.

X-FILES FIASCO

noreply@blogger.com (Steven) — Tue, 19 Aug 2008 00:29:00 +0000

X-FILES 2 "I WANT TO BELIEVE"

Directed by Chris Carter

After so many years of rumours and anticipation we finally get another X-FILES MOVIE. How disappointed I was!!! I mean not one alien,not one explosion or cgi effect. I went with a group of friends and when the movie was ove,r we all laughed and thought this was some bad joke. I turned to my friend and said "you mean that was it????" I surfed the net found these reviews on this pathetic piece of filmmaking.

When Gillian Anderson first reunites with her "X-Files" co-star David Duchovny in this, the second spinoff movie from the sci-fi TV series, she finds him much as she did in the pilot episode 15 years ago: with his back to her, crouched over a crowded desk. On the wall is the same fuzzily photographed poster of a flying saucer that hovered above that desk for nine seasons, emblazoned with the now-iconic credo, "I Want to Believe."

This nostalgic opening gesture is quickly replaced by a rude awakening. Duchovny wheels around to reveal that his character, Fox Mulder, tireless tracker of inexplicable phenomena for the FBI and perennial thorn in the bureau's side, is looking, well, tired. His firebrand insolence is still in there somewhere, behind an unkempt beard, but it has been subdued by one too many years of fighting uphill battles.

Chris Carter, the director of "The X-Files: I Want to Believe" and father of the cultish Fox Network show, wants to assure us from the outset that nothing, and everything, has changed. This was Carter's M.O. throughout the winding trajectory of his series, which was forever morphing in personality while keeping Duchovny's Mulder and Anderson's agent Dana Scully locked in a state of philosophical (and sexual) tension. He was the believer, she the skeptic; he softened her with alien abduction theory, she blinded him with science.

Even at its stride, "The X-Files" was a load of malarkey. But it was thoughtful malarkey and compulsively watchable. One could say the same about the first two-thirds of "The X-Files: I Want to Believe" before it spins out of control and into a delirious plane of awfulness.

In his efforts to resurrect some of the spooky-ooky chill of the series, Carter has sacrificed the self-kidding regard toward his FBI protagonists that it took the better part of nine years to cultivate.

"The X-Files: I Want to Believe" evokes the gloom and earnestness of many of the early episodes as it finds its once-feisty duo in the more reflective mode of middle years and at a self-protective distance from their former occupations.

As in countless aging-investigator thrillers, Mulder is summoned out of retirement by the very agency that sent him packing. It seems a female FBI agent is among the women being kidnapped in a wintry patch of rural West Virginia, where bodies and body parts are turning up under the ice and snow. The divining rod for these ghoulish discoveries is Father Joe ( Billy Connolly), a defrocked priest with a history of sexual abuse and a facility for psychic visions.

Scully, who now works as a surgeon at a Catholic hospital (Our Lady of Sorrows, nudge nudge), was always a wrestling act for Anderson, who had to fight against the character's morose, doubting-Thomas side, not to mention prosaic literary tendencies. Anderson loses the match here: Scully has ossified into one of the most humorless characters to suck the life out of a summer movie.

Perhaps the grimness comes from her frustrating professional life. As she fights to save the life of a boy with brain cancer, Scully learns a lesson that Mulder gleaned from his years as the FBI's house pariah: No paranormal phenomenon is half as crazy-making as a boss who stands in the way, in this case, Father Ybarra (Adam Godley), the hospital head who thwarts Scully's experimental surgery.

Between Father Ybarra's obfuscation and Father Joe's pederastic past, one might suspect the filmmakers of an anti-Catholic Church bias. Despite its title, however, "I Want to Believe" is not so much interested in setting up a dialectic between clashing belief systems as it is in delivering a socko FBI procedural. In both instances, it falls woefully short.

By the time Carter and co-writer Frank Spotnitz throw in cartoon Russian villains and a risible plot point involving same-sex marriage, it's hard to figure where they, or their movie, is coming from.

Courtesy of the L.A. times

Other Reviews

E! Online -

“This plodding supernatural thriller wouldn’t even make a top-10-episodes list… muddled, dreary story with little resonance, no impact and… [an] absolutely limp resolution…Don’t expect any leftover mysteries from the series to even be mentioned, much less solved.”

Variety -

“…Wouldn’t qualify as a better-than-average episode of the series…There’s something to be said for returning to basics. The execution, though, is another matter…The problem is that the mystery isn’t as compelling or satisfying as it should be… As for [Duchovny and Anderson’s] chemistry, history has exacted something of a toll… Composer Mark Snow’s score goes a long way… the warming glow of nostalgia only goes so far…”

Time -

“For X-Philes only. …Mulder and Scully are back, but so much has changed that they seem like the aliens… for the uninitiated, The X Files: I Want to Believe may seem as musty and forbidding as one of those dank secrets that Mulder and Scully were forever digging up from some backyard…”

Will there be an X-FILES 3? Aliens only know!!! I know a great film is out there!!!!!

Righteous Kill Al Pacino & Robert Di Nero

noreply@blogger.com (Steven) — Wed, 26 Sep 2007 23:38:00 +0000

Directed by Jon Avnet

Cinematography by Denis Lenoire

Film fans had to wait decades to see Robert De Niro and Al Pacino share scenes in 1995's Heat. Their second act -- next year's Righteous Kill -- is coming together much more quickly than the first, and ComingSoon has news on new additions to the cast.

The police drama -- in which De Niro and Pacino play a pair of detectives searching for a vigilante killer -- already boasted the participation of the two heavyweights, not to mention Carla Gugino, Donnie Wahlberg, and, um, Curtis "50 Cent" Jackson. Now, ComingSoon reports, the production has added John Leguizamo, Dan Futterman, Trilby Glover, and Rob Dyrdek -- and Brian Dennehy is in talks to join them. From the article:

Leguizamo (Moulin Rouge) plays a cop in the NYPD who butts heads with Pacino and De Niro as they search for a serial killer. Dennehy (Showtime's "Death of a Salesman," Assault on Precinct 13) takes on the role of their captain. Futterman (A Mighty Heart) and Glover (The Starter Wife) both play attorneys, and Dyrdek (MTV's "Rob and Big") a delinquent, who crosses paths with the detectives during their investigations.

Righteous Kill is being directed by Jon Avnet, from a script by Russell Gewirtz, and is scheduled to begin filming...today, actually. How about that?

Courtesy of Rotten Tomatoes
Jeff Giles

Hope it's better than Heat!!!!

Jodie Foster is the Brave #1 for the Weekend

noreply@blogger.com (Steven) — Mon, 17 Sep 2007 19:59:00 +0000

DIRECTED BY NEIL JORDAN

CINEMATOGRAPHY BY
Philippe Rousselot
This guy is busy!!

The Jodie Foster crime-thriller The Brave One (Warner Bros), directed by Neil Jordan, topped the box office with an estimated $14 million in 2,755 theaters, making it Foster's lowest-opening wide released movie since 1999's Anna and the King. Still, it held a respectable margin over the rest of the Top 10, which saw a number of tight races for a variety of spots, including 2nd place, which was very close between last week's #1, the Lionsgate Western 3:10 to Yuma and the New Line comedy Mr. Woodcock, starring Billy Bob Thornton and Sean William Scott.

Erica Bain (Jodie Foster) is a successful NYC radio host with a loving fiancé. But her world is shattered when she is brutally beaten and the love of her life is killed. When the police are unable to help her, Erica goes on a vigilante hunt on the city streets to track down and get revenge against the men who ruined her life.

I don't know about you ,but I think Jody Foster is really Hot!!! Sorry but the teenage part of me peaks out once in awhile!!!! even though I'm 40.

LIONS FOR LAMBS (Cruise,Redford,Streep)

noreply@blogger.com (Steven) — Sat, 15 Sep 2007 18:30:00 +0000

DIRECTED BY ROBERT REDFORD

CINEMATOGRAPHY BY Philippe Rousselot

Lions for Lambs begins after two determined students at a West Coast University, Arian (Derek Luke) and Ernest (Michael Pena), follow the inspiration of their idealistic professor, Dr. Malley (Robert Redford), and attempt to do something important with their lives. But when the two make the bold decision to join the battle in Afghanistan, Malley is both moved and distraught. Now, as Arian and Ernest fight for survival in the field, they become the string that binds together two disparate stories on opposite sides of America. In California, an anguished Dr. Malley attempts to reach a privileged but disaffected student (Andrew Garfield) who is the very opposite of Arian and Ernest. Meanwhile, in Washington D.C. the charismatic Presidential hopeful, Senator Jasper Irving (Tom Cruise), is about to give a bombshell story to a probing TV journalist (Meryl Streep) that may affect Arian and Ernest's fates.

Courtesy of Metro-Goldwyn-Mayer

Looks like a winner!!!

OSCAR BUZZ FOR GEORGE CLOONEY FOR MICHAEL CLAYTON

noreply@blogger.com (Steven) — Sun, 09 Sep 2007 16:58:00 +0000

DIRECTED BY TONY GILROY

CINEMATOGRAPHY ROBERT ELSWIT

Michael Clayton (George Clooney) is an in-house "fixer" at one of the largest corporate law firms in New York. A former criminal prosecutor, Clayton takes care of Kenner, Bach & Ledeen's dirtiest work at the behest of the firm's co-founder Marty Bach (Sydney Pollack). Though burned out and hardly content with his job as a fixer, his divorce, a failed business venture and mounting debt have left Clayton inextricably tied to the firm. At U/North, meanwhile, the career of litigator Karen Crowder (Tilda Swinton) rests on the multi-million dollar settlement of a class action suit that Clayton's firm is leading to a seemingly successful conclusion. But when Kenner Bach's brilliant and guilt-ridden attorney Arthur Edens (Tom Wilkinson) sabotages the U/North case, Clayton faces the biggest challenge of his career and his life.

Courtesy of Warner Brothers

AN ANGEL VOICE NO MORE . A TRIBUTE TO LUCIANO PAVAROTTI

noreply@blogger.com (Steven) — Fri, 07 Sep 2007 01:28:00 +0000

The world pays tribute to Pavarotti,

the tenor with a voice touched by the divine.

He was famed for popularising opera, exploding its appeal beyond the concert halls and on to the streets. And he did so with one of the most formidable voices in the world.

Early yesterday, that voice fell silent and the world mourned the loss of Luciano Pavarotti, who finally succumbed to the pancreatic cancer that had plagued him for the past year. He died in his home town of Modena, Italy, in the early hours of the morning.

Tributes poured in from statesmen, sportsmen and pop stars alike, in homage to the man whose magnificent voice was known on the football terraces and in the pop charts as well as in the world's opera houses.

His partners in the Three Tenors, Placido Domingo and Jose Carreras, led the tributes to a great artist and a wonder-ful man. "I always admired the God-given glory of his voice – that unmistakable special timbre from the bottom up to the very top of the tenor range," said Domingo. "The best memories are the ones in intimacy ... We have to remember him as the great artist he was, a man with such a wonderful charismatic personality," added Carreras.

The rock singer Bono described the opera star as "a great volcano of a man who sang fire but spilt over with a love of life in all its complexity."

