I ran into Jules on the street this evening. She was thrilled about Emmanuel’s shoot and how beautiful the images seemed on set. She spoke about reflections on a glass boardroom table. I look for ward to returning and seeing it.
A fun shoot with a positive and efficient crew. Thanks to Nick, Franco, Joel, and Rob. Well done Chirae. Special thanks to actors, Eric and Afiayanna as well as Dee and Tim from Blood Bath Boxing. Also, thanks to Colin for lending the fog machine while in L.A.
Peter Burns writes:
[1] TALENT:
I’m having terrific meetings with my principal actors.
Jim Hiser, a SAG actor of 10 years, has committed in the lead Principal role of the “Vigilante.” I met Jim over coffee in his Montclair neighborhood and I ran him through the story as well as his character. We initiated collaboration on designing the character. I also told him that I plan not to reveal the entire story to all of my talent. He agreed that this could be a positive directorial strategy in order to get certain performances from actors. Jim secured his SAG membership on Nash Bridges. Jim is also an active stage actor. I’m looking forward to his creative contribution on this project.
Shannon Nicholson has met with me three times this month at cafes in Alameda. We’ve had a lot of fun discussing the project and making casting wish lists. She has more than earned a credit of Associate Producer from me, again. She’ll be playing the role of “The Vigilante’s Mother.”
I’ve got two actors coming up from Los Angeles. One is a SAG actor, she’ll be playing “The Seductress” and another will be playing “The Lover.” I’m working on accommodations for these actors.
[2] Contacting SAG/AFTRA:
I’ll be submitting my Preliminary paperwork to Fatna Sallak-Williams of the local S.F. SAG/AFTRA office letting them know that I’ll be shooting with 2 of their members. I’ll do this as soon as I have my locations nailed down.
[3] Locations:
I require two locations. An art gallery and a basement with a long hall and separate room. I’m meeting with Jane Austin of The Oakland Film Office next Thursday to scout the old Miller Library Building basement.
[4] The script is coming along. Research, bouncing drafts of intelligent creatives, capital one credit card applicationcredit card balance transfer ratecredit card debt reduction calculator,pay off credit card debt,credit card debtcalculator card consolidation credit loanbest credit card rate,best rate and deal credit cardannual card credit fee nocard credit ecommerce processing transaction,ecommerce credit card processingcard consolidation credit debt helpunsecured visa credit cardconsolidating credit card debtcard citi credit premierpass,business card citi credit,citi credit cardcard credit processing serviceshell gas credit cardfree credit card consolidation,card consolidation credit freebank one credit card offerbill card consolidation credit debt life partner,credit card bill consolidationinstant approval uk credit cardbad card credit history,bad credit history credit cardcredit card consolidation calculator,calculator card consolidation credit deb ?,calculator card consolidation credit lobest card credit deal,credit card deal,best card credit deal transfercredit card offer,opt out of credit card offer,card compare credit different from offeruk credit card loan,card credit loan ukbank card credit ge moneycard credit point reward visa,visa reward credit cardfree unsecured credit card with bad credit,bad credit visa card,bad credit credit cardchase credit card for small business,chase business credit cardbank card credit offer onegas reward credit cardamerica bank card credit securedlow interest credit card consolidation loan,card consolidation credit loancash back business credit cardbank card city credit national,national city bank secured credit cardapplication card citi credit statusbank card credit first premier secured,bank card credit first premiercredit card debt relief nonprofit,card credit debt disabled relief,credit card debt reliefdownload free real ringtonesfree ringtones for lg phonetotally free ringtones,totally free ringtones for sprint phone,totally free ringtones for verizonfree britney spears ringtones,britney spears ringtonescellular customer free ringtones uscingular free from ringtonescellular download free ringtones uscingular free ringtones wirelessdownload cell phone ringtones,download ringtones to cell phone from pc,download ringtones from computer to cell phonec139 monophonic motorola ringtones,c139 keypress motorola ringtones,c139 motorola ringtonesnokia ringtones tracfonedownload free mobile ringtonespolyphonic ringtones t720cricket free phone ringtonescrazy download free frog ringtones character development and reading comparable screenplays all helps a bunch!
Thanks for reading.
More to come …
click image to enlarge
Lonnie (Ted Barker) freaks out before committing to his dream.
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Lonnie (Ted Barker) now determined to live his dream.
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Lonnie (Ted Barker) realizes he’s made the right decision.
Production stills from Peter Burns’ third BDFI student project - a parody on his personal life-decision to go to film school at 39 years of age. A final day of pick-up shooting has been scheduled.
Peter Burns writes:
The lectures we are getting - especially those regarding post production sound design, editing and mixing are on par with the best film schools in the country (HFI, NYU, USC, UCLA). Because of the legacy of the Saul Zaentz Film Center, we are privaleged to have Mark Berger as well as Dr. Andy Newell, David Bergad, and Dan Olmsted lecture on post sound production. It is remarkable to have the actual sound production experts who worked on The English Patient, The Wild, Amadeus, The Right Stuff, Apocolypse Now and many more at our disposal. These (and others) are classic pictures that changed filmmaking history in ways.
