna get some pics of these babies up and running so all can see... ahh.
Friday, May 18, 2007
factoid
The human brain needs 2/25 of a second to process a cut (between scenes).
The things you take forgranted eh.
The things you take forgranted eh.
Wednesday, May 16, 2007
'when Godard zooms, you know it's a zoom'
I'm beginning to realise just how conscripting and formulaic filming drama really is. Even with just crafting the storyboard, for example, you are made painfully aware of what you can and cannot do as student filmmakers, especially when the look you are going for has a set of codes and conventions that aren't overtly experimental.
Every niggling little thing needs to be thought out. Every crash cut, jump cut, focus pull.. stuff like this you can't really afford to make up on the fly. And it makes sense now why doco and drama were swapped from one semester to another - I really can't imagine having to work within these confines for another 3 month block. But at the same time, it's probably better to get us used to this emulative approach so that once we do get around to making our own docos, we'll be much more likely to come up with something innovative.
In as much as we can, anyhow.
That aside, pre-prod seems to be running smoothly. No major hiccups, and now that everything is sorted, we seem to be on track. The only noteworthy difference is that instead of fiming this coming weekend, we'll be doing it the next. Which theoretically gives us less time in post, but more time to fine tune everything for our big day. Also, the equipment factor isn't really one we can get around. In a way I'm glad it's been pushed back, because it means our actors will get time to rehearse, and won't feel as though they've been thrown in the deep end.
Always be kind and accommodating to your actors. If there's a lesson that doesn't need learning by any of us, it's that.
Every niggling little thing needs to be thought out. Every crash cut, jump cut, focus pull.. stuff like this you can't really afford to make up on the fly. And it makes sense now why doco and drama were swapped from one semester to another - I really can't imagine having to work within these confines for another 3 month block. But at the same time, it's probably better to get us used to this emulative approach so that once we do get around to making our own docos, we'll be much more likely to come up with something innovative.
In as much as we can, anyhow.
That aside, pre-prod seems to be running smoothly. No major hiccups, and now that everything is sorted, we seem to be on track. The only noteworthy difference is that instead of fiming this coming weekend, we'll be doing it the next. Which theoretically gives us less time in post, but more time to fine tune everything for our big day. Also, the equipment factor isn't really one we can get around. In a way I'm glad it's been pushed back, because it means our actors will get time to rehearse, and won't feel as though they've been thrown in the deep end.
Always be kind and accommodating to your actors. If there's a lesson that doesn't need learning by any of us, it's that.
Monday, May 14, 2007
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:
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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?
----------
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?
Friday, May 11, 2007
we've got out work cut out for us
So today's tute comprised of a viewing of all the Lennies, across all tutes, and I must say - in comparison to what some of the other groups put together - ours was ridiculously mediocre. Now, I still think I did the best I could with what footage we had.. but seriously, some people pulled off gorgeous ECUs and some beautifully crafted focus pulls.. yeah, some people completely crossed the line and filmed at different times of the day, which just looked weird. I guess the point of the exercise was to learn, but hot damn, I never realised how talented some of these media kids were. It's nice to see them all on top of their game.
With any luck, I'll be able to spend some time this weekend gathering the bits and pieces necessary for the girls' outfits. I'm talking accessories, makeup, hair bits.. the little stuff that all-too-often gets left to the last minute, or worse still, overlooked entirely. Even though it looks like we'll be using my house for the bedroom scene, we're still going to need fresh props for these guys. Got to be professionals here! Practice makes perfect... or so they say.
With any luck, I'll be able to spend some time this weekend gathering the bits and pieces necessary for the girls' outfits. I'm talking accessories, makeup, hair bits.. the little stuff that all-too-often gets left to the last minute, or worse still, overlooked entirely. Even though it looks like we'll be using my house for the bedroom scene, we're still going to need fresh props for these guys. Got to be professionals here! Practice makes perfect... or so they say.
unedited notes on editing itself
So any Sopranos fan would have been in 7th heaven on my couch last night.
Mickey Blue eyes is a flatly linear narrative... not once is there a flashback, flashforward or memory sequence (the closest there is is a recurring snapshot of Mickey 'kissing' a ditzy blonde waitress). Each shot is constructed in a logical order. Many of the shots (esp at the beginning) are also rather long in duration - adding further to the one-dimensional feel of the movie, its fluidity and freely flowing capacity.
One very careful editing technique that stands out is the use of sound and the rhythmic ordering of shots to match its tempo. The film thrives on a seasoned buffet of alternately tense and jovial 80s Italian hit songs, not to mention a fair dash of romance thrown in for good measure. There are heavy uses of non-diegetic sounds, one in particular that stands out is the loud gong that introduces us to the Chinatown (fortune cookie proposal) scene. In fact, sound (and quite often, music) prefigures image in all of the location/scene transitions, suggesting a mood-oriented relationship between it and the film's visuals. There is one part where the music is even synched up with a series of gunshots, making for an rapidly unsettling sequence among the longer takes.
I found the shot-reverse shot sequence between Mickey and Gina's uncle to be particularly inlluminating. I love how the camera is angled looking down upon Mickey, whilst it points upward the uncle, an understood sign of the preeminence that longtime gang members these longtime gangsters were surrounded with. Think Citizen Kane on a smaller scale.
As for mise-en-scene, the smoke hovering above Gina and Mickey from her uncle's cigarette is a classic Hitchcockian prefigurement of their wedding day doom.. And, in the last five minute build-up toward the speeches, real time is utilised to heighten the sense of tension that is slowly erupting as Frank is expected to shoot his newly-pronounced son in law. For the most part, dialogue drowns out the rest of the sound, leaving an odd, lingering silence as the audience awaits the trigger being pulled. This is soon disrupted by a rather loud, abrupt turn of events that ends in momentary tragedy as Gina herself is shot..
Momentary, of course, because this is Hollywood, where restoration of love in imminent and a shiny resolution is unanimous. A highly entertaining watch, with a unique element of slapstick and darkness that one can only hope we are able to mimic to some extent in the coming weeks.
Thursday, May 10, 2007
aced it.. all that worrying for nought?
Soo the TV1 exam I dreaded with great ominousness turned out to be rather.. simple in the end. I scored 54/54, which according to my calculations is PERFECT MARKS. hehe. Yay for getting that hurdle out of the way, and yay for being able to concentrate solely on pulling next week's production off.
We finalised our actors tonight, so everything seems to be falling into place nice and smoothly. It's such a headache though. Jen's done a fantastic job coordinating everyone and making sure we all have the contact details of the people we need. I'll be finalising wardrobe and costume over the weekend and buying the rest of the props, so things are definitely picking up in that department.
Must remember to bring my notes on genre as well. God there's so much to take in, I fear an early onset of senility creeping up on me.
Tonight I'm watching Mickey Blue Eyes (love my gangster/mobster flicks.. even the pseudo-British ones), so hopefully tomorrow I'll have some note-idge on the way editing is used within that narrative, and will find some way to incorporate that into our own drama. This is particularly timely as Latch will be finalising the storyboard so this sort of thing will need to be carefully considered early on.. I want as many details as possible to be sorted by the day of the shoot so that somehow, it all adds up in my mind to something frasible.