Pavarotti was born in 1935 on the outskirts of Modena to a poor family: his mother, Adele, was a factory worker and his father, Fernando, a baker who, accord-ing to Luciano, should have had a singing career but was too nervous.

It was not an affliction suffered by his son. Since his operatic debut in 1961 the bearded, bear of a man was to become one of the most recognised and most respected classical musicians in the world. Before that, Pavarotti had worked as an insurance salesman and a teacher. His break came at London's Royal Opera House, when in his twenties 1963 he stood in after another singer dropped out of a performance of La Boheme.

But the tenor's fame soared internationally during the 1990 football World Cup in Italy, the theme tune for which was Pavarotti's rendition of " Nessun Dorma", roughly translated as "none shall sleep" and described by Gordon brown yesterday as "the soundtrack of that summer" .

As many of his millions of fans waited anxiously for news into Wednesday night, it eventually became clear the operatic hero was to fall to the cancer which had forced him to cancel the re-maining dates of his 2006 farewell opera tour.

Pavarotti had given his final performance at the Royal Opera House in January 2002, when he sang Tosca in spite of the death of his mother during the final stages of rehearsals. Antonio Pappano, musical director of the ROH, said: "The applause on those evenings was probably the most moving and heartfelt in the history of the Royal Opera."

Pavarotti returned many times to Britain, and a poignant trib-ute also came from the Welsh town of Llangollen, where Pavarotti had travelled in 1955 to compete in the international eisteddfod with his local choir. He was 19 at the time, and train-ing to be a teacher, but after his choir won the festival's choral competition, he decided to be-come a professional singer.

Years later, reflecting on that seminal moment in his early life, he said: " Britain is one of the most important countries for me. This is where the international career really began."

The British soprano Lesley Garrett said he had the "most beautiful voice in the world" and described him as "an absolute giant as an opera singer and as a human being".

The respected soprano Yao Hong, who performed with Pavarotti in Beijing, said: "People may not know opera well but they know who Pavarotti is."

STAR TREK (2008)

noreply@blogger.com (Steven) — Wed, 05 Sep 2007 02:26:00 +0000

DIRECTED BY J.J ABRAMS

Set before "The Original Series" Kirk and Spock are newly graduated Cadets fresh from Starfleet Academy and are sent on their first space mission.

I'm sorry but a lot of the information on the new Star Trek movie is still sketchy but this is what I found out.

J.J. Abrams and his creative team for the new Star Trek movie wowed the audience at Comic-Con in San Diego as they revealed a casting coup: Heroes star Zachary Quinto will be playing Spock! And, to the delight of all 6,500 in the capacity crowd, Leonard Nimoy joined Quinto on stage as Abrams confirmed the elder Spock's involvement in the new film. We've been waiting for over a year now since the next Star Trek movie was originally announced, but there hasn't been any real hard news other than who is writing and directing.No news about William Shatner being in the movie.

ROB ZOMBIE DIRECTS HALLOWEEN . #1 BOX OFFICE

noreply@blogger.com (Steven) — Mon, 03 Sep 2007 17:44:00 +0000

1. "Halloween," $31 million.

2. "Superbad," $15.6 million.

3. "Balls of Fury," $13.8 million.

4. "The Bourne Ultimatum," $13.2 million.

5. "Rush Hour 3," $10.4 million.

6. "Mr. Bean's Holiday," $8.1 million.

7. "The Nanny Diaries," $6.4 million.

8. "Death Sentence," $5.2 million.

9. "War," $5.1 million.

10. "Stardust," $3.9 million.

On Halloween 1963, Haddenfield, 6-year-old Michael Myers (Daeg Farch), estranged and mentally unstable, is imprisoned in Smith's Grove Sanitarium under the care of Dr. Sam Loomis (Malcolm McDowell) for the murders of his mother's (Sheri Moon) boyfriend, his older sister, and her boyfriend. Now, 15 years later, he is accidentally released and now in search of his baby sister Laurie (Scout Taylor-Compton) and Dr. Loomis must warn the residents of Haddenfield and get to Laurie before Michael does.

DIRECTED BY ROCKER
ROB ZOMBIE WHO ALSO WROTE THE SCREENPLAY

CINEMATOGRAPHY

PHIL PARMET

ROB ZOMBIE TRIVIA COURTESY OF IMDB

Trivia

Brother Michael David Cummings is "Spider", lead singer of the metal band Powerman 5000.

He had originally written the script for The Crow: Salvation (2000), and was also supposed to direct and supervise the music for the movie. Continual clashes with the producers led to his being fired from the movie. The script he had written is now the script for Legend of the 13 Graves.

Owns the "Zombie A Go Go" record label.

Directs all his own music videos.

Once managed his brother's band, "Powerman 5000".

Has many tattoos and designed most of them.

His wife, Sheri Moon, is on cover of the "American Made Music to Strip By" CD.

Designed a maze for Universal Studio's "Halloween Horror Nights" in 1999 and 2000.

Drew the hallucination scene in Beavis and Butt-Head Do America (1996).

Draws most of the illustrations on White Zombie's and his solo CD booklets.

Universal dropped his film debut House of 1000 Corpses (2003), fearing it would get a NC-17 rating.

Loves horror movies.

Zombie's movie, House of 1000 Corpses (2003), has been picked up by Lion's Gate Films. [July 2002]

His film, House of 1000 Corpses (2003), was inspired mainly by The Texas Chain Saw Massacre (1974).

He has a pair of boots that he's been wearing for over 20 years.

He is a big fan of horror/zombie movies.

Is friends with metal legend, Ozzy Osbourne.

Has a fascination with Charles Manson.

Collector of classic movie posters including horror films and the classic Marx Brothers films, after whom he named several of the characters in House of 1000 Corpses (2003) (Otis Driftwood, Captain Spaulding, etc.).

Is close friends with his hero, Alice Cooper.

Named his first heavy metal band White Zombie, after the Bela Lugosi film White Zombie (1932).

Wants to open up his own night club for unsigned acts.

Member of the unofficial "Splat Pack," a term coined by film historian Alan Jones in Total Film magazine for the modern wave of directors making brutally violent horror films. The other "Splat Pack" members are Alexandre Aja, Darren Lynn Bousman, Neil Marshall, Greg Mclean, Eli Roth, James Wan & Leigh Whannell.

Is an avid fan of The Munsters.

Moved to New York at the age of 18.

Is a big fan of Tom Towles, Udo Kier, Danny Trejo and William Forsythe. He has cast all of them in almost everything he's directed.

Although his films tend to be very violent, he is a bigger fan of the horror films of the 30s and 40s than the later, more violent ones.

Long-time vegetarian.

Has a 12-foot stuffed bear in his living room. He also has a sarcophagus, an enormous Boris Karloff poster, a green, scaly Creature from the Black Lagoon statue, and real baby bats which have mounted and framed.

Personal Quotes

[On directing and working for film studios] "They hire you and suddenly they don't trust you. And you say 'Well, why did you hire me?' and they say 'We can't tell you.'"

[on killing off the lead characters in The Devil's Rejects (2005)] "That was always the ending and every actor had a complaint about that. I wanted to do it because it seems like nobody makes a movie anymore without a sequel set up. Lions Gate was like 'The franchise... It's gone.' But you know, that's the problem. I feel like there's never a definitive ending anymore. Every movie ends with the possibility of another one and it drives me crazy. I feel like, 'Why did I just invest two hours? It didn't even end.'"

I'd just be obsessed with a movie. I'd need more. So we'd make Super-8s at home. It's funny I should remake Halloween, because one of the movies I made as a kid in high school was a sequel to [Carpenter's] Escape from New York. Later, you know, I moved to New York to go to school, got kicked out, and worked as a bike messenger and on Pee-wee's Playhouse, and then started a band. Making movies seemed like, 'How do you do that? I don't even have money to eat. I'm not gonna make movies.' It's great now for kids, make some goofy movie, stick it on YouTube, and you're a hero. Back then, it was like: 'Man, I can't wait till I can save enough money to develop the film.'

I think so much about everything. I'm obsessive.

MOVIE PRODUCTION PART 11 OTHER CREW MEMBERS

noreply@blogger.com (Steven) — Thu, 30 Aug 2007 23:51:00 +0000

"I've always tried to be aware of what I say in my films, because all of us who make motion pictures are teachers; teachers with very loud voices." - GEORGE LUCAS (Acceptance speech after receiving the Irving G. Thalberg Award for maintaining an exceptionally high standard of filmmaking)

Have you ever wondered what all those people listed in the movie credits do? Have you ever been baffled when you saw odd job titles like "Best Boy" or "Grip" or "Foley Artist" in the credits? Wonder no longer. We've taken a large number of job titles and explained them below. Believe it or not, everyone listed in the movie credits plays an important role in the production of that movie.

Animal Performers.
Animal appeal has been used by the film industry to attract audiences since the early days of film. In Hollywood, animals are rented from nearby ranches or from trainers who specialize in particular species or breeds. Animal "acting" is achieved only after exhaustive training (animals are customarily tricked into performing by the instant gratification of a morsel of food), patience (easily frightened animals are sometimes given tranquilizers), clever cutting (shots of an animal's aimless movements are later edited to appear as logical to the film's action), and a variety of other special techniques (several look-alike animals are frequently used for the same role).

Art Director.
The designer of a film set, who has a major role in the overall look and presentation of a film.

Best Boy (Electric and Grip).
Also known as Assistant Chief Lighting Technician, this is the the chief assistant, often of the gaffer, but sometimes used as a general term for the second in command of a group. They are sometimes responsible for the menial lighting tasks such as placing reflectors and flags at their proper place for filming, but their job often consists of ordering parts and expendables. They work closely with gaffers.

Boom Operator.
The individual responsible for operating the boom on which a microphone is placed. On the boom, the microphone can dangle above the actor's picking up any dialog while still remaining out of the cameras view.

Cable Operator.
This crew member is responsible for the handling of all sound-related cables. The Cable Operator has to lay the cables, tape the cables, and drag the cables to follow the camera.

Camera Operator.
Also known as a cinematographer, this individual is responsible for rolling the cameras and stopping them on the director's cue.

Casting Associate.
Individual in charge of the casting process where actors are reviewed to see if they match the character description of a particular character in a motion picture's script.

Concept Artist.
Individual responsible for creating conceptual drawings and/or paintings based on ideas or the script of a film. These drawings help the director, producer, and other members of the creative aspects of the film conceptualize the film and decide what looks best.

Consultant.
An expert in any particular field who is hired as a consultant on a motion picture set to ensure the accuracy of details in his specialized area. A former naval officer may be asked to give advice on the workings of a submarine, or a native of Nepal to authenticate background details concerning his country from customs to costumes.

Costume Designer.
The person who conceives and draws designs for the costumes to be worn by the actors in the movie. The sketches are most often done in color after a careful study of the script. Approval must be received from the producer, director, and the art director.

Director of Photography.
This is the person in charge of lighting a set and photographing a film. Also known as "first cameraman," he is expected to transform the screenwriter's and director's concepts into visual images. Often referred to as the "DP" by the film crew.

Dolly Grip.
The grip responsible for laying dolly tracks, which is the railing that guides the camera in tracking shots.

