笔记

-- What settins will further your objectives? (as well as the comfort level of your interviewee). Outside of the one on interview show people active in their surroudings. Remember this is 'moving' pictures.

-- What is the motivation for cam...

One of the challenges in preparing a profile of the documentary industry based on data from different sources is that each source's definition of a documentary can be different. In this section, we review the various definitions of documentaries adopte...

AD -- SET PROCEDURE

Ty  Haller (imdb.com)

The key to efficient progress when shooting a film is to BLOCK -- LIGHT -- REHEARSE -- SHOOT;

-- BLOCKING

(TBC)

SHOOTING GUIDELINES

* Top principle: Give the greatest freedom for editing, allow lots of room, create rhythm for editing;

1. Use a tripod for fixed camera positions;

2. Always complete the action being shot, and allow one to two seconds after the action is completed before cutting the camera;

3. Maintain screen direction, e.g. a man walking exits one shot frame left in the next shot he must enter frame right;

4. Allow moving characters or objects t enter and exit an empty frame (clean frame);

5. When shooting the same action from several angles allow lots of overlap of action;

6. Allow action overlap when going from a wider shot to a close up;

7. When panning static shots allow seven seconds from the time an object enters the frame until it exits, or simply beware of strobing;

8. When panning a static scene begin and end on a static frame;

9. Remember the focal point of each shot and how it can be used to smooth cutting from shot to shot;

10. Establish the cutting axis (in the wide shot in which way people look) and use neutral or transition shots to cross it.

11. If you want to cut panning or tracking shots together the pans and tracks must be the same speed.

12. Remember continuity;

   *   *   *

SHOOTING OPERATIONAL PROCEDURE

1. Choose set

Factors to consider:

-- a) what will help to tell the story;

-- b) lighting -- availability of practical (pre-existing light we want to use), natural light, places to hang lights;

-- c) set design, background decor, compositional elements;

-- d) coverage background;

* Filmmaking is about creating illusion;

2. Choose camera position (subject to change during blocking):

Factors same as choosing set and :

-- e) Camera angle: what angle gives best viewpoint on scene, enhances drama;

3. Block (difference between drama and documentary)

Factors:

-- a) organic unfolding of subject matter (might change camera position);

-- b) set camera movement if any;

-- c) wide shot background;

-- d) coverage background;

-- e) lighting;

4. Light:

-- a) light wide shot first to determine light logic;

-- b) consider contrast ratio (key + fill/fill);

-- c) set key light position -- light one light at a time (if possible);

-- d) start from 3 point lighting plan;

-- e) add fill, backlight, kickers, eyelight, set lights;

-- f) determine exposure (protect hightlights);

5. Rehearse

6. Trim

-- make lighting or camera changes based on rehearsal;

7. Shoot

-- shoot everyting going in one direction, then turn around;

 

GOVERNING PRINCIPLES

1. Dynamic Diagonal:

-- Arranging compositional elements or action along a diagonal from one corner of the frame to the opposite corner is more dynamic than horizontal or vertical arrangements.

2. Rule of Thirds:

-- Divide the frame into thirds, vertically and horizontally. Arrange the focial point of the frame, the point where a viewer's eyes will go, whether it be someone's eyes in a close-up or their body in a full figure to be on or near one of the dividing lines.

-- The eyes have to be sharp; Peaking & Magnifier can help focusing;

3. Leadroom:

-- Place a person walking from left to right or in a close-up a head looking to the right in the left hand quadrant of the frame, allowing more of the empty frame in the direction they are travelling or looking, including up or down.

-- Keep the leadroom;

4. Headroom:

-- Headroom will vary with the size of a fram but beware of too much headroom, a classic error. Generally on a 'two T' close-up the top of frame will just graze the top of a person's head, all else being equal (amount of hair, shape of head, direction of look, etc.)

-- Same amount of head room from time to time.

5. Depth:

-- Arrange a frame wherever possible with a foreground, midground and background, being always watchful for elements which can be added to give depth to an image.

-- Through lighting and composition;

-- Different lens can manipulate distance --> how you feel something should look;

6. Balance:

-- An imbalanced frame may be chosen for effect, but under normal circumstances strive to achieve a balanced frame, balancing people in the frame, positive space with negative space, objects, etc.