The countdown begins.
We finalised our actors tonight, so everything seems to be falling into place nice and smoothly. It's such a headache though. Jen's done a fantastic job coordinating everyone and making sure we all have the contact details of the people we need. I'll be finalising wardrobe and costume over the weekend and buying the rest of the props, so things are definitely picking up in that department.
Must remember to bring my notes on genre as well. God there's so much to take in, I fear an early onset of senility creeping up on me.
Tonight I'm watching Mickey Blue Eyes (love my gangster/mobster flicks.. even the pseudo-British ones), so hopefully tomorrow I'll have some note-idge on the way editing is used within that narrative, and will find some way to incorporate that into our own drama. This is particularly timely as Latch will be finalising the storyboard so this sort of thing will need to be carefully considered early on.. I want as many details as possible to be sorted by the day of the shoot so that somehow, it all adds up in my mind to something frasible.
The countdown begins.
Sunday, May 6, 2007
coasting.. on the upward gain
Friday's prac was probably one of the stand-out best pracs we've had all semester.
I got stuck right into it and actively did what I could to make my lesson in lighting count for as much as it could - And I have to say, I never did realise how complex a filmset could be - and how important it is to be precise (and safety smart) in getting these things set up.
There are several ways to skin a cat, I'm fast learning, but the key here is forethought. You don't want to have to spend oodles of time fiddling around with exposures when so much of that can be solved by making sure the lighting both is adequate and appropriate. Since we'll be shooting mostly in the evening, it's going to be interesting to see how we go with creating that subtle moodiness.. and not tripping over random shit in the process.
Again, you can never be too anal about safety.
I don't particularly wish to walk away with multiple bruises to my skull from hitting my head on a stand, or poking myself inappropriately with something.
That sounded kinkier than it really needed to. Time to get some of this pre-production shizzle happening, methinks.
I got stuck right into it and actively did what I could to make my lesson in lighting count for as much as it could - And I have to say, I never did realise how complex a filmset could be - and how important it is to be precise (and safety smart) in getting these things set up.
There are several ways to skin a cat, I'm fast learning, but the key here is forethought. You don't want to have to spend oodles of time fiddling around with exposures when so much of that can be solved by making sure the lighting both is adequate and appropriate. Since we'll be shooting mostly in the evening, it's going to be interesting to see how we go with creating that subtle moodiness.. and not tripping over random shit in the process.
Again, you can never be too anal about safety.
I don't particularly wish to walk away with multiple bruises to my skull from hitting my head on a stand, or poking myself inappropriately with something.
That sounded kinkier than it really needed to. Time to get some of this pre-production shizzle happening, methinks.
Friday, May 4, 2007
...between a rock and a hard place
Is anyone else shitting their proverbials about the exam we're meant to be handing in next week?
I've been (albeit a good 5-10 minutes impunctually) to every lecture, prac, group gathering associated with this subject.. Read that freaking dossier from week to week and still, still cannot fathom how I'm expected to demonstrate my acquired 'knowledge' in an exam format... Unless we're talking in terms of safety precautions, or what button to press and when, or what to plug into where, which has been about the extent of it.
Seriously though, the whole assessment approach this course has taken is completely bizarre. I'm going to write a nice constructive response when the course evaluation surveys do the rounds in the coming weeks. This course could really have done with a Summer intensive to show students how to operate the technology PRIOR TO getting put into groups... Because it's not really fair to expect Paul and David to aid each and every one of us in our individual understandings of how the cameras and editing suites work. That's just not practical.
As a student, however, it's just so frustrating having to work with all this gear while pretty much clutching at the straws trying to get your head around it. I find this especially difficult being from Prof Comm, where movies are not my life 24/7. I thought the fact that I could appreciate communications more broadly would assist me in taking this course, but if anything it seems to have had the opposite effect.
Knowledge in philosophy, literature, drama, the classics, history and politics is what gives context to any media, for me, but I can't seem to find a level with anyone with a straight film bias. My HD in Broadcast means nothing because I can't translate any of that into what we're doing now - and it seems to be because of a) lack of one-on-one teaching and b) 2nd yr media clique culture. I feel stuck.
I've been (albeit a good 5-10 minutes impunctually) to every lecture, prac, group gathering associated with this subject.. Read that freaking dossier from week to week and still, still cannot fathom how I'm expected to demonstrate my acquired 'knowledge' in an exam format... Unless we're talking in terms of safety precautions, or what button to press and when, or what to plug into where, which has been about the extent of it.
Seriously though, the whole assessment approach this course has taken is completely bizarre. I'm going to write a nice constructive response when the course evaluation surveys do the rounds in the coming weeks. This course could really have done with a Summer intensive to show students how to operate the technology PRIOR TO getting put into groups... Because it's not really fair to expect Paul and David to aid each and every one of us in our individual understandings of how the cameras and editing suites work. That's just not practical.
As a student, however, it's just so frustrating having to work with all this gear while pretty much clutching at the straws trying to get your head around it. I find this especially difficult being from Prof Comm, where movies are not my life 24/7. I thought the fact that I could appreciate communications more broadly would assist me in taking this course, but if anything it seems to have had the opposite effect.
Knowledge in philosophy, literature, drama, the classics, history and politics is what gives context to any media, for me, but I can't seem to find a level with anyone with a straight film bias. My HD in Broadcast means nothing because I can't translate any of that into what we're doing now - and it seems to be because of a) lack of one-on-one teaching and b) 2nd yr media clique culture. I feel stuck.
Thursday, May 3, 2007
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.
Wednesday, May 2, 2007
all lennied out
Well, I spent a good hour and a half tonight editing lenny down to about a minute and making the best of the footage we shot last week. Luckily no-one had touched it since, so I got to navigate my way around FCP a little more and work some of that post- magic again... I've gotta say, every time I get into post I'm reminded of why I chose this major. That sense of achievement that washes over you once you've effectively created something somehow makes the rest of the bollocksing around worth sticking out (hey, you've gotta get your rocks off somewhere).
Impressively, the sound was probably the best aspect of the entire exercise - and given that it was my first time being technically responsible for that on shoot, I was pretty stoked. Unfortunately you can see the boom in one of the shot sequences, and on the whole the shots themselves are fairly bland (dir/DOP didn't heed my advice on getting in some angled close-ups, which would have made a huge difference, visually).
Thus I pretty much did what I could for visual continuity - there are some very complex movements of Lenny's that I worked hard to match up, i.e. when she crosses her legs after sitting down, and when she gets up to make a getaway from Ms Sargeant... little things, but important things nonetheless. It's amazing just how much of a difference trimming one frame here and there can make when you're attempting to convey a simple narrative. I wish we'd have organised some time out of class to film it so that it wouldn't have become such a rush job - but that's the nature of the beast at this stage and I can only hope this makes us more determined to be thorough when it comes to filming Potato Cakes. Cause we'll be inconveniencing a hell of a lot more people next time round if we don't get it right. meh.