Editor.
The individual who decides what scenes and takes are to be used, how, when, and in what sequence, and for how long they will appear.

Foley Artist.
The individual responsible for creating sound effects to be used in a film in a controlled environment. A foley artist can get very creative in his/her search for what makes the perfect sound to achieve a particular effect. For example, most punching sounds heard in movies are often a few stalks of celery wrapped in a wet cloth which is placed on a leather cushion and smacked with a stick.

Gaffer.
The boss grip or Chief Lighting Technician. Works directly with the Director of Photography and is in charge of all of the electricians (the people who place the lights).

Grip.
A handyman who is considered the movie set's equivalent to the stagehand of the theater. He performs tasks that generally require physical strength.

Hair Supervisor.
Individual in charge of any hair styling applied to an actor.

Key Grip.
The head grip on a film set, who is in charge of the group of electricians, which usually numbers from five to fifteen. Sometimes the Key-Grip's responsibilities include looking after the physical integrity of the structures built by the construction department. Budgeting, tracking costs, and generating reports are occasional concerns of the Key Grip.

Loader.
The individual responsible for loading a camera with a new roll of film as needed or requested.

Location Manager.
The person who scouts for the location to shoot at.

Make-up Supervisor.
Individual in charge of any make-up applied to either an actor's face or to a puppet. The actor or puppet is generally made-up before filming, but during filming, sometimes the make-up wears off and new make-up must applied on location.

Production Designer.
The Production Designer is responsible for creating the look of the film. He or she is in control of the Art Department and works closely with the Director to make the director's creative vision a reality.

Property Master.
The person responsible for the availability, maintenance, and placement of all props on the set. In the studio vernacular, he is usually called "props."

Screenwriter.
The individual responsible for writing the actual screenplay for the motion picture.

Script Supervisor.
This individual is responsible for making sure everything looks the same from one shot to the next. This is helpful especially when filming out of sequence. The script supervisor makes sure that actor's positions, the costumes/clothing, background, and much more is the same from one shot to the next to avoid inconsistencies. For example, if an actor is holding a cup with his left hand, the script supervisor makes sure that in the next shot, that actor is still holding the cup in his left hand.

Security.
Any individual who maintains security on a movie set or on location. A security official prevents unwanted persons from interrupting the filming process. Often, security is so tight for the filming of a motion picture that even a director like Steven Spielberg is not allowed onto the set without an official identification badge.

Set Decorator.
The person responsible for placing furnishings such as furniture, rugs, lamps, draperies, wall paintings, books, and more around the movie set. This person takes commands from the set designer.

Set Designer.
A draftsman with architectural training, this person's duty is to sketch plans and list specifications for the building of sets from the verbal descriptions or rough sketches offered by the art director.

Sound Mixer.
The individual responsible for taking many different sound tracks, each sound track containing a different sound, and putting them together into fewer tracks or one single track. In doing this, the mixer must delicately balance the different sounds so no sound overpowers and blocks out any other sound.

Special Effects Supervisor.
The individual in charge of the special effects team. This individual makes sure the special effects crew properly sets effects up according the director's desire.

Stand-in.
Any individual who is similar in body structure and looks to a star actor in a film who can take that actor's place when it is not necessary to use the actual star actor. An example is when a script calls for a shot of the main character picking up a phone. If the director wants only a close-up shot of the hand and phone, then it is not necessary to call in the star actor just for his hand. Rather, the star actor can take a break while the stand-in appears on camera.

Story Editor.
An employee of a studio's scenario department who reads synopses and evaluations of dramatic and other literary properties made by his staff of readers (or story analysts). He/She recommends to his/her production company that a certain property should or should not be made into a motion picture.

Stunt Coordinator.
The individual responsible for choreographing any stunts seen in a motion picture. It is this person's job to make sure the stunt is safe while still realistic.

Trust me there are plenty of other important jobs on a movie set that I did not mention.

COURTESY OF

Katz's Film Encyclopedia

Movie Production Part 10 "The Big Cheese"

noreply@blogger.com (Steven) — Thu, 30 Aug 2007 02:31:00 +0000

"What all good producers have, whether they grasp it or not, is an instinct for a good idea."

- ART LINSON (producer of Fast Times at Ridgemont High, Melvin and Howard, and The Untouchables)

There are many different classes of film producer including associate producers, executive producers, and plain old producers, but the overall task for these people is the same: to help guide the development of all the film elements into a successful motion picture.

The film producer, generally the head producer, is the person who is given control over the entire production of a motion picture and is ultimately held responsible for the film's success or failure.

The producer organizes the development of the film and perhaps even puts in creative input, but once filming begins, does little more than supervise and give suggestions. However, the fact that these suggestions must be taken seriously by those actually creating the film, makes the producer a very important person whose preferable traits include: strong business mentality, tough master of words, careful cost accountant, flexible diplomat, and creative visionary.

The producer is usually with the film from start to finish. If the producer chooses the idea, or property to be adapted to film, he must first confront the studio with a pitch(a synopsis of the entire story to get the studio interested) in attempt to get the idea into production. Otherwise, he's assigned the idea by a studio's executive producer. The executive producer is partially responsible for a film's production but is almost completely alienated from any phase of the filmmaking. He usually oversees business aspects while trusting each venture to the authority of the producer. If the producer is assigned the story concept, the idea has obviously already been accepted.

Next, it's up to the studio to decide whether to assign a writer to the project or to let the producer choose who he thinks is best for the job. In either case, of course, the writer has to be a willing participant.

If the producer gets to make the decision, he can choose to either get the writer from the studio roster, or to find a free-lance writer. And if the producer also happens to be a writer, he may hire himself for the task. Assuming that the screenwriter is someone else, the producer will work very closely with him, discussing the story progression and related script elements. Together they create a treatment outline to submit to the studio or financial backers to get approval. The writer may not like the comprises made to his "vision," but the producer, along with everyone else involved with the project, has a vision too, and a profitable film is the primary concern. This entire process is subverted if the screenplay was written beforehand and was what attracted the producer to the project in the first place. In that case, a simple re-write may be all that's required.

Otherwise, now that the project has been approved thanks to a compelling treatment outline, the writer begins to write the entire screenplay. Normally, he will submit portions of the screenplay to the producer as he writes them, and frequent conferences will be held, concerning the work.

At the same time, the producer must choose a director, or let studio management make the decision for him. Unless the producer is confident enough to have himself assigned as the director, he will confer with the director about technical and creative aspects that include the approach to the theme to specifics such as location, choice of film stock, and technical crew.

The producer's main concern throughout the entire filmmaking process is budget limitations. He is expected to achieve maximum quality at a minimum expenditure. That goal governs his position involving major decisions such as the selection of the cast, location vs. studio shooting, the complexity of sets and costumes, and the duration of filming.

The director is basically in charge once filming begins, but the producer never loses his control. He makes sure that the budget isn't ignored or the timetable wildly exceeded. The producer must be available to handle technical problems or personality clashes that occur on the set, and once filming is complete, will probably supervise the post-production processes of editing, adding sound effects, scoring, dubbing, mixing, and designing the titles. Afterwards, to test whether the film is ready for release, the producer may present the film at sneak previews and request tightening the film or re-shooting parts of it, depending on audience response.

And yet, his job is not over yet. He co-ordinates the film's distribution and participates in the planning and execution of the publicity campaign for the initial release and then for TV.

Because of the gradual disintegration of the traditional studio system, there has been a growing trend toward independent production. Today's average producer is not a salaried studio employee but an active partner of a studio or a distributor or whoever raised the money to finance the picture. Today's producer is a packager who invests in obtaining a property, convincing a director and stars to commit themselves to the project, and then offers the entire package to a financial sponsor in exchange for a cut in the profits.

Producers working totally outside of the Hollywood system have various options available to them, but without a studio, they will have to raise the money themselves. One idea is to put an advertisement in a trade magazine announcing that you're going to produce a movie and would like to read some screenplay submissions. Eager screenwriters will send their work, and the only thing left is to pick a script, and get started!

In the past, the bulk of Hollywood producers were salaried studio employees who were assigned their projects, their budgets, their casts, and their crews. For every major decision that was to be made, the producer was accountable to an executive producer or the studio's vice president in charge of production.

Powerful independent producers such as Samuel Goldwyn who put up his own money and therefore had complete creative and financial control over all his projects, were a rarity.

Yet, the truly creative producers were able to leave a personal imprint on their productions which was often more distinct than that left by the directors themselves.

Courtesy of

MOVIE PRODUCTION (DIRECTORS ) PART 9

noreply@blogger.com (Steven) — Tue, 28 Aug 2007 18:36:00 +0000

"Some people direct movies for a living; then there are filmmakers who live to direct
movies." - DAVID CRONENBERG (Director of Crash and The Fly)

Directing has not changed drastically since the beginning of cinema. Since the birth of sound movies, the main phase of directing has involved the orchestration of the action being filmed, which assures that the action and dialogue correspond to a certain vision of the screenplay, properly transforming the scenario into action, light, and sound.

However, the director's job starts even before he visits the set. Preparation is the key to good film making, and one of the first steps of preparation is the storyboard, which is a series of drawings used as visual representation of the shooting script. The sketches represent the key shots in the scripted scenes and demonstrate the framing, camera angle, blocking, character movement in the frame and basic props and sets. Dialogue, effects, et cetera, appear below the pictures. The storyboard is used to help the filmmaker visualize how the parts of the film will look and flow together.

Directors without much drawing skill may resort to overhead diagrams which present the artistically rendered location with an overhead view in order to show everything at one time. V's are drawn to show where the camera angles are.

Because the director isn't required to do anything that requires drawing, the director may instead put together a shot list, which is a list of all the intended shots to be made in the film. The shot list gives a good idea about the time it will take to shoot the film and also helps the set decorators understand what is expected of them.

While on the set, the primary duties of the director include: instructing the technical crew about masters and coverage; consulting the cinematographer; controlling actors and performances; administrating the flow of people, consulting on budgets; and dealing with outside pressures.

The director must know when a script is ready and when to order a rewrite. He or she must also understand how to evoke the best performances possible. The director supervises set and costume design, oversees all of the filming, and makes sure that the lighting is perfect. When the director deems it necessary, particular scenes may be reshot or some cast members may be replaced. He carefully observes the rushes, supervises the pace of the editing, and how it fits with the music.

Even though the actual value of the director to the film isn't agreed upon, the industry plays up the role of the director for purposes of publicity, especially if the director has been associated with movies that have recently been popular.

However, not all directors have "final cut," or the right to determine the editing of their films; final cut is most often reserved for studios and a handful of people who have proven efficient at delivering satisfactory movies. A director's ability to bring a film in on time and within the budget is, at this point, his or her most sought after quality. But if gaps in continuity are discovered in the cutting room, the director is in charge of the pickups, or the shots filmed after the completion of the regular shooting schedule, in an effort to cover up the errors.

The Directors Guild of America, Inc. (DGA), which has headquarters in Hollywood and New York, represents more than 10,000 directors and assistant directors working in the U.S. and overseas. The purpose of the DGA, says president Gene Reynolds, is to "Protect directorial teams' legal and artistic rights, contend for their creative freedom, and strengthen their ability to develop meaningful and credible careers."