7. 7 Second Rule:

-- When panning over a static object (landscape, building) beware of strobing by controlling panning or tilting speed to allow seven seconds of an identified part of the object to enter then exit the frame.

   *   *   *

FRAME SIZES AND TERMS

-- Extreme Close up (ECU): Chop to the forehead & allow comfortable chin room;

-- 'Clavicle' Close up (CU): Chop to shoulder;

-- '2T' Medium Close up (MCU): Chop to nipple line;

-- Waist

-- Cowboy: Chop to mid-thigh

-- Full Figure;

   *   *   *

Some additional concepts:

-- A director 'directs attention,' and one of the most powerful ways of directing attention is through lighting.

-- Patterns are interesting and pleasing to look at. Ieally, they should also set the scene and supply a visual context for the story. Geometric patterns add interest and often represent leading lines.

-- Two prime objects can divide composition. The exception is when the two elements are tied together in some way;

-- An odd number of prime objects is generally stronger than an even number, at least unitl the total number of objects exceeds six or more.

 

 

RECOMMENDED TEXT

DRAMATIC PROCESS:

-- The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, by Steven Ascher, Edward Pincus, Carol Keller, Robert Brun, Ted Spagna, Stephen McCarthy Penguin, 1999

-- Film Production Management 101: The Ultimate Guide for Film and Television Production Management and Coordination, by Deborah Spatz, Michael Weise Productions, 2002

-- Producer's Workbook 3, Women in Film, WIFVV & Reel West, 2002

-- Directing: Film Techniques and Aesthetics, by Michael Rabiger, Focal Press, 1996

        ~~~~~~~~~~~~

THE ROLE OF DIRECTOR:

-- Michael Rabiger, Directing: Film Techniques and Aesthetics, Third Edition, Focal Press, 2003

-- Judith Weston, Directing Actors, Creating Memorable Performances for Film and Television, Michael Wiese Productions, 1996

-- Mark Travis, Directing Feature Films, Michael Wiese Productions, 2002

-- Sidney Lumet, Making Movies, Alfred Knopf, 1995

-- David Mamet, On Directing Film, Penguin Books, 1992

-- Steven D. Katz, Film Directing, shot by shot, visualizing from concept to screen, Michael Wiese Productions, 1991

-- Steven D. Katz, Film Directing, Cinematic Motion, 2nd Edition, Michael Wiese Productions, 2004

-- Karel Reisz, Gavin Millar, The Technique of Film Editing, 2nd Edition, Focal Press, 2002

        ~~~~~~~~~~~~ 

PAUL'S LIST:  

-- In the Blink of An Eye / Walter Murch

-- The Conversations: Walter Murch and the Art of Editing Film / Michael Ondaatje

   *   *   *  

-- Making Movies / Sidney Lumet

-- On Directing Film / David Mamet

  *   *   *  

-- Something Like An Autography / Akira Kurosawa

-- Films of Akira Kurosawa / Donald Richie

-- Sculpting in Time / Andrei Tarkovsky

-- Cassavetes on Cassavetes / Ray Carney

-- Films of John Cassavetes / Ray Carney

-- Conversations with Fellini / Constanzo Costantini

-- My Life in Films / Jean Renoir

-- Kieslowski on Kieslowski / Danusia Stok

-- My Years With Apu / Satyajit Ray

-- Who the Devil Made It / Peter Bogdanovich

-- The Architecture of Vision / Michelangelo Antonioni

-- Antonioni: The Poet of Images / William Arrowsmith

-- Herzog on Herzog / Paul Cronin

   *   *   *  

-- Story / Robert McKee

-- Adventures in the Screen Trade / William Goldman

-- Which Lie Did I Tell? More Adventures in Screenwriting / William Goldman

-- The Art of Fiction / John Gardner

-- Zen and the Art of Screenwriting / William Froug

   *   *   *

-- World History of Film / Robert Sklar

-- Easy Riders, Raging Bulls / Peter Biskind

-- Time Out: Film Guide / John Pym

   *   *   *

-- Paul Jensen's film reviews: www.flixster.com/user/kurosawian

-- http://www.script-o-rama.com/oldindex.shtml

 

