Well the exam is over. It’s been an interesting ten plus
weeks with many ups and downs along the way. But we all made it to the end and
crossed the finish line as a team. The exam went well. There are of course
things I would have liked to have improved upon, which is why hindsight is a wonderfully
woeful thing.
We shot the same five-minute script twice using two different
shot lists and a different actor for the male lead. From the offset, I’d wanted
a mature actor that was age appropriate for the role. Yet by the time I got the
greenlight and was able to get the script to my actor, there was little time left
to memorize the lines. Which was a shame but in no way a reflection upon the ability
or willingness of my actor.
Everyone worked well together. The floor manager was particularly
versatile, dressing the set, managing the studio floor and feeding lines to the
actor. Which I’d like to have done using a discreet ear piece placed in the
actors’ ear. But time would not allow
for such a concession to be made.
From 09.00 I was all too aware that the clock was against
me. Initially we had to set the scene which ate up a few minutes. I should have
stayed in the studio and walked the cast though the entire physicality of the
scene. But I was too caught up in the routine of directing from the gallery. I
wish I’d had the confidence to follow my gut rather then doing what I assumed
was expected of me.
I felt comfortable in the directors’ chair, some of the
shots looked really good. Killing the house lights in the studio added a sense
of visual depth we hadn’t seen before. Watching the other director and the younger
alternate actor was interesting. The physicality of the other performance was
well rehearsed and highly polished. They had developed onscreen chemistry which
made for genuinely compelling viewing.
My dual role of q-lab operatior was fairly-easy. There were
a few technical hiccups, but they were promptly resolved. I had the opportunity
to observe for long periods between my cues to play the required file at the required
time.
What I think I learnt today is that I still have a lot to
learn about directing. I didn’t take the position because I wanted too, it was
a job that no one else wanted. I can direct and I’m getting better with experience,
but it’s not something that comes naturally to me.
Directing is like conducting and orchestra. But, I’m inherently
an off-beat. I have a terrible sense of rhythm. The only way I’m directing my way
to Carnegie Hall is with fastidious practice. The thing which I enjoyed the
most was seeing and hearing the dialogue I structured being spoken by the
actors on screen. Seeing the words come alive in a visual sense from page to
screen was the part I took the most pride in. I think, whereas I like
directing, I love scriptwriting and should perhaps focus more on my passions in
future.
This week marked not only our final session in the studio
before our exam, it also marked my last ever class as an undergraduate. If I
had a smartphone, I’d have taken a selfie, but I don’t, so I didn’t. This week
we focused on refining our roles for the exam. I directed for the first half
again. The difference this time was that our producer was now acting as my
directorial counterpart. We are short on crew, so are stretched very thin in
terms of manpower.
As well as taking the directors chair, I was assigned the
role of QLab operator during the second half. Initially, I was not comfortable
with this swap. As I hadn’t performed the task prior, I didn’t feel very confident
in doing it for the first time halfway though our last session. It seemed like
a potential spanner in the works so to speak. However, as we are short staffed,
I continued to fill the role despite my reservations.
We had another disastrous set-back this week. When both our
actors dropped out at the very last minute. The funny thing is, the actors who
failed to turn up were not my first choice in terms of casting. I had wanted to
cast a mature student in the role of Jon the police chief/chef. As he would
have been more age appropriate for the character and would have been far more
visually interesting, in terms of the visual distinction between the ages of
Jon and Faith. Given that my choice is a mature student, they would undoubtedly
have been more committed to the role. But my ideas in relation to casting were
shot-down. When the actors didn’t turn up there was nothing I could do, as it
was to short notice. In hindsight, I should have fought harder for my choice of
casting. This quote from 130 lessons in
leadership from the directors’ chair perhaps best illustrates how vital casting
is in pre-production.
“Directing is
mostly casting. Some say directing is 60 percent casting, others say 90
percent. Regardless, it’s a lot. There is not a more important single decision
you will make during the production than who you put into a role.”
Operating QLab during the second half of the session, was a
bit boring. All I had to do was press the spacebar when I was instructed to do
so. Whilst doing this, I got to view the opening credits sequence a few times.
Which admittedly is very well put together. However, it made me think/feel that
I should have a writing credit for the project. I worked a lot on the script from
it’s original draft. I refined it and made it work where it was lacking in
style and structure. At this point, having the writing credit is inconsequential.
