Posts Tagged ‘Directing’

h1

The “What’s Been Going On?” Post

April 13, 2016

I haven’t blogged in a while. Nothing new there. But it’s not like nothing new’s been going on in my film career, I just haven’t been writing about it.

Okay, so that’s a bit of an exaggeration. (It’s not like Spielberg, JJ, Ridley and I met up to talk about how awesome my new film was- JJ cried a little, it was very emotional…). I’ve just been lazy with the blogging and slightly less lazy when it comes to film-type-stuff.

So, what’s been happening since the last time I blogged?

DM Poster v2

Most of my directing energy has been thrown into my latest short film Dead Meet. I started making this project about eighteen months ago- which is a fucking long time for a twenty minute short! People have met, fallen in love, had a child and learnt the Peppa Pig theme song in that time. And much of the reason it’s taken so bloody long was a series of problems finding locations.

The first location was stumbled upon when I shot a music video for The Midnight Rambler. I’d been talking to the band about doing a music video for a while and there are dozens of ideas, treatments and half-developed storyboards littering my iPad to testify to that. They were really keen to do something off the wall and cinematic- something I wanted to do as well. Eventually an idea took hold- to have two classical dancers tango while the band play their track Inside Out with a little narrative bookend to tie it all together. We knew a keen and capable tango dancer, Rex, and he asked his teacher, Sarah, to partner him in the video. And the location was one of the village halls Sarah teaches in.

I’m actually really happy with this video. While I didn’t always get the lighting I wanted (because I’m not exactly a great cinematographer and didn’t have the right kit to get the look in camera), I did manage to capture some of the grace and movement of the tango and time it to work with the song. It was only after the band and I watched it that we realised that while it was good, it wasn’t… the band. Somewhere along the line, we’d lost much of the band’s personality and comedic character. The video didn’t reflect the band as they were. So I was reminded of the age-old adage when it comes to music videos- be true to the artist and their music, don’t present them as something they’re not. (Actually, thinking about it, we kind broke that rule with Shokamo’s Bless of an Angel and that worked out great, so maybe the adage is only mostly right!) Plus, the band line-up’s changed and the arrangement of the track has changed, so all in all, this is a video that will probably never see general release. Which is a shame, but it’s what can happen in the ever-changing world of music videos.

On the other hand, sometimes you direct a music video that gets a lot of visibility. Irene Rae‘s See Me For Me was quite a simple shoot over one day in one very photogenic location. It was also a very quick production with virtually no prep and a very “wing it on the day” approach. There was no narrative and the only plan was to shoot a performance section and intercut it with various beauty shots.

What’s nice is that Irene Rae is very marketing-savvy and promoted the hell out of the video, getting it a ton of views on YouTube and good press into the bargain. It’s been a great artist-centric video to have on my reel, with a different style and pace to the other music videos I’ve been involved with. I hope to work with Irene again, maybe on a more cinematic video- which her sound would work really well with.

Sorry, I got sidetracked… Where was I? Oh yeah, the location…

So we were looking for a pub bathroom to film Dead Meet‘s fight scene in and had so far hit a brick wall. We were also looking for a pub- a brick wall of Great and Chinese proportions it seems- but I knew that the pub and the pub bathroom were not necessarily or likely to be in the same place. We needed a bathroom with decent dimensions- partly for the fight choreography we had been developing but also so we could get a camera and sufficient lights in there. So far, no joy- most actual bathrooms were the wrong shape, size or decor or were just downright disgusting.

But the village hall’s bathroom would work. I didn’t fancy having the conversation where I said I just needed to hire the bathroom for a day to film in, so I hired the whole hall. And after months of rehearsal and prep, this was what we shot:

The response to this video has been great. And hats off to Francesca and Dean for their work- we shot Hong Kong style, in sections, where the movements are choreographed with the camera and tailored to edit seamlessly with the shots on either side. This allows for shorter, but more intense takes with more complicated choreography and is quite difficult to do. Dean’s an experienced fight performer and has shot this way before, but this was pretty new for Francesca. She’d shot some action before (and quite a bit since!), but this was something of a baptism of fire. For me too, as it happens. As I’ve said before, I’ve shot quite a bit of action in my time- it was the thing that got me into filmmaking after all!- but not quite with this level of complexity and I quietly felt that this was a test of my skills and my resolve. I needed to prove myself with this fight scene, both to an audience and my own worst critic- me. But the response to the fight, even the rough cut, has been overwhelmingly positive.

With that fight scene in the can, the only thing that remained was to shoot the rest of it. And as I mentioned before, we had more than a few location problems. In fact, we didn’t get to shoot the rest of the film til November.

Dead_Meet_BTS-240

Dead_Meet_BTS-400

Dead_Meet_BTS-402

I’ll put together a proper Dead Meet post a little later when we’ve shot everything (at time of writing, we have one more scene to shoot next week, then we’re done!), but the short version is that we got most of what we needed, muddled through on the things we didn’t have (enough extras, practical effects, the perfect location etc) and had a pretty good time into the bargain.

Dead_Meet_BTS-553

Over this time, I did a few other bits and pieces including multi-camera music shoots for Silver Street Studio’s Aquedukt streaming community. I hadn’t done much in the way of live-mix work before this, although I had done a lot of multi-camera stuff. The general gist is a band come into the studio, we set up multiple cameras (at one point we had five!), all feeding into a software controlled mixer and they play and we stream live over YouTube. It’s been a steep learning curve- for all of us- but the results have been great and should be good long-term work if we can find a strong business plan for it.