MARK BERGER OPENED HIS 3/13/08 LECTURE WITH, “THE FUNCTIONS OF EFFECTS”
This included:
[1] Defining charcaters’ emotinal states
[2] Defining the activity level and/or energy of a scene
[3] Defining the geography or space of a scene
[4] Providing transitions
[5] Embedded sounds
Other key points were:
[1] Writing sound design into the script
[2] Specific types of transitional sounds (and how to place them)
[3] Grouping kinds of sounds
[4] Using sound sweeeners and “surreal sweeteners”
[5] Cause and effect
[6] Reduced sound and the importance of pre-mixes to reduce tracks
[7] Semantic subtext
[8] An era’s film and theater sound technology and it’s application by a filmmaker in the creative decisions. For this we compared and contrasted The Right Stuff from 1989 with Test Pilot from 1939.
Mark encouraged lots of class participation.
During this lecture, Mark Berger, presented a famous clip from Apocolypse Now and ran it about 5 times: [1] with all final sound tracks; [2] with just dialog tracks; [3] with just Foley and explosions tracks; and [4] with just machine gun fire and rockets tracks. These were all final sound elements from the original mixes that went into the final product. Mark mixed these himself under Francis Ford Coppola and Walter Murch.
Check out Mark Berger’s player card at IMDB:
http://www.imdb.com/name/nm0074281/awards
http://www.imdb.com/name/nm0074281/
Mark ended the lecture with showing the individual mixes in the ProTools sound application. We’ll be picking up here next week.
I had the opportunity to run into Mark Berger in the parking lot post lecture and I thanked him for presenting such a treat to us. He met my two kids, Tyler and Zoe. He was very sweet and shared with me that, he too, enjoyed experiencing these mixes for the first time again in 25 plus years or so.
Peter Burns writes:
This week will be about the following for me:
[1] Location scouting including sourcing through The Oakland Film Commission
[2] Presenting my initial draft of my script
[3] Getting commitments from 3 Principal actors
[4] Casting for 2 more Principal actors
[5] Casting 30 extras (some featured extras)
[6] Reviewing comparable film scenes with my camera team and planning testing
[7] Raising production cost expenses
[8] Reserving gear (prime lenses, lens adaptor, dolly tracks and jib arm)
[9] Securing insurance
[10] Defining the project team (core crew)
[11] Creating a virtual and practical “office”
[12] Setting key production dates
[10] Defining the project team (core crew)
[11] Creating a virtual and practical “office”
[12] Setting key production dates
[13] Thinking through wardrobe, make-up, effects and art direction
[14] Leaning toward a call sheet and forming the production management book
Peter Burns writes:
I’d recommend using only PDF files at first until you’ve learned about proper screenplay formatting. Stay away from transcriptions because they are typically not formatted well at all. Pay attention to the screenplay draft you are going to read - note whether it is a “post-production version” or a “shooting version” or an “early draft,” etc. and what that means to the correlating phase of production. Read both screenplays from films you’ve watched and not watched. Read one a day. Heck, read TV scripts too!
www.simplyscripts.com
www.dailyscript.com
www.script-o-rama.com
Peter Burns writes:
Eric (senior student, camera ops and post production wizard) presented “The 300″ today and lectured a bit on the use of digital filmmaking post production tools after shooting blue/green screen. Eric is the most advanced person at BDFI regarding Final Cut Pro’s “Shake” application. He’s given me insight into how I can plan my next shoot and actually take advantage of the HiDef medium - for the first time! This is killer. KILLER!
Peter Burns writes:
I’m currently enjoying reading scripts more than watching films! This is crazy but it is true. Fred has urged us to read at least one script per week. I have gotten so used to format from breaking down scripts that I can do it automatically as I read a script AND as I watch a film. We studied “Juno” and last month and I saw it in a theater for the first time tonight. I was unconsciously focusing on casting, the director’s choices, the actors’ delivery of lines, etc. Fred has made me into an “insider.” I’m very proud and confident because of this new feeling. I would say, at this point in my film education, that the analysis of scripts and picture editing will be the most beneficial to me … and it will be something that I probably never cease to do. I think that “Juno” is a better screenplay than it is a film. Fred has asked us to focus on word-smithing when we are satisfied with a scene/script structure. This means slowly and carefully going over each line and rigorously checking that our word selections are deliberate, informed decisions. I spoke to a script editor today and he mentioned that he can spend days studying a single page of script or prose - searching for systems, choices, etc. I’ve discovered the world beneath the viel. I am no longer in the audience and I GET to spend the rest of my life adventuring in the world of filmmaking. This is an exciting dream come true! Thanks Fred!
Peter Burns writes:
I was totally impressed with Valerie’s mature writing and directing. Her first project seems to have met all “project 1″ requirements but with a wonderful advanced touch. He humor, subtlety, willingness to use quiet time and space to develop her characters and conflicts are marks of a true filmmaker. There is a layered quality to her work that speaks to her understanding of the key disciplines. She is a pure director who has payed attention to many good films. Her short reminds me of Bagdad Cafe. I’m looking forward to seeing her future projects. She knows exactly what she is doing.