In the early years of film, command of the technology was the primary concern, and very few directors were capable of distinguishing themselves by incorporating artistic vision into the new medium of cinema.

Directors were not highly valued at first, and this mind set, at about 1919, drove filmmakers such as Charlie Chaplin to form United Artists in attempt to give directors credit as artists.

The struggle for director recognition in America has always been associated with box-office receipts and a capacity to battle moguls, or studio owners, who were eager to take credit. In the era of classic studio films, only those such as Alfred Hitchcock maintained the kind of inherent talent that executives were wise enough not to tamper with.

The Director's Guild of America began as the Screen Directors Guild, and represented about 75 motion picture directors, and by 1938 represented 95 percent of the directors and assistant directors that worked in Hollywood. Early deals with the studios dealt with minimum salaries, a standard of working conditions, creative rights, and screen credits. In 1950, the Guild assessed a television contract and in 1960 it combined with the Radio and Television Directors Guild to become the Directors Guild of America, Inc.

COURTESY OF

MOVIE PRODUCTION PART 8 ACTORS

noreply@blogger.com (Steven) — Sun, 26 Aug 2007 17:15:00 +0000

The best way to define a film actor is as an entity that embodies a film role. Acting has been around for almost as long as civilization, but not until the beginning of this century has it been as up-close and personal as it is now - in the movies.

Before movies ever existed, actors made their living by performing theater. Theater is, of course, still around today. But because of the differences between the two, making the jump to movies can sometimes be tricky. Because the stage actor is usually able to sustain a character throughout one linear performance, he may have trouble adjusting to the quick response demands of out-of-continuity shooting. This major change has advantages and disadvantages. A film actor does not have to memorize many lines at one time to make the scene work, but he must be able to respond with a display of any given emotion at the time it is required.

The closeness of the medium of film compared to the stage provides the other big change. The intimacy of the camera makes it much more difficult to fake an emotion on screen than on stage. The camera's ability to capture the tiniest flicker of expression has led many to believe that what film requires is not acting, but being. Certain directors that agree with this philosophy are more likely to cast real people who aren't professional actors, but demonstrate an appearance and personality to match those of the characters to be portrayed, thus achieving a stronger sense of reality.

The contribution of acting to the total quality of a film differs from production to production, but is always a very important part of the filmmaking process. No matter how well the words are written, they must be said well to have any sort of lasting effect.

Obtaining the best actors for a given role, or casting, is almost always achieved through the process of auditioning. The technique that the casting directors use to audition you can differ dramatically depending on the part and the casting director's personality, but usually will involve some sort of line reading or improvisational acting. Some casting directors don't want you to read lines at all, but simply want to talk to you. In other cases, like if the movie is a period piece, the casting director may only want to see if you have the potential to look right for the part. For instance, at the Dallas audition for Dazed And Confused, the casting director mainly wanted to examine people's hair to see if it was long enough to fit the 1970's setting.

A good way to start an acting career is to go to open call auditions. Successful open call auditions can give you experience, and fill up your resume with credentials. Open calls are often advertised in local newspapers, and having an agent is not necessary to try out. Open calls are used for commercials, television programs, or even movies, and the parts being casted can range from extra all the way up to starring role. Experience and headshots (glossy, usually black and white photos of the head and face only) are usually not required for open call auditions.

Although open call auditions can often offer good experience, they aren't usually as reliable as a private audition, which can only be obtained through an acting agency. Because film directors want to cast their film with the best actors possible, they are more likely to trust actors who are represented with an agency, because this shows that the actor has been weeded out from the rest, has experience, and hopefully has talent.

To be accepted into an agency, you will typically be required to submit a headshot and resume, tell the agent a little about yourself, and read scripted lines. If the agency decides to take you, you will need to supply many copies of your headshot with a resume stapled on the back of each headshot. Even if you don't have too much movie or television experience, resumes can be filled up with everything from a part in the school play to favorite hobbies. Although not completely ethical, actor Jack Palance (Shane, Batman, City Slickers) faked acting experience by having pictures of himself posing in costume on stage as if actually performing a part for a popular play. Agents constantly receive information about auditions being held in the area, and will contact you if the part being auditioned seems right for you. Agents usually get paid by a percentage of the money the actors make after getting a part, but some request a fee just for representing you.

Another casting technique is the rarely used movie contest. Rather than hold an audition for a certain part (no more than one part per movie is usually casted this way), a contest is held to determine which "Lucky Winner!" gets to see himself on the big screen. This isn't usually used for major roles, because the fear of basing a movie around someone just because they got their name drawn is quite understandable. The reason casting contests aren't widely used is obvious. Directors feel as if they have less control over the project if the way it turns out relies purely on odds.

If they're so unpopular, why are casting contests used at all? Probably to build interest, and to make the public feel more involved with the movie, which in turn makes them more likely to want to see it and perhaps imagine how the movie would be different, had they won. And who knows? Maybe the filmmakers will get lucky too and actually discover an actor with enthusiasm, talent, and personality. There is one recent example of this technique in action - the sequel to Wes Craven's Scream held a contest to cast one of its characters.

The actors in the earliest films after the development of the film projector were normal people playing themselves; but then, with the development of the story in film, the need for professional actors arose.

Stage actors in the 1900's neglected the new medium, so most of the performers recruited for the early film dramas were either beginners or theater dropouts. They adopted a style of acting popular on the stage at the time - an oratorical technique characterized by flamboyant delivery and exaggerated gestures.

However, the introduction of sound removed the final traces of stylization from film acting. The exaggeration made necessary by the lack of verbal communication had disappeared. Many of the silent era stars were unable to thrive after this advance in technology because of imperfections in diction and absence of good voice quality. Gene Kelly's Singin' in the Rain

demonstrates this shaky era perfectly.

COURTESY

Movie Production Part 7 Stunts & Pyrotechnics

noreply@blogger.com (Steven) — Fri, 24 Aug 2007 14:38:00 +0000

"It can't be dangerous, otherwise they would have filmed more of the movie." - HARRISON FORD (actor, on the set of Raiders of the Lost Ark)

Harrison Ford, the actor who portrays Indiana Jones, jokingly says the above quote just before getting ready for a stunt for the movie Raiders of the Lost Ark. He is needed only for a few brief close-ups during a scene where Indiana Jones climbs under the front of a moving truck, traveling along the underside and then climbing up the back of the truck. The majority of the stunt work for that shot was not done by Harrison Ford himself. The stunt is far too dangerous for him. Instead, he films only the close-ups where the camera catches a good view of his face.

The other shots are done with a stunt double. A stunt double is a professional stunt man who also has a similar physical appearance to the actor he/she is doubling for. If Harrison Ford actually performed the stunt and was injured, it could have put the entire film project in jeopardy. If any number of things went wrong, he could have been crippled or even died.

Stunt work is a dirty job. A stunt double is hired under the knowledge that he might get seriously hurt. But some people live for that danger. Modern technology has made stunt work safer for the stuntman and more believable to the viewer.

Stuntman jumping off a building.
Photo Courtesy of VCV Stunts. Used by Permission. http://www.procom.com/~daves/vcvstunt.html

Even more dangerous is pyrotechnics. Pyrotechnics refers to any film effect that requires fireworks or explosions. Pyrotechnic work is the most dangerous type of film effect and therefore is closely regulated by the government. An individual who wishes to work in the field must obtain a special pyrotechnic license.

Pyrotechnic work may be dangerous, but it is also interesting. Pyrotechnic artists are responsible for many film effects such as bullets hitting walls, buildings or vehicles exploding, fires, and more. A pyrotechnic artist has a huge arsenol of tools to work with to achieve the director's vision of some film effect. For example, for bullets hitting and affecting a car's side, small holes are drilled into the car side where the bullets are to hit. A small exploding device called a squib, which is electronically detonated, is placed into the hole. Clay, colored to match the car's color, is filled over the squib and hole. On cue, a pyrotechnic official can detonate each squib individually to simulate bullets hitting a car door, one at a time.

Squib detonator device.
Photo Courtesy of Pyromate. www.pyromate.com

To create large firey explosions, such as a house exploding into shreds, pyrotechnic artists turn to mortars, prima chord and other goodies. A mortar is like a canon. It holds explosive substances, firing them out and exploding them on cue. For an exploding house, they are usually placed inside the house behind the windows so when the house explodes, fire bursts out of the windows exploding shards of glass outward.

Prima chord is like a long explosive string. When detonated, anything it is touching gets ripped apart. The explosion travels through the prima chord at several times faster than the speed of sound, creating an instant explosion. In an exploding house, prima chord is taped to the walls so that the house will break into small pieces upon explosion. Put mortars and prima chord together and the results are a massively and frighteningly realistic explosion.

A stunt man's worst nightmare is when stunts and pyrotechnics are combined. Such effects include the stunt men being close to an explosion. If the script calls for a character to be next to a car when it explodes, the filmmakers will do just that. The stunt man would be specially suited up with protective clothing and a flame retardant gel smeared over his skin. But say the director wants that character to catch on fire. Flammable clothing is placed on top of the protective clothing. And if someone were really standing next to an exploding car, that person would be thrown by the force. So to make it more realistic, the director might call for rigging and wire work on the actor so that at the moment of detonation, the actor is flung into the air and backwards.

Between the noise and brightness of the explosion, the catching on fire, and being whirled violently through the air, one can easily see how stunt work can become quite a dangerous line of work.

MOVIE PRODUCTION SERIES PART 6 (SET CONSTRUCTION)

noreply@blogger.com (Steven) — Wed, 22 Aug 2007 23:42:00 +0000

TITANIC SET

"Making big pictures on indoor sets was a technique that was really honed in the old studio system." - ALLEN DAVIAU (Cinematographer)

Luke Skywalker follows Yoda into his small house amidst the swampy planet of Dagobah in Star Wars: The Empire Strikes Back. A huge doughnut shaped fortress city floats on a water-covered planet in Waterworld. Lips Manlis vulgarly slops down his dinner in his Club Ritz in Dick tracy. All of these scenes contain scenery that exists nowhere in the world. As a result, the filmmakers had to build the scenery from scratch into what is known as a set.

A set is any scenery or environment built indoors or outdoors for use in a motion picture. Movie production companies usually have many large buildings where filmmakers can build their sets. Not all sets are built in a studio, however. Many sets are built outdoors. Where the set is built depends largely on what the script calls for and what is more practical.

Building a set requires much brainpower and manpower. First, the set must be conceptualized and designed. It involves artists, architects, and many others to design a set. Once the artistic envisionment of a set is approved by the director and/or producer, the people responsible for constructing the set must decide the best way to build the set. They also have to build the set according to legal building standards. The sets must be as close to the conceptualization of them as well as be safe for cast and crew to work in and around. The actual physical construction of a set can take many weeks and many months, depending on the size and complexity of the required set.

A popular saying that accompanies building sets is "build only what the camera sees." That is, there is no need to waste time, money, or resources to build a huge elaborate set if only a small section of it will ever actually appear on camera. Therefore, set designers have come up with some tricks to creating realistic yet practical sets. For example, if the script calls for an old western town, the sets might consist of a street with houses on either side. If the camera will not be going inside of each and every house, then there is no need to build the insides of the house. Therefore, the set would consist of facades, or false buildings, that are generally walls with nothing in them. They look great from the outside, which is the camera's point of view.