I’ve also been busy writing. Two features, two shorts and a web series to be exact. None finished, obviously, this is me we’re talking about after all (“good starter, poor finisher” as some unfortunate and disappointed women might say). And at the moment, I’m trying to work out where to go from here. Will my next big project be a feature or a series? Or another short? I still don’t know and I’ll probably blog about that another time…

Music-related shoots seem to have been the focus this last year and I’d love to keep them a major part of my work. But over the next twelve months, I’d like my focus to be fiction and my directing career. I’ve been slack these last… ooh… eight years or so, and really need to pull my finger out if I’m to get within grasping distance of what I want: the hallowed director’s chair.

Advertisements
h1

“We Are Not Sick Men!”

March 24, 2015

Not Sick Men

For those who are not martial arts film fans, the above quote might seem a little strange, but it comes from the 1972 Bruce Lee film Fist of Fury. Right at the beginning of the flick, some Japanese martial artists from a rival school give the Chinese students an insulting gift- a signboard with the often-repeated cultural slur “The Sick Men of Asia” calligraphed on it. In the very next scene, Bruce defeats a dojo full of Japanese students, shatters faces and cultural prejudices alike and proclaims on behalf of the Chinese people “we are not sick men!”

A key moment in Chinese cinema and martial arts movie history, sure, but why do I bring it up here? Because it’s a nice segue into the fact that action films are generally treated like they’re the “sick men” of the film industry. And, like Bruce Lee, they most definitely are not.

This isn’t to say action movies aren’t appreciated. Virtually every studio’s tentpole offerings year after year are action movies. They cost lots of money and they make lots back, both at the box office and then on download, disc and pay per view. They are important. But they are not respected.

I'll just leave this here.

I’ll just leave this here.

You see it all the time… Audiences, critics and other filmmakers alike all look down on action movies like they’re the cheap amusements of a bunch of undereducated morons. How many times do you hear the words “big” “dumb” and “action movie” slung conveniently together in that order? I have to admit, I’ve used that phrase more than once. How many movies are pardoned off as “guilty pleasures” because “you can turn your brain off” when watching them? As if they’re somehow beneath your aspirations and you feel embarrassed for liking them in the first place. Well, don’t be. Comedian Dara O’Briain has a similar defence of pop music in one of his stand up routines and the bottom line is that if you enjoy something, don’t feel bad about it. Not every piece of music is a Bach and not every movie is a Kubrick.

Action movies are frequently looked down upon because they are considered to be mere entertainment and not art, but that is bullshit of the highest order. Some films like Zhang Yimou’s Hero or John Woo’s The Killer have very strong artistic qualities, certainly more than many art house dramas.

I think if other filmmakers took a closer look at action movies or better yet, tried to make one, they’d respect them a little more and realise a few things.

Like just how fucking difficult they are.

The main reason non-action filmmakers struggle with action films is because a lot of what they know and rely on as directors goes out the window when you’re shooting action. You see, with normal, non-shooty-kicky-boom-boom scenes, directors, editors and DoPs can fall back on the “Hollywood method” of shooting coverage (not to be confused with the “Hollywood method” of contraception which involves not having a stylist/personal trainer or just being Adam Sandler). I talked about coverage before… ooh, ages ago… but if you don’t know what it is (and shame on you, this being a filmmaking/directing blog and all…), it’s about shooting a master shot of the scene, followed by sub-masters, over-the-shoulders, close-ups and anything else that’ll give the editor all the options and headaches he could ever want. Thing is, coverage doesn’t work like that for fight scenes. If you shoot a master of the whole fight then cut in for character A’s punches and reactions, then do the same for character B and try to edit it together, it’ll look like shit.

(Above: Shit)

For a start, wide shots are difficult for the actors and stunt performers. It takes a lot of skill to perform multiple precise techniques in a full frame and not fuck up- that’s why it’s only skilled and experienced fight performers like Jackie, Sammo and Yuen Biao that take twenty plus moves in one take in their stride. Even if you have skilled fighters, you’ll also likely tire them out on the wide master, so that by the time they get to shooting their other angles, they’ll look as attractive as Adam Sandler on a stairmaster.

In recent years, american movies have taken to throwing out the master and just sticking to the close-ups, disguising the relative shot repetition (and potentially shoddy technique) with nausea-inducing wobble-cam. I’m looking at you, Paul Greengrass… Fast-paced and kinetic? Yes. Clear and expressive? Once I’ve recovered from synaptic overload, I’ll vomit out a “no.”

In Hong Kong, they choose the camera angle first and then choreograph the action with that angle in mind, because certain moves and techniques look better or worse or stronger or faster from certain angles and lenses. Each shot is designed to showcase a certain part of the choreography or story, the camera moves with the action and each edit point flows seamlessly into the next (meaning the last move of one shot is the first move of the next, allowing you to cut invisibly on action). This means you have to be aware of things like the 180 degree rule, the 30 degree rule and the effects of camera movement in order to pick your shots properly. For people like Yuen Wo Ping, Lau Kar Leung and Sammo Hung, they can make this shit up on the fly and it cuts smoother than Barry White carving out soft scoop ice cream, but generally, you need to know how the scene will edit together before you shoot it. This obviously limits the creative options in editing to a “when to cut” rather than a “what to cut to” which is why a lot of session editors hate it. I know that one first hand, which is why I prefer to cut my own shit for the lack of arguments if nothing else.

This “see it edited beforehand” process is also necessary for chase sequences, gunfights and anything that involves effects work- shooting Hollywood-style coverage on any of these will likely result in hours of useless footage and lots of money, time and cast/crew goodwill wasted.