Interesting (& elongated) lecture on lighting this morning - we learnt of key/fill/hard/soft lights, when to use them and how practical they are. Also, they tried to play us a bit of The Sweet Smell of Success, but the dialogue came up in German, much to everyone's amusement. But why do we light? 'To achieve temporal continuity' (visual, spatial). I'm going to watch Chopper now, so will update later or possibly tomorrow with reference to what we discussed.
peace.
Impressively, the sound was probably the best aspect of the entire exercise - and given that it was my first time being technically responsible for that on shoot, I was pretty stoked. Unfortunately you can see the boom in one of the shot sequences, and on the whole the shots themselves are fairly bland (dir/DOP didn't heed my advice on getting in some angled close-ups, which would have made a huge difference, visually).
Thus I pretty much did what I could for visual continuity - there are some very complex movements of Lenny's that I worked hard to match up, i.e. when she crosses her legs after sitting down, and when she gets up to make a getaway from Ms Sargeant... little things, but important things nonetheless. It's amazing just how much of a difference trimming one frame here and there can make when you're attempting to convey a simple narrative. I wish we'd have organised some time out of class to film it so that it wouldn't have become such a rush job - but that's the nature of the beast at this stage and I can only hope this makes us more determined to be thorough when it comes to filming Potato Cakes. Cause we'll be inconveniencing a hell of a lot more people next time round if we don't get it right. meh.
Interesting (& elongated) lecture on lighting this morning - we learnt of key/fill/hard/soft lights, when to use them and how practical they are. Also, they tried to play us a bit of The Sweet Smell of Success, but the dialogue came up in German, much to everyone's amusement. But why do we light? 'To achieve temporal continuity' (visual, spatial). I'm going to watch Chopper now, so will update later or possibly tomorrow with reference to what we discussed.
peace.
Monday, April 30, 2007
fine tuning, more for my sake than anyone elses
I need somewhere to store this list, and here seems to be the most appropriate.
Things I need to finalise in the next week:
Costumes - mostly for Alice. Once we've picked and actor and I know her body type I can find exactly what I'm looking for. Will be aiming for the pseudo-goth look though, so the black and fluro pink nail polish will be coming out of the vault. Watch out!
Set design - I need to get my hands on a bland checked tablecloth, preferably of the green variety, to match the funky art deco ovens in our beloved kitchen. Somehow want to incorporate that pet budgie into the mix, but fear I'm becoming too adventurous for my own good :P
Props - I'm trying to think of new and inventive ways to incorporate boob-like imagery into the shots.. Nothing like a bit of tongue in cheek (and if Hitchcock can get away will phallic symbolism, then we can do the reverse!).. Might invest in a cheap fruit bowl and some well-rounded apples.. or peaches if you're that way inclined.. haha.
I'm sure there were more things. No doubt they'll come to mind when I hit 'publish'.
I'm kind of crabby that work won't give me the time off to come to this weeks castings.. But if I'm not earning cash, I'm not gonna be able to buy all of this stuff, and it's no secret that a production designer's is probably the most financially demanding - because when I visualise what I want, only I can really go about getting it. I just wish the same went for an endless pile of money...
Things I need to finalise in the next week:
Costumes - mostly for Alice. Once we've picked and actor and I know her body type I can find exactly what I'm looking for. Will be aiming for the pseudo-goth look though, so the black and fluro pink nail polish will be coming out of the vault. Watch out!
Set design - I need to get my hands on a bland checked tablecloth, preferably of the green variety, to match the funky art deco ovens in our beloved kitchen. Somehow want to incorporate that pet budgie into the mix, but fear I'm becoming too adventurous for my own good :P
Props - I'm trying to think of new and inventive ways to incorporate boob-like imagery into the shots.. Nothing like a bit of tongue in cheek (and if Hitchcock can get away will phallic symbolism, then we can do the reverse!).. Might invest in a cheap fruit bowl and some well-rounded apples.. or peaches if you're that way inclined.. haha.
I'm sure there were more things. No doubt they'll come to mind when I hit 'publish'.
I'm kind of crabby that work won't give me the time off to come to this weeks castings.. But if I'm not earning cash, I'm not gonna be able to buy all of this stuff, and it's no secret that a production designer's is probably the most financially demanding - because when I visualise what I want, only I can really go about getting it. I just wish the same went for an endless pile of money...
Friday, April 27, 2007
what a scene
Today was a barrel of laughs. Two dead batteries (both for the sound box AND battery box), loss of script and loss of actors who had to leave at 1:30 for their respective classed. Dramas, dramas, is there something about the genre that to some extent effects the nature of the job? I wonder. Despite being sabotaged, though, it seems to have gone alright. I suppose I'll have a better idea once I see the footage uploaded in post.
We ended up with two female actors - one brunette whose name I can't remember, and a girl named Elanore who played Lenny (ironically, her nickname actually is Lenny.. haha.. serendipity perhaps?). I think it worked better with women to be honest, but I'm scared we might've overlooked something as we didn't have a copy of the original script to work off.. I swear losing my lecture notebook has thrown me completely off kilter with this subject. Freaking pain in the rear is what it is.
Kudos to Latch for bringing along the storyboard. Although, it would have been better to see a bigger variety of shots to work with as opposed to more of the same, unimaginative mid-shot type stuff. The camera movement was good though, and I was pleased we managed to incorporate a fresh setting that no other students would have chosen.
I felt pretty daft being responsible for sound, but I learnt a hell of a lot about the technical side of things, even just sending signals and stuff to the camera to try and get the correct levels. No doubt it will take a few more goes before I can confidently say 'I know what I'm doing', but it was nice nevertheless to step outside of the visual role and just focus upon the audibility of something... Like ordering lemonade instead of Coke or any equivalent switch in default choice.
We have heaps to organise for PC this weekend. I've burnt copies of the shots we took last week for the boys, so at least we'll have something to model our storyboard off. Good times.
We ended up with two female actors - one brunette whose name I can't remember, and a girl named Elanore who played Lenny (ironically, her nickname actually is Lenny.. haha.. serendipity perhaps?). I think it worked better with women to be honest, but I'm scared we might've overlooked something as we didn't have a copy of the original script to work off.. I swear losing my lecture notebook has thrown me completely off kilter with this subject. Freaking pain in the rear is what it is.
Kudos to Latch for bringing along the storyboard. Although, it would have been better to see a bigger variety of shots to work with as opposed to more of the same, unimaginative mid-shot type stuff. The camera movement was good though, and I was pleased we managed to incorporate a fresh setting that no other students would have chosen.
I felt pretty daft being responsible for sound, but I learnt a hell of a lot about the technical side of things, even just sending signals and stuff to the camera to try and get the correct levels. No doubt it will take a few more goes before I can confidently say 'I know what I'm doing', but it was nice nevertheless to step outside of the visual role and just focus upon the audibility of something... Like ordering lemonade instead of Coke or any equivalent switch in default choice.
We have heaps to organise for PC this weekend. I've burnt copies of the shots we took last week for the boys, so at least we'll have something to model our storyboard off. Good times.