I don’t want to come across like a diva, demanding acknowledgement for my work.
All in all, the session went well, and I think we are on
track to do well on the exam. We have consistently worked as a team despite setbacks
beyond our individual and collective control. I will post one more blog after
the exam and one final entry after grading to reflect on the module as a whole.
This week’s session was my second time in the directors’
chair. I think things went better this time around but it’s difficult to judge
objectively. Initially, after reviewing the script and giving it a good proof read,
I proceeded to edit the script. There were a few typographical errors which I found
amusing. Police Chef was referenced twice instead of Police Chief. In context,
it was meant to be chief, however a drama about a Police Chef does sound
vaguely interesting and certainly entertaining. Gordon Ramsey’s Kitchen Nightmares meets The Bill.
Some of the grammar and sentence structure felt a bit
clumsy, so I tweaked the dialogue. I did feel like I had at least partially
overstepped my mark as director. This quote from 130 Lessons in Leadership from the
Director's Chair, illustrates my potential error in judgement.
“Don’t change the author’s words. Director Lloyd
Richards said that if you continually find yourself itching to make changes to
a script, consider whether you should give up directing and take up playwriting”.
However, after reviewing my edit, the scriptwriter was happy with the work we
had produced in this collaborative fashion.
Halfway though the session, we were meant to switch roles
in preparation for exam conditions. I left the gallery and assumed my secondary
position as a camera operator. Everything quickly fell apart during the second
half of the session. The other director became unwell and had to leave the
studio. This was no ones’ fault, it’s just one of those things that happen.
Unfortunately, we as a group were not prepared for this eventuality.
The second half of the session was detrimental to our
groups morale. Another practise session has been scheduled. However, with my
childcare restrictions, I can’t make myself available at the required time, so
another member of the crew will have to replace me for that extra session.
My half, went well. We were slightly behind schedule but
were still on track. I would have preferred to have dressed the set, immediately
after we entered the studio instead of going over text describing our
individual roles. This process took 30 mins. Time in which we could have had
the set dressed before the cast had arrived.
I would have liked to have had at least one more rehearsal
session with the actors prior to getting into the studio. But we are working with
unpaid actors, so availability is at their discretion. I’m going to end this
blog with another quote from 130 Lessons in Leadership from the Director's Chair “The best compliment for a director: “You seemed from the
beginning to know exactly what you wanted.” Actors and others will follow you
even if they disagree with your direction. But they will not follow if you are
afraid to lead. A clear, confident presence and strong direction are highly
reassuring to everyone.” We only
have one final session this week before our practical exam. At least, by this
point I feel somewhat confident in my skills/ability as a director.
This week’s session was exhilarating. After such a long
hiatus it was a relief to get back into the studio. The set had been built and
we were free to walk through and around it. The layout is of two boxed rooms
with doors and furniture. It kind of felt like playing with a real-life doll house.
An actress joined our session to help us run through the
script we were using as source material to cover the basics of shooting a multi-camera
drama. It was a stupidly hot day so were allowed to bask in the sunshine whilst
we blocked the scene. Whilst blocking the scene, we found out that there had
originally been plans to build an amphitheatre, but someone thought that a
parking lot was more important.
We were set a reading for this session. I went to the recording
studio, recorded me reading the chapter, scanned all the pages from the chapter
and created a multimedia version of the chapter. I found it to be an engaging
way of understanding and memorizing the chapter.
In this session, I got the opportunity to operate camera
one. This was my first time in session using one of the big studio cameras. It
was a lot of fun. I was shooting a Medium/Close-up of the actress answering the
phone. In the beginning, the actress was seated on the sofa and her head was
partially visible in the bottom corner of the screen. I tried to crop her head
out but was told to leave the shot alone. It took me a moment to realise that
it didn’t matter that her head was partially in shot whilst she was in the
seated position because my camera wouldn’t go live until she was already stood
up. As such, all I had to do was maintain the shot composition and follow
direction as given.
As a group, we started to select and research the roles
which we intend to undertake during our practical examination. I was hesitant to
approach the directors chair again. But the producer from the last project I directed
said I did a good job but need to communicate with the production assistant more
effectively. With that constructive criticism in mind, I’m intent on taking the
reigns one final time. In the words of Samuel Beckett “Ever tried. Ever failed.