It’s one of the few areas where even the most experienced action directors plump for storyboards. Not just to communicate to the crew (including a second unit tasked with the fun explody stuff and cutaway minutiae), but also to work out the editing for the sequence- knowing what shot goes where and when. Which is weird when you think about it, because like all still images, they can’t convey the passing of time or anything that changes over time, like movement. But short of doing an animatic, storyboards are probably your best tool for prepping an action sequence.

Some of the storyboards for a fight scene from my new short film "Dead Meet"

Some of the storyboards for a fight scene from my new short film “Dead Meet”

Sometimes, particularly for a fight scene, it’s worth following up the storyboards by shooting a blocking tape- essentially a rough shot-by-shot edit-by-edit assembly of the fight to see what works and what doesn’t. It can give you a sense of pacing and progression that storyboards lack and especially for an inexperienced or otherwise faithless crew, it can also give them the confidence in both the sequence and you as a director.

(Above: Part of “Dead Meet”s blocking tape)

So if you’re one of those filmmakers who sneers at action flicks because no action film has won at Cannes or Sundance or some other festival where hipsters in black polo necks congregate, then I suggest you have a crack at making one. Shoot a chase sequence, a gunfight or a post-modern hyper-ballistic kung fu battle. And send me the link when you’re done! You’ll learn a shit-ton and probably have more fun on the shoot than the time you worked on that promo with all the supermodels…

1427_123488840160_9206_n

Or maybe not…

h1

Realism vs Believability

November 29, 2014

Internet Anger

So the first trailer for Jurassic World came out this week (as did a teaser for the new Star Wars, but I’ll comment on that later) and I’ll get my opinion out of the way first: I’m somewhere between “woohoo a new Jurassic Park” and “probably won’t bother watching it to be honest.” It looks well-made, seems to keep most of the core elements that worked in the original and gives the formula a new spin. But I also think, good as it might be, it will only disappoint people like me- people in their twenties and thirties who have a love of the original film, not just because of its myriad merits but also because of how it made us feel as kids and, in my case, helped sowed the seeds of filmmaking in me. A new film, just like any long-awaited sequel, prequel or ill-fated reboot, can’t live up to that. It’s like losing your virginity while a particular 90s song was playing on the radio and then trying to capture that excitement and magic with every subsequent partner by playing “Pure” by the Lightning Seeds as a mood-setter.

Anyway, enough about nostalgia, reboots and disappointed 30-somethings. This post is about something that happened in the wake of that trailer (and indeed after every film comes out really): the rise of the pedant. The nitpicker. The guys who split more hairs than a stylist with a laser and an electron microscope. Shit like:

“Dinosaurs don’t have opposable thumbs!”

(No, but how else are they going to make that “rraw, I’m coming to eat you” expression?)

“Why don’t the dinosaurs have feathers, are they just sticking to what experts thought in 1992?”

(Kinda, it’s called series continuity and audience expectation, arsehat.)

“Your dinosaur has the right teeth, but no forked tongue which it should have because something something science…”

(Oh God… It’s a fucking movie, people…)

I get it. You’re passionate and informed about something. You’re an expert on it. And you see a film about this subject so you’re all excited, then discover that it carries inaccuracies and errors… so you notice them. Those errors destroy for you that suspension of disbelief that movies need in order to function. Then, since we live in the internet age and anyone can make overreactive comments on message boards and twitter, you point them out and proclaim the film/filmmakers to be shit.

Actually, that last one I don’t get. I mean, I empathise, but it’s just a movie. The film and the filmmakers aren’t shit for letting those “mistakes” through the net. In fact, it’s quite likely they did it that way on purpose.

Sure, some of those facts were incorrect out of ignorance (either the writer’s research didn’t uncover them, or the research was relatively inadequate) but some were out of choice. Jurassic Park‘s dinosaurs not having feathers, for instance, was a bit of both. In 1993, the idea that dinosaurs evolved into birds was a very niche theory not accepted by most palaeontologists of the time and the idea that they had feathers was as dumb as all hell with no evidence to back it up. So when they made the film, they made the dinosaurs how everyone, audience and experts alike, expected them to be- scaly, scary and not in the least bit feathered. Even today, if you put feathers on a dinosaur, the average movie viewer won’t accept it, no matter how accurate it is. Which is probably why they chose to do the same thing in the new film. What kind of director wants their audience laughing at velociraptors dolled up like Priscilla Queen of the Desert?

Films are an illusion and in order for an audience to become immersed in them, they have to buy that illusion. These little details, regardless of their veracity, are there to help sell that illusion. It’s about believability not realism. Because let’s face it, a completely 100% realistic film with every detail and moment intact would be really fucking boring. It would be like looking out a window. The story would get lost in all the meandering minutiae and have no weight to it.

And that’s the main reason why these decisions are made. If the content in the film, whether it be accurate as possible or madey-uppy as all hell, takes the average movie viewer out of the story, then it needs to go. Case in point- Gravity. Well made and very well-researched in every other respect, when there were inaccuracies (the orbital heights of the spacecraft, the fact Sandra Bullock’s character can’t pilot the landing vehicle, the lack of space nappies…) they were more than likely there through choice. Having to explain what the space nappies were when Bullock de-spacesuits would slow the story down, distract the average viewer and be completely irrelevant when it comes to the story. Thus they put her in cycle shorts and gave us that visually arresting womb metaphor which did more for the story than foil pants would ever have done.

