So, I've been rather remiss in my blogging about Urban Endings. My best defence is that I've been busy working on it.
My script poses several production challenges:
First, it requires a high quality of actor. While it is true of any film that you want the best actors possible, I would say that mine, which depends so much on the emotion of the characters, and contains little to no action, it is especially vital. And good actors, they don't come cheap. Well, they do, but it's harder.
I actually wrote the script with one actor in mind - my advanced higher drama class happened to produce two successful RSAMD applicants and one very talented actor. And this was a class of three. We're good friends and I know it'll be great to work with him again.
For the other part, the mother, I had to do some casting work. I knew it would be tricky - good, older actors willing to work for a nominal fee are hard to find, far harder than student age ones. I have, however, secured an actress called Margaret Fraser who I think will be very good.
So far, then success!
Another challenge is that the design vision I had for it is quite pricey to achieve. I made myself a mood board and it was all Mise Van Der Rohe modernism (I blame my architect sister) - hard to achieve on a budget. However, I decided to go down a slightly unconventional route and ask the people at BoConcept, the coolest furniture shop in Glasgow, if I could use one of their display areas. They have very kindly agreed and we'll see how this goes.
I also found a great little cafe on Ingram St which fulfilled the criteria I needed it to - glass windows, not too busy an area, smart looking interior. I was also chuffed that in assessing whether it would work I got to exercise my Artemis app - I could tell whether the camera would be too close/far.
Again, success!
The other big challenge I have is the little matter of the pill props. There are numerous ways of getting round that, including the rather awful idea of carving a stick of chalk, but I needed to find one which would
a) pose no danger to the actors
b) look right
After several tests I have decided to empty out capsules. I have still to decide whether to fill them with sugar (it depends on whether the weight change is visible) but it makes the most sense, being safe and still looking real.
I'm looking forward to getting all these off the ground - it's certainly a big project to be making 13 individual films! Part of me is craving a break after grads but there'll be plenty of time for that during summer and before then I'll get to be camera op, DOP, sound recordist, director, producer and editor. Fantastic.
Thursday, 26 May 2011
Filming log: My First Spellbook
In a way it was quite reminiscent of last year to be working with Murdo on a production. I was production assistant on his second year film, "Broken Bubbles" and in many ways it was good preparation for "My First Spellbook".
A large portion of my job was prop procurement (in the pre-production anyway) and I have to admit, I enjoy taking a wodge of petty cash and being told to spend it. The biggest challenge was getting furniture, and in this area Meg (production assistant on Taxidermist) definitely outshone me. I'll definitely keep in mind the place where she bought it, sounds like a great resource. I did have to deal with the slight challenge of getting Hallowe'en-esque decorations in the middle of May. I got some funny looks for that, I can tell you. Still, between Alicia in first year, a joke shop and our brilliant art department we managed rather well.
The phase I enjoyed the most was definitely when I transitioned into being the 2nd AD. Partly that was because I could enjoy a slightly more leisurely day (I woke up every day with a phonecall from the crew pick up, needing to field some problem or other) and partly because, you know, I think AD work really suits me.
The only thing I didn't like about being the 2nd was that I was so far from the action. I'd write up these call sheets and movement orders and then hear back about what was happening. It's like organising a party and forgetting to invite yourself. It's hardly as if I was needed, I just really love being on set.
That brings me to my favourite day: the day I stepped in as 1st AD: our 1st, Sean, was ill and it fell to me.
I really, really enjoyed myself. It's like being given a set of interesting and important problem solving problems laced with people management. Brilliant.
I did well, too. Everyone was happy (well, happy enough, as far as I could tell) and we finished ahead of time.
The next two days I was 3rd, along with Julia. Because of the nature of our set up we had very little to do for most of the day though that was amply made up for after 3. I did help out with the tarantula event, escorting Ginger and her owner through the school and generally keeping it on the down low.
After three: the two hours of doom. I have to wonder how primary school teachers manage because children are... insane. I'm used to working with kids, but they tend to be older and to have chosen to be there. These kids were press ganged and at times difficult to marshal. My biggest test was the last set of shots on Friday when it was getting late, they wanted to go home and we needed them to be at their most docile.
Oh dear.
The result was that the crew got to hear my teacher/sergeant major voice. Apparently it was hilarious, but it was also very effective. Through a mixture of praise, authority and the invocation of the head teacher we got them to do what they needed to. Eventually. They marched up the stairs, not too fast, not too slow, and they didn't looking into the camera. Or few enough of them did that it can be cut around.
It was a great film to work on and I feel really invested in it, having been there from so early on. I can't wait to see it, I'm sure it'll be great! And I'm really glad to have established for myself the way I want to get into the industry.
I also have a theory: child working hours have nothing to do with how long children can work. It's how long adults can work with them. I went home far more tired on Friday than I did after any 12 hour Taxidermist day.
