So I have started to formulate a plan to begin shooting the feature in November. Only a year late! From shooting Reconcilation I began to see the weaknesses and the opportunities in the current script: the more I explain, the less compelling the story is. If I remove the explanation, the psychology, I make the story more forward more directly, suggest a shooting style, and make it more practical to shoot on a small budget (fewer locations, fewer actors), etc.
I am thinking that I begin with the second story, that of Claire as she tries to take on her sister's life, and truly change. And fails. I focus more on that empty place she is trying to fill, the transcendental, and less her telling what she is doing. The shooting style is driven by her story, built shot by shot, each leading to the next.
Monday, June 25, 2007
Sunday, June 24, 2007
Project update - June
I know that it may look like I have been so preoccupied with the Reconciliation project that I haven't had time to focus on what started it all, the feature film.
I have to say though, shooting this film has helped clarify how I might go about shooting the feature, strategically and creatively.
Strategically, I mean how do you shoot a feature film with a limited budget and few resources? And creatively, I go back to some of the original questions I had, about the shooting style.
The stringent form that I borrowed from Haneke has helped me find a way to an answer. And I have been more attracted to Tarkovsky's solution: this shot leads inevitably to the next, even suggests it. Focus on this shot and the next will reveal itself. There is no concern with convention - I cannot tell you how liberating it is to be free of the establishing shot/medium shot/close-up rules. If the scene is not changed by your choice of shot then you are not being honest.
And tied up into this is more thoughts on Haneke, Tarkovsky and especially Bresson, and the idea of removing psychology. I feel this is the greatest weakness of my story so far.
As for strategy, doing this project has only made me more confident that shooting parts, as if a series of short films is the best strategy. I think though that I will look at them as more self-contained parts than I had prior to the project. More on this and future plans...
I have to say though, shooting this film has helped clarify how I might go about shooting the feature, strategically and creatively.
Strategically, I mean how do you shoot a feature film with a limited budget and few resources? And creatively, I go back to some of the original questions I had, about the shooting style.
The stringent form that I borrowed from Haneke has helped me find a way to an answer. And I have been more attracted to Tarkovsky's solution: this shot leads inevitably to the next, even suggests it. Focus on this shot and the next will reveal itself. There is no concern with convention - I cannot tell you how liberating it is to be free of the establishing shot/medium shot/close-up rules. If the scene is not changed by your choice of shot then you are not being honest.
And tied up into this is more thoughts on Haneke, Tarkovsky and especially Bresson, and the idea of removing psychology. I feel this is the greatest weakness of my story so far.
As for strategy, doing this project has only made me more confident that shooting parts, as if a series of short films is the best strategy. I think though that I will look at them as more self-contained parts than I had prior to the project. More on this and future plans...
Reconciliation blog
I have decided to begin another blog dedicated to the Reconciliation project. I just thought it was confusing discussing on project in a blog about another. I will continue to post to this blog, but focus on the feature, Tidal Barrier, here.
Please follow the Reconcilation project here: http://reconciliationfilm.blogspot.com/
Please follow the Reconcilation project here: http://reconciliationfilm.blogspot.com/
Thursday, June 14, 2007
Production update
Another update.
We completed shooting, this past weekend, June 9th/10th. I can't imagine it going more smoothly.
JC and I had spent the Thursday before going over shots.
I found the final crew member, Nichola, makeup, the Thursday before.
We shot 7 of the 8 scenes in one flat. We had an exterior for Scene 8, which we picked up in the courtyard outside the flat. Ed, who provided us with transport, found us a rooftop in Bethnal Green for our second location. Here we shot the last part of the film, 8b, a montage of shots of London seen by the male character from high up in his flat.
The shoot went over two days. This meant we shot 4 scenes, per day, with perhaps 5 set ups per day. This made for a very easy day, but allowed the actors, JC, the DOP, and myself to be comfortable with the performances and satisfied with the framing and angles.
JC asked for one light, but in the end didn't use it. He told me he was quite determined to shoot with all natural light. The stock he chose was Fuji Reala 500D. Plenty fast.
The natural lighting, the fast stock, the stringent shooting style, and the preparation with the actors meant the whole shoot went off without any major problems.
I will post some photos from the production as soon as possible. And update you on the beginnings of post-production.
We completed shooting, this past weekend, June 9th/10th. I can't imagine it going more smoothly.
JC and I had spent the Thursday before going over shots.
I found the final crew member, Nichola, makeup, the Thursday before.
We shot 7 of the 8 scenes in one flat. We had an exterior for Scene 8, which we picked up in the courtyard outside the flat. Ed, who provided us with transport, found us a rooftop in Bethnal Green for our second location. Here we shot the last part of the film, 8b, a montage of shots of London seen by the male character from high up in his flat.
The shoot went over two days. This meant we shot 4 scenes, per day, with perhaps 5 set ups per day. This made for a very easy day, but allowed the actors, JC, the DOP, and myself to be comfortable with the performances and satisfied with the framing and angles.
JC asked for one light, but in the end didn't use it. He told me he was quite determined to shoot with all natural light. The stock he chose was Fuji Reala 500D. Plenty fast.
The natural lighting, the fast stock, the stringent shooting style, and the preparation with the actors meant the whole shoot went off without any major problems.
I will post some photos from the production as soon as possible. And update you on the beginnings of post-production.
Saturday, June 02, 2007
Reconciliation - Production update
I just wanted to send out a quick word about the Reconciliation project.
We are in pre-production, with the principle shooting taking place June 9th/10th. That is one week from today.
Tomorrow I have another workshop with the actors, Emma and Phil. I have my art director Lara out in the shops gathering the props and costumes we need, and Jun, my DOP is busy thinking of the shots and angles, as they do.
I still have some holes. Makeup, sound, and a second location.
I will try to post again closer to the shooting dates, and then upload some photos of the actual production.
We are in pre-production, with the principle shooting taking place June 9th/10th. That is one week from today.
Tomorrow I have another workshop with the actors, Emma and Phil. I have my art director Lara out in the shops gathering the props and costumes we need, and Jun, my DOP is busy thinking of the shots and angles, as they do.
I still have some holes. Makeup, sound, and a second location.
I will try to post again closer to the shooting dates, and then upload some photos of the actual production.
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