Many production companies have permanent sets such as backlots. A backlot can consist of anything from a street full of fake facade houses to a wild open natural vegetated landscape. Production companies have a variety of different backlots. Take, for example, Disney - you can actually visit their backlot at the Walt Disney World MGM Studios in Orlando, Florida. There you can see some famous houses including the Golden Girls house and more.

Choosing to build a set is a big decision. It requires months of designing, preparation, construction, and decorating. But the efforts of those who choose to use a set over compositing actors into a model, using matte paintings, or settling for less visually appealing existing scenery often pays off. The results of a full-scale set produces the most realistic environment over any other special effects wizardry.

COURTESY OF

The Making of Congo

MOVIE PRODUCTION SERIES PART 5 MAKEUP EFFECTS

noreply@blogger.com (Steven) — Wed, 22 Aug 2007 02:23:00 +0000

"It's physically and mentally taxing. It takes extraordinary, heavy-duty concentration for hours on end at godawful hours -- like 3 a.m. -- hours before anyone else gets to the set. The appliances have to be laid onto the actor's face perfectly. You can't miss. If you lay it down a little bit too far to the left, when he smiles, you're going to get wrinkles running across his face in an unnatural way."

- DOUG DREXLER (Make-up artist; on the set of Dick Tracy)

Actor Eddie Murphy is transformed into the overweight Professor Klump in The Nutty Professor, actor Bill Forsythe's face is transformed into Flattop in Dick Tracy, and actor Robert Deniro's entire body is made-up to resemble different body parts sewn together for his portrayal of the monster in the 90's version of Mary Shelley's Frankenstein. All of these actors and many others from many other movies were transformed by make-up effects artists. Make-up artistry is among the oldest special effects techniques.

Making-up an actor means altering that actor's physical appearance in order to transform the actor into a different character. This can mean applying anything from conventional make-up or paint on the actor's body to the addition of prosthetic, or false, parts. These prosthetic parts are commonly referred to as appliances. One very common appliance is called a life mask. It is a foam-latex mask cut into several pieces that form-fit an actor's face and are precisely glued onto the actor's face. Because it is composed of different pieces, it looks very realistic and natural and makes it very difficult to detect that it is even a mask.

To make a life mask, or any other similar appliance, there are several steps a make-up effects artist would take. First, sketches of the intended character are produced in order to conceptualize the character. Next, a maquette is produced of the intended character. A maquette is a small scaled clay model of the character that serves to show what that character will look like. The maquette is shown to the director, producer, and/or anyone else concerned with the artistic aspects of the intended film the character will appear in. These people may offer suggestions or modifications before approving the maquette. Once the maquette is approved, it is time to produce the actual character.

To produce the actual character, the make-up artist needs an actor. Sometimes, the make-up artist will take part in or be the sole caster of an actor. If this is the case, the make-up artist looks for an actor that already has some of the character in him/her, thereby giving the make-up artist a head start on transforming the actor into the character. Once the actor is selected, it is time to begin the transformation.

Sculpted and hardened clay creature face

First, a mold of the actor's face must be made. This must be done so that any appliances can be produced to form-fit the actor's face perfectly. A bald cap is placed over the actor's hair because it is not necessary for the hair to show up in the mold (and it would make a tangled mess anyway). Then a substance such as alginate is quickly spread over the actors head. Alginate is the same substance dentists use to take an impression of your teeth. The process of putting alginate over the actor's head is a very dangerous process because the make-up artist must be certain not to block the actors air intake (either mouth or nose) or else the actor could suffocate. The alginate settles after four minutes and becomes gelatin- like. Gauze and plaster are wrapped around the alginate in order to secure it and then it is pulled off the actor's head.

Mold made of sculpted clay face

Next, some hardening material such as plaster is poured into the mold. Once it dries, the make-up artist can peel the original mold off of it. Now the make-up artist has an exact duplicate of the actor's face, even the pores in the actor's skin show up.

It is time for the make-up artist to get to work in transforming the plaster replica of the actor's head into the intended character. The make- up artist spreads clay onto the plaster replica and builds it up to create the character. Once done with this, the make-up artist uses a blade to very precisely cut the newly added clay into different pieces.

Liquid latex is poured into the mold in a process known as slip casting

New molds are taken of these different pieces. This time, two molds are made for each piece: a positive and a negative mold. The positive is the character's part and the negative is the actor's face imprint. Liquid foam latex is poured into the molds and the positive and negatives are fitted together. They are baked in an oven and when done, a foam latex appliance has been created which perfectly fits onto the actor's face.

Once the latex has dried, the result is a rubber mask

It does not end there, the appliance must be glued onto the actor's face and finally painted. It may sound simple, but the process of gluing the appliances and painting them on an actor's face often takes many, many hours. And another catch is that the appliances are not reusable. Every new filming day, liquid foam latex is baked in the appropriate molds to produce new appliances.

Make-up artistry is a rather simple process. Many make-up artists start off with a few kitchen items, some basement work space, and a little imagination. But regardless of what they use, their skills produce highly realistic and ultimately believable characters that thrill audiences.

COURTESY OF

Dick Tracy: The Making of the Movie

MOVIE WORLD (MOVIE PRODUCTION SERIES) PART 4 MUSIC

noreply@blogger.com (Steven) — Mon, 20 Aug 2007 17:23:00 +0000

"...The [musical] score could help to give us romance where we needed it, tension where we needed it; it could sweeten a moment between two characters or add to the hostility."

- FRANK MARSHALL (Director)

As the great white shark in Jaws approaches its victim, the music intensifies. Jabba the Hutt entertains his guests with strange music. Timon and Pumba amuse us with their song "Hakuna Matata". What would any movie be without the music? Music is an essential element to any film. It increases the viewers' emotional response to the film; whether it be explosive music suited for intensifying an action sequence or slow sad music accompanying a sad moment in the plot of a film.

Much of the music found in a film is a completely original musical score composed specifically for that film. It is generally the musical composer's job to write this original musical score.

James Horner, composer of Willow, Braveheart, Apollo 13 and more.
Photo courtesy of www.movietunes.com

Many composers prefer to be hired early on in the production of a film in order to absorb the mood of the film and ultimately write the appropriate musical suited to that mood. When hired early, a composer can offer suggestions such as which scenes might be better when dialog is replaced with music, or introduce ideas how the music and sound effects could work effectively together to enhance a particular scene.

Danny Elfman, long time Tim Burton collaborator, composer of Batman,
Nightmare Before Christmas, Mars Attacks, and more.
Elfman has also composed several TV show themes such as
The Simpsons and Tales from the Crypt.
Photo courtesy of www.movietunes.com

However, many composers are hired after filming is complete. Therefore, the composer can only use music to accent the existing scenes.

Composing the music for a film is quite difficult. It can take several months to compose the musical score. First, the composer thinks up a few tunes or themes deemed appropriate for the mood of the film. These tunes or themes are sent to the director and producer for approval. Once the tunes or themes are approved, the composer composes the full length musical score for the appropriate scenes and sequences. The composer generally records a second-by-second list, description, or analysis of the scene the music will accompany in order to time the musical score out properly. This way, the music will appropriately match the action exactly.

When the full musical score is completed and approved, it is time to hire the musicians. Often, the composer prefers to conduct the orchestra while watching the film at the same time. This way, the composer can make sure the music will fit the action as perceived.

The musical score for a film does not only enhance the plot, action, and emotional response of a film, but also provides a means of revenue and advertisement. Often, the musical score of a film can be purchased before the film shows on the big screen.

COURTESY OF

"Motion Picture: How a Motion Picture is Made"

MOVIE PRODUCTION SERIES (EDITING)

noreply@blogger.com (Steven) — Sun, 19 Aug 2007 15:00:00 +0000

"Films are not made. They're remade."

- IRVING THALBERG (Academy Award winning producer of films such as 1932's Grand Hotel and 1935's Mutiny on the Bounty)

Editing is the act of completing the pacing and narrative structure of a film and its soundtrack by cutting and splicing the shots together to make a final, comprehensible story. The individual who edits the film is the editor. Oftentimes, the success or failure of a production may rely on the quality of the editor's work. Sharp film editing can make a mediocre production look good and a good production look that much better. Inversely, sloppy editing can unhinge a solid script and even negate strong efforts by the director, the actors, and technical crews. It is not unusual for an editor to correct or cover up errors or omissions committed during filming on the set. But in some cases, the director has shot his films with such care and attention to detail that there is not much left for the editor to do but exercise technical know how, manual dexterity, and a sense of precise timing, in following the director's design. The editor's role is always more pivotal in documentary films, for which no shooting screenplay exists, than in planned productions.

The greatest compliment any editor can receive is that their editing is invisible. An editing assignment is considered successful when it goes unnoticed on the screen. Ironically, an editor invests weeks or months of intensive work to achieve the impression that nothing has been done at all.

Editing is important because it allows the director to film out of order, to make multiple takes of each shot, and it allows for aesthetic decisions to be made after filming is complete.

Because of the similarity of separate scenes that may not take place one after another, such as location or key characters, it's helpful for the filmmaker to be able to shoot out of order. For instance, if the story calls for the location of the film to start in Los Angeles, move to New York for the middle, move back to Los Angeles for the climax, and then finally back to New York for the conclusion, it would obviously not be efficient to travel back and forth across the country throughout the filming. Thanks to editing, the LA scenes can be shot at one time, and then the film crew can fly to New York for the rest.

The first stage of editing begins after the editor is given the dailies. He/She synchronizes the dailies with the parallel sound track, which has been shifted to magnetic stock. Because the director has probably engaged in coverage, or the process of shooting all the scenes as many different ways and from as many different angles as possible, the editor has a lot of flexibility.

When shooting is finished, a "rough cut" is made, combining what seem to be the best shots in such a way as to constitute a continuous progression. This is accomplished by first breaking the film into each separate shot so that all of the film can be placed in the order that the narrative requires. After this is accomplished, exact places to cut into and out of shots can be found. In this stage, control of the story and visual information is important.

The next phase is "fine cut", which, after all the frame by frame manipulations are accomplished, represents the final arrangement of precisely trimmed shots and sequences. The fine cut is used as a guide for cutting the original negative and as detailed instructions involving transition techniques such as fades, wipes, and dissolves. The sound track is mixed and foleys, sound effects created in order to match certain sequences, are added. Finally, an "answer print", which combines image and sound with the placement of an optical track along the edge of the print, is created.

However, films are not always finished when the directors think they are. After post-production is supposedly complete, the studio, test audiences, the rating given by the Motion Picture Association of America, and even the response at a sneak preview can show the need for extra editing, and can ultimately change how a movie will appear in theaters. There is no definitive version of any motion-picture.

But thanks to the development of digital video, the technology of editing is changing rapidly. Many filmmakers now shoot on film and then transfer to time-coded videotape. This allows the editor and director to try out a variety of shot combinations instantly on a bank of video monitors.