No matter. Try again. Fail again. Fail better.”My last effort as a director didn’t go as well as I’d have liked, but I
did learn a lot and intend to apply what I have learnt to this next challenge.
In researching my role as director, I came across this
great book which I highly recommend to any and all aspiring directors, 130 Lessons in Leadership from the
Director's Chair. Here is one lesson which I most certainly will bear in
mind, “You are not the parent of this child we call the play. You are present
at its birth for clinical reasons, like a doctor or a midwife. Your job most of
the time is simply to do no harm. When something does go wrong, however, your
awareness that something is awry—and your clinical intervention to correct it
—can determine whether the child will thrive or suffer, live or die”. It is a
really good read despite being a tad dated, with a reference to Bill Cosby
which sticks out like a sore thumb.
We are meant to select a second smaller role to assume during
halftime of our exam. I have opted to use the autocue again. Although I haven’t
been able to find any academic writing on the operation of the autocue itself.
I have been researching editing practise as a comparative skill to directing.
I’ve found Film and
Video Editing by Roger Crittenden, to be especially insightful. “Kevin Brownlow has
described editing as ‘directing the film for the second time’, and it is not
surprising that the cutting room is the single most frequent source of
directing talent from amongst the various
crafts.” My experience in video editing has given me insight into
directing and vice versa. I like editing because there is much less social
interaction. Editing is a long, almost private process with man, mind and
machine blending together to create cohesive moving images. Directing, by
nature needs people to be directed. You must socially navigate through everyone’s
expectations to birth a sustainable project. 13 Questions every director should
ask according to Crittenden are included in the following appendix.
749
Bibliography
Crittenden, Roger. Film and Video Editing, Taylor &
Francis Group, 1995.
Hauser, Frank, and Russell Reich. Notes on Directing : 130 Lessons in Leadership from the Director's
Chair, RCR Creative Press, 2003.
Beckett, Samuel Worstward
Ho. 1983
Appendix
“The shooting
script or, in the case of documentary, the shotlist, is meant to provide us
with a template for the film or video before it exists. However, each director
is dealing, at the moment of shooting, with the fundamental question: how do I
shoot to provide the most effective material for editing? If we understand the
dramaturgy of the script we can analyse how the details of the mise-en-scène
can be captured on the film or tape to provide the raw material that the editor
needs. So what questions should be kept in mind during the shooting? Each scene
should be examined to identify the following:
1. Where is the focus of interest?
2. When and to what does that focus shift?
3. What is
the mood and consequent pace of the scene?
4. Does that mood/pace change?
5. Are there
natural pauses which should be reflected in silence and stillness?
6.
What significant detail must be seen?
7.
Conversely, when is it important to see the whole area in which the action
takes place?
8.
When is a reaction more important than an action?
9. How should movement be encompassed?
10. Does any
off-screen or non-synchronous sound contribute to the scene?
11. How do
the beginning and end of the scene relate to those immediately before and
after?
12. Does the setting
occur more than once in the script, and therefore need to be established in a
particular way?
13. Can the
turning point of the scene be pinpointed?”
The Easter break was so
long it deserves its own blog. I was lucky to get the opportunity to work with
Aberystwyth TFTS alumni Luise Leschik on a conceptual performance piece titled "Heul doch!" I got the chance to gain
additional practice using both a single and multi-camera set up. Filming continuous
action from two angles then editing the footage together utilizing continuity
editing principles.
The
project was by nature experimental. Which afforded me the flexibility to learn new
editing techniques and think abstractly which, was a refreshing change of pace.
Unfortunately, I got severely ill two thirds of the way though the project and
was unable to be present in the physical space towards the end. However, I processed
as much material as I could once my health was back up to 100%.
In the
studio this week I was on the opposite side of the camera. I, along with the
producer from last week and the two performers were interviewed for a short music
television themed segment. I wasn’t exactly comfortable or confident on screen.
For the most part I prefer to be behind the scenes. I enjoy acting with a
script but talking as myself tends to make me “corpse”, badly. We started off
the session by learning two methods for coiling XLR cables. I was already familiar
with the process through my day-job, but these techniques were very effective. I
reckon I could coil cables as quickly as Forrest Gump assembles and disassembles
his rifle.
