Saturday, 2 January 2016

Directions: Steven Spielberg

Steven Spielberg is another one of my favourite filmmakers. He is a man who knows how to use a camera. His style and techniques have become part of filmmaking history and this is evident in all his work in TV and film.

A bit of background info...

 Steven Spielberg is an American director, writer and producer. In Hollywood he is respected and seen as being one of the most popular film directors/producers in history. Some of his most famous work includes Schindler's List (1993), Saving Private Ryan (1998), E.T. the Extra-Terrestrial (1982), Jurassic Park (1993), the Indiana Jones (1981-present) franchise, Jaws (1975), and Close Encounters of the Third Kind (1977).

As a child he made short adventure films using 8mm film cameras. One of his first home movies was about a train wreck, which he made using his toy Lionel trains. Whilst a boy scout he earned a photography merit badge after he made a 9 minute 8mm film called "The Last Gunfight". He said that it all started there. At the age of 16 he wrote and directed his first feature length independent film called "Firelight", which later inspired Close Encounters of the Third Kind (1977). He got his big break when, after getting an unpaid job as an intern in the Universal Studios editing department, he was given the chance to make a short film for theatrical release. This film was called Amblin (1968), which is where the name of his company comes from. After this the studio gave him a seven year directing contract and that's where it all kicked off.

Since then Spielberg has gone on to be nominated for and win numerous awards including Directors Guild Awards, Cannes Film Festival awards, BAFTAs, Golden Globe awards, Oscars, Emmys, Writers Guild Awards, and many more.

How does he influence me?

When it comes to how he influences me, unlike J.J. Abrams, it is all about his techniques. It's all about how he uses a camera to tell a story. He doesn't need actors to say anything to tell a story, he does it using the camera. Not a single movement is unmotivated or done for the sake of it. Each movement has a meaning. For him it is as simple and as complex as presenting the story in cinematic terms. Visually, tonally, rhythmically. In a word: emotionally. Specifically that means what you see, what you hear and when. He has a gallery of techniques and devices, all used to draw up deep emotions. He understands image and sound, and the positioning of and interplay between both. He has learnt a lot from others himself, people like John Ford, Victor Fleming and David Lean.

On the left a frame from War Horse (2011). On the right a frame from Victor Fleming's Gone with the Wind (1939). You can see the similarities.
Like a lot of filmmakers he identifies and is inspired by great moments. He enjoys moving the camera, and often times he moves it as a composer arranges music or as a choreographer arranges a dance. Each movement is punctuated so each moment brings with it new elements. The characters might deliver dialogue but he looks to present other information in a visual manner. His camera observes and interacts with the scene. He likes to push the camera in on subjects, and pull out into wide shots. These kinds of shots are used as a visual key to the emotional tones of the scenes. When his camera dollies in, or pulls away, it is not just used to reveal information, but mostly to focus the emotion. When Spielberg dollies in on a face, he is presenting it as an emotional map for us to read. He uses movement to visualise emotion. Whilst we look at the characters, they tend to look at something else. Whilst their eyes are filled with emotion, Spielberg holds on them for an extra beat to withhold the answer to our question, "what are they looking at?". This helps us link to what they are feeling. This can be done in three shots: seeing the person; seeing what they look at; seeing their reaction. However, Spielberg likes to do it in one using reflections, so we can see the character, what they are looking at and how they are feeling.

A perfect example of Spielberg's reflection technique. Taken from Schindler's List (1993)
Spielberg also likes to use shadows. This allows him to suggest the human form without necessarily showing it. He also enjoys making certain items in scenes the object of our attention. He makes the characters and the camera focus on the object to give it a sense of importance, even if it isn't. It helps to progress the scene. Circles play a part in most of his movies. He believes they help to diffuse the rectangular shape of the screen. Circles help to soften a scene and offer a new way of looking at them.
Two examples of Spielberg's shadow technique
Two examples of Spielberg's use of circles
And that is why Spielberg influenced me. He makes me think more about how and why I move the camera. I don't just put a camera somewhere for the sake of it. I think carefully before a shoot about where the camera needs to be and what should motivate its movement. I think about similar techniques I can use to tell the story without needing to use the characters to do so. He makes me think more about the way I tell stories and the way I direct the camera. I think more about how I can show a character's emotion, using the camera, not the actor. Because of him I think about how I reveal things and show things on screen; I think about how I frame things and where I place things. And finally because of him I think about how I can show something on screen, without actually showing it. All of these points are something I will apply to this unit because I am using someone else's script to tell a story, and I need to do it justice. There is a lot of emotion in both of my scenes and I have to think of a way to show this using the camera as an effective storytelling tool. What is the point of using a camera if you are not going to use it properly? Think about it's positioning and movement. They are the most important thing. And whilst directing this next project, they will be at the top of my list at all times. I will attempt to get the best out of my actors, and then use well thought out movements to build on this emotion and make it 10x stronger.

And that is Steven Spielberg.