Wednesday, April 25, 2007
the early bird gets the worm... or the grab
The filming of the PR breakfast with Josh and Ed of 3rd yr Media went well yesterday... Woke up at the bitchin' hour of 5:30am in order to haul arse to Spring St by 6:15. I wasn't in the best of moods. The other stress-addled folk only seemed to exacerbate this, but by 7am we were all systems go and had been given the green light to tuck into our Continental (ha ha) breakfasts, so things weren't all gloom. In fact the day itself turned out to be lovely - sunny even - and it was a delight to work with two guys who had the levels of experience that those two did.
I actually didn't feel out of place not knowing as much as them.. I just paid attention and asked as many questions as I could. It was nice feeling welcomed into unfamiliar territory, as I was initially quite worried about how the events would transpire (and consequently, how much shit we'd end up in if we buggered anything up). It was my first time getting to work with radio mics, so I found that particularly useful from a technical perspective.
For most of the morning I was responsible for taking the still shots, which I've already burnt onto disc to give to Carey when I go in for tomorrow's prac. Josh did the bulk of the filming, and I take my hat off to him for putting in such a fine effort. Though I wonder how that Tim Flanney story ended up in the news? There were more journos present than you could sink a ship with, but from what I could tell there were no other film crews. It'd be bloody exciting if the work of us lowly students was unwittingly broadcast on national TV, dontcha think?
In short, I'm really glad I volunteered to do this. I'm slowly building up enough confidence to be able to tackle the technical side of things and thus contribute something meaningful to the overall production process. You know what they say - one step at a time.
I actually didn't feel out of place not knowing as much as them.. I just paid attention and asked as many questions as I could. It was nice feeling welcomed into unfamiliar territory, as I was initially quite worried about how the events would transpire (and consequently, how much shit we'd end up in if we buggered anything up). It was my first time getting to work with radio mics, so I found that particularly useful from a technical perspective.
For most of the morning I was responsible for taking the still shots, which I've already burnt onto disc to give to Carey when I go in for tomorrow's prac. Josh did the bulk of the filming, and I take my hat off to him for putting in such a fine effort. Though I wonder how that Tim Flanney story ended up in the news? There were more journos present than you could sink a ship with, but from what I could tell there were no other film crews. It'd be bloody exciting if the work of us lowly students was unwittingly broadcast on national TV, dontcha think?
In short, I'm really glad I volunteered to do this. I'm slowly building up enough confidence to be able to tackle the technical side of things and thus contribute something meaningful to the overall production process. You know what they say - one step at a time.
Sunday, April 22, 2007
i <3 suburbia
Nestled somewhere within the quaint greenery of melbourne's inner South East lays a charming brick veneer home that will become the location for my group's TV1 project.
We met up yesterday afternoon at said location, in Orange St East Bentleigh, and each pretty much fell instantly in love with its rustic appeal (you should see the old-style green oven.. it's TO DIE FOR). The backyard is a bit shabby, I'm trying to convice the others that it makes for a crap establishing shot and we ought to be focusing more on Alice. Other than that though we have good access and most of what we need is already there, we'll just need to organise/prepare the food and figure out a way of doing the plate smashing So we've got that sorted. I brought along my digital camera and we took a few snaps to help piece together the storyboard. Will burn those onto disc/memory stick so everyone else has a copy for their perusal.
I've already started gathering props for our characters. Bought a $4 pipe for Mike the other day, and am hunting around for a grandpa hat as we speak. Found a 'desperate housewife' apron for Lou as well - utter gold. Will be gathering emo-style posters to make one of the bedrooms look more like a girl's room.. might throw in a bit of Leonardo di Caprio for good measure as well :P
On that note, I'm going to finish watching the rest of The Departed now.
We met up yesterday afternoon at said location, in Orange St East Bentleigh, and each pretty much fell instantly in love with its rustic appeal (you should see the old-style green oven.. it's TO DIE FOR). The backyard is a bit shabby, I'm trying to convice the others that it makes for a crap establishing shot and we ought to be focusing more on Alice. Other than that though we have good access and most of what we need is already there, we'll just need to organise/prepare the food and figure out a way of doing the plate smashing So we've got that sorted. I brought along my digital camera and we took a few snaps to help piece together the storyboard. Will burn those onto disc/memory stick so everyone else has a copy for their perusal.
I've already started gathering props for our characters. Bought a $4 pipe for Mike the other day, and am hunting around for a grandpa hat as we speak. Found a 'desperate housewife' apron for Lou as well - utter gold. Will be gathering emo-style posters to make one of the bedrooms look more like a girl's room.. might throw in a bit of Leonardo di Caprio for good measure as well :P
On that note, I'm going to finish watching the rest of The Departed now.
Friday, April 20, 2007
saboteurs, ye be ware
Didn't end up filming in the pracs today... Instead, we practised setting up from scratch (mind you our kit had some of the shonkiest cord etiquette I've EVER seen) and spent the second half doing a mock-Lenny shoot as a class. I then proceeded to make a royal ass of myself as impromptu camera op, cementing the age-old belief that us Prof Commers are the resident incapable twats of bulding 6. Haha.. arrhhg, such embarrassment. To be honest my fear and loathing of the apparatus surprised even me... I mean, am I wrong to be overwhelmed by $20,000 worth of gear? I'm a pretty paranoid person as it is, and you can bet your bottom dollar that even the mildest scare tactics work with me where expensive gear is concerned. Sigh. At least I've managed to memorise all the little on-set catch phrases, and in their correct order no less.
Location scouting this weekend. Hopefully that'll be a more fortuitous endeavour. I really, really, really want to find a way to invest my energy into this project to make it worthwhile. Really.
Location scouting this weekend. Hopefully that'll be a more fortuitous endeavour. I really, really, really want to find a way to invest my energy into this project to make it worthwhile. Really.
Thursday, April 19, 2007
tail wind's a long way off
Tomorrow we begin filming for Lenny.
I'm rather apprehensive about this, because last night's meeting revolved around tieing up loose ends with our drama script (we ended up choosing Potato Cakes, YESS!) rather than getting a storyboard together for tomorrrow. So with any luck we won't fail and will hopefully be able to shoot as per the notes we made in class last week... Only problem is, Jen isn't going to be around for the next few pracs and I've MISPLACED my TV1 notebook. I don't think this semester could be any more of a shambles if it tried... and I have a feeling this head wind won't subside anytime soon... argh.
Despite my best efforts to become more of a presence in this so-called 'group' project, I've pretty much landed the most minor role possible: Production Design. I'm not going to pretend to be happy with this, but seeing as the decision had been made prior to my consultation, there's not exactly a lot of choice. Yeah, I'm annoyed that my talent and enthusiasm aren't going to be utilised to their full extent. But at the same time, I'm too over this project to really let it get to me. What started out as the highlight of my year has quickly become the biggest anti-climax... I don't know if it's the way these classes are structured or what, but lately all I seem to be feeling is either completely petrified about filming or totally out of place in all my non-media degree glory.
