Events Rewind : Sundance Directors Lab

Sundance Directors Lab - Third Week Recap

moonmole — Wed, 09 Jul 2008 07:57:00 GMT

MONDAY, JUNE 9, 2008 - DAY 15

I began cutting Scene 2 today with my editor Gena Bleier. She was the editor on Andrew Wagner's STARTING OUT IN THE EVENING and is a joy to work with - a wonderful collaborator. The problem is that the scene is actually made up of two separate scenes intercut as a "parallel action," and one of the scenes isn't complete. The reason: I didn't finish shooting it. The reason I didn't finish shooting it: 1) one of my actors (who shall remain nameless) showed up to set 40 minutes late for the afternoon call time, and 2) some actors didn't know their lines.

There was a reading of Dee Rees's feature screenplay PARIAH tonight in the Wasatch Room. It went really well, as it is a well written, funny and poignant Black *** coming-of-age tale set in Brooklyn.

TUESDAY, JUNE 10, 2008 - DAY 16

It snowed today at breakfast. It was amazing because it wasn’t even that cold. According to the Sundance people who were here on The Mountain earlier than everyone else, winter ended the third week of May (i.e. the week before us directors got here).

If you look closely, you can see the snow falling in Utah's summer sky.

I spent the day editing Scene 2 again. Because one of the two scenes being intercut into the "parallel action" of Scene 2 is unfinished, there is definitely an imbalance in the overall scene. I also tried to use black "slugs" between the intercut scenes in a Jarmusch-esque editing experiment. I guess it will be determined whether or not this experiment worked tomorrow after Scene 2 is screened for the Creative Advisors.

WEDNESDAY, JUNE 11, 2008 - DAY 17

I screened Scene 2 for the Creative Advisors early in the afternoon. Afterwards we all assembled in the Wasatch Room to discuss the work. Apparently the Jim Jarmusch inspired black "slugs" between the intercut scenes didn't go over too well. Curtis Hanson (dir. L.A. CONFIDENTIAL, EIGHT MILE) thought that the “black outs hurt the scene,” and that the energy between the characters is most important in the scene. His advice was to “zero in on the moments your are getting and not getting” and then do pick ups for the moments you didn’t get. I agree: although the black outs initially helped solve a location issue (we were shooting in an empty stage for a tenement building courtyard and need the black outs to bridge a “spatial gap”), they eventually became a detriment to the scene.

In addition, one of the Creative Advisors, Gyula Gazdag (dir. HUNGARIAN FAIRYTALE), made me realize that not finishing the second scene of the two scenes comprising the "parallel action" was actually my fault - and not just in the classic sense that everything that happens on set is ultimately the director's fault. Gyula was one of the advisors that actually visited my set. While on it, he realized that instead of focusing on the meat of the second "scene" - the dramatic essence of the "scene" - I focused too much on getting the pretty dolly shots leading up to the meat. The lateness of one of the actors to set didn't actually hold me back because I used that time to practice one of the dolly shots with a stand-in.

The rest of the day I spent rehearsing Scene 3 in Rehearsal Hall 1. Fernando Leon (dir. MONDAYS IN THE SUN) showed up to the rehearsal and quietly watched me work on the car interior scene with my actors sitting on some dining room chairs in front of a makeshift wooden steering wheel (since the actual car we are going to shoot in wasn't on set by then). Afterward we went over my shooting plan together and he offered some great suggestions for shot coverage in the car tomorrow.

Charles "Rock" Dutton (dir. THE CORNER) showed up for the Blocking Rehearsal and watched as I went over the shot coverage with my DP and crew. Afterward he spoke to the actors for quite a long time, telling them stories about Tupac in Hollywood, giving them suggestion about craft and advice on how to move forward in their careers. They were obviously psyched to be in his presence.

THURSDAY, JUNE 12, 2008 - DAY 18

I shot Scene 3 in Rehearsal Hall 1 today. Fernando Leon visited the set and seemed to have a good time watching us. I think we all - cast and crew - hit our stride today; we got everything we needed "in the can," and had time to experiment a little with the lighting of the closing shot of the scene.