As a director, you are usually the one who has to make these decisions. And that can be tough. Whatever decision you make, someone in the audience is going to hate it. If you choose to have the hero take cover behind a car during a gunfight, there will be at least a couple of people who point out that 9mm parabellum rounds will easily go through a car’s bodywork. If you do the opposite and have them get shot through the car, the larger portion of the audience will be confused as to what happened and why. But you need to put the story first. If it’s important to the story, then it can stay. If it detracts from the story, it needs to change. Simple as that.

To paraphrase Spock, the needs of the audience outweigh the needs of the nitpicker. Besides, they enjoy complaining on twitter and while they’re doing that, the rest of us are enjoying the movie as the filmmakers intended.

h1

Life’s a Pitch

November 16, 2014
"...and then the T-Rex goes Rraaarrw!"

“…and then the T-Rex goes Rraaarrw!”

Writers and directors frequently talk about the importance of a good pitch. For writers, this is them in a meeting with a potential producer trying to get them to buy (figuratively or literally) their script/treatment/vague idea scribbled on a napkin in Starbucks. For directors, this is often the same audience but this time trying to get them to buy you and your take on this script you have/have been given to read. In both cases, it’s technically a job interview. As I mentioned before, auditions and interviews are prolonged and generally painful experiences for everyone involved, not just the dude in the spotlit chair, so it’s a good idea to get some practice in before you bank your career on your ability to hook an audience with your pitch.

But pitching as a skill also serves another useful purpose which I’ve only recently realised. If you’re writing a script and are having trouble sorting out story points (particularly character and event points- see previous blog), find a willing friend and pitch the story to them. This forces you to see the story from an audience’s point of view and tell it in a way that is easy to follow, compelling and full of narrative moments. And perhaps it’s because of this that the best pitching audience are film-watchers and not film-makers. The former will see the story in their heads as you tell it, filling in the gaps with their own images and actors and everything, whereas the latter are more likely to cast a practical eye on the story, thinking about cinematography or editing or budgetary concerns, knowing full-well you intend to film or write it.

Recently, I pitched a feature film idea I’ve been chewing on for a year or so to a couple of friends separately. Before these pitches, I really only had a basic premise, a couple of characters and some moments/set-pieces. I hadn’t started on a script- usually I like to get a rough structure in place before I fire up Celtx- and didn’t even have a brief treatment scribbled on the back of an envelope. What I had was in my head.

But when I was in the pub with my mate Chris (as accurately recreated above) and the conversation turned to what I was working on, the usual vagaries I might spin to someone else receded and I started to tell him about this feature film. And I did something I don’t normally do when pitching. I skipped over the “it’s like this film meets that film” back-of-the-DVD summary and started with the “we open on a dark side street…” The first scene description.

I told the story from the beginning.

I introduced characters as they appeared, described the look and feel of things, revealed plot points and backstory as you would find it in the story and let the events unfold naturally. And in the process, I was able to see plot holes (either for myself or because Chris asked about them) and dramatic through line. It got me back to the basics of storytelling and freed me from all the practical concerns that come with directing your own script and the marketing concerns that a producer might focus on. It allowed me to tell the story on its own merits- something I frequently forget to do in a professional pitching situation.

It also feels collaborative. My ideas weren’t set in stone, so when Chris made observations or suggestions and got immersed in the story, I was in a place where I could take note of these things and work them in depending on what he responded to. Chris actually contributed to several key plot points as a result of this, as well as reminding me of stories or franchises mine might be similar to (and thus might want to differentiate myself from).

When I got home from the pub I quickly took down all the new notes while they were fresh and it gave me new motivation to crack on with the script. A few weeks later, I pitched the new story to my mate Mike (also in a pub- it’s where all the best production meetings happen!) and his reactions also built on the film’s structure, characters and moments. The whole project also swelled into a trilogy, which I now have mapped out. God only knows if I’ll actually get to make it, but still…

So pitching is a great way to hammer your story into shape, but does it work the other way? Does simply telling your story work when pitching to other film professionals, like producers and executives?

For the most part, yes.

Remember, that’s what they’re hiring a director for- to tell that story. If they just needed someone to put things in front of the camera or focus on the audience demographics, they could have found someone with less imagination and communication skills to do that. Obviously, you need to understand something of their interests (demographics, budget, key markets etc) and communicate your understanding so they have confidence in you, but your pitch should again just focus on the story and your treatment of it.

While I’ve not yet pitched to producers for feature film gigs, I have pitched to producers for web series like “Persona” and pretty much every music video gig (and quite a few corporate shoots) essentially involves a pitch of some sort. And it’s always the same: Tell your story, engage their interest and move them emotionally, intellectually or viscerally. Once they’re hooked and on board, address the practical issues, but always with solutions where possible.

Sounds bloody obvious now, but this is actually the director’s best method of pitching. Treat your audience, no matter whether they be filmmaking co-conspirators on the project or secular acquaintances, as just that- an audience and everything else will fall into place.

h1

The Four Elements of Storytelling

July 4, 2014

I’ve been working on a bunch of scripts recently from the ground up and it’s meant focusing a lot on story and how it works. We often take story for granted, but there’s a system and structure to making it effective. There are various approaches to this, from the writings of Robert McKee and Joseph Campbell to the story process of Disney and Pixar…

… And, somewhat foolishly, I thought I’d put my opinions on the matter in the same box. So here goes…

As I see it, a story can basically be broken down into four elements- The Big Picture, Events, Characters and The World. Generally none of these are more important than the other (although your story and your budget might tweak your focus somewhat) but if you neglect one of them, the story is likely to fall flat.