It's probably not a good idea to be going on about this here, so I'll just put a lid on it for now. On the plus side, nothing can affect my love for this medium, so I know I'll always put 110% into anything with my name attached to it. I guess I just wanted my last year of undergrad to stand for more, you know? I wanted to push my own limits and capabilities and take complete ownership of something, like I did with Broadcast, but it doesn't look like I'm going to get that chance. I guess all there really is left to focus on is honing my own skills and understanding to try and get as much out of this as I can. I want to walk into next semester with the confidence to assert my beliefs... Just got to pull through this first.
I'm rather apprehensive about this, because last night's meeting revolved around tieing up loose ends with our drama script (we ended up choosing Potato Cakes, YESS!) rather than getting a storyboard together for tomorrrow. So with any luck we won't fail and will hopefully be able to shoot as per the notes we made in class last week... Only problem is, Jen isn't going to be around for the next few pracs and I've MISPLACED my TV1 notebook. I don't think this semester could be any more of a shambles if it tried... and I have a feeling this head wind won't subside anytime soon... argh.
Despite my best efforts to become more of a presence in this so-called 'group' project, I've pretty much landed the most minor role possible: Production Design. I'm not going to pretend to be happy with this, but seeing as the decision had been made prior to my consultation, there's not exactly a lot of choice. Yeah, I'm annoyed that my talent and enthusiasm aren't going to be utilised to their full extent. But at the same time, I'm too over this project to really let it get to me. What started out as the highlight of my year has quickly become the biggest anti-climax... I don't know if it's the way these classes are structured or what, but lately all I seem to be feeling is either completely petrified about filming or totally out of place in all my non-media degree glory.
It's probably not a good idea to be going on about this here, so I'll just put a lid on it for now. On the plus side, nothing can affect my love for this medium, so I know I'll always put 110% into anything with my name attached to it. I guess I just wanted my last year of undergrad to stand for more, you know? I wanted to push my own limits and capabilities and take complete ownership of something, like I did with Broadcast, but it doesn't look like I'm going to get that chance. I guess all there really is left to focus on is honing my own skills and understanding to try and get as much out of this as I can. I want to walk into next semester with the confidence to assert my beliefs... Just got to pull through this first.
Wednesday, April 18, 2007
affirmation
They say it's the little things that keep you going - and I can definitely attest to this. Matt Fitz complimented my script this morning and it just felt like the biggest wave of relief... maybe it's a Prof Comm thing where we're all helping to keep each other's heads above water.. I don't know. But knowing someone read it and didn't feel like they'd just wasted their time was somehow enough for me. A glimmer of hope that I've got something to offer to this industry, something real.
Will update more later. In between class and due to have a test. Good times, good times.
Will update more later. In between class and due to have a test. Good times, good times.
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...
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...
Tuesday, April 17, 2007
scorsese = god
I bought The Departed on DVD today :D I'd been meaning to go to JB Hifi for ages, I've had $70 worth of vouchers sitting around since my birthday (read: SEPTEMBER last year), so figured this little venture was long overdue.
But perhaps even more exciting than adding another of my favourite titles to the swag was the bonus CD to come with it - Scorsese on Scorsese. The man on the man! I'm so excited I'm practically wetting myself. This is definitely being fast-tracked to the top of the must-see pile before the group gets on location and starts to film.
The man is more than an inspiration. He is a divine entity unto himself.
But perhaps even more exciting than adding another of my favourite titles to the swag was the bonus CD to come with it - Scorsese on Scorsese. The man on the man! I'm so excited I'm practically wetting myself. This is definitely being fast-tracked to the top of the must-see pile before the group gets on location and starts to film.
The man is more than an inspiration. He is a divine entity unto himself.
Friday, April 13, 2007
black friday
I had a swag of assessment due today, one piece of which will have to be handed in on Monday. Joy.
We've begun visualising for our Lenny exercises, which is proving to be somewhat interesting. There are so many different ways to go about this, but somehow I can picture all of ours looking the same if you know what I mean. To be honest I think everyone's starting to become too wrapped up in their individual projects to really put a lot of constructive thought into making Lenny a success... but it'll be good nonetheless to go through the mini-motions of a production project in order to fine tune ourselves for the real deal.
I'm tempted to suggest we rip off the Hitchcockian idea of introducing our two characters via their shoes. Anyone who's seen Strangers on A Train will know what I'm talking about (Bruno/Guy are contrasted via the sorts of shoes they are wearing and the direction in which they are walking, as well as the steps of their feet and the music that accompanies each.. ah, good times they were, good times). Hopefully we can all work out a time we're free this week to get this show on the road.. the sooner we can knock off smaller stuff like Lenny, the more energy we'll have to concentrate on other, more pertinent stuff.
We've begun visualising for our Lenny exercises, which is proving to be somewhat interesting. There are so many different ways to go about this, but somehow I can picture all of ours looking the same if you know what I mean. To be honest I think everyone's starting to become too wrapped up in their individual projects to really put a lot of constructive thought into making Lenny a success... but it'll be good nonetheless to go through the mini-motions of a production project in order to fine tune ourselves for the real deal.
I'm tempted to suggest we rip off the Hitchcockian idea of introducing our two characters via their shoes. Anyone who's seen Strangers on A Train will know what I'm talking about (Bruno/Guy are contrasted via the sorts of shoes they are wearing and the direction in which they are walking, as well as the steps of their feet and the music that accompanies each.. ah, good times they were, good times). Hopefully we can all work out a time we're free this week to get this show on the road.. the sooner we can knock off smaller stuff like Lenny, the more energy we'll have to concentrate on other, more pertinent stuff.
Wednesday, April 11, 2007
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.
“…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.
Sunday, April 8, 2007
contextualising my appreciation...
Just a random thought I had...
I remember being asked in Week 1, what my favourite film was. I answered, in earnest, The Prestige.
It's hard for me because a favourite film, to me, just classes as the one that has most recently inspired or evoked some kind of affirmation in you that the path your headed down is absolutely the right one.
Basically, when I watch a film, what I'm really looking for (above all else) is a sense of conviction. I need that to be sure of what I'm doing.
While it does have many complex layers, what really made the film for me was structuring of time and cause and effect. Without these two things, a film cannot truly succeed as a film... it becomes linear, boring, obtuse.
The world needs more directors like Christopher Nolan.
And for now I need sleep...
I remember being asked in Week 1, what my favourite film was. I answered, in earnest, The Prestige.
It's hard for me because a favourite film, to me, just classes as the one that has most recently inspired or evoked some kind of affirmation in you that the path your headed down is absolutely the right one.
Basically, when I watch a film, what I'm really looking for (above all else) is a sense of conviction. I need that to be sure of what I'm doing.
While it does have many complex layers, what really made the film for me was structuring of time and cause and effect. Without these two things, a film cannot truly succeed as a film... it becomes linear, boring, obtuse.
The world needs more directors like Christopher Nolan.
And for now I need sleep...
Friday, April 6, 2007
good friday.. good times?
So we're officially 'on a break'. It really doesn't feel like we should be. I don't feel like I've covered sufficient enough ground to have earnt a break from uni, but I'd best use this time wisely while I've got it, hey.