14 Movies that Defined 'The Last Great Decade of American Filmmaking': 1965-1975

Premiere Magazine

1. Bonnie and Clyde (1967)

2. The Graduate (1967)

3. 2001: A Space Odyssey (1968)

4. Midnight Cowboy (1969)

5. Butch Cassidy and the Sundance Kid (1969)

6. The Wild Bunch (1969)

7. Cabaret (1972)

8. The Godfather (1972)

9. Scarecrow (1973)

10. The Exorcist (1973)

11. Chinatown (1974)

12. Blazing Saddles (1974)

13. The Godfather II (1974)

14. Nashville (1975)

 

1. City Lights (Charles Chaplin)

2. Greed (Erich Von Stroheim)

3. Intolerance (D.W. Griffith)

4. Nanook of the North (Robert Flaherty)

5. Shoeshine (Vittorio De Sica)

6. The Battleship Potemkin (Sergei Eisentein)

7. The Baker's Wife (Marcel Pagnol)

8. Grand Illusion (Jean Renoir)

9. Stagecoach (John Ford)

10. Ninotchka (Ernst Lubitsch)

11. The Best Year of Our Lives (William Wyler)

12. The Bicycle Thief (Vittorio De Sica)

 

1. CITIZEN KANE (1941)

2. CASABLANCA (1942)

3. THE GODFATHER (1972)

4. GONE WITH THE WIND (1939)

5. LAWRENCE OF ARABIA (1962)

6. THE WIZARD OF OZ (1939)

7. THE GRADUATE (1967)

8. ON THE WATERFRONT (1954)

9. SCHINDLER'S LIST (1993)

10. SINGIN' IN THE RAIN (1952)

11. IT'S A WONDERFUL LIFE (1946)

12. SUNSET BOULEVARD (1950)

13. THE BRIDGE ON THE RIVER KWAI (1957)

14. SOME LIKE IT HOT (1959)

15. STAR WARS (1977)

 

15 Great Documentaries From the Modern Era

The Entertainment Guide to the Greatest Movies of All Time

1. Salesman (1969), Albert & David Maysles

2. General Idi Amin Dada (1974), Barbet Schroeder

3. Volcano (1976), Donald Brittain & Jone Kramer

4. Pumping Iron (1976), George Butler & Robert Fiore

5. Titicut Follies (1976), Frederick Wiseman

6. Harlan County USA (1977), Barbara Kopple

7. Koyaanisqatsi (1982), Godfrey Reggio

8. Burden of Dreams (1982), Les Blank

9. Streetwise (1985), M. Bell, M.E. Mark & C. McCall

10. Sherman's March (1987), Ross McElwee

11. The Thin Blue Line (1988), Errol Morris 

12. Cane Toads (1988), Mark Lewis

13. Incident at Oglala (1992), Michael Apted

14. Crumb (1994), Terry Zwigoff

15. Grizzly Man (2005), Werner Herzog

 

SCREENWRITING FORMAT GUIDELINES

-- Typeface and Paper

The correct font is Courier, the correct font size is 12 point (A point is 1/72 of an inch). Paper is 8 & 1/2 by 11, good quality white (20 pound bond).

A SLUG LINE in full caps tells us where and when:

INT. THE ROOM -- NIGHT

It's preferable to stick to either DAY or NIGHT as the last word in your slug line, as opposed to words like LATE AFTERNOON or EARLY MORNING, which may not be evident on screen. LATER or CONTINUOUS are acceptable.

(Am I cheating? Am I saying something only on the page? )

-- Action / Description

A screenplay is the blueprint for a film. Many details will be filled in by the people who make the film, so you should be as concise as possible. In 'setting the scene' try to present just a few details that say the most, that 'evoke the image' in the mind of the reader.

Garbage on the floor, peeling paint on the walls, a stinking pigsty.

Enough. Don't describe the garbage, or the colour of the paint. The Director and Art Director will decide that. you get on with who is there and what they're doing.

Unless you are simply intercutting two scenes already clearly established, always open a scene with some brief bit of action / description.

Action in a script is always happening right now, in the present, not the past tense. Beware wording like 'is playing' or 'begins to move'. Instead use 'plays' or 'moves'.

To introduce a character, capitalize his/her name when he/she first appears 'on screen'. Do not capitalize the name again. Follow this by a brief physical description, that is what we can see about the character. (It is difficult, for instance, to know, just by looking at a character, that she is "Ryan's wife.")