The Big Picture

BigPicture

This is the overall arc of the story. It plots how things change, develop and grow, the fundamental themes and ultimately the story’s purpose (aka why bother to tell this story at all?). The Big Picture is the bit where you can distill the story into as simple an idea as you like, breaking it down into such tropes as “boy meets girl” or “naive youth goes on journey to save his world.” Essentially, The Big Picture is where you answer the question “what’s this story about?” in the broadest sense. It’s also where the story’s themes and subtext find root. For instance, Paul Verhoven’s Robocop is about consumerist America and the fascist power of big corporations (while the much-crappier remake is about drone warfare or something) and this thematic idea informs all manner of things in the movie.

The Big Picture isn’t about details, it’s about the general experience. It’s the message and feeling that the audience take away with them and it needs to be in the back of the director’s and writer’s mind the whole time because it’s what guides and shapes the film.

The Events

Events

This, confusingly, might also called “the plot.” It is essentially the series of obstacles, interactions, beats, moments and resolutions that make up the backbone of the story. These are normally the things beginners and non-storytellers focus on when trying to tell a story- but strangely, on their own, the events really don’t hold much of the audience’s attention (as anyone who’s listened to pub anecdotes can tell you). Much of this is because although they advance the story by providing constant changes in scenery and situation, they don’t emotionally engage audiences- that role falls to characters. The Events are a vehicle for everything else and without them, the story doesn’t feel like it’s going anywhere.

A certain amount of interest and drama can be created in the way and order the events are revealed- such as flashbacks or the ever-popular non-linear, out-of-order structure. But doing so in isolation just becomes a puzzle the audience has little interest in solving.

The Characters

Characters

The characters provide the connection between the audience and the rest of the story. They need to be appealing and/or interesting and, particularly for the protagonists, somewhat relatable. Primary characters need an arc and it’s this course of development and change that contributes to the core story. Secondary characters can get away with little to no development, but it’s still best to have some growth otherwise they lose some of their believability.

Audiences engage with characters, either because they relate to them in some way or because they have some appeal which keeps them interesting. Remember “appeal” doesn’t mean “like” it just means they are interesting to watch. Some of the most appealing movie characters in history are thoroughly unlikeable as people (bad guys are a great example of this), but engaging enough on screen to carry a film or their plot threads.

The World

World

The World is what surrounds the characters and provides the backdrop for the events. It’s obvious how important this is in a scifi or fantasy movie, where the world has to be created from scratch, but it’s equally important in more contemporary, realistic settings. For instance, both The Avengers and Cloverfield are action films set in contemporary, post-9/11 New York, but the worlds and their rules are completely different.

The World is where the rules are set and the other story elements are given context. By developing the world, you are adding depth and believability to the story, making the setting almost like another character in the film. And just like the characters, the audience needs to relate to it and or find it appealing. Is your world a worthwhile place to spend the next 90mins or so?

All events in the story should either come from the actions of the characters or the machinations of the world around them, so neglecting this aspect can seriously impact plot progression as well.

To see how all this comes together, let’s look at a film that most people have seen and are familiar with since it’s a cornerstone of our culture…

Mega Shark vs Giant Octopus.

No, not really. That heap of self-aware cinematic dog shit is more the kidney stone of our culture. Let’s look at Star Wars. The first one, not the less-than-stellar prequels.

Nostalgia aside, Star Wars is hardly a well-directed piece of cinema. But it is a well-constructed story and much of that is down to the balance between the events, characters, world and the big picture.

Star Wars was intentionally designed as a classic hero’s journey, based on the works of Joseph Campbell and his “Hero with a Thousand Faces.” This makes its Big Picture fairly easy to adhere to- naive youth gets pulled into a greater conflict by a wise old man, learns to be a warrior and ultimately defeats the great evil. The fundamental themes are good and evil, heroism and coming-of-age. If there is any subtext or parallels, it’s with classic stories of heroism, knights of the round table, samurai etc Essentially, it’s a fairy tale set in space.

The characters are also atypical of that source material. Luke is a naive farm boy who dreams of more and over the course of the story, he becomes a Jedi knight like his father (or at least starts to in the first film) and ultimately saves the day with his ability to fire proton torpedoes down thermal exhaust ports. As the protagonist, it’s him we follow and see grow the most. In the beginning, he’s uncertain and doesn’t want to disappoint his uncle. He also lacks self-belief, thinking that he’s not capable of doing anything to help the rebellion. By the end of the movie, he’s saved the princess, signed up to pilot an x-wing and even learnt to turn off the targeting computer and trust the force. It’s essentially a scifi reworking of the warrior’s journey.

Other characters also have arcs- Han Solo goes from being self-centred to helping the rebellion at the 59th minute and Leia learns to trust and respect lower-class heroes like Luke and Han. The other characters are somewhat static in their development, even if they do provide backstory reveals like Obi Wan Kenobi.

The Events are quite varied and fast moving. The first third of the movie follows the droids in their mission to deliver Leia’s message, the middle is Luke and Han’s attempt to rescue Leia and the final third is the assault on the Death Star. For the most part, each plot event is driven forward by the macguffin of the Death Star plans, who has them, who wants them and what they’ll be used for. Very few scenes are truly superfluous. Locations vary too, just to keep things interesting- from sterile space craft to desert planets, old ruins with hidden bases to the cobbled-together environs of the Millennium Falcon.

The World is where Star Wars really comes into its own. Aside from all the various planets and aliens seen or hinted at, there is all the implied history of the empire and the rebellion, the Jedi and the Sith. There are referred-to characters like Luke’s father, Jabba the Hutt and the Emperor, alien languages (that frequently don’t get fully translated) and all manner of backstory (thanks to Lucas going a bit nuts on his yellow note paper). It helps that the effects were good enough to be able to put all this stuff on screen and make the world feel rich, believable and interesting.

