FilmG 'Shooting Your Film' workshops

On Saturday I was in Inverness at the Highlands & Islands Enterprise building for a workshop day organised by FilmG to help in the process of practically turning a script into a film. It basically consisted of three one-on-one tutorials with industry professionals; a director – Eleanor Yule, a Gaelic producer – Morag Stewart, and a designer – Mark Lease. I found it extremely helpful. As it happened my script came out needing to be totally re-structured and re-written but it was worth it just to thrash out the problems with some people who really knew what they were talking about. Of course we didn’t only talk about the script. I also had lengthy conversations about good DPs, Kevin Macdonald and The Eagle of the Ninth, German Expressionism and what it takes to make it in the industry. I experienced a rainbow of emotions as I met these people, allowed my work to be scrutinised and opened myself to their comments and criticism but ultimately the day was both challenging and rewarding. I got a feeling, which I’m not going to try and explain, where I just knew that this was the day I would look back upon and remember as the day I knew my goal was possible, I have the potential, and that if I really want to then I can make it in this industry; my dream became, just for a moment, a visible reality.

Strike (Stachka)

The first two-thirds of this film were skilfully constructed and very engaging. I was pleasantly surprised to find myself understanding the characters, appreciating the editing and following the story without being distracted by the less familiar silent film style. Moreover the story content was refreshingly original for me; I don’t know many stories about worker-strikes. So I bought into it and was even enjoying it… then Eisenstein went a bit crazy… and very Russian. The last two sections of this film in six chapters just completely lost me, confused me, amused me (unintentionally I’m sure!) and ultimately bored me. My main issue was with character. Cleverly Eisenstein had set up various main characters amongst the workers who we knew and recognised but then in the build-up to the climax, when our emotional attachment to the characters is of greatest importance, they disappear. Worse, he actually introduces a whole bunch of new characters – some crazy people who live in barrels – and goes off on a complete tangent. This community has not been set up in any way and neither has the set-up of our previous group of characters been paid off. I just became totally lost. Further to this problem is Eisenstein’s insistence, like in Potemkin, of making ‘the mob’ his protagonist. We become emotionally engaged in a story if we know and care for the characters. A mob is kind of hard to engage with, on any level, especially if they’re running around willy-nilly doing goodness knows what without a moments breather. The intended theme of injustice doesn’t work unless we somehow know this crowd and feel their pain. When they are hosed down we are obviously supposed to feel angry at the unfairness of the situation but because I had no emotional attachment I felt nothing and instead watched it with mild discomfort and occasionally amusement. Even the baby being thrown off the balcony produced horrified hilarity rather than serious shock and the cow being slaughtered, though unpleasant to watch, had little emotional significance for me. So I don’t think Eisenstein set up his pay-offs, or paid off his set-ups in this film and despite some ground-breaking editing it lost both my emotional attachment and engagement with the story.

More New Starts

Our first class of the Cinema Movements module followed on from our screening of Metropolis and was about Production Design. The visual language of film is something which fascinates me and I am reading up a bit on Semiotics at present, purely for interest sake. Production Design is one of those elements which, like Music, if done well should be unnoticeable. It is, as Andy said, there to enhance the story, not supplant it; “The most beautiful ballroom on earth means nothing unless it helps the context of the story” Patrizia von Brandenstein. I did have an idea for a film where the design was what excited me about it, rather than any element of the story, only to discover that A Very Long Engagement might already have implemented my idea. That’s another one for the viewing list! We also touched on the place of CGI in films as an aid for Production Design. I was delighted and impressed by a birthday card I received from a friend (hand-made!) which pretty much sums up the issue.

Not much has changed in our Screenwriting classes. Still starting with a warm-up, still certain of receiving homework and still not all sure about theme! I’m very glad we are still having classes as I find them very helpful and motivational. I am determined to be regimentally self-disciplined this year with my writing and make the time for it. Hopefully by the time we move into tutorials my writing will be habitual and self-motivated. I do enjoy it, I just don’t do it regularly enough.

Our module on TV Content with Adam started this year with a brief from Channel Four for a programme idea. This is apparently what we will be working on this year and I know already that I will be rubbish at it. I don’t watch enough television and I’m pretty sure the kind of idea Channel Four will be looking for is not my type of thing. I am determined to try and think out of the box and do my best with it but if I’m honest it’s not really my cup of tea.