What we did
in studio today was only a small part of everything we as a production group
worked on and accomplished since the last session. We had two days of shooting
on location which went well. Although we did have some teething trouble to
start. I didn’t check the equipment prior to bringing it to location. The
battery was flat which initially hampered production. We shot as much as we
could of the first verse scene. As we only had a small window in which to use
the space available for shooting. We had to keep stopping to charge up the
battery enough to finish filming the scene. If I had made sure to charge the
battery beforehand, production would have gone a lot smoother. Although it was in these instances of waiting
around for the battery to charge that we talked about ideas. We attempted to do
a vertigo shot but failed spectacularly. We were like the three stooges; the shot
didn’t work but it did make for an excellent team building exercise.
When the
project was brought to me, I had never anticipated making a music video for a
Dolly Parton song. I just felt that as a socially conscious male “artist” I
didn’t feel comfortable with the concept of having the singers’ happiness being
dependent upon a man. I pitched a bunch of ideas to the producer. One where
Jolene would have been a mythic siren, luring men to their deaths at sea. That
would have been a nightmare to film on location with the snow. Thankfully we
went for a simpler option. Where the singer who is singing about Jolene is Jolene
herself. We didn’t really flesh out the concept, we don’t know if the character
is aware of the fact that she is “Jolene”. The point is that “Jolene” is a
femme fatale who preys on men.
It was a bizarre
concept and is undoubtedly one of the most twisted interpretations of a Dolly
Parton song ever to be imagined. As well as directing I undertook a significant
portion of the editing responsibilities. It was difficult syncing up
availability. Thankfully we were able to network and share workflow as it progressed.
I was able to piece together a number of rough-cuts which were evaluated and
critiqued by the group. Reference points in the timeline where created where
changes could be made. All in all, I’m pleased with the work we produced and
look forward to our next production task…
The producer
offered me the directing role and I accepted. It was difficult at first trying
to function without my laptop. But the supplier guaranteed that it would arrive
this week. I’m relived to say it did and only a day later then promised.
This time
around I undertook a lot more responsibility behind the scenes. I chased up the
producer for details of meetings with performers and script progress. I wanted
all the nuts and bolts of the projected laid out in front of me. Things didn’t
really unfold like that. We held a production meeting on Monday. Which I attend
during my lunchbreak from work. Sadly, not everyone from the team could be in
attendance but we made significant progress nonetheless.
I broke up
the lyrics to the song Jolene and assigned different shots for each camera. I
was hesitant to use the handheld camera in the studio set up. I mentioned my
concerns to the producer. As I wanted to be cautious of breaking the 180-degree
rule with two performers on stage. I would have been happy using just the three
cameras, but I wanted to ensure that that was a role for everybody on the
production team.
Against my
better judgement, I planned out a shot list including all four cameras. I
though that if we had to use the handheld, then we might as well try and use
them almost exclusively for close-up shots. The only reason to have a handheld
camera is to utilize a range of motion not capable with a tripod.
On the day,
we decided to keep camera two static, so it didn’t have or need an operator.
What we should have done was scrapped camera four altogether. But hindsight is
a disturbingly wonderful thing. The first two takes went well, despite a few
communication errors. For example, I asked the floor manager to move the
performers to stage but they didn’t hear or respond. The executive producer
then asked me to ask them to move. As they were sat talking just off shot when
they could just as easily be sat on scene chatting whilst we get all the
equipment prepared. I already knew this and had already asked for them to be
moved a few minutes before I myself was asked. After giving another prompt to
the floor manager, the performers moved on scene. We made the two adjustments
recommend by our producer and began rehearsing for a live broadcast.
The
executive producer wanted to change most of the shots on camera four, opting
for a wider angle which was beautifully composed framing one of the performers silhouettes
in the background. Yet, all the combined changes to the shot list at the last
minute effected our sense of rhythm and perhaps to some extent our confidence
as well. We were running out of time and as such were not permitted to live
broadcast directly. Instead, we, the production crew were relegated to the role
of audience. Which as director is entirely my fault.
Maybe I
should have fought against changes and kept things exactly as we had rehearsed
and gone through during the previous two takes. We were just developing a sense
of rhythm in time with the music and the lyrics. Now we have the off-site shoot
scheduled for Saturday with a second shoot in the recording studio booked for
Tuesday morning. Hopefully the production and post-production work will go
according to plan before Thursday’s session.