In the early days of cinema, editing amounted was nothing more than simple cutting, trimming edges and splicing loose ends to arrange shots in simple continuity. The term "cutter", sometimes used today for an editor, is a remainder of those primitive days.

Gradually, through such landmark productions as Edwin S. Porter's The Great Train Robbery (1903), D.W. Griffith's The Birth of a Nation (1915), and Eisenstein's Potemkin (1925), an articulate language of editing grew that refined the film's expressive, narrative, and emotional power. The film cutter became the film editor, exercising a complicated art as well as a demanding craft, and editing strategies developed that were passed on from one editor to the next and continually evolved in cutting rooms around the world.

In the Soviet Union, director Sergei Eisenstein (1898-1948) fashioned the theory of "montage", based on the idea that shots must clash with each other to create a dynamic rhythm that draws the viewer into the narrative while it evokes an intellectual response. Still other forms of editing have been used by various national schools and movements. French New Wave filmmakers popularized the "jump cut" in which consistent time and space relations are ignored, resulting in a jolt in the visuals. The Italian neorealists and African diaspora filmmakers often utilized long takes, editing shots through the use of careful focus and framing.

The early editing pioneers made possible the smooth and hopefully indiscernible editing process that is unknowingly appreciated by film viewers everywhere today.

Courtesy of

MOVIE PRODUCTION SERIES (PRODUCTION)

noreply@blogger.com (Steven) — Fri, 17 Aug 2007 13:56:00 +0000

"The experience of making a movie is better and more important than the film itself."

- JOHN HUSTON (Director/Screenwriter of The Maltese Falcon and The African Queen; Director/ Producer of the Asphalt Jungle; Director/Producer/Screenwriter of Moby Dick)

It is generally accepted that films are the products of the director's effort to unify the various components of film into something that bears his signature. However, many more people are involved during the production phase of manufacturing a motion picture than just the director.

The director of the photography (the individual who creates the appropriate mood, atmosphere, and visual style of each shot), one of the most important positions in the filming hierarchy, is involved with the project a while before the actual start of production. He is usually consulted by the producer and director about a variety of technical details, including the choice of film stock and laboratory.

Color film stock is used in almost every mainstream movie nowadays, but color cinematography involves problems of economical, technical, and aesthetic nature. Color film is nearly two times as expensive as black and white stock, and so is the cost of development and printing. Also, color photography of exteriors is prone to variations in the intensity and tone of natural light during different hours of the day and during periods of sunshine and cloudiness. This limits the number of days or hours of the day that consistent color photography can be obtained. Even the slightest variation in color might present a problem of "matching" when two or more shots, taken at different times, are spliced in editing.

Whether the scene takes place on location (any area away from the studio that is selected for shooting) or in a sound stage (the soundproof building that's used for constructing sets for studio projects) can have a large effect on the filming process. Location filming presents problems such as the provision of food and shelter for performers and crew, and the use of power generators and other specialized equipment. On the up side, location filming gives authenticity to a picture, especially when a great deal of outdoor shooting is required.

And to insure authenticity within the actual story of the film, the director consults with the technical advisor who is hired for his expertise in a particular field to explain whether or not the movie being filmed portrays the particular events or situation accurately.

After observing the proposed locations for shooting, the director of photography considers their suitability and decides the type and number of cameras and lighting equipment that will be required for shooting. The art director and set decorator consult with him about the placement of lighting units and camera riggings in every set. Once shooting begins, the director of photography is second in importance only to the director.

Depending on the type of movie being filmed, the Second-Unit Director may also be of much importance. This is an individual whose main talent involves staging of large-scale action sequences which often deal with complex special effects and the participation of many extras, animals, et cetera.

A breakdown script, or just "breakdown," is written before any filming has begun so that everyone comes to the set prepared and no time is wasted. The breakdown is a very detailed list of everything required for the shooting of a film, organized scene by scene and day by day. Separate elements of the shooting script are rearranged and grouped in a sequence that is most convenient for shooting and therefore more beneficial to the budget. The usual categories are exteriors and interiors, night or day shots, and sound or silent sequences (nowadays a silent sequence is usually one that will have music mixed in the soundtrack, muting any other sound). All the shots to be filmed on one location are grouped together, as are sequences that require particular props, costumes, special lighting or sound recording equipment, or the presence of extras or other lesser-important members of the cast. The breakdown is necessary because it helps the director plan his shooting schedule and prevents unforeseen omissions or needless duplications of shots. The person who is responsible for the breakdown script is the assistant director.

The assistant director (or "A.D.") is hired to aid the head director so that the he can better work on the creative aspects of the film. The assistant director assumes responsibility for the routine responsibilities, such as summoning the actors, crew, and logistical support to the correct place at the right time (or the "call"). It is also the duty of the A.D. to keep the production on schedule and to maintain order on the set (this is hopefully accomplished by his yelling of "Quiet on the Set!"). The assistant director tells the camera operator to "roll," or to begin filming. He is also responsible for any scenes that involve large crowds. The assistant director even has assistants of his own, which are known as "seconds."

Another person who must pay attention to the breakdown, the shooting schedule (the advance schedule for work assignments and equipment required for a filming session), and the shots being filmed is the script supervisor. Because of how long it takes to shoot one scene, and the convenience of shooting scenes out of sequence, the script supervisor's function is vital. This person's job is to scribble down very specific notes during the filming of every scene so that he/she can look back at the notes during a later scene to make sure all of the details are correct. For instance, the script supervisor would make sure that if a character's hair was neatly combed in one scene, it would not be disheveled in the next scene. The script supervisor would also make sure that the character's wardrobe doesn't change with every scene, or a shirt is buttoned all the way one moment and then unbuttoned the next. This person even keeps track of details as obscure as which hand a character was holding a cigarette in. These minor points are easily noticed if they aren't right and can be very distracting to the audience.

Working closely together, the director and the director of photography determine the camera angles, setup, and movement for every shot. The latter then chooses the lens and filter that will best achieve the former's concept of the shot, determines the exposure, and sets up the lights to attain the particular effect desired. At this point, the camera operator takes over.

The director of photography does not physically operate the camera. The camera operator, or "second cameraman," takes care of that task. The camera operator follows instructions from the director of photography and gets approval from the director by accomplishing smooth camera movement and producing satisfactory pictorial images. The camera crew also includes an assistant cameraman, or the "focus puller," and the second assistant cameraman.

The job of the focus puller is to adjust the lens in follow focus situations. Before shooting begins, the focus puller measures and marks the distance between the lens and significant points in a traveling shot, so that a smooth follow focus can be attained during the take.

The main responsibility of the second assistant cameraman, or "loader," is the clapper board. The clapper board, which is called the clap board for short, is a hand-held chalkboard that is used to present important shot information for the film (movie title, director's name, take number, et cetera). The clapper board, whether electronic or slate, is shot before each take so that when the wooden clapstick that is hinged to the top of the board is snapped shut, there is a sound and image that can later be utilized to synchronize the sound and film tracks. Photographing the clap board also separates all of the takes with a quickly recognized image so that it is easier to go back through the footage and find the best shots to use.

The director of photography joins the director in viewing the dailies, or rushes, to evaluate the earlier work and make any necessary changes for future filming. At the conclusion of production, the director of photography supervises the grading of the first print in the lab to assure that the preferred degree of brightness and the right color tone are achieved for the images that the public will eventually see on the screen.

In the early days of cinema, the camera work was managed by one man who not only operated the camera, but often also developed and printed the film in the laboratory. But as the art of film progressed and grew in complexity, the duties of the cameraman became more strictly defined and his contributions to the quality of a film more important. Many of the technical innovations credited to director D.W. Griffith (Intolerance) actually originated with his cameraman, Billy Bitzer (The Birth of a Nation), or came about as a result of the close creative partnership between the two men.

The director has always been the most important worker on the set, but some of the most memorable sequences in movie history have been staged by second-unit directors, such as the chariot races in both versions of Ben-Hur and the charge in The Charge of the Light Brigade (1936).

For many years, color was used mostly as a gimmick and few attempts were made to explore its aesthetic advantages. Early colors were usually loud and gaudy, emphasizing the novelty of the process over black and white rather than its uniqueness. But gradually, as the technical problems were fixed, attention shifted to the artistic use of color.

Courtesy of

Movie Production Series Pre-Production Screenwriting

noreply@blogger.com (Steven) — Thu, 16 Aug 2007 19:29:00 +0000

"Once you've decided to become a screenwriter, you can never again go out and enjoy a movie. Because if it's a good movie, your basic screenwriter will get depressed, confident that he'll never be able to turn out something that good. On the other hand, if you see a bad film, you come down with high blood pressure thinking, 'How Come that piece of dreck got produced, when my stuff is still sitting in a trunk in Toledo?'"

- BARRY SCHNEIDER (Screenwriter of Harper Valley PTA and Take This Job and Shove it)

To some in the film industry, the screenplay, the written version of a movie before it is actually filmed, is the most vital aspect of the film. To other filmmakers, it's merely a vague outline of a story to be altered as much as they see fit.

A good way to become a director is to start off as a writer. Several good screenplays can be the route to achieve the responsibility of producing or directing a film. Unfortunately, getting that many scripts made and sold is not an easy thing to do.

When deciding a story to write about for a movie, there are a few things to take into consideration. Try to avoid issue oriented screenplays. This is recommended for many reasons. First, if your opinion is contrary to popular public opinion, the movie could become a box-office failure. Even if you think you take the same perspective of most viewers, public opinion might change from the time you write it to the time it makes it to the screen - if it makes it to the screen at all. Another general thing to avoid is basing a screenplay on a current fad. When Can't Stop The Music was written to be the first starring role for the Village People, Disco music was still popular. However, by the time the movie came out, there had been a disco backlash, and the movie bombed.

The easiest thing that can be taught about writing is the format, but another thing to remember is to "write what you know." A script will be better if you can draw from your own experiences. But if you do want to write about something that you have little knowledge of, you should do research to make a credible script. Also, the screenplay must be a story that you care about or feel is important in some way, or you'll eventually lose interest and have trouble forcing yourself to finish it. To keep the reader's interest, something must hold tension, whether it be comedic or dramatic, throughout the entire script.

Know your characters. Everything a character to does or says should be consistent with the character's personality. Some people like to envision a particular person or actor in the parts being written to make it easier to decide how to write the character.

The screenplay needs to be completely self-contained. It starts off with an inciting incident somewhere in the first ten pages which tells the reader what the movie is going to be about. After that, every ten pages must have a plot point which keeps the story moving. A little bit before the middle of the screenplay, about page 50 to 55, a mid-point crisis should occur that takes the story in a logical but unexpected direction. The conclusion should come at page 105 to page 120 (each page is a minute of film time, and most movies are two hours or shorter).

For first time screenwriters, low budget scripts are going to be the easiest to sell. No studio is going to trust a $100 million investment to an amateur screenwriter with a spec script, which is a screenplay written with the speculation that it will sell even though no body has told you to write it. Any scene of extravagant action or special effects must be necessary to the plot, or should probably be avoided all together. Fantasy, horror, and science-fiction should not be attempted by the beginning screenwriter, because of the expenses of the special effects involved. Period pieces can also be pricey because of the sets and costumes used to re-create the era, so it is best to stick with contemporary times.

