ISSUE 17

http://nickelcobalt.tumblr.com/page/4

Feedback on our report was interesting. I was a little confused as to why I received criticism for a decision that wasn't mine, nevertheless, it was good to see where we stood with our tutor. I am currently in the process of organising a meeting time for myself and my actors. Our auditions were so interesting. I had never been on that side of the process before, and didn't realise that it isn't just the auditionees that feel uncomfortable. The auditioners feel uncomfortable too! However, it was a great experience, and I feel very confident with my decisions.

AUDITIONS

I am looking forward to next Tuesday's lecture on actor direction very much as it will be invaluable information for me, as director, to learn how best to go about this. 

Tomorrow, our auditions are being held. This is both exciting and nerve-wracking, as I don't really know what to expect or what even I want my talents to do for me in the audition. 

I am thinking that first I will chat with each of them, deciding on a smaller group of talents to cull down to, and then ask these actors to perform a short scene from the script - it's just complicated as there is no dialogue and, for Jane, little movement. As for Ben, without props, there is little I can ask him to do. Perhaps a kiss? Hmm - is that even acceptable in an audition? I may just ask each girl to do a number of 'responses' and ask Ben to take his top off...umm. Gosh, awkward much?

EEp.

ISSUE 16

LIGHT. This weeks reading provided some very useful information on lighting for a film. It looks like our location will provide us with a lot of natural light. Obviously we won't have the thousands of dollars worth of equipment to help control our light, however it is worth knowing anyway. For example, using cutters and scrims to control hard light, or using a hard light but making it soft by bouncing it off a white board and then filtering it through a screen. I had never thought about shadows in film, however with multiple light sources can come multiple shadows. This would significantly reduce the idea of the film being real, as in real life it would be rare for a us to have more than one shadow at a time. 

It's amazing how much work with light goes in to making it look realistic. Personally, I think all films should be shot with the venetian blind look that was so popular in the 40's. Everyone looks mysterious, sexy, and dangerous.

ISSUE 15

Sex And The City

This clip, in which Carrie spots her new lover from across the room, is effective for a number of reasons. The location, with the crazy looking woman as the art installation highlights the tenderness and subtlety of Carrie and Aleksandr's first fleeting glances. The music kicks in just as they catch eyes, and the music itself has an air of mystery and a sense of something new, something magical even. This small moment, which contains no dialogue, works to portray this fleeting connection as something more than just a glance across a room. 

ISSUE 14

In this film, which divided film critics over it's sparse nature and almost indulgent timing of scenes, there is a lot of silence and a lot of stillness. Much like another of Coppola's films, 'Lost In Translation' in which there is the same theme of sitting, waiting, staring all in silence, she has managed to create something quite effective seemingly out of very little. There is a scene in Somewhere in which Stephen Dorf's character is having a mould created on his face, and he is required to sit in a chair for hours on end with nothing to look at, nothing to listen to. Nothing except the sound of his own breath and the thoughts in his mind. The scene goes for quite an extended amount of time, and Coppola has effectively conveyed Dorf's character's isolation through the very slow zoom in and the sound of his inhaling and exhaling breath. There is no other sound or image, yet it is very powerful and mesmerizing.

This film, of course, is very different in style and theme to the film our group will be creating, however this notion of sound and lack of dialogue just got me thinking. Also, directing the actor who plays the character of Jane will be a challenge due to her very limited movement. 

ISSUE 13

www.claudiacrobatia.com

*DIRECTORS NOTES*

Today, in our tute, Christine critiqued our progress within each of our roles. I spoke a bit about how I felt our group's film was so exaggerated and that I, as director, am trying to find the line between funny and corny. It is completely subjective, however I like to think I have a handle on what is crass and what is genuinely funny. I just can't wait for our actors to be cast, and for me to be able to really begin working as director. Our auditions are next saturday so that will provide a good mark in our progress as a team. With Keiran away next week, Hannah will be assuming the role of Sound Director in next weeks 'Lenny' filming which will be a challenge but great experience. I never really realised until today the usefulness and importance of having a 1ST  AD on the team. As Director, Producer, Sound, Photography and the production designer are all working within their own field, it is very useful to have someone marshalling everyone together. 

I am a little nervous at having so much responsibility when we are filming, but no doubt next week's filming of the new Lenny will provide me with some confidence.

I now need to find some scenes to deconstruct where the central character is limited in movement and has no (or little)dialogue. Any thoughts?

ISSUE 12

TODAY. LECTURE 6. GROUP MEETING. AND...ACTION.

As our roles become more and more defined as we approach filming, my role as director is starting to take a clear shape. It's been a busy week, as I am moving house, and we all know how time consuming and back-breaking and stressful that can be! I haven't had the usual amount of time to blog and read and generally ponder our short film. Trying to fit in this degree around my life is often a challenge, however it is this very challenge that keeps it interesting. At our group meeting this morning, Kieran and Verity and Hana B and I decided on an audition date. We have been pleasantly surprised by the number of attractive applicants. It seems quite vapid, but because our film has no dialogue and relies a lot on the sexual tension between characters, it is important for our actors to be good looking. No eye-sores!

The lecture this morning focused heavily on the importance of pre-production. It is easy to get wrapped up in the creative process and forget about the legalities, the contracts, the forms that need to be filled and signed. So, using the lecture as inspiration, I am thinking about what I need, as director, for the film day that I can delegate organising now. Such as props. While this might be viewed as a 'production design' element, the whole 'look' of the film needs to be generated by the director. I have also nominated to source the location - this is probably the most pressing issue on TOF's agenda. I know Melbourne very well, however finding a suitable cafe to film in will definitely be a challenge. 

Okay. CUT.

x