Break up paragraphs. Short paragraphs, with lots of white space, make for an easy read. Try for more than four sentences per paragraph. If you're good at this you will break on camera angles, without ever saying so.

-- Parenthetical Directions

These appear directly below the character name, on a tab slightly to the left, and should be used sparingly. They are most appropriate to clarify a speech which might otherwise be misunderstood, as with sarcasm, or to clarify to whom a character is speaking in a scene where there are numerous characters present.

Parenthetical directions in the body of a single speech, like (beat), should also be set off on their own line, on the parenthetical tab.

(O.S.) for Off Screen, and (V.O.) for Voice Over also appear directly to the right of the character name, in parentheses. An audible voice on the phone is usually indicated similarly: (PHONE VOICE)

-- DIALOGUE

Avoid long speeches where characters say two or three different things, or simply repeat themselves, saying the same thing in two or three different ways.

A dash (--) following a speech usually indicates that the speech has been interrupted. An ellipses (...) usually indicates the speaker has trailed off. Beware too many ellipses; it amounts to 'the naive and futile attempt to direct from the keyboard.'

If Character A speaks, followed by a bit of action/description, then Character A speaks again, repeat the Character's name, then either follow the name by (Cont'd) or use (continuing) as a parenthetical direction. If a single speech is broken by a page break, the same should be done at the top of the next page.

-- TRANSITIONS

Fully capitalized, toward the right margin, followed by a colon. All transitions between scenes are assumed to be cuts unless otherwise specified, and therefore CUT TO: at the end of a scene is optional. All other transitions (DISSOLVE TO:, FADE TO BLACK: etc.) should be included.

-- OTHER NOTES

In a 'submission script', (i.e. to a producer or agent), do not number your scenes.

The CONTINUED's which screenwriting software will place as footers and headers at the bottom and top of successive pages are, in consideration of those of you who don't possess such software, optional.

Screenwriting format is derived from the days of typewriters, and everything is therefore done with tabs, not the centering function of a word processor.

Only the left side of all you write should be evenly flush to the margin (left 'justified' in computerese). The right-hand side of everything you write should always appear ragged, that is do not do 'right and left justified' on your word processor.

 

1. Reservoir Dogs (1992), -- Quentin Tarantino

2. Donnie Darko (2001), -- Richard Kelly

3. The Terminator (1984), -- James Cameron

4. Clerks (1994) -- Kevin Smith

5. Monty Python's Life of Brian (1979), -- Terry Jones

6. Night of the Living Dead (1968), -- George Romero

7. Sex, Lies and Videotape (1989), -- Steven Soderbergh

8. The Usual Suspects (1995), -- Bryan Singer

9. Sideways (2004), -- Alexander Payne

10. Mean Streets (1973), -- Martin Scorsese

 

COURSE OUTLINE -- SESSIONS LIST

Each class will be made up of the same basic two elements:

1. Group critique of a screened film(s)/Lecture/Instruction;

2. Group critique of student work;

The lecture topics:

-- The nature of short (vs. long) script;

-- Tradition story structure;

-- Documentary structure;

-- Alternative story structure/formats;

-- Script formatting;

-- Identifiability, exposition, dialogue;

 

CREATIVE WRITING PROCESS:

1> A STORY STATEMENT

Take your story idea and write it out in two or three sentences which provide:

-- a clear sense of your central character;

-- the conflict;

-- the resolution;

You may first wish to write several pages in defining the story. Then reduce your several pages to a few paragraphs. Then reduce your few paragraphs to two or three sentences at the most. Say it out loud. Read it out loud. Polish it unitl you are perfectly clear about these core elements of your story.

2> THE TREATMENT

In prose form, lay out your story scene by scene. Begin each scene with a proper slug line (scene heading), just as you will your final screenplay. Then briefly describe only what we will see happenning and hear spoken in the scene. No detail or dialogue is necessary. It should be clear from what you have written what justifies each scene -- a plot point, character introduction, etc.

You should be able to complete your treatment in two or three pages at the most.