I like how we're being taught all different facets of the production roles. This week had a particularly good reading, entitled 'The Director and the Actor', and I guess having never made a real drama before (only ever did some stage when I was younger), I never really pictured myself having to realise my vision of a role through someone else. It's so fascinating and complex, one can't help but be taken by it all. If I get to direct at some stage this year, I guess I'll see for myself what it's like to have wear that all-important hat.
Sigh. Can't wait to read other peoples' scripts. I want to know what they came up with. In some sense it would have been good to read a few more before handing mine in (the only one I got to read was Latch's, 'cause he asked me to out loud in class). Ah well. Something to look forward to I guess.
I'm in the (rare) mood for a trashy horror film. Any takers?
I like how we're being taught all different facets of the production roles. This week had a particularly good reading, entitled 'The Director and the Actor', and I guess having never made a real drama before (only ever did some stage when I was younger), I never really pictured myself having to realise my vision of a role through someone else. It's so fascinating and complex, one can't help but be taken by it all. If I get to direct at some stage this year, I guess I'll see for myself what it's like to have wear that all-important hat.
Sigh. Can't wait to read other peoples' scripts. I want to know what they came up with. In some sense it would have been good to read a few more before handing mine in (the only one I got to read was Latch's, 'cause he asked me to out loud in class). Ah well. Something to look forward to I guess.
I'm in the (rare) mood for a trashy horror film. Any takers?
Thursday, April 5, 2007
'...it gets to a point where it's very ego-centered'
That's a direct quote from Scorsese in the first of this week's readings.
He's talking in relation to longer takes, and how some of the directing greats utilised them to their advantage. I guess he's right - this sort of profession has a certain kind of ego-magnestism to it - especially when so very many of us are at the mercy of our idols. I'm thinking, though, that in order to be honest in the way you make films, you need to be able to trust your own instincts. You have to be open to compromising some of your initial preconceptions.
'Even if there was a certain look on his face, I'd rather cut into that shot for (it)'.
So much of what happens on set is not pre-meditated, and some of it's not necessarily bad. For example, when an actor improvises a certain phrase or line, or gives a word a different inflection... it can change the emotional tone of an entire scene, and thus affect the framing, filming and overall mood. I like to think that while you can never really plan enough, and that all forms of pre-production are 100% necessary, you're not 100% required to stick to your shot lists on the day of the shoot. You can't really afford to set things in stone when so much of what you do is causal.. and we know how unpredictable (and at times, unreliable) people can be.
Scorsese also suggests that creativity and creative interest goes beyond the realm of 'talent' and becomes more a matter of instinct:
'Where I set the camera is just something I feel'.
And we feel it, too.
He's talking in relation to longer takes, and how some of the directing greats utilised them to their advantage. I guess he's right - this sort of profession has a certain kind of ego-magnestism to it - especially when so very many of us are at the mercy of our idols. I'm thinking, though, that in order to be honest in the way you make films, you need to be able to trust your own instincts. You have to be open to compromising some of your initial preconceptions.
'Even if there was a certain look on his face, I'd rather cut into that shot for (it)'.
So much of what happens on set is not pre-meditated, and some of it's not necessarily bad. For example, when an actor improvises a certain phrase or line, or gives a word a different inflection... it can change the emotional tone of an entire scene, and thus affect the framing, filming and overall mood. I like to think that while you can never really plan enough, and that all forms of pre-production are 100% necessary, you're not 100% required to stick to your shot lists on the day of the shoot. You can't really afford to set things in stone when so much of what you do is causal.. and we know how unpredictable (and at times, unreliable) people can be.
Scorsese also suggests that creativity and creative interest goes beyond the realm of 'talent' and becomes more a matter of instinct:
'Where I set the camera is just something I feel'.
And we feel it, too.
Wednesday, April 4, 2007
we could all do with some theatrics
..to brighten the day.
David's lecture this morning was an absolute doozie. I love having my 6 hours of straight classes brightened by the nutso antics of my peers, namely Latch, whose ridiculously dispassioned performance might've helped demonstrat what to film - but certainly not how not to act. Gold.
We're coming up to break time now so with any luck we'll all be able to get out acts and our heads together enough to prepare ourselves for the ride the rest of this semester is going to be. I've got that much to do it isn't funny. I should probably be in bed now, but will have something more meaningful to contribute tomorrow when I've done the rest of the readings.
nighty night.
David's lecture this morning was an absolute doozie. I love having my 6 hours of straight classes brightened by the nutso antics of my peers, namely Latch, whose ridiculously dispassioned performance might've helped demonstrat what to film - but certainly not how not to act. Gold.
We're coming up to break time now so with any luck we'll all be able to get out acts and our heads together enough to prepare ourselves for the ride the rest of this semester is going to be. I've got that much to do it isn't funny. I should probably be in bed now, but will have something more meaningful to contribute tomorrow when I've done the rest of the readings.
nighty night.
Sunday, April 1, 2007
april fool's day
We're now a quarter of the way through the year, folks. Clap clap, the best is over, brace yourselves for the terror that is yet to come.
Also, the census date has passed which means there's no backing out now.
Also, the census date has passed which means there's no backing out now.
Saturday, March 31, 2007
one down, and about fifty five billion to go
I've completed my script, but there are parts of it I want to change before I shoot it off. I'm glad to have made it through the whole onerous process, but at the same time, it feels like the biggest anticlimax - as in, where to from here? I guess the worst bit is not knowing whether they'll get made, and not being able to have a lot of input into the production of your own script. I know this has to be done for a reason, but it's the first time for many of us to be put in this position, and I just find the uncertainty of it a little uninspiring. I'm sure once groups are formulated and we get our own production balls rolling, things will fall into place.
It's starting to eke closer, as much resistance as time has yielded in passing. This week's readings go into detail about light balance, how to focus a camera, all kinds of other delectable technicalities that will come in useful in the near future. I'm itching to get back into it, though.. to be honest. It's been far too long.
And now to change this bloody ending. I can't decide whether it's more difficult to begin a script or to suspend it. They both do my head in.
It's starting to eke closer, as much resistance as time has yielded in passing. This week's readings go into detail about light balance, how to focus a camera, all kinds of other delectable technicalities that will come in useful in the near future. I'm itching to get back into it, though.. to be honest. It's been far too long.
And now to change this bloody ending. I can't decide whether it's more difficult to begin a script or to suspend it. They both do my head in.
Thursday, March 29, 2007
time's a tickin'
So our scripts are due on Monday. Mine's about half-way done, so about 90 seconds left to go. I never dreamed one would need to muster so much energy to get three minutes' worth of film onto paper! Deceptively difficult, that one.
Still, I'm having a hell of a lot of fun crafting Fiend, particularly the voice-overs of Art himself. The character is really beginning to grow on me. I wonder if this is a natural part of the scriptwriting process? Do writers form curious bonds with the little imaginary fragments they breathe into life, or am I just uncessarily sentimental about these things??