Directions: J.J. Abrams

J.J. Abrams is one of my favourite directors. I love his style and, in my opinion, his work in TV & Film is just outstanding. This is why I have chosen to look at him and his work whilst I prepare for my next project.

A bit of background info...

 J.J. is an American film director, writer & producer. Some of his most famous film work as a director, producer or writer includes the new Star Trek (2009-present) franchise, the Mission Impossible (2006-present) franchise, Super 8 (2011) [my favourite film], Cloverfield (2008), and of course Star Wars: The Force Awakens (2015). Some of his most famous television work as a director, producer or writer includes Alias (2001-2006), Lost (2004-2010) & Alcatraz (2012).

As a young man his father gave him some advice, he said "it's more important that you go off and learn what to make movies about than how to make movies". And because of that he didn't go to film school, instead he went to college. He got his first be break during his senior year at college when he and a friend had a feature film treatment purchased by Touchstone Pictures, a treatment that went on to become Taking Care Of Business (1990).  Since then he has worked on many amazing projects and has been nominated for numerous awards including BAFTAs, Writers Guild Awards and Emmys. Listening to his father was probably the best thing he could have done.

To learn more about J.J. and to find out his opinion of filmmaking, I watched a short film produced by BAFTA Guru.


How does he influence my work?

 Like me, and most other filmmakers, J.J. started out making films as a kid. Unlike me, he only had access to a Super 8 camera. In the video he talks about the equipment and software available today and how the best advice he can give to a young filmmaker is that if they want to make movies, they just need to go out and do it. For him as a child making a movie was more difficult, there was a lot more involved. And that's why I love his film Super 8 (2011) because, whilst telling the story of a bunch of kids who discover an Alien, it also tells the story of a bunch of kids trying to make a zombie movie using only a Super 8 camera. The fact that back then kids could make movies using just a Super 8 camera makes me feel lucky to be living in the era I am. If I want to make movies or TV shows, I can and it was J.J. that taught me that. I remember when I first saw this short film and all I could think about was the incredible journey he has been through to get to where he is. For me to explain how he influences my work I don't need to talk about his trademarks (like the use of lens flares), because in my opinion that's not what makes him a good director. For me, what makes him a good director is the journey he has been through and how he has used this to become the filmmaker he is today. And I want my work to show that too. When people see the films I make, I want them to get an idea of what I have done to get to where I am. I want people to see how I have changed and developed and how my skills have developed too. And that's why he influences me, because of his journey, because of how he became who he is and because of the process he goes through and what he thinks about when making a movie.

In terms of this unit, J.J. influences me because of the way he talks about characters. He is a firm believer of character development as it drives and develops the story. He also talks about how actors can pick up on things that a writer or director may not have noticed, for example ideas on how to develop a character. And because of this, on my project I will listen to all opinions, as I usually would, and try to implement as many as possible if it helps to develop the story and the characters. Especially considering that I am using someone else's characters, it is important that they come across right onscreen and I beleive character development is a good way to do this.

And that's J.J. Abrams.

Directions: Self Portrait 1

As part of my research for the directions unit I have to create my own visual self-portrait. I was unsure as to what I could do so I did a quick google search and managed to find a few film related self-portraits that could help me visualise my own a little better and get a sense of what one is.

The first one I came across is this one created by Film4. It's a self-portrait on filmmaking, told by filmmakers.


In this film huge directors like Quentin Tarantino, James Cameron, Martin Scorsese, David Fincher, Ridley Scott, Christopher Nolan, and many many more, talk about the art of directing. They talk about how they got started and what it is that makes them want to make movies. They talk about what they think it means to be a director. Some talk about what it is like to make a movie and what influences them. They talk about why they're interested in filmmaking; where ideas come from; what makes them nervous and scares them; how characters and action work together; and their childhood, using Super 8 cameras to make short films.

I found this video extremely interesting. It was great to hear what these directors had to say about filmmaking. I learnt a lot from watching this video and it raised a lot of questions I feel I need to answer in my own self-portrait:

  • What was my childhood like?
  • What made me want to work in TV/Film? Who/what were my influences?
  • How did I start out?
  • What kind of person am I?
  • What's my directorial style?
  • What do I think it means to be a director?
  • What kind of TV/Films do I want to make?
  • Why am I interested in TV/Film?
  • Where do my ideas come from?
  • What are my surroundings like?
  • What scares me?
  • What do I think my future will be like? How will I move towards that?
I will continue to work on my self-portrait, using this questions as a starting point.

Directions: The Script

Now I have chosen my scenes, I had to translate them into a script that I could work with through-out the production. So I opened up Final Draft and got the scenes up and Netflix. I then watched the scene back, pausing after every action and piece of dialogue so I could write it down in script form. I then went back through and filled out any other descriptions and fine details to ensure my version of the scenes played out the way the original writers wanted it to.