So that’s my take on what makes a story work, the four story elements of character, event, world and the big picture. In my experience it seems to do the trick and at the very least gives me as a director something to work with throughout production.

h1

Shooting “Bless of an Angel” Part 2

April 10, 2014

Note: I wrote this one a while ago, but because I’m generally crap at this, never bothered posting it. But since time is moving on and this post might soon cease to be relevant, I thought I should put it up asap. Really long post, this one, so strap yourself in…

Shokamo CD Cover Art v1

A few weeks ago, we wrapped on the “Bless of an Angel” music video shoot. As I write this, the final cut of the video is doing the rounds on YouTube and we seem to be getting good feedback on it, which pleases me because of how much time and effort everyone put into it. I’ll probably write another post on the editing process, but for now I thought I’d write about the shoot itself and the decisions leading up to it.

For those who don’t know, “Bless of an Angel” was inspired by the story of a lady called Heya who, despite slowly dying from cancer, was determined to help a young struggling musician get his career off the ground. JP was deeply affected by her story and wrote the song as a tribute to her to be played at her funeral. After he put on his website, fans reacted very positively to it, so he decided to go the whole hog and record it professionally and do a music video for it.

I took on the project because I wanted to get some music video directing credits and this seemed perfect for me. A cinematic music video with dramatic story sequences and the chance of good exposure? It ticked all my boxes, save the one about lots of money and free pizza.

The original idea for the video wasn’t that different from what we ended up shooting. JP didn’t want the video to be about him- like the song, he wanted it to be about Heya and the story- so we concentrated on a narrative that would capture the main points and convey them visually and simply. This is harder than it sounds. Even visual films need some kind of set up or exposition to convey complex ideas, but without dialogue or any significant screen time to try and get this across, the story needed to be distilled into things that could be communicated simply. Emotions, simple ideas and cues were ideal. Complex relationships and back-stories were going to be nearly impossible. I also didn’t want to just create a literal re-telling of Heya’s story. Even if I’d wanted to, conveying the relationship she had with the struggling musician she was trying to help and all the backstory that goes with it was going to be impossible to get across visually. So I chose to focus on the things I felt would work for any audience, whether they knew Heya or not- a story about a woman who’s dying of cancer, trying to do good deeds with her final times because she has a selfless goal she’s working towards.

Actors Robin March and Yvonne Wan.

Actors Robin March and Yvonne Wan.

The deathbed bookend structure with the flashback in the middle was there from the beginning, but originally our character (who I’d called Mai to make things easier and less legally-problematic) was going to be in a hospital ward where she would have an out-of-body experience upon death which would lead into the flashbacks. Aside from the tricky effects shots required to get two Mais in one dolly shot (very tricky if you don’t have motion control or match work equipment) and the difficulty of getting a hospital location (actually not as difficult as you’d think, just expensive), the big problem with this was that it just wasn’t emotionally fulfilling. Mai would come back from her flashback, realise her job was done and let herself go, leaving with JP (who in this version was some kind of guardian angel) into the light. While that worked from a character arc point of view, it left Luke (the husband character) without any closure and gave JP a role which didn’t really fit his image as a metal musician.

There were also issues with what her good deeds would be. She would be helping her neighbours, the elderly caretaker in her apartment building, a music student, her husband… but none of it really worked. Some of it was also going to be difficult to convey visually because there needed to be some form of exposition. It also added to our cast list, which was getting a bit too big for the budget we had.

So I stripped the story down to its essentials. Mai would be at home on her deathbed rather than in hospital which would help establish her better as well as her husband and the situation. Cut to flashbacks, in which we’d see her finding out that she has cancer, trying to not let it affect her life and continuing to teach her student so she could get accepted into a prestigious music school. We see that this is the thing she’s pushing for and trying to achieve before she goes. I also decided to give a bit of screen time to the husband character, show how she is unintentionally pushing him away because she’s so driven and how this affects him. I felt these were the things that would come across visually and through the actors’ performances (although I had to stretch realism a little by having her find out about her cancer via a somewhat impersonal hospital letter- no dialogue and no access to a doctor’s office remember?).

Yvonne Wan making a dramatic shortcut believable.

Yvonne Wan making a dramatic shortcut believable.

All this would be for bugger all though if the story didn’t fit with the music- not just rhythmically (which most videos try to do in the editing) but also with the lyrics. The performances are dramatic and have no dialogue so the lyrics become more important in the video than they would if it were just a musician performance piece because the audience will focus more on them as a substitute for dialogue or voice over. Fortunately, JP likes to tell a story with his songs rather than just say words that fit the music, which meant that all the lyrics were pertinent to the story and the characters but this also gave me the chance to tie certain parts of the video to certain lyrics. For example, the lyric “she knows that she is running out of time” was matched to the sequence where Mai first discovers the extent of her illness by coughing up a little blood.

This was done by using a timing script- something used a lot in broadcast TV and live studio work. Unlike a normally formatted script which has scene headings, stage directions, dialogue blocks and, if you’re a really dictatorial tosspot of a screenwriter, transition and camera cues, a timing script will separate the audio and the visual elements into two columns with a runtime down the margin. It’s so that the studio can check their show timings with what the performers are saying and what the pictures are. For “Bless of an Angel” this was the audio runtime and song lyrics matched to the story and shot elements in the other column. It helped me break down what shots were going to be needed where to tell the story properly, as well as give me an idea how long theses sequences need to be.