In my mind I have a vision of a very experimental, sound-driven narrative. I want the audience to get inside this guy's head, to feel and experience the smacked-out delirium that had overtaken his world. The disorientation associated with a come-down is like a metaphor to mirror his fall from grace... from humanity, from himself. Though being the overwhelming optimist I am, I can't let it simply be a reflection based on that fact. There needs to be change, there needs to be movement. Characters must be fluid, as all humans are.
I'll bring him round full circle, but I won't lead him the entire way. Change is in the hands of the individual. Still tossing up a few motif ideas in my head, but I daresay there'll be a jehova's witnesses encounter somewhere along the lines - just ot keep life interesting of course :P
Watch this space.
Still, I'm having a hell of a lot of fun crafting Fiend, particularly the voice-overs of Art himself. The character is really beginning to grow on me. I wonder if this is a natural part of the scriptwriting process? Do writers form curious bonds with the little imaginary fragments they breathe into life, or am I just uncessarily sentimental about these things??
In my mind I have a vision of a very experimental, sound-driven narrative. I want the audience to get inside this guy's head, to feel and experience the smacked-out delirium that had overtaken his world. The disorientation associated with a come-down is like a metaphor to mirror his fall from grace... from humanity, from himself. Though being the overwhelming optimist I am, I can't let it simply be a reflection based on that fact. There needs to be change, there needs to be movement. Characters must be fluid, as all humans are.
I'll bring him round full circle, but I won't lead him the entire way. Change is in the hands of the individual. Still tossing up a few motif ideas in my head, but I daresay there'll be a jehova's witnesses encounter somewhere along the lines - just ot keep life interesting of course :P
Watch this space.
Wednesday, March 28, 2007
nature of the beast: learning the ropes in cinematography
Today's hour of power was spent brushing up on what, by now, ought to be a given/second nature for many of us, but it certainly can't hurt to reiterate the basics at this point in time.
The nature of the camera has a large impact on the way films are shot, as it has a direct correlation to the nature of the frame. These composition choices need to be clearly thought out from the very beginning, so that mise en scene can be taken care of accordingly.
We are lucky in that the cameras we are using have viewfinders. Apparently a feature was shot on someone's mobile phone last year - I can only imagine how much of a headache it's going to be to edit something of that quality, but hey, it's a world-first and the technology makes it possible in this day and age.
The aspect ratio of a frame should always be used to its full potential. We can opt to shoot in 16x9 as opposed to the native 4x3, if stylistically this will add specific meaning to the narrative. The key to always ask oneself is how much are your shots going to reveal? How flat do you want the frames to be? Remember, the frame is NOT reality, i.e. cheating is permissible.
Godard commented on the nature of watching (audiences), whilst watching a film. The idea is to make viewers forget that they are, in fact, being engaged - that is, to sublimate their senses without becoming overbearing. The sky may be the limit with character, but from a technical perspective, everything must serve a purpose. Once people remember that they are watching a film, it loses any lasting impact it could have had on them, making it moot.
There's one hell of a fine line between theory and practice - will any of dare to cross it this semester?
The nature of the camera has a large impact on the way films are shot, as it has a direct correlation to the nature of the frame. These composition choices need to be clearly thought out from the very beginning, so that mise en scene can be taken care of accordingly.
We are lucky in that the cameras we are using have viewfinders. Apparently a feature was shot on someone's mobile phone last year - I can only imagine how much of a headache it's going to be to edit something of that quality, but hey, it's a world-first and the technology makes it possible in this day and age.
The aspect ratio of a frame should always be used to its full potential. We can opt to shoot in 16x9 as opposed to the native 4x3, if stylistically this will add specific meaning to the narrative. The key to always ask oneself is how much are your shots going to reveal? How flat do you want the frames to be? Remember, the frame is NOT reality, i.e. cheating is permissible.
Godard commented on the nature of watching (audiences), whilst watching a film. The idea is to make viewers forget that they are, in fact, being engaged - that is, to sublimate their senses without becoming overbearing. The sky may be the limit with character, but from a technical perspective, everything must serve a purpose. Once people remember that they are watching a film, it loses any lasting impact it could have had on them, making it moot.
There's one hell of a fine line between theory and practice - will any of dare to cross it this semester?
Tuesday, March 27, 2007
conceding defeat
Well, I've given up and given in to some extent on trying to get WordPress to be my friend. I figure that if I do get it up and running I can just set it up to feed straight from here anyway, so that's that.
This morning's lecture gave me a lot to think about regarding how I want my script to be shot. I hadn't really given it a great deal of thought prior, but the aspect ratio used to film with can make an enormous difference to the narrative structure. A film like Apocalypse Now, for example, would not have had such an oblique, end-of-days feel to it had it been done on 3:4 or even 16:9. Its very structure and cinematic dexterity is heavily reliant upon the inclusion of the wide-wide screen, and Coppola's meticulous attention to detail is enough to awe the pants off generations of audiences, 28 years on from its release.
It's funny to think that movies were awesome well before I was born.
(No, I'm not an ageist, damnit!)
I'm thinking 3:4 might be the go with mine, but we'll see. I've flirted with the idea of 16:9 but honestly, I think it's probably best to stick to convention - at least for the purposes of this task and the genre it pertains to. I have thought about filming in black and white though, not just for the memory sequence, but the entire piece. Hmmm. We'll see what transpires when I finish the script.
Speaking of which... I'd better get on it - while I've still got energy (and motivation).
This morning's lecture gave me a lot to think about regarding how I want my script to be shot. I hadn't really given it a great deal of thought prior, but the aspect ratio used to film with can make an enormous difference to the narrative structure. A film like Apocalypse Now, for example, would not have had such an oblique, end-of-days feel to it had it been done on 3:4 or even 16:9. Its very structure and cinematic dexterity is heavily reliant upon the inclusion of the wide-wide screen, and Coppola's meticulous attention to detail is enough to awe the pants off generations of audiences, 28 years on from its release.
It's funny to think that movies were awesome well before I was born.
(No, I'm not an ageist, damnit!)
I'm thinking 3:4 might be the go with mine, but we'll see. I've flirted with the idea of 16:9 but honestly, I think it's probably best to stick to convention - at least for the purposes of this task and the genre it pertains to. I have thought about filming in black and white though, not just for the memory sequence, but the entire piece. Hmmm. We'll see what transpires when I finish the script.
Speaking of which... I'd better get on it - while I've still got energy (and motivation).
Monday, March 26, 2007
metamorphosis
I want to get inside this character's head. How would I feel if the closest thing to living was having methamphetamine coarsing through my veins? When did blood cease to be enough to sustain a human being?
I'm basing this story partially on two people I know. One (M) is a recovered meth addict, the other (J) is a current crack addict. The latter I would consider quite a good friend. The age group is similar, but scenario here is totally different - both of these people I know via the melbourne queer scene - but the principle still stands. Though it wouldn't really occur to me to broach the subject (the term deaf ears springs to mind), I do hope that, eventually, he finds a reason to rid himself of his crackpipe, of his own will.