Technical classes started up with a ‘quiz’ to test our retention of information from last year which was accessed through Moodle (Ray’s new toy) and was unexpectedly difficult. “Multiple choice,” thought I, “how hard can it be?”. Many of the questions covered things that I’m sure we never learnt last year… or maybe my memory is just worse than I thought. However, we did also break out some kit and even now there is an irresistible surge of excitement when handling and learning about new and more professional kit. Somehow even just the sight of a 570 sitting on a Ronford Baker tripod is enough to get the adrenaline-pumping and to awaken the urge to get out there and shoot movies!

Metropolis

I need to explore more German cinema. So far the German films I have seen (e.g. Nosferatu, Der Architek) have shared a quality and rich texture which has fascinated me. I get the impression that Germans go for the look first and foremost, and then story is secondary and this held true for Metropolis. The production design was immense and I can well imagine that the inspiration for the world came way before any characters or story were created to populate that world. This is interesting because it conflicts with the basics we looked at with Zam, and have been taught by Richard, where Story comes first and style follows (something which I discovered Petra, our exchange classmate from the Czech Republic, disagrees with). I suppose this comes down to a fundamental contrast between the Americanised view of filmmaking and the more art-house stylistic method which is often seen in European cinema. In short, perhaps one is commercial and the other art? But I digress. Metropolis kept me wide-eyed and mildly entertained, though I did find myself laughing at moments which I’m certain were not intended to be funny, and all in all it was an innovative and inspiring visual feast. I am aware that most of my comment at this stage cannot merit more than mere speculation but I do intend to educate myself further if possible on German cinema in particular. My first step will be to watch another German film which has been recommended to me: Good Bye Lenin!

New Starts

I was shocked to discover, on reading the Programme Handbook we were given at the start of last year (yes, I got round to reading it eventually… it is now my constant study!), that I have been deluded for an entire year. RPJ is not, as I had thought, an acrostic for Reflective Personal Journal but for Reflective Performance Journal… and I blame Creative Beginnings. Therefore where last year I kept a personal journal this year I will try and make it more of a performance journal and instead of recording my reflections in weekly entries I will write a separate post for each significant reflection.

As is to be expected there was a lot of talking to sit through during our welcome to first the School of Drama and then the DFTV Programme most of which was very encouraging. By far the most exciting piece of information was the news that our second year will be focussed on performance (as if to spite my personal journal...) and what happens in front of the camera, working with actors and bringing characters alive. Also the introduction of a Directing module sounds intriguing and all in all it seems to be shaping up to be an adventurous and challenging year. I can’t wait.

No gentle transition for us busy second years. We kicked off on our first afternoon back with an introductory class on Factual Filmmaking. I’m finding I have an unexpected interest in non-fiction storytelling, research and the gathering and organising of information. I am really keen to try my hand at some serious documentary-making. I have a few ideas in the pipeline which was hugely helpful as I could apply them as Andy went through the process of research and practically walk it through in my mind. I also really enjoyed our blitzed research project on the enigma that is ‘Andy Dougan’ which was perhaps more fun than it was informative but I’m sure I won’t forget the things I learned in that class anyway!

Principles of Directing, in theory, sounds amazing and I know it’s early days yet but I couldn’t help feeling that what we were doing with Zam Salim on Wednesday – showing our favourite films and discussing them – we had already covered in either Andy’s first Cinema module or in Screenwriting class. However I can appreciate that this is probably more for Zam’s benefit than ours at present. He needs to get to know the class. I must say I’m rather impressed with him so far… but maybe I’m just star-struck by someone who is actually living the dream; and not just any dream… my dream!

Year Two - Setting Sail

I feel compelled to briefly record my emotional standing prior to setting out on the adventure that is Year Two of this fantastic course. Pre-voyage log entry if you like… before the anchor is hauled up, the sails unfurled, the flag hoisted and the wind allowed to turn the bow to face the open ocean with all its beauty and storms, its life and longing, its ups and downs… you get the point (nothing like a big juicy metaphor to start us off for another year!).

And I must admit that as my vessel floats, strong and proud, in the Holiday harbour I cannot help noticing the many marks and modifications that have been added since this time last year. Truly there is more happening on that ship than ever before. It is larger than it was, not physically but in its influence, its authority, its experience and even its military strength. Looking at this ship I know that it still has far to go, much to see and do, miles and miles of uncharted ocean to explore with many an island to visit along the way, many a battle to win and lose, and although the wealth stored below deck is considerable I know it is only the beginning of the riches it will gather on this voyage. I have little fear as to whether the hull will withstand the harsh conditions it will no doubt have to endure for it is not made with my own material or indeed by my own hand. It was skilfully and lovingly made by a Master Shipbuilder and it belongs to him. Indeed I gave up the helm to him long ago… he is the Captain. Yet I am not, and probably never will be, completely satisfied as I gaze upon this magnificent vessel. My biggest concern is in fact not in the ship itself but in its course. Where exactly is it going? There are so many directions it could sail in, so many places it could go or missions it could undertake… I know there is some unrest amidst the crew as to what the purpose and destination of our voyage should be but again, ultimately, that is not for me to worry about. All I need do is set a course in the direction the Captain tells me. I may not necessarily like the course he has set but I trust him, and so far he has never led me wrong.