The set: an empty studio with a car in it.

T.J., Lara and Carmen begin setting up the lights.

T.J., Andy and Jared build the "street light" rig. Jared eventually had to spin this thing in a wide arc over the top of the stationary car in order to make it look like the car was passing under street lights while driving. It actually worked really well.

The actors (from left to right) Anthony Gaskins (blocked by the camera), E.J. Bonilla, Shawn T. Andrew and Julian Joseph prepare for the scene.

Julian Jospeh prepares for an "over the shoulder" shot.

A view through the monitor.

"Hurry up and wait!" E.J. Bonilla (as Third) and Shawn T. Andrew (as Adrian).

And "Gumby," my Sound Mixer...is just plain crazy.

I met with Charles "Rock" Dutton at lunch. The guy is an inspiration, and he apparently really likes MEADOWLANDZ. He suggested I take the script to HBO. He thinks they would be interested in producing it. I would love for him to be involved in some capacity - maybe as a producer.

Bob Elswitt (d.p. PUNCH DRUNK LOVE) screened THERE WILL BE BLOOD tonight. During the Q&A he told crazy stories about shooting the film with P.T. Anderson. They definitely have an interesting work method and philosophy. Apparently all the crewmembers have to be "filmmakers" and no one yells "action" or "cut" - everyone just kind of exists on the set in a perpetual state of readiness. Elswitt says the process allows for some really great work (i.e. performances), but can be seriously exhausting.

FRIDAY, JUNE 13, 2008 - DAY 19

I edited Scene 3 with Gena pretty much all day. It was one of those strange editing days in which, at first, the scene seemed fairly easy to cut, then, as the day progressed, the scene seemed subtly problematic. More specifically, I based the coverage of the scene around a master shot in the backseat of the car that just didn't want to cut with the other footage. At first we decided that the shot just wasn't going to work because it was an interior of the car and was too jarring when cut into the scene from the shots taken from through the windows from the exterior. We experimented with cutting around it and after this proved futile I insisted on using the backseat master. Eventually the shot ended up cutting pretty well with the rest of the footage and we realized that the problem wasn't so much the angle as it was the "cut points." Once we stopped experimenting with other angles to make the scene work, and more with the cut points of the mastershot, we found a solution. Again, Gena was nothing short of amazing, as lot of Creative Advisors were milling in and out of the editing room, looking over her shoulder, and firing suggestions at the back of her head. She handled the combination of limited time and a packed editing room brilliantly.

SATURDAY, JUNE 14 - DAY 20

I screened Scene 3 for the Creative Advisors today and they all seemed to really like it. There were still some “notes,” of course, but I dare say it was an unequivocal success.

Gyula Gazdag (dir. HUNGARIAN FAIRYTALE) reinforced the fact that the issue with the backseat master shot initially “not cutting” had less to do with “angle” and more to do with “cut points.” Michael Almereyda (dir. HAMLET, NADJA) thought there was an “eerie oddness” in my light and sound draining experiment at the end of the scene. Charles “Rock” Dutton (dir. THE CORNER) thought the weariness of the characters was captured, partially due to the lack of music used in the scene. I had to admit that this had more to due with the lack of time given to us in the editing room. If I had another hour, I probably would have tried out some music – at least some hip-hop coming from the radio. I think he and Michael are right, though. There’s something about the eerie quietness of the scene that works.

Whatever happens in the final week, I will always have Scene 3.