Don't let your screenplay get too top heavy with dialog. If a story editor - the person who goes through the entire script to decide whether or not it would be profitable for the production company to film - sees that the script is full of characters talking but rarely doing any sort of visual action, it will be harder to sell.

The most common mistake first time screenwriters make is to try to direct the movie while they are writing it. For instance, if a screenwriter wants to have a certain word emphasized in the dialog, he might put it in all caps. However, it is the job of the actors and directors to decide how a line should be read. The only things in screenplays that are all caps besides scene headings and dialog headings are sound effects and the name of a character the first time we see them. The scene heading, visual exposition, and dialog are the only necessary elements in a submission script. Numbering the scenes, camera angles or movements, and scene transitions only matter after the screenplay has been purchased, and is the director's problem, not the writer's. All of that is decided for the shooting script.

Be sure not to leave gaps in visual exposition (which explains the actions or setting). Often, your mind will see one thing, but what you write won't convey it accurately. On the other hand, be sure not to overdo the visual exposition. It's not good to use six words when three can convey the exact same thing. You want the story editor to have an enjoyable, smooth read, and not have to spend time scanning through unnecessary words.

Starting small and working up is the best approach to writing a script. Before the screenplay is written, it is very helpful to write a logline and treatment outline first. In the logline, simply write a one to two paragraph synopsis of what your movie is going to be about. This prepares you for the more formidable task of writing the treatment outline. The treatment outline is a bare bones version of the entire movie. In other words, the treatment outline briefly describes what happens in every notable scene in the movie and in the order that it will appear. It's like the screenplay, except without all the dialog and the extensive visual exposition specifics.

Even in the treatment outline, the scene headings, which describe the location of the scene, are mandatory. The scene heading begins with either "EXT." or "INT," depending on whether the scene takes place indoors or outdoors. EXT. means exterior and therefore shows that the scene takes place outside. INT. means interior and thus is used when the scene takes place inside. After that, the exact place of the scene is displayed, such as "HOTEL ROOM." The last thing that must be described is whether it is night or day.

So, here is what a completed scene heading might look like:


	`INT. HOTEL ROOM - DAY.`


	`EXT. MOTEL PARKING LOT - NIGHT.`

Writing what happens at this location is the difficult part. In the treatment outline, each scene can be summed up in about a paragraph. After all of the scene summaries are complete, the treatment outline can be anywhere from 15 to 40 pages, but the shorter, the better. Once the treatment outline is completed, writing the actual screenplay is much easier. Without a treatment outline, it's easy to stray from the spine of the story, because the treatment outline is like a map. It tells you exactly where you need to go in case you start to ignore the script's main idea.

The actual screenplay, which must be done in courier font, starts out with a title page which consists of the title, whether the screenplay is original or based on a book, and the writer's name. After the title page, every page must be numbered. The preferred method of page numbering is to put a footer at the bottom of the page which has the title followed by a dash, followed by the word "page," followed by the page number. For instance, if the movie were called "Extreme and Desperate Measures," this is what the bottom right hand section of the page would look like: "Extreme and Desperate Measures - Page 1."

The first page of the screenplay starts with the title at the top of the page and is followed by the words "FADE IN," which is followed by the first scene. Scenes almost always open up with visual exposition no matter whether we've seen the particular location already or not. The location must be described first so we can better envision the action that's about to take place. Also, before any of the characters start talking, we need to establish which characters are in the scene in the first place. The name of the character speaking the dialog is centered and underneath it are the words that are spoken, which are left justified. The visual exposition is also left justified. The screenplay ends with the words "FADE OUT."

When the screenplay is complete, three holes are punched in it, white card stock with the movie title and your address or the literary agent's and number are attached to both sides and it is held together with brads. The only thing left to do is to sell it or film it.

Quick format tips:

(V.O.) = Voice Over is used when a character's voice is coming over the sound track. This is utilized mostly for narration or to let us hear the character's thoughts. The dialog heading looks like: NARRATOR(V.O.)

(O.C.) = Off Camera. When we hear a character's voice, but don't see the character, like when they are in a different room, this is used. The dialog heading looks like: DAVE(O.C.)

(Beat): This is used when there is a pause within a character's dialog. There are a few variations such as (Pause) and (A beat), which perform the same function. For instance:

MOTHER

You're welcome!

Son looks at mother angrily.

SON

Did I thank you? (A beat) If I didn't thank you, you have no right to say that I'm welcome.

(Filtered): This is used when we hear a character's voice coming from something such as a speaker or a telephone. The dialog heading looks like: DANNY(Filtered)

(Overlapping): Used to show that two characters are talking over one another.

HUSBAND

If we'd gotten one of those normal marriages, we'd probably be divorced by now. Isn't that terrific, honey?

Husband looks at wife expectantly.

WIFE

Hooray for covenant marriages.

HUSBAND

(overlapping) I said, aren't covenant marriages great?

MOS = Without sound. This is used when we see two characters talking, but we don't hear what they are saying. For instance: Janine and Ken are talking MOS.

It's a good idea to get someone to proof read your script not just for grammatical errors, but for overall impact. No matter how good a screenwriter you are, it is very difficult to look at your own work objectively. A great way to get feedback is to find a group of fellow screenwriters and organize a meeting wherein one person will read aloud about 15 to 20 pages of screenplay, and the other members give constructive comments and suggestions. Then the next person reads his pages, and the others comment.

After you get input, rewrite the script over and over. Finally, you should register your screenplay with the Writer's Guild Of America. The Writer's Guild will prefer to receive a copy of the entire screenplay to give it a registration number, but can also accept treatment outlines. This protects your work from plagiarism, and gives you the ability to sue if someone makes a movie from your screenplay or idea without giving you any credit.

If you have enough confidence in your screenplay, it's a good idea to enter it into well-established and reliable screenplay contests, because an award winning screenplay is easier to market than one without any specific credentials. But be careful - some contests are just scams to get your money.

A good way to attempt to sell your script is to go to a literary agency, which will usually not charge to market the screenplay, but will get a percentage of the money paid to option or buy it. Usually, if a production company thinks the script might be a hot property, they will take an option on it, which means they pay you a particular amount just to allow them to hold onto it, giving them time to decide whether or not to buy it.

Once you sell your screenplay, it doesn't belong to you any more. The producers, director, studio, and editor are basically free to do whatever they want with it. Even the cast members have the right to change lines if they have trouble vocalizing your words. Very rarely will a script come to the screen completely intact.

In 1927, the first film with spoken dialog, The Jazz Singer, was released. One year afterwards came The Lights of New York, the first "all-talkie" movie. With the advent of sound movies, writers suddenly became important.

In the beginning, many writers looked at the movie industry with disdain, and decided to avoid it all together, while some secretly submitted scripts. Because of the lack of willing writers, the industry had to turn to vaudeville, such as W.C. Fields.

When real writers finally did decide to participate, they found that the contract system caused quite a few hardships. Writers weren't given creative control, were looked down upon, and made modest salaries. Yet, the contract system also had its good points. Novice writers were taken under the studio's wing and learned the techniques of movie-writing. The writers were also given the opportunity to work on a variety of different films and different genres.

In 1932, the Academy of Motion Picture Arts and Sciences authorized a study to develop a standardized script format for the entire industry, and by the mid-thirties most scripts were adhering to strict guidelines. They were all about the same length; action most often took place over the course of three acts; most major characters were introduced in the first act; endings featured good triumphant over evil and all of the plot lines were resolved.

This standardization can be attributed in part to the studios' system of dividing up work among screenwriting departments. The process of scripting a movie was broken down into various stages, with the original draft of the screenplay being given to dialogue writers and to story editors, who rewrote and deleted unconventional elements. Standardization can also be perceived as the result of interference from the Hays Office (a motion picture industry association with a strict self imposed morality standard). Hays officials read every script to be shot by the studios and often demanded changes, which caused the mainstreaming of both movie morality and narrative structure.

During the anti-Communist witch-hunts of the late 1940s and early 1950s, a large amount of screenwriters were blacklisted. The Writers Guild, a trade union started in 1933, was ineffective in preventing artists such as John Howard Lawson and Dalton Trumbo from being barred from working in Hollywood.

In the 1960s and 1970s, with the presence of cinema clubs in major cities and film studies programs in the universities, aspiring youthful filmmakers were exposed to alternative films made by European directors or by members of the American avant-garde. Directors associated with Italian neorealism or the French New Wave, as well as Americans like Andy Warhol and George Kuchar, worked from looser scripts, relying strongly upon improvisation. Many future mainstream filmmakers began to utilize these techniques. Some writers refused to tie up any or all plot elements at the end of their screenplays, rejecting the notion that the story was one of the most important aspects of the film. Ambiguity was often built into the motivation of characters, with some scripts using a stream-of-consciousness approach rather than a linear, causally linked narrative. The screenwriters who employed these techniques included Dennis Hopper, Peter Fonda, and Terry Southern with Easy Rider (1969), Adrien Joyce with Five Easy Pieces (1970), and Terrence Malick with Badlands (1973).

The 1980s saw the economic revival of the feature film industry and a return to the "classical" Hollywood movie script that was originally developed in the 1930s. An "outline," or synopsis, precedes a "treatment," or narrative summary, which is followed by the "shooting script," the final draft of the screenplay that contains indications of camera angles and movements for all scenes once it is bought by the studio. Currently, most feature-length scripts have a limited number of major characters. The actions of the main character are focused on pursuing a goal or resolving a problem, encountering obstacles along the way. The development of the plot occurs over three acts. In most cases all story elements are resolved, usually in favor of a happy ending.

Courtesy of

Movie Production Series (Part 1)

noreply@blogger.com (Steven) — Wed, 15 Aug 2007 14:52:00 +0000

When we watch a motion picture, we are actually seeing many thousands of separate still pictures."

- ARTHUR KNIGHT ("Motion Picture" article from World Book Encyclopedia, 1981 ed.)

A motion picture is made up of thousands of still pictures called frames. In each frame, the scene or subjects in the scene are slightly different in position from the previous frame. For every second of time, 24 frames of film flicker onto a screen to produce moving images. We cannot discern each still image but instead see continuous motion. This is because of a condition of the human eye known as persistence of vision. Persistence of vision was first discovered in 65 B.C. by the Roman poet Lucretius and proved by Ptolemy of Alexandria about 200 years later. Simply put, persistence of vision means that when the human eye views an object under a bright light, the visual image of that object will persist for one tenth of a second after the light is turned off. Therefore, as each frame appears, it does not fade out until the next frame appears. In reality, the screen is black, when between frames, more often than when it is illuminated with a frame.

Motion-Picture Camera.
A special motion-picture camera is used to take movies. It is similar to a still camera in that it exposes light which reflects off objects and passes through the camera lens onto the film. It is different from a still camera in that it takes the pictures at a much faster rate of 24 frames, or pictures, per second.