 

COURSE OUTLINE

WEEK 1

-- The Role of the Director

WEEK 4

-- Visual storytelling & Directorial choices

WEEK 5

-- Manipulation of Time

WEEK 6

-- Screen direction & Eyelines

* Weekend assignment: Shooting a sequence

WEEK 7

-- Debrief Exercise

-- Blocking & B/G action

WEEK 9

-- Introduction to acting

-- Casting and the audition

WEEK 10

-- Director's Preparations & Working with the Creative Teams

-- Working with Actors Demonstration

WEEK 11

-- Directors Meetings

WEEK 14

-- Viewing Rough Cuts of Graduation Films

WEEK 15

-- Critique Graduation Films

   *   *   *

RECOMMENDED TEXT:

-- Michael Rabiger, Directing: Film Techniques and Aesthetics, Third Edition, Focal Press, 2003

-- Judith Weston, Directing Actors, Creating Memorable Performances for Film and Television, Michael Wiese Productions, 1996

-- Mark Travis, Directing Feature Films, Michael Wiese Productions, 2002

-- Sidney Lumet, Making Movies, Alfred Knopf, 1995

-- David Mamet, On Directing Film, Penguin Books, 1992

-- Steven D. Katz, Film Directing, shot by shot, visualizing from concept to screen, Michael Wiese Productions, 1991

-- Steven D. Katz, Film Directing, Cinematic Motion, 2nd Edition, Michael Wiese Productions, 2004

-- Karel Reisz, Gavin Millar, The Technique of Film Editing, 2nd Edition, Focal Press, 2002

 

HOW TO WATCH A MOVIE: THE PRODUCER

BY LAWRENCE TURMAN

 *   *   *

We Are Not the Enemy

Maligned, misunderstood, and often mysteriously credited, movie producers rarely get their props. Finally one speaks out.

... But the real deal is the producer, and only the producer, who is called onstage to accept the Academy Award for Best Picture.

... He or she just happens to be the cause, the reason, all the others are working on the movie. ... It is the producer who starts the ball rolling, and keeps it rolling.

GETTING STARTED: WHAT'S THE BIG IDEA?

... I myself use a low-key, straightforward approach (for pitching): Here's my project, here's why I like it, here's what I think its potential is, I hope you share my enthusiasm. And they usually don't. I always expect a no and am rarely disappointed. But all it takes is one yes, and then I'm in the game. So we producers live on hope, and it does spring eternal. After all, a project is only dead if the producer quits working on it.

DEVELOPING THE SCRIPT: A SLOW ROAD

CRISIS MANAGEMENT

... On The Graduate, my brilliant director, Mike Nichols, fell in love with a church as a location for our story's climax, but the church refused to let us film there. The Graduate was racy, sexually provocative; this was 1967. So I told Mike, "No go. We have to find another church." His reply? "But, Larry, that's the only one I want." Shit! I maneuvered a meeting with the church elders in which I told them our film was dealing with the very issues (purpose, morality, etc.) that the church itself should be dealing with. Chuzpah, yes, but the truth. They relented, and their church is the glorious centerpiece of our climax.  

MINDING THE BUDGET

Producing is largely about balancing your artistic desires against the financial means you have to achieve them.

...

... The best producers have the taste and creativity of an artist, the mind-set of an entertainer, the people skills of a politician, the business acumen of a CEO, the insight of a psychotherapist, the ebullience of a cheerleader, the tenacity of a pit bull, the charm of a snake-oil seller, the delegating ability of a five-star general, the malleability of a chameleon, and the dedication of a monk.

... Many years ago, I was asked about the joys and sorrows of the job by a young reporter named Curtis Hanson. (Yep, before he was the Oscar-winning writer-director of L.A. Confidential.) My reply? "Nothing could be more rewarding or stimulating. Each day has new challenges, new struggles, new frustrations, new satisfaction. Each day I figure I'll walk into the office and get hit with a right to the heart and a left to the kidney, but I love it."

... The cake for me, is my personal expression: the idea behind each film I do, my conscious or sometimes unconscious signature with which I express my values. I like to think -- I do think -- that i can affect the world, or at least a few people in it.

...

Lawrence Turman has produced 30 films, and is the author of So You Want to Be a Producer...

 

 

PRODUCER DEFINITIONS

1. WHAT DOES A PRODUCER DO?

-- A producer initiates, coordinates, supervises and controls, either on his own authority, or subject to the authority of an employer, all aspects of the motion-picture and/or tel...