Sundance Directors Lab - Second Week Recap

moonmole — Wed, 18 Jun 2008 04:50:00 GMT

MONDAY, JUNE 2, 2008 - DAY 8

I rehearsed my first scene today. I was assigned to do it in the Screening Room Lobby, but because it was a nice day, I ended up bringing my two actors outside to rehearse at some picnic tables. Not long into my rehearsal session, my advisor Thomas Carter appeared and sat with us at the picnic tables. He watched as I lead my actors through repeated readings of my scene and offered useful suggestions on how to build performances. Before lunch, actress-director Christine Lahti also joined us at the picnic tables and offered some insightful comments and advice on guiding the rehearsal process and crafting performances. You would think that it would be annoying to have two people looking over your shoulder while you are rehearsing, but Thomas Carter and Christine Lahti were a joy to have "hanging around." By the time lunch was over, my crew had built my set in the Screening Room Lobby and I was able to get my actors in there, work out my blocking, find my camera set-ups, and create my shot list. The guidance of my advisor Thomas Carter at this stage of the game was invaluable; he walked me through every single shot and helped me construct and organize my list, discussing everything from the necessity of the shots to their meaning and aesthetic composition. All I know is: I never got this in film school.

TUESDAY, JUNE 3, 2008 - DAY 9

I shot my first scene today. It was great to get behind the camera again. We shot from about 9AM to 5:30PM, and even though we got to a little bit of a slow start, I pretty much got all of the shots I needed - all except for one or two of what I call "gravy shots." The actors were real troopers, as I expected, and the Blue Crew was incredible. My advisors Thomas Carter and Ira Sachs visited my set throughout the day and offered invaluable advice on everything from tweaking my shots and guiding performances, to communicating with my crew and managing my time on set. As far as learning experiences go, there is nothing like shooting a scene while two experienced directors observe and help you. At 6:15PM I met my editor in our edit bay trailer and we quickly went through our dailies until dinner at 7:00PM. At 8:30PM I went to the Wasatch Room to attended a cozy reading of John Magary's script BLOOD ABUNDANCE: OR THE HALF-LIFE OF ANTOINETTE. The audience seemed to really enjoy it. What I've come to realize, though, is that my mind inevitably tends to wander during script readings and I end up not being able to follow the story. Fillipe Barbosa suggested I read along next time like he did tonight. I think I will follow his advice.

Jarin Blaschke (D.P.) lines up a shot.

The Blue Crew in action.

WEDNESDAY, JUNE 4, 2008 - DAY 10

Robert Redford screened his film LIONS FOR LAMBS for us tonight. Afterwards he did a Q&A. It was actually pretty interesting seeing Redford's film because the scene I shot yesterday is was a job interview -- two people sitting across from each other at a desk talking. Redford's film was constituted largely of two-person conversations in offices so it was really instructive to see how he handled these scenes.

THURSDAY, JUNE 5, 2008 - DAY 11

I screened my first scene for the Creative Advisors today. Afterwards there was a critique session at which the advisors gave me notes on the scene. I came away from the crit session reminded that the characters in a scene have to "vary there tactic" in there attempt to get what they want (the Scene Need, as it is sometimes called) and that these attempts - these actions - must escalate. I knew this before I arrived at the Sundance Directors Lab, but for some reason it seems I had forgotten this when I wrote the scene. It's funny because before the crit session, I wondered why Michelle Satter asked me to do this, my weakest (and what I thought to be my most boring) scene. I realized that that was exactly why she asked me to do it -- because not only would it be challenging to make a two-person conversation at a desk dramatic, but shooting the scene would help me see the weaknesses in its structure.

FRIDAY, JUNE 6 - SATURDAY, JUNE 7, 2008 - DAY 12 & 13

I shot my second scene today. By the time I screened dailies on Saturday evening, I was pretty pissed off. Both shoot days started off really well only to fall apart due to the actors not knowing their lines. I have to admit that they weren't entirely at fault; I incorporated quite a bit of dialogue into the script from the improvisations we ran with Christine Lahti on Thursday and gave them the "new script" the morning of the shoot. But I couldn't help but be pissed the scenes started out so great, only to devolve into mediocrity by the afternoon. I also didn't know what to do with the anger. I tried to keep the set light and not have my bad feelings taint the work to further bad effect, so I ended up bottling everything up and just stewing. Since I wear my heart on my sleeve, I ended up getting quite a few "sit downs" from the advisors about my obviously souring attitude. I guess you can't have a bad day at the Sundance Labs without the Dissatisfaction Red Alert Siren going off in the Creative Advisor camp. But maybe that's a good thing...I'm not sure yet.