Film camera.
Photo compliments of Roessel CPT Inc. at www.cptny-atl.com

In order to accomplish this faster frames per second rate, a motion picture camera must perform several very precise operations. The film cannot just roll past the lens. Doing so would create terrible motion blur resulting in one big blur. Instead, the camera starts and stops the film from passing by the lens while opening and closing the camera shutter in conjunction. The shutter regulates the length of time that the light get exposed on to the film. When the shutter is open, the film stops, remaining motionless, to allow it to be exposed to the light passing through the lens. Once the shutter closes, the film moves to the next frame. A device called a claw is inserted in the sprocket holes, which run down along each side of the film, in order to advance the film. When the claw has advanced the film to the next frame, it stops and a register pin holds the film motionless and in place as the shutter opens and the new frame is exposed. This cycle is repeated 24 times per second, which is extremely fast.

Animated and labeled film camera's internal mechanism

Film.
The film used in a motion-picture camera is a flexible strip of Celluloid coated with chemicals that are sensitive to light. Such film is available in several standard widths expressed in millimeters. Film widths for motion pictures shown in a movie theater are either 35 millimeters (1 3/8 inches) or 70 millimeters (2 3/4 inches). The sprocket holes running down each side of the film are how motion-picture cameras and projectors grab and advance the film.

Projector.
In the movie theater, a motion picture is projected onto a screen by a device known as a projector. The projector uses a powerful beam of light to flash exposed frames of film onto the screen. Just like the motion picture camera, the projector must start and stop the film 24 times per second. The shutter remains open as the light shines the frame onto the screen. When the shutter closes, shutting out the beam of light, the drive sprockets advance the film. Again, the viewer's persistence of vision fills in the periods of darkness inbetween frames to make the action appear smooth and continuous.

Screen.
The screen found in a movie theater has a special reflective surface which produces a clear picture with bright colors. To make it highly reflective, the screen can either be covered with tiny beads of glass or painted with titanium dioxide or a mixture of white lead and white zinc.

The 1800's was a time when many people tried to make a device that would make pictures appear to move. The first successful scientist was a Belgian named Joseph Antoine Ferdinand Plateau. In 1832, Plateau developed the phenakistoscope. The phenakistoscope consisted of two disks placed on a rod. The lower disk had pictures painted on it in equal increments. Each picture slightly advanced the previous picture's action. The top disk had slots cut in it. As both disks rotated at the same speed, the pictures appeared to move when viewed through the slots in the upper disk.

The first actual photography of motion occurred in 1877 when Eadweard Muybridge made instantaneous still photographs of a running horse. Muybridge set up 24 still cameras in a row alongside a racetrack. Each shutter of each camera was connected to a string. As the horse would run by, it broke each string which tripped the camera shutter exposing that camera's film.


Eadward Muybridge	The first photographs of motion
Photos courtesy of Michael Linder at www.linder.com/muybridge/

In the late 1800's, the inventors Thomas Armat, Thomas A. Edison, Charles F. Jenkins, and Woodville Lantham of the United States; William Friese Green and Robert W. Paul of Great Britain; and the brothers Louis and Auguste Lumiere, and Etienne Jules Marey of France all made discoveries and advances in developing a device to produce motion pictures. No one knows exactly who was the first to produce and project motion pictures.

Edison began working on a device to make pictures appear to move. Two years after he began, he succeeded in 1889, after Hannibal W. Goodwin, an American clergyman, developed a transparent Celluloid film base. This film was able to be run rapidly through a camera while photographing a series of pictures. Previously, pieces of glass were coated with a film of light sensitive chemicals. Obviously, the glass was a little large and clunky and could not be run rapidly through a motion-picture camera like the flexible Celluloid film. George Eastman, a pioneer in photographic equipment, manufactured the celluloid film.

With this new flexible film, Edison or his assistant William Kennedy Laurie Dickson invented the kinetoscope. It is unknown which one of the two actually invented it. The kinetoscope was a large cabinet which housed 50 feet (15 meters) of film which revolved on spools. A person looking through a peephole in the cabinet would be able to see the moving pictures.

Thomas Edison with his Home Kinetoscope (22mm).
Photo courtesy of Michael Rogge at www.xs4all.nl/~wichm/filmsize.html

In 1894, in New York City, London, and Paris, coin-operated kinetoscopes were set up in Kinetoscope Parlors. Even thought these Kinetoscopes were successful, Edison had little hope in motion pictures believing them only to be of passing interest. However, other inventors in the United states and Europe disagreed and went on to develop better motion picture cameras and projectors.

The first motion picture to be publicly projected onto a screen occurred on December 28, 1895 in a Paris cafe. Like most other early filmmakers, the Lumiere brothers showed simple scenes in action at the cafe, there was no story to the film. The motion picture simply relished the idea of capturing vivid motion and projecting it onto a screen. Soon movies were shown in all major European cities.

Lumiere Brothers' poster.

Now Edison realized the importance and commercial possibilities of motion pictures. He soon adapted a projector invented by Armat and called it the projecting kinetoscope. Edison presented the first public projected motion pictures at Koster and Bial's Music Hall in New York City on April 23, 1896.

Courtesy Of The Book Motion Pictures:"How MotionPictures Work"

src="http://kona.kontera.com/javascript/lib/KonaLibInline.js" type="text/javascript">

Producing a Movie (A Series of Posts)

noreply@blogger.com (Steven) — Wed, 15 Aug 2007 01:51:00 +0000

Hello, in my next few posts I will be breaking down the movie making process.
From Screenwriting all the way to production and distribution!!!Please stay with me!!!

WILL SMITH HORROR FLICK!!!!!

noreply@blogger.com (Steven) — Wed, 15 Aug 2007 01:18:00 +0000

I AM LEGEND

(May not be official poster)

I love Will!!!Can't wait for this one!!!

Robert Neville (Will Smith) is a brilliant scientist, but even he could not contain the terrible virus that was unstoppable, incurable…and manmade. Somehow immune, Neville is now the last human survivor in what is left of New York City…and maybe the world. But he is not alone. He is surrounded by “the Infected”—victims of the plague who have mutated into carnivorous beings who can only exist in the dark and who will devour or infect anyone or anything in their path. For three years, Neville has spent his days scavenging for food and supplies and faithfully sending out radio messages, desperate to find any other survivors who might be out there. All the while, the Infected lurk in the shadows, watching Neville’s every move, waiting for him to make a fatal mistake. Perhaps mankind’s last, best hope, Neville is driven by only one remaining mission: to find a way to reverse the effects of the virus using his own immune blood. But his blood is also what The Infected hunt, and Neville knows he is outnumbered and quickly running out of time.

DIRECTED BY FRANCIS LAWRENCE

CINEMATOGRAPHY Andrew Lesnie

G.I.JOE UNDER FIRE!!!!

noreply@blogger.com (Steven) — Mon, 13 Aug 2007 16:44:00 +0000

Has Paramount Picked a Helmer for Their 'G.I. Joe' Movie?

The pre-pre-production on Paramount's cinematic rendition of G.I. Joe has been a small powder-keg of controversy among the hardcore fans -- and they haven't even locked down a script yet! First there was a Latino Review report claiming that Skip Woods' screenplay was a certifiable slap in the face to the established fans, but then we got word that (at least) one more screenplay had been commissioned. And now with Transformers transforming '80s nostalgia into huge lumps of cash, Paramount looks to be interested in getting G.I. Joe rolling much sooner than later.

According to IESB and IGN Movies, it looks like Paramount / DreamWorks may have found their director in Stephen Sommers -- whom you'll no doubt remember from The Mummy, The Mummy Returns and (ugh) Van Helsing. (Confession time: I have a huge soft spot for Sommers' Deep Rising. Dang that's a dumb-fun flick.) Apparently the studio wants to rush this project into production (yep, that horrible impending strike strikes again) and they'll be combining Skip Woods' script with one penned by the team of David Elliot and Paul Lovett. I'm not exactly sure how I feel about the whole "rush into production" angle, but then again I wasn't raised on G.I. Joe cartoons so my interest in the project could be accurately described as "curious, but not much more."

Once the project actually kicks into production (or announces a few cast members) we'll be back to share the news.

Not another cartoon made into live action!!!!!Can anyone say the think tank is dry!!!!!!!!

11th Eco-Documentary

noreply@blogger.com (Steven) — Mon, 13 Aug 2007 14:50:00 +0000

I apologize for repeating this Blog,but it never received any comments.I think it needs some feed back since it is about our environment!!

11th Hour produced and narrated by Leonardo Di Caprio

The 11th Hour is the last moment when change is possible. The film explores how we’ve arrived at this moment -- how we live, how we impact the earth’s ecosystems, and what we can do to change our course. Featuring ongoing dialogues of experts from all over the world, including former Soviet Prime Minister Mikhail Gorbachev, renowned scientist Stephen Hawking, former head of the CIA R. James Woolsey and sustainable design experts William McDonough and Bruce Mau in addition to over 50 leading scientists, thinkers and leaders who discuss the most important issues that face our planet and people.

Directed by Nadia Conners & Leila Conners Petersen

It's nice to see Big time actors still care about the environment!!!

LOVE THIS FILM!!!!

noreply@blogger.com (Steven) — Mon, 13 Aug 2007 01:35:00 +0000

Directed by Robert Zemeckis

Cinematography by Don Burgess

Quote: "Get ready to take a chance on something that just might end up being the most profoundly impactful moment for humanity, for the history... of history."

Contact, based on the novel of the same name by Carl Sagan, is the story of a free thinking radio astronomer (Jodie Foster) who discovers an intelligent signal broadcast from deep space. She and her fellow scientists are able to decipher the Message and discover detailed instructions for building a mysterious Machine. Will the Machine spell the end of our world, or the end of our superstitions? Will we take our place among the races of the Galaxy, or are we just an upstart species with a long way to go?

An absolutely stunning movie, wonderfully, masterfully acted by Jodie Foster. A movie not about shoot'em up Aliens or technology, but about people, ideas, large philosophical questions, human courage, perseverance, love, God, faith, the search for truth, and our possibilities as a species.

Bravo to Jodie Foster!!! I can't imagine a better and more poignant portrayal. If I have one problem with the movie it is at the end where the only evidence of Dr. Arroway's journey offered is 18 hours of static on tape. In the book, the 'punch line' is the startling original concept that the creators of the universe may have hidden evidence of their existence in the far-flung, nether reaches of the number sequences of the fundamental constants of nature -- perhaps a tell-tale sequence beginning in the 3 trillionth digit of 'Pi' for instance.

You should not miss the brilliant first two minutes of the film where the camera zooms from near earth orbit, outward, overtaking man's radio and T.V. transmissions (furnishing a reverse history of human broadcasting) and then on past the Oort cloud, into near stellar space, through the Eagle Nebula, closing to the center of the galaxy and twisting out of the Galactic plane to give a stunning view of the Milky Way, and then on into near galactic space, streaming faster and faster, with countless galaxies rushing by, in the end to emerge from of the human eye of the 8 year old future Dr. Arroway, 'Sparks' as her devoted father nicknames her, as she haltingly, but hopefully searches with her Ham radio for a 'contact' on the night air -- "CQ, this is W9GFO. CQ, this is W9GFO here, come back. CQ, this is W9GFO here, come back. CQ, CQ, this is W9GFO, is anybody out there?" -- and wonders if she might need a bigger antenna.

Can't seem to stop watching this one!!!!!!