Maybe I'm trying to personify courage. I don't know. I'm trying to put into a metaphor what is impossible for me to conjure up into my verbal interactions with the world. I've seen drugs do some nasty shit to people, their relationships, their interactions with the everyday world, and most of all themselves. The fact that most of them live in denial scares me. 'Creatures of habit' takes on a whole new meaning when one of your 'friends' goes through a good $100/day of crystallised cocaine.
I understand the desire to want to put a barrier between yourself and your emotions. But it's a depressing way of life and a degenerative one if you let it control you. I'm 21 and already I can see this... does that mean I can make a difference?
I'm basing this story partially on two people I know. One (M) is a recovered meth addict, the other (J) is a current crack addict. The latter I would consider quite a good friend. The age group is similar, but scenario here is totally different - both of these people I know via the melbourne queer scene - but the principle still stands. Though it wouldn't really occur to me to broach the subject (the term deaf ears springs to mind), I do hope that, eventually, he finds a reason to rid himself of his crackpipe, of his own will.
Maybe I'm trying to personify courage. I don't know. I'm trying to put into a metaphor what is impossible for me to conjure up into my verbal interactions with the world. I've seen drugs do some nasty shit to people, their relationships, their interactions with the everyday world, and most of all themselves. The fact that most of them live in denial scares me. 'Creatures of habit' takes on a whole new meaning when one of your 'friends' goes through a good $100/day of crystallised cocaine.
I understand the desire to want to put a barrier between yourself and your emotions. But it's a depressing way of life and a degenerative one if you let it control you. I'm 21 and already I can see this... does that mean I can make a difference?
Friday, March 23, 2007
flickerfest 2007 - opening night
Last night I ventured out with a good mate to KinoDendy cinemas in Collins St, to catch the Opening Night of Flickerfest. Currently in its 16th year running, Flickerfest is Australia's most competitive International short film festival. For $14 apiece we were treated to a swag of award-winning films from around the world, varying anywhere from 6-20 minutes in length - not to mention the catered (booze included) afterparty, where they served up these gorgeous little lamb cutlets with pomegranite seeds on top.
Pretty swish, eh?
You'd better believe it.
We actually sat in front of Christine Rogers, the old Prof Comm admin officer and my tutor from Writing Media Texts last year. The film she was invoved with didn't make the cut for the Melbourne screening, but apparently she'll be working on some bigger and better things in the UK and LA next month. It's always good to see Melbournians heading off into the big smoke... unfortunately, we missed our chance to talk with the two directors of the Melbourne short that's on everyone's lips at the moment, Booth Story. Shortly before the screening, Kassimir Burgess and Edwin McGill gave a quick thank you speech, which I probably would have appreciated more if I'd known how good the film was going to be.
Brilliant stuff. I gave an incoherent, gushing review in the tute today, which probably didn't articulate any good reasons why my fellow students ought to suss this film out, only that it would have them rolling in the aisles and send shockwaves of patriotism down their spines. I guess clever, local cinema always takes me by surprise.
They were all pretty good though. Another stand-out effort was 'Dreams and Desires', which gets double points for originality.. Who'd have thought to rip off dodgy home-made camcorder footage in the style of animation? Really understated yet really effective. My lack of innovation really depresses me when I watch this sort of stuff.
Hoping to get along to tomorrow or Sunday's screenings, but can't foresee having the extra time or money to do so. Bah humbug.
Pretty swish, eh?
You'd better believe it.
We actually sat in front of Christine Rogers, the old Prof Comm admin officer and my tutor from Writing Media Texts last year. The film she was invoved with didn't make the cut for the Melbourne screening, but apparently she'll be working on some bigger and better things in the UK and LA next month. It's always good to see Melbournians heading off into the big smoke... unfortunately, we missed our chance to talk with the two directors of the Melbourne short that's on everyone's lips at the moment, Booth Story. Shortly before the screening, Kassimir Burgess and Edwin McGill gave a quick thank you speech, which I probably would have appreciated more if I'd known how good the film was going to be.
Brilliant stuff. I gave an incoherent, gushing review in the tute today, which probably didn't articulate any good reasons why my fellow students ought to suss this film out, only that it would have them rolling in the aisles and send shockwaves of patriotism down their spines. I guess clever, local cinema always takes me by surprise.
They were all pretty good though. Another stand-out effort was 'Dreams and Desires', which gets double points for originality.. Who'd have thought to rip off dodgy home-made camcorder footage in the style of animation? Really understated yet really effective. My lack of innovation really depresses me when I watch this sort of stuff.
Hoping to get along to tomorrow or Sunday's screenings, but can't foresee having the extra time or money to do so. Bah humbug.
Thursday, March 22, 2007
research: ABC/Four Corners' 'The Ice Age'
[This is what I just watched]
'A shocking close-up study of the new drug of choice: ice'
I guess it had to be done in order for me to understand what I'm getting myself into.. as far as my leading man is concerned. but fuck. Some of that doco is just purely and utterly disturbing. And there really is no other way of putting it.
I guess it's difficult to remain truly objective in the face of an illicit addiction. It is also very hard to rationalise that kind of thing, and the sorts of people they use on their programs really typecase addicts in a way that I don't agree with. Why do they scour the streets until they find the most derelict individuals with children they cannot name and cardboard boxes for homes? That is so disturbingly inaccurate of Australian drug culture it isn't funny.
Most of these addicts have jobs, lives, and friends that they try to hold down, while most of their suffering happens in private. That is the side I want to expose - the boy(or girl)-next-door aspect that gets overlooked in favour of what society deems palatable. If 'people' really knew what went on behind their neighbours' closed doors, they mightn't be such a judgemental mob. Because I know for a fact that drugs are *that* imminent.
It isn't always the junkie sleeping in the cardboard box whose life has been reduced to next-to-nothing.
Damn representation shits me sometimes. I'm going to have so much fun next semester ripping these freaking docos apart. Still, at least now I have some proper food for thought.
'A shocking close-up study of the new drug of choice: ice'
I guess it had to be done in order for me to understand what I'm getting myself into.. as far as my leading man is concerned. but fuck. Some of that doco is just purely and utterly disturbing. And there really is no other way of putting it.
I guess it's difficult to remain truly objective in the face of an illicit addiction. It is also very hard to rationalise that kind of thing, and the sorts of people they use on their programs really typecase addicts in a way that I don't agree with. Why do they scour the streets until they find the most derelict individuals with children they cannot name and cardboard boxes for homes? That is so disturbingly inaccurate of Australian drug culture it isn't funny.
Most of these addicts have jobs, lives, and friends that they try to hold down, while most of their suffering happens in private. That is the side I want to expose - the boy(or girl)-next-door aspect that gets overlooked in favour of what society deems palatable. If 'people' really knew what went on behind their neighbours' closed doors, they mightn't be such a judgemental mob. Because I know for a fact that drugs are *that* imminent.
It isn't always the junkie sleeping in the cardboard box whose life has been reduced to next-to-nothing.
Damn representation shits me sometimes. I'm going to have so much fun next semester ripping these freaking docos apart. Still, at least now I have some proper food for thought.
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