The rest of the video was JP’s performance segments, the shooting of which I mentioned in a previous post, just to show the face behind the song and allow for visual and tonal contrast with the story scenes. I kept them mainly to the chorus and bridge sections, partly because that’s where I felt they worked best, but also because it allowed the story segments to flow easier and more naturally in the verses if they weren’t intercut with JP singing.

ShokBW

These performance shots were filmed back in October at Readipop and we intended to shoot the dramatic parts in November/December. Due to all manner of scheduling issues and other practical things, however, we wouldn’t get everyone in the same place at the same time til three months later. In that time, both lead roles were recast, a new make-up artist was found and there was a lot of panic to find supporting artists for the roles of Student and Doctor (the latter of which eventually wound up being me and so found it’s way to the cutting room floor before we even got to the cutting room!). Fortunately, we found a new lead in the lovely Yvonne Wan and a new male lead in the always awesome Robin March, which made me exit panic mode and slip back into my directing hat.

It was a good shoot.

In fact, it was the most relaxed shoot I’ve ever been on. I’m used to being on a very tight schedule, making compromises and having to rush. For example, the Persona shoots were twenty minute projects that were shot in two days. Two long, fast-paced, headless chicken-like days. But this was a four minute music video and although we were technically shooting a drama, we didn’t need to worry about dialogue or even coverage, since the narrative sequences had a specific method of assembly and there was little wiggle room for editing options.

Emily the AD and I were constantly checking to see how we were doing compared to the schedule and each time it surprised us when we realised we were on or ahead of time and we had plenty of room to fine-tune lighting and performances.

DoP Ashley Duckerin and myself checking playback.

DoP Ashley Duckerin and myself checking playback.

This was where our DoP, Ashley Duckerin, really pulled it out of the bag. I mentioned before how tightly storyboarded the project was. Well, Ashley managed to take those storyboards and make them alive and in colour. We shot the video on a Canon 5D mkIII and the full-frame sensor, while not ideal for most shooting situations, was great for this one- the wafer thin depth of field helped create the slightly oneiric feel and emotional focus we were after. We shot in a CinemaScope aspect ratio as well- Ashley’s recommendation- to add to the cinematic feel and composition and used the Technicolor flat profile, partly so we had some flexibility in post but also because I didn’t have a clear vision on the sort of grade I was looking for.

I don’t have much experience with grading and while I know what I want to see, hear and feel from a film, the alchemy of the grading process somewhat eludes me. The great thing about shooting flat though is that, to an extent, you’re not tied all that much to a specific look if you get things right on set. Knowing that this was going to be the post-production path, I made sure to control the production design on set- white bed-linen, costumes weren’t too bold or bright, subtle hues, mainly cool blues and earth tones (since I thought that might be a possible look for the bedroom scenes).

Yvonne, Katrina, Ashley and I go through the piano scene.

Yvonne, Katrina, Ashley and I go through the piano scene.

Everyone did a sterling job- the actors especially. Yvonne and Robin had to pull off the difficult task of acting and establishing a relationship without the luxury of dialogue, or rehearsal come to think of it, and Katrina had to jump in at the last minute as a piano student! I think it’s the actors that really sell the video- the story and the characters are engaging and that’s the thing the audience respond to. Certainly, much of the feedback we’ve been getting is how emotional the video is, how it makes you cry- and I’m all about provoking an emotional response in an audience, tears, laughter, that sort of thing so this is good feedback for me.

I’m hoping that this is the first of many collaborations with JP and the first of many more dramatic music videos. I think I’ve found something good here, a high quality niche that not only allows me to do what I know and what I’m good at, but also gives me the necessary credits to move my career up a notch.

h1

Shooting “Bless of an Angel” Part 1

October 20, 2013

I’ve had a few career knocks recently and got a little depressed (hence no blog posts for a while), so I was going to write a something on dealing with failure and beating yourself up. You know, positive stuff…

But then we started work properly on this Bless of an Angel music video and I started to cheer up a bit, so I’ll postpone the borderline-depressing quasi-pep talk in place of a “behind the scenes” type post because people seemed to like the last one on shooting The Papers’ video.

Shokamo, doing what he does best.

Shokamo, doing what he does best.

Bless of an Angel is an acoustic rock ballad by local musician Shokamo. The track’s somewhat different from his usual rock/metal oeuvre but his fans have really taken to it and because of the story and awareness-raising behind the song, he wanted to do a video for it. The song’s about a friend of his who died of cancer and the good work she was trying to achieve with her last days. Being a drama director, I saw the story in the song and felt that an emotionally charged, dramatic take with actors and actual performances would be a good fit. I also felt it would be a good project career-wise because I need music video credits and this one would play more to my drama strengths.

We’re still in the planning stages for much of the video (finding actors and locations etc) but there’s one thing we decided to shoot and get in the can early- footage of Shokamo performing the song. Most music videos have several threads, whether they be attempting to tell a story or just bombard the viewer with images, and each thread is usually visually or contextually distinct. One that’s common to many videos is the musician performing the track in isolation. It could be in a dark room, on a rooftop, a white studio or a vocal booth… the location varies, but the purpose is the same. So you can cut back to this footage at any point in the edit for pacing, emphasis, cutaway or variety. It also serves to create or reinforce the musician’s identity and persona, which is the cornerstone of most music marketing.