A large portion of my job was prop procurement (in the pre-production anyway) and I have to admit, I enjoy taking a wodge of petty cash and being told to spend it. The biggest challenge was getting furniture, and in this area Meg (production assistant on Taxidermist) definitely outshone me. I'll definitely keep in mind the place where she bought it, sounds like a great resource. I did have to deal with the slight challenge of getting Hallowe'en-esque decorations in the middle of May. I got some funny looks for that, I can tell you. Still, between Alicia in first year, a joke shop and our brilliant art department we managed rather well.
The phase I enjoyed the most was definitely when I transitioned into being the 2nd AD. Partly that was because I could enjoy a slightly more leisurely day (I woke up every day with a phonecall from the crew pick up, needing to field some problem or other) and partly because, you know, I think AD work really suits me.
The only thing I didn't like about being the 2nd was that I was so far from the action. I'd write up these call sheets and movement orders and then hear back about what was happening. It's like organising a party and forgetting to invite yourself. It's hardly as if I was needed, I just really love being on set.
That brings me to my favourite day: the day I stepped in as 1st AD: our 1st, Sean, was ill and it fell to me.
I really, really enjoyed myself. It's like being given a set of interesting and important problem solving problems laced with people management. Brilliant.
I did well, too. Everyone was happy (well, happy enough, as far as I could tell) and we finished ahead of time.
The next two days I was 3rd, along with Julia. Because of the nature of our set up we had very little to do for most of the day though that was amply made up for after 3. I did help out with the tarantula event, escorting Ginger and her owner through the school and generally keeping it on the down low.
After three: the two hours of doom. I have to wonder how primary school teachers manage because children are... insane. I'm used to working with kids, but they tend to be older and to have chosen to be there. These kids were press ganged and at times difficult to marshal. My biggest test was the last set of shots on Friday when it was getting late, they wanted to go home and we needed them to be at their most docile.
Oh dear.
The result was that the crew got to hear my teacher/sergeant major voice. Apparently it was hilarious, but it was also very effective. Through a mixture of praise, authority and the invocation of the head teacher we got them to do what they needed to. Eventually. They marched up the stairs, not too fast, not too slow, and they didn't looking into the camera. Or few enough of them did that it can be cut around.
It was a great film to work on and I feel really invested in it, having been there from so early on. I can't wait to see it, I'm sure it'll be great! And I'm really glad to have established for myself the way I want to get into the industry.
I also have a theory: child working hours have nothing to do with how long children can work. It's how long adults can work with them. I went home far more tired on Friday than I did after any 12 hour Taxidermist day.
Film Log: The Taxidermist
I say this every other blog but god, I really love making films. If I can do this and manage to pay my rent and bills, I'll be very happy.
Anyway, that bit over with, here is my reflection on working on The Taxidermist:
I loved the script when I read it. It was sweet without being saccharine, gory but funny, and I could just picture it
It has been an exciting time all round - every day this week I've been driven deep into the mountains where there's no signal, no internet, and worked at learning a job I've seen but never done.The lack of communication was excellent for our focus but it was always a bit overwhelming to check my emails on the journey back and find that the world outside was moving on.
I heard great things about Amélie's skills as a clapper loader so I wanted to try not to be a let down but I will be the first to admit that I've made mistakes as I went. None dramatic but still annoying: messing up slate numbers, ignorance of things like how to do an end board properly, dropping things, prioritising things wrong. Lots of stupid stuff like that; stuff that slows filming down and makes it that bit more annoying for everyone. For that, I'm sorry.
I think I learned my job better as the week wore on, though. By Friday, even without Dilara there to help (and she was invaluable) things ran really smoothly - batteries when batteries were needed, always a spare card, notes kept detailed and accurate, monitor where it needed to be. It's a bit tragic that this only happened on the last day but next time hopefully I'll get right back into it.
As far as I could tell the clapper/loader is all about keeping on top of things: I had to know where things were and be able to get them quickly. I'm quite good at spinning plates once I understand what needs to happen.
I loved working with the third years and with the RED (it's a beautiful instrument). Galina was even kind enough to teach me a bit of RED, and let me practice my focus pulling (I'm not that bad at it, though more practice is definitely in order). Very excited to get my mitts on it properly and discover the layers and layers of complexity within.
I don't really think I can take responsibility for how beautiful it will end up looking (and I'm pretty certain it will be) but I'm still very glad to have been there.
It's scary to think that next year it'll be us doing out grads. Eep!
- Posted using BlogPress from my iPod touch
Anyway, that bit over with, here is my reflection on working on The Taxidermist:
I loved the script when I read it. It was sweet without being saccharine, gory but funny, and I could just picture it
It has been an exciting time all round - every day this week I've been driven deep into the mountains where there's no signal, no internet, and worked at learning a job I've seen but never done.The lack of communication was excellent for our focus but it was always a bit overwhelming to check my emails on the journey back and find that the world outside was moving on.