Lara (the one-woman gaffer-grip super-being) and Carmen (Boom Operator) set up a Christmas Light rig.

Andy (A.C.) secures the camera to the top of a ladder for a high angle wide shot as Jarin Blaschke (D.P.) and Heather Askew (Script Supervisor) watch the monitor.

Creative Advisor and D.P. extraordinaire Vilmos Zsigmond (Academy Award Winner for Cinematography for CLOSE ENCOUNTERS OF THE THIRD KIND) watches over our humble set. He was a pleasure to have around.

Actor Shawn T. Andrew prepares for the scene.

Actors E.J. Bonilla and Shawn T. Andrew prepare for the scene.

Actors Julian Joseph (left) and Anthony Gaskins (right) discuss the scene while the Blue Crew sets up lights.

Shooting the scene.

"Gumby" (Sound Mixer) helps build the set. Departmental distinctions don't stop the Blue Crew from helping each other in all aspects of production.

Sundance Directors Lab - First Week Recap

moonmole — Tue, 10 Jun 2008 07:14:00 GMT

MONDAY, MAY 26, 2008 - DAY 1

Since I decided to temporarily move out of Manhattan the weekend right before the Monday I had to leave for the 2008 Sundance June Directors Lab and planned to store all of my stuff at my mom's house in New Jersey, I booked my flight to Utah out of Newark International Airport. After a sleepless night of lugging boxes and packing for my trip, I arrived at Newark Airport at around 6:00AM. Once I was through the belt-less sock-hop ritual at the metal detectors, I was surprised to find Fillipe Barbosa (director of the Sundance short films LA MUERTE ES PEQUEÑA and SALT KISS) waiting at the gate. A fellow New Yorker and Columbia Film School classmate, Fillipe apparently asked to be flown out of Newark instead JFK in order to have the company of a fellow Sundance Labber on the flight (meaning me). I don't know why, though, considering the guy finds it so easy to fall asleep in the sky that he pretty much passed out as soon as the plane's wheels left the tarmac and remained thoroughly unconscious until about 10 minutes before landing. It was a pretty smooth flight and I actually caught some winks myself, which is unusual no matter how long I'm awake before flying.

A driver met us at Baggage Claim when we got off of the airplane. The Tombstone Deep Dish Pizza vending machine at the Salt Lake City International Airport was pretty scary -- so scary I couldn't look away -- so scary, in fact, that I had to take a photo. I didn't see anyone actually attempt to use it, though. I think I would've had to shot some video footage of that...if it happened. Once the fellows Dan Casey and Liza Johnson got off thier respective airplanes, the driver took us to the Sundance Resort.

Sitting down to lunch in the giant white Meal Tent, what I immediately noticed was the number of people who are gathered here just to help us Directing Fellows shoot scenes from our feature screenplays. And they all seemed to know each other. As I at my lunch, I suddenly felt that particular brand of anxiety I call "the new kid at school."

A month or so before the Directors Lab, all of the fellows were told to find two film scenes to break down into storyboards for discussion in the "Camera to Tell Story Workshop." I wanted to do scene from JESUS' SON -- the one where Jack Black and Billy Cruddup wander into an abandoned drive-in movie theater and think it's a cemetery because they're high on drugs -- and a scene from OLD BOY -- where Dae-su eats the live octopus. Since I ended up doing neither of these scenes while back in New York, I pumped one out -- the OLDBOY scene -- that first night before going to bed.

TUESDAY, MAY 27, 2008 - DAY 2

Most of the day was spent presenting and analyzing the film scenes we were supposed to prepare before arriving on "The Mountain" -- which is what the regulars call the Sundance Resort. It's aptly nicknamed considering the resort is located...well...on a big mountain.