But there’s the order. The ship’s anchor is being pulled clear of the water. The time has come to set sail and once again it seems to have crept up on me before I have completed all the preparations I would have liked. I can steer my own ship but the wind and tide I have no control over! A warm sensation of bubbling excitement is rising inside me as I think about the voyage ahead. Who knows where we are headed? The sails are beginning to flap impatiently, the ship is turning to face the glorious unknown… and I better get aboard or it will leave without me!

Week 11 - Pass and Proceed

Ironic that the most exciting, fun and creative part of editing took me barely an hour after having spent three full days trying to digitise and organise all the footage. Having finally finished capturing all the media for Little Clown and then cut together my half of the film Michael and I combined our efforts to form a first rough editors’ cut. This then Adam had to see first and, although not one for unnecessarily displaying emotions, I think he was rather impressed though he did, of course, have a few suggestions. Following this Charlotte was finally allowed to see her film and she too provided us with some notes. So adjustments were made to the rough cut and steadily the film began to fall into shape.

Tightening of the edit continued throughout this week as did frantic discussions with the composer who wasn’t quite getting the tone that Charlotte was looking for and seemed to be providing either Harry Potter-like horror music or the score for a tragedy (after all, he is Greek!).

On Tuesday afternoon we had our last screening of the year; a film from 1970 called MASH. Regretfully I found this rather disappointing; firstly because it hadn’t really decided what it was. It could have been either a comic war-time drama or a full-on comedy set during the Korean War but instead it seemed to be simply a mess; but as Andy said, the shoot was such a kafuffle it’s a wonder they got a film out of it at all. Secondly the humour was not at all to my taste. Much like The Hangover which I saw earlier in the week most of the comedy seemed to be derived from sheer craziness and inappropriateness or from archetypal characters who are inevitably the focus of much mocking. Call me old-fashioned but I prefer humour that is less impolite and more witty; I like things that make me laugh out loud and unfortunately most of the comedy in MASH left me either confused or embarrassed. However, I have since learned that it spawned a TV series and it’s possible the sprawled, incoherent, zany nature of this film would lend itself better to the small screen.

Thursday was another full day on Little Clown, now at the final stages: minor adjustments to the edit, sound editing, grading (by Gavin) and scoring. I also had a quick tutorial with Adam to chat about how the year had gone. He was quite complementary about how he thought I was doing and I was quite complementary about the programme so I think we were both happy. Certainly, on reflection, I am able to realise just how much I have learned and I know that the wisdom, knowledge and experience that I have gained from this year will make a strong foundation to build upon in years to come.

So my final morning in the Academy in Term 3 was spent putting the final touches to Little Clown and burning it to a DVD for a screening. It was in a very presentable form, though I expect it may need a bit of tweaking after the summer before the final version can be screened.

So again I have to stop myself and look back on just how far I’ve come. When I compare myself now to what I was at the start of Year 1 I can see quite clearly the development of my skills and understanding and just how perfect this course was for me. I was eager to learn and hungry for knowledge and the Academy provided the resources and environment where I might satisfy that hunger and also discover more to be hungry for. Any day is an experience but on this course every day is just the experience I would want, and that is a wonderful thing. The list of marks for this years’ graduates was rather impressive – all 1s and 2.1s – but also quite daunting if our year is to live up to that. For us it was simply a “Pass and proceed to Year 2” which is slightly less dramatic. I don’t often mention my class as a whole but I feel I should say that in that too I am hugely privileged. They are an amazing group of people, all excellent practitioners as well as great friends and it is an honour to know them. The tutors also are inspiring people and I have a great deal of respect for them. I could go on praising but I may begin to make even myself envious! The fact is; this is an awesome course and I am very blessed to be on it.

Now I am away to enjoy what I hope will be an awesome summer, then it’s back to work in what I’m sure will be an awesome second year and so it goes on… life is one awesome adventure.

God bless.