After a few false starts the time came to really shoot. I had already shot most of the beginning two scenes a few weeks earlier. I considered shooting the rest of one of the scenes that was incomplete but inthe interest of time decided to cut it early. This worked and saved me time that I needed for the main shoot. I had a Tuesday night, a Thursady day/night and Friday day to get 90% of what I needed for this 15 minute short (one big scene still has to be shot, more on that later) and based on prior experience and discussions with other students, I story boarded the scenes in an economical way that (I think) stayed true to the film's aesthetic as well as the character's odd position in his own life/surroundings. I have many shots that isolate John from the rest of his surroundings or shots where his surroundings dwarf him; in the story, he's fallen into a situation where he's lost control of his fate and actions, and I wanted to visually convey a sense of being lost but not being able to do anything to change it.
A great tool that any filmmaker should have is a bulletin board. It's not enough to just have the board, though. One must also have things to stick on it. I recommend index cards and pushpins. They are great for organizing and reorganizing the shots of a film and looking to see what works visually and what doesn't, as well as seeing how the dynamic of a scene can change by the juxtaposition of different shots. I admittedly was a little rushed in completing my story boards (try and set deadlines for yourself, they help) and could have perhaps drawn more accurate depictions of the shots, but my simple stick figures worked just fine. Before storyboarding though, I went to the locations I wanted to use (they were all in my neighborhood, which meant minimal travel time) and took pictures with a digital camera. Knowing the spaces I would be working with- any by knowing I mean KNOWING, as in 'what kind of light does it get?' if it's outdoors 'is there a lot of foot traffic at noon?' 'trucks?'- helped me envision the shots I wanted and put them on cards. And once they were on cards, I stuck them in my back pocket and used them as a reference for each shot, each time. I like to draw the shot I want and write a description of the shot and any camera/lens movements under it.
I have some important information about working with actors: sometimes they'll arrive on set sick and in a bad mood. My actor did this. I know him and know what he's like, so I didn't take it personally, but an actor you dont really know could certainly rub you the wrong way. Just try and keep your actors happy and busy in between takes. I had John bring a book so he had something to do while I was lighting him or setting up shots. I also talked him through what I was doing the entire time; this way I made sure he was part of a collaborative process, not just a personified stick figure. He may have not been feeling well, but he certainly didnt sit around waiting for me to finish.
Everyone knows that actors may have input of their own- it might be good, it might be bad. Always listen to what they have to say and even if you don't like their ideas, put them down respectfully and let them know why. You should be prepared enough as a writer and director to defend your ideas, especially to the person that is acting them out for you! Also, lack of preparedness should never be an issue, because you've chosen what shots you want beforehand and are recreating the drawings on your index cards when you shoot. I always leave room for improvised shots, you never know when your muse might strike, but I always stick to what I planned out first, and play later.
That's all for now.
Next time: Why I don't do coverage.
Matt Simon
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