The film director Gyula Gazdag presided over the event. At first, the whole thing felt like a rehash of some cutesy film school class, but after we got back from lunch, I began to enjoy the whole thing. We got through all of the fellows' first scene presentations before lunch. After lunch some of the fellows presented their second scenes, but we ran out of time before I had to a do a second one.

WEDNESDAY, MAY 25 - DAY 3

We spent the whole day doing a "Cinematography for Directors Workshop" taught by Steven Poster (d.p. DONNIE DARKO). It was fun. Of course we didn't learn how to shoot a movie in one day, but I'm a sucker for any kind of cinematography instruction, no matter how remedial or rudimentary. It's probably because I'm a wannabe D.P.

Steven Poster (white T-shirt) and Gyula Gazdag (green sweater & beige jacket) preside over the Cinematography for Directors Workshop.

THURSDAY, MAY 29, 2008 - DAY 4

I awoke at the usual 6:30AM, showered, and headed down the mountain to grab breakfast before heading to the sound stage to begin shooting the infamous OSSO BUCO exercise. When I arrived at Rehearsal Hall 2, I quickly realized that I didn't want use the set that was built there and had the crew tear it down - well, not exactly "tear" - they just had remove the flats that constituted the walls of what looked like tacky, circa 1970's, Southwestern American den (complete with Bob Ross style oil painting of some dusty Nevada landscape). My crew - the Blue Crew - made quick work of it, though, and the whole thing disappeared in a matter of minutes. The shooting of the scene went fairly well. We got off to a slow start, which is to be expected with a crew that is working together for the first time, but everyone was amazing and I "made my day"...no problem.

Actors James and Dixie on the set of OSSO BUCO.

Jarin Blaschke (Director of Photography) sets up the shot behind Dixie and James

Actor J.J. (white shirt) prepares for his role. Script Supervisor Heather scribbles in the foreground.

FRIDAY, MAY 30, 2008 - DAY 5

Today we edited the OSSO BUCO exercise scenes. We had fours hours, so needless to say it was pretty hectic. Especial considering the OSSO BUCO exercise I shot was largely an editing experiment reminiscent of the conversation scenes in THE LIMEY in which people speak in linear, sequential dialogue as there images cycle nonlinearly through different parts of the conversation. The great thing is that the experiment actually worked. The bad this is that my editor were thrown out of our edit bay before we got a chance to change the images to black & white. What I ended up with was a short video exercise that employed an interesting editing technique, but which looked kind of strange because it was shot for black & white but was shown in color.

SATURDAY, MAY 31, 2008 - DAY 6

Today we attend the "Acting Workshop" with Joan Scheckel. I had no idea an acting workshop would incorporate so much running - literally three hours of it before lunch - and a good hour or so after. After dinner, the OSSO BUCO exercise scenes and the CREW SHORT were screened for everyone in the Screening Room. The CREW SHORT, the film made by the various Sundance Directors Lab film crews in order to test out the equipment before the fellows arrive was a spoof on Indiana Jones. It was hilarious!

SUNDAY, JUNE 1, 2008 - DAY 7

It was a pretty light day today. Most of the fellows and crew members slept in, skipping breakfast, coming down The Mountain for lunch instead. The actors and advisors were scheduled to arrive today and most of them arrived during lunch. After lunch we had Orientation, which consisted of all of the fellows, actors and crew members gathering in the Screening Room Lobby, standing up, and one by one, introducing themselves and their projects. Afterwards everyone drove up The Mountain to a parking lot, then hiked the rest of the way up to the Elk Meadows to watch the release of a rehabilitated Golden Eagle and get a blessing from a Native American (Ute Tribe) shaman.

Sundancers gather at the Elk Meadow for the Ute Blessing.

The Sundancers stand in a circle as the shaman begins the blessing in the center.

Sundance crew members drive back down The Mountain after the blessing.