DSC00245For Shokamo, this proved an interesting question. Being as this was his first video and thus the first real visual expression of his look and persona, the choices made for wardrobe and styling were going to set a foundation for his inaugural image. There was a lot of talk about how much “metal” to how much “rock” he should look, how much black should be worn, long hair down or tied back… In the end, we decided on something simple and honest- black shirt, blue jeans and ponytail. After all, Shok wanted this video to be about the story and the music rather than his image and it didn’t feel right to upstage that with something from Gene Simmons’ wardrobe.

That “keep it simple, keep it honest” vibe came through with the location as well. We wanted something neutral, nondescript and almost monochrome, contrasting somewhat with the subdued, clinical colours we were going to use in the dramatic parts of the video. Shok suggested a recording studio, like you’d see on many of the charity singles produced in the 80s, and we booked a couple of hours at Readipop Studios.

I’d been to Readipop Studios before when it was Plug n Play and shot some live gig videos there and remembered that much of the place was black-walled like a lot of indie music venues. This suited my purposes perfectly because it meant I could run with a high contrast look, use high key lighting if desired and isolate Shok in the frame. Shok told me about me an image he liked of Clint Eastwood, edge lit. I knew we were on the same page!

It was peeing with rain when we rocked up at Readipop on Monday. Shok had booked the main stage as a location and I saw that as a chance to use some strong low angle shots. The stage and the room was painted all-black and had a drum kit, monitors and mics on it, so the need for extra set-dressing was minimal. The lass who worked there, Sue, said we could use the stage lighting grid, but for the look I was aiming for, a simpler set-up would be best. I put one LED panel on the stage to hit Shok with a strong edge/key light, slightly diffused and dimmed a little. Another went on the floor at the front of the stage off to one side, providing a softer fill on Shok’s face. I used a third, smaller panel, fitted with a CTB hard filter, behind and below Shok to give a bit of blue-ish backlight on his shoulders and hair. Aside from the necessity of this to separate him from the black background, it provided a soft flare from certain angles which I found quite pleasing. I’m not normally a fan of lens flares (and I wish JJ Abrams would just give it a rest, to be honest!), but in a dark environment where there’s little parallax effect on camera moves, this flare would add a little interest to some shots.

Speaking of camera moves, as with The Papers’ Pikachu video, I decided to get a bit of dolly action in there. And for the first time in ages, I could do a shot that used the whole length of track I have- works out as about a 16′ move. As with Pikachu, I primarily used this as a reframing technique, going from stage left to stage right and back again for certain bits of the song. I did, however, do a few shots timed so the whole move was used- usually over certain bars in the chorus. Hopefully, I’ll find a way to use one in the final edit. Once or twice, I found the dolly mount sliding off the end of the track (the joys of one-man-band-ing this shoot!) but found a suitably low-budget, guerrilla filmmaking solution.

bootdollystopper

After the wide dolly shots, I moved in for close-ups and tried a few moves there as well. In close-ups the tracking movement didn’t work so well, so in the end I stuck with statics. I also tweaked the lighting a bit so I got a more dramatic balance- if this were a drama it would jar a bit if I cut from wide to close, but being a music video has its advantages in this regard, not least of all that there is likely to be other footage intercut with it.

My favourite shot of the day was “the Clint Eastwood shot” as Shok and I referred to it. I put the tripod on the stage, framing Shok in a close profile. I cheated the vocal mic position so the LED panel wasn’t visible and aimed it for a strong edge light on his face and the mic. I also tweaked the backlight to just catch his far shoulder and let the other side fall off to black. The other panel was dimmed to a very soft fill. Et voila!

Shokamo BoaA

So why use the fill when I knew I really just wanted the edge? So I had more options basically. In the past, I always aimed to get the shot and look I wanted in camera (and for a lot of things, I still do), but in order to create the sort of look audiences expect now, you need to be able to grade the footage. If I’m honest, I know very little about grading, but I have seen less-skilled cinematography saved/enhanced by judicious filter-work and have had my own work disparaged because it didn’t resemble this look (more on that in a future post), so I figured I had to learn to use these tools properly. With any luck, the fact I know how to light stuff reasonably well will separate me from the “amateur hour magic bullet preset” brigade. But anyway, for grading you need to keep as much visual information as you can. My camera doesn’t have a log or wide dynamic range mode so I can’t shoot flat or near to it. But I can give myself a bit of wiggle room by lighting with decent exposure, hence the fill lighting.

The dramatic sequences on the video will be shot on a better, more cinematic camera and by a dedicated DoP because I want the video to look the best it can and the only way that’s going to happen is if I hire someone better than me as the cinematographer. It also means that I can concentrate more on the actors and the performances and worry less about the camera and lighting gear.

Two one-man-bands and one funky hat.

Two one-man-bands and one funky hat.

I think this surprised Shok a bit when I mentioned getting a DoP in, since I am capable of operating camera and lighting a scene, but in the end it’s about creating the best video we can with the resources we have available. If we can pull out all the stops, not only will we have a better video, but we’ll all look the better for it. And so much is riding on this video being good- the level of awareness we can do for the charity (The Love, Hope and Strength Foundation), Shok and my careers and reputations, those who knew Shok’s friend Heya who the song is about and the expectations of all the people that have believed in the project and donated money to the FundRazr page to get this off the ground.

We need this to be good.

And as I started to look back over some of the footage, even though I can’t really edit it together yet, I see things I like. I see potential. And that cheers me up and drags me out of the low point I’ve been sinking in for a little while.

So at the very least, this project’s achieved that!

Shok and myself with two of the guys from Readipop.

Shok and myself with two of the guys from Readipop.

If you want to help with the Bless of an Angel project, follow Shokamo on Facebook, download the track on his ReverbNation page or donate to the FundRazr. Every little helps and all proceeds from the video go to charity.