I heard great things about Amélie's skills as a clapper loader so I wanted to try not to be a let down but I will be the first to admit that I've made mistakes as I went. None dramatic but still annoying: messing up slate numbers, ignorance of things like how to do an end board properly, dropping things, prioritising things wrong. Lots of stupid stuff like that; stuff that slows filming down and makes it that bit more annoying for everyone. For that, I'm sorry.
I think I learned my job better as the week wore on, though. By Friday, even without Dilara there to help (and she was invaluable) things ran really smoothly - batteries when batteries were needed, always a spare card, notes kept detailed and accurate, monitor where it needed to be. It's a bit tragic that this only happened on the last day but next time hopefully I'll get right back into it.
As far as I could tell the clapper/loader is all about keeping on top of things: I had to know where things were and be able to get them quickly. I'm quite good at spinning plates once I understand what needs to happen.
I loved working with the third years and with the RED (it's a beautiful instrument). Galina was even kind enough to teach me a bit of RED, and let me practice my focus pulling (I'm not that bad at it, though more practice is definitely in order). Very excited to get my mitts on it properly and discover the layers and layers of complexity within.
I don't really think I can take responsibility for how beautiful it will end up looking (and I'm pretty certain it will be) but I'm still very glad to have been there.
It's scary to think that next year it'll be us doing out grads. Eep!
- Posted using BlogPress from my iPod touch
Friday, 6 May 2011
A child, a tarantula and a musical number walk into a bar...
I'm pretty sure that if you wanted to devise a script as a production challenge it would look a lot like My First Spellbook. Children, dangerous (and creepy) animals, a musical number, fire, special effects, multicam days and a huge amount of make-up.
This is the challenge I have helped to face as production assistant and then 2nd AD and it's been quite a task.
My main role in the run up to shooting was helping out with the art department, buying and sourcing the many props we needed. I also scurried about helping with auditions and on one day, cleaning a location.
Now that shooting is under way my role is more administrative, though there's still some scurry work - today I helped our cast find their way around the academy as we balanced music recordings and costume fittings. Mostly, though, I am just working on the coming days and the paperwork required.
This has led me to be rather confused about what day it is - my mind is constantly a few days ahead, thinking what will need to be done then and mixing me up about the present. Still, I think I've managed a fair approximation of mental balance.
And so, I sit at my desk (in the new and rather lovely production office) sending emails, making phonecalls and wrestling frustratedly with the bloody Windows OS. I really do hate it - I can barely work with it, if my laptop weren't so frail I'd bring it in and work from there.
Things I have learned:
I enjoy ADing a lot, but I'd rather be on set, it feels much more connected. As it is I only get told what's going on if there's a problem, I won't be there for the triumphs and the moments when it all comes together. No one calls the 2nd AD to say, "we just did a great shot! It worked perfectly!", it's always "the van was late and then the boiler exploded and three crew members have gone to hospital".
This is the challenge I have helped to face as production assistant and then 2nd AD and it's been quite a task.
My main role in the run up to shooting was helping out with the art department, buying and sourcing the many props we needed. I also scurried about helping with auditions and on one day, cleaning a location.
Now that shooting is under way my role is more administrative, though there's still some scurry work - today I helped our cast find their way around the academy as we balanced music recordings and costume fittings. Mostly, though, I am just working on the coming days and the paperwork required.
This has led me to be rather confused about what day it is - my mind is constantly a few days ahead, thinking what will need to be done then and mixing me up about the present. Still, I think I've managed a fair approximation of mental balance.
And so, I sit at my desk (in the new and rather lovely production office) sending emails, making phonecalls and wrestling frustratedly with the bloody Windows OS. I really do hate it - I can barely work with it, if my laptop weren't so frail I'd bring it in and work from there.
Things I have learned:
- how the entertainment license thing works
- when someone is cut, or their role reduced, it probably isn't anything personal - it's a decision you make in the production office for horrid practical reasons like the number of people you can fit in a car
- there is an occult shop in glasgow, but it shuts on the sabbath
- the best joke shop in glasgow - tam sheppards on Queen St.
- finding hallowe'en decorations in may - rather difficult
- house candles are no longer sold in normal places, it's all tea lights all the time! luckily there was a big morrisons next to one location and I popped in and bought them there
- call sheets are pains
- but they're also the perfect organisational tool
- Word is the devil's own word processor
- I'll say it again - how did people produce before the mobile phone? I don't think I've ever made/received as many calls as the last two weeks
- probably more but my brain is currently mush from poring over endless, fiendishly complex movement orders
I enjoy ADing a lot, but I'd rather be on set, it feels much more connected. As it is I only get told what's going on if there's a problem, I won't be there for the triumphs and the moments when it all comes together. No one calls the 2nd AD to say, "we just did a great shot! It worked perfectly!", it's always "the van was late and then the boiler exploded and three crew members have gone to hospital".
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