The first scene, from the S4E2, had only one line of dialogue. The entire two minute sequence is pretty much just action. So when it came to writing the script I ensured I kept it as detailed as possible so all the actions would come across the same way on screen as they did in the original show. For the second scene, from S4E12, I had a little bit more dialogue to work with, however actions were still very important. In the scene only one character has all the dialogue so I ensured that was all correct and fitted into the script nicely. I then detailed the actions to again ensure they came across right. This scene had a lot of action in the space of only three minutes and I had to move it too a different location whilst still keeping that action, which I think I did well. In script form it was difficult to express how tense the scene was supposed to be. The music is what makes it extremely tense, however the actions really add to this so I had to ensure they were scripted correctly. Finally, I fine tuned my descriptions so everyone on the cast and crew could read my script and get an idea of what I am going for.

As this is not a screenwriting exercise I tried not to focus on the script too much, however I did want to make sure it was right before I went ahead. I think my adaptation of it on paper represents the scenes quite well.

Here are some of the pages from the script:

Page 1
Page 2 
Page 3

Directions: Pre-Production- Locations 2

Today I went and looked at two more of my possible locations. These two are for my first scene, which takes place outside Gus's house. Walt goes to Gus's house to kill him but is stopped before he enters.

LOCATION 1

The first location was a street near my own which, in my opinion, has a similar vibe to the one featured in the show. The lighting at night is similar and the atmosphere on camera is similar. It also has certain features, like the fact that it is on a corner, which make it more like the location used in the show. The house is not important, I am interested in the actual space outside the house as this is where the scene takes place. I need somewhere to park Walt's car as a large portion of the scene takes place inside the car. I also need to create a good amount of space between the car and the house so I have room for the second half of the scene. I think the location is very suitable and although it doesn't look at all American it does fit into my initial idea of doing a British adaptation. The only issue I have with the location is that it can be busy at times as it is a public street meaning it could make filming difficult.

Here are some photos of the location that I have edited to make them look as they would in the film:

The street
The House
LOCATION 2

 The second location is a house and street in a small area away from the main roads. My reasons for choosing it are very similar to that of the previous location. I think the lighting is similar and the vibe is similar. Again the house is not important, it is the space outside the house I am focusing on. There is not as much space outside this house but there is still enough to play out the scene. I can see where I would place Walter's car and where the second half of the scene would take place. Unlike the first location, this one is away from busy streets and is mostly secluded so I wouldn't have to worry about cars and people getting in the way. Again I think this location is suitable, and looks a little bit posher than the first location; I'm not sure yet if that is the look I want. As it is a more private area, it may be more difficult to get permissions.

Here is a photo of the location that I have edited to make it look as it would in the film:


Overall I think both locations are useable and so I will continue to look into them and eventually pick one to use in the final film.

Friday, 1 January 2016

Directions: Pre-Production- Locations 1

Today I went out and looked at one of my possible locations. It's an industrial area not too far from my home. I met up with the owner of the property and told him what I was planning to do. He seemed pretty happy and let me take a few photos so I could visualise the project a little bit more.

I am planning to use the location during my first scene, which is originally set in a multi-story carpark. I have decided to change the location from the original script because of logistical and health and safety reasons. For the scene a car needs to be parked so I double checked to make sure this would be okay and was pleased to hear that it would be.

Suitability?

I think the location is very suitable for what I am planning. There is enough space to accommodate the scene, all be it in a different manner than the original script. Whilst there I blocked the scene out in my head and I think it will work. However, I am unsure about where to place Walter White in the location. He has to be hiding. There is a portion of fence he could hide behind but if that doesn't work I will have to create a makeshift hiding spot.

I put my photos into Photoshop and messed about we them until they looked like how I would expect them to look in the final cut, once all the colour correction has been done. Here they are:

The site
Where Gus's car will be parked
Where Walter could hide
Overall I think the location is very suitable and I well definitely keep it in mind.

Directions: Initial Ideas

For this project I have decided to focus on the American drama series "Breaking Bad". Unfortunately I can't go over to America (more specifically Albuquerque) to shoot my script so I have to think of a way to work around this whilst still being able to use great locations.

My initial idea is to act as though I am directing a British adaptation of Breaking Bad. This means I will still be using the same dialogue and characters but I will be setting it in more British looking locations, rather than trying to find American looking ones in the UK.

During my location scouting I will not rule out any locations if they look too American because if I were to find enough American looking locations I could just put the script back in it's original setting.

So to summarise, I am going to act as though I have been asked to direct a British adaptation of Breaking Bad. I am doing this so I won't be limited when it comes to location scouting and casting. I have a few locations in mind thus far and so I will go and have a look to see if they are suitable.

I have also thought about changing one of the settings for one of my scenes. One of my scenes, taken from S4E2, is set in a multi-story carpark and on the rooftop of a building. I am thinking of changing this to a more industrial looking location because I think the scene will work just as well in that location and because it's a little better in terms of logistics and health and safety (due to constant moving vehicles).

I will continue to develop these initial ideas and see where it takes me.