CANADIAN FILM

COURSE OUTLINE

1. Individual Assignment

Your individual assignment must be a two-paged (minimum essay) and include the following:

-- a) a brief bio of the writer/director, if possible highlight...

SCRIPT BREAKDOWN

* To interprete script, you would need concrete expression for various elements, and learn to tell stories visually;

* how a script constructs --> the way they are interpreted;

* good direction --> SIMPLE; COUNTER-INTUITIVE (Avoid using a bunch of adjectives when you direct your actors);

SAMPLE BREAKDOWN:

-- ABE'S MANHOOD, by Geoff Berner & Aubrey Nealon

FADE IN

INT. LIVING ROOM -- NIGHT

A party. Arty looking people milling about. ABE and ELIZABETH, early twenties, stand together.

ABE

(to O.C. INTERVIEWER)

Yeah, I'm excited. I mean, this is it. There's been a lot of planning, a lot of preparation.

INTERVIEWER (O.C.)

(to Elizabeth)

How about you? How do you feel?

ELIZABETH

I think he knows how I feel.

 

【Basic Elements in a Script Breakdown Sheet】

* Break down a script is almost like rewriting a play; to work out the unit, you need to read the script very very carefully)

-- BREAKDOWN SHEET NO.

<1> 

-- FILM TITLE

<ABE'S MANHOOD>

-- SCRIPT DAY (Chronology Sequence of the play: Day/Night 1/2/3 ... 场景发生在剧中的时间)

<N3>

-- SCENE NO. (A new set-up = A new scene)

<1>

-- INT/EXT (Interior or Exterior 内景或外景)

<INT>

-- SET (Where this scene happens)

<Living Room>

-- DAY/NIGHT （日景或夜景）

<N>

-- PAGE COUNT (Minute quantifying work: 1 Unit = 8 min)

<3/8>

-- DESCRIPTION

<Abe gets excited about the party>

-- LOCATION (Actual shooting location>

-- STUDIO (Producing studio)

-- CAST (Anybody who delivers a dialogue in the scene)

<Abe, Interviewer, Elizabeth, Dave, Man & Woman>

注：Dave，Man & Woman 虽然在这场中没有对话，但是后面有他们因为在Party中的说话场景，因此在拍摄这一场的时候应该让他们出现在镜头中，以保持连贯。这也是应该先通读剧本再Breakdown，而后反复认真检查的原因。

-- EXTRAS (Everybody else appears)

<Party-goers Approx 20, Dave's friends>

-- STUNTS （替身演员）

-- SFX (Special effect 危险特效，场景特技)

-- PROPS (Things actors handle 演员将接触的道具)

<Party things, Cigaretes> 

-- WARDROBE; -- HAIR/Make-up

<Arty>

-- VEHICLES (Onscreen vehicles)

-- ANIMALS/ WRANGLERS （麻烦ABC：Animal，Boat，Children -- Be careful, don't push! ）

-- SET DEC （背景，静物道具）

<Party decorations>

-- GREENS

-- SP EQUIPMENT

-- SP VIS FX (Special visual effect, like CGI ... 特殊视觉效果)

-- NOTES

<Extra work with make-up>

COURSE OUTLINE

Week 1

-- Script Breakdown

* Assignment: Breakdown a short screen play

[Creative ideas # Execute]

Week 2

-- Scheduling, Day out of Days, One Liner, Call sheets

* Assignment: Schedule a short screenplay

[Set up Priority --> Most important thing]

Week 3

-- The Shoot

* Debrief assignment

[Strict order of unfolded event]

Week 5

-- Post Production and Marketing

[Make film for people to see & to communicate]

[Never assume: everything --> variation]

Recommended Text:

-- The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, by Steven Ascher, Edward Pincus, Carol Keller, Robert Brun, Ted Spagna, Stephen McCarthy Penguin, 1999

-- Film Production Management 101: The Ultimate Guide for Film and Television Production Management and Coordination, by Deborah Spatz, Michael Weise Productions, 2002

-- Producer's Workbook 3, Women in Film, WIFVV & Reel West, 2002

-- Directing: Film Techniques and Aesthetics, by Michael Rabiger, Focal Press, 1996