Film Education: Bridging the Gap

The most important part of motion picture making is rarely addressed in film schools. 

That may be because it is constantly changing - and arguably doesn’t even exist. 

In my experience, the most critical part of motion picture making is the gap - the distance between the filmmaker’s work and how the user receives the film.

Is there a film school spending sufficient (any?) time on bridging that gap between the film and the viewer. 

I’m not talking about marketing. 

Although marketing is a part of it. 

I’m talking about the gap that every motion picture must bridge in the endlessly repeating process of touching each unique viewer.

Using language from other disciplines, the gap I am describing might also be called an interface. 

[In computer programming, there are human interfaces, where the software interacts with humans, and there are APIs (Application Program Interfaces), where software interacts with other pieces of software.]

How much thought is given to the gaps where films interact with the audience?

In film schools, directors, cinematographers and editors hear lectures on film grammar - which touch on how humans in general seem to have reacted to certain conventions that were established 100 years ago. And producers take classes on film marketing, where students learn about the platforms and messaging that have historically been used by film studios to get customers to buy a product.

But, as the technology changes and films are created, discovered, circulated and experienced on new devices in new ways, shouldn’t all film students be spending more time thinking about how to bridge the gap between their work and the user?

Especially now that the old super highways for making and delivering motion pictures are collapsing and new roads - including millions of winding social media pathways - are appearing?

Yes. Most of today’s paths to viewers are difficult and dangerous. 

Relying on old conventions and the routes of the last century is easier. And relying on (now incorrect) legacy ideas is all many film teachers know. So much (most?) of the University teaching about motion pictures consists of talking about the old ways - as if the still had a chance of bridging the gap - with a few teachers stitching in info about the few commercially-viable remaining pieces. 

It’s expedient for the teachers. But is that approach optimal for the students?

The wrong tools beckon because they are easier. And traditional.

But should decisions about what to teach and how to teach be based on what worked for the last century?

I am not suggesting that we break all the toys. But conservatism that ignores how motion pictures have changed - and will continue to change - seems destined to fail the students. 

And don’t Universities have a duty to advance the practice of the art?

I’ll readily admit there is no one true method. No silver bullet. 

But simply teaching the old tools and techniques - without addressing the changing context - is folly.

As user experience pioneer Alan Cooper has observed: "The assumption that the merits of a given method are its merits at all times, in all places, and for all practitioners, is simply not true."

In my view, motion-picture-making education would benefit from a refocus on the people and the processes (new models of creative collaboration and interactivity targeted at bridging the gap), rather than a continued focus on Old World tools and techniques. 

And, unfortunately, managers attached to an Old World “command and control” model are the wrong choice to implement the necessary changes.

Filmmaking for the 21st century is not what it was 20 or even 10 years ago.

21st century filmmakers must embrace the challenges of bridging the gap. 

The insights and perspective that will focus on how the users will interact with motion pictures are not part of traditional film education. But, increasingly, they are what really matters.

Interview About Producing an Award-Winning Film on a MicroBudget

Producer of the 2015 indie film Tangerine, Darren Dean, discusses all elements of making the movie; including screenwriting, financing, production and post-production. Nominated for 4 Independent Spirit Awards (Best Feature and Best Director - Sean Baker, Best Female Lead - Kitana Kiki Rodriguez, and Best Supporting Female - Mya Taylor), Tangerine was shot entirely on the iPhone 5!

UPDATE: January 25th, 2018: Darren's latest film as a producer, The Florida Project, this week nabbed an Oscar nomination (Best Performance by an Actor in a Supporting Role: Willem Dafoe) after winning the AFI Film of The Year Award. Here's a link to a more comprehensive list of awards nominations and wins for The Florida Project. Congrats Darren!

Buster Keaton's Seven Chances (1925) - Great Comedy Chase Sequence

The 1925 film, Seven Chances, starring Buster Keaton, remains a landmark of cinematic comedy - with perhaps the greatest comedy chase scene ever in motion pictures.

The plot (since reworked into other rom-coms) involves a young man (Keaton's character) who will inherit seven million dollars per his late grandfather's will, but only if he marries by 7 p.m. on his 27th birthday - which is the very day the will is read. Buster's girlfriend (played by Ruth Dwyer) has been patiently waiting for Buster's proposal - but confusion about his motives (is it just for the money?) adds a complication - as do the 500 gold-digging wanna brides (extras Buster hired to chase him at the movie's climax) all of whom want to marry Buster for his money.

Netflix Production and Post-Production Requirements v2.1

Here is a link to the technical requirements for production and post-production workflows currently required by Netflix.

Homework Film Producing Students - Links to Selected Takes of David Huang (Battle Sky VR") Interview

For students working on a short film about indie VR developers (and the challenges they face), here  are links to footage from the interview with David Huang.

https://www.dropbox.com/sc/4zgn2bev74nh4e3/AADFSOfAByDG5gSDzxcmTnjXa

https://www.dropbox.com/s/ncem7uk5w81sai5/CVD_7345.MOV?dl=0

https://www.dropbox.com/s/p906gq4iqrvsptt/CVD_7347.MOV?dl=0

Please email your suggestions for additional shots (subjects that we could shoot to add to this footage) to cdamiani.23@gmail.com by 2pm on Sunday March 5th.

We are giving you links to 4 takes, here is a link to the log of all the shots:

https://www.dropbox.com/s/6ywcmrzx39qbluz/Video%20Log.xlsx?dl=0

Will Chinese Investment Still Flow Into Hollywood? Uncertainty at the End of 2016 as President-Elect Trump and China's Biggest Film Investor Both Talk Tough

In a question and answer period, following prepared comments for a December 10th, 2016 business forum (where he gave a speech about exporting Chinese culture), one of China's richest men - and the biggest mainland Chinese player in Hollywood - Wang Jianlin - acknowledged issuing a warning to the US President-elect about any re-balancing that disfavored Chinese media business investment in the US: "If something goes wrong, [...] 20,000-plus people might be out of jobs."

As a candidate, Donald Trump had threatened such a rebalancing - including 45% tariffs and a currency war with China - based on (outdated? and misleading?) claims that cheap Chinese labor was stealing U.S. jobs and that China was manipulating its currency in ways that disfavored U.S. businesses. 

Shortly after the election, tensions between mainland China and the U.S. heightened as President-elect Trump accepted a congratulatory phone call from Taiwan's President Tsai Ing-wen on Friday Dec. 2, 2016, a move that ruffled feathers on the mainland as it marked a shift in four-decade old protocol (respecting China's claims over Taiwan). In subsequent tweets, President-elect Trump made it clear he wasn't too concerned about Chinese feelings or a nuanced interpretation of the Chinese reaction to what China's Foreign Minister Wang Yi characterized as a "小動作" ("Xiǎodòngzuò" or "little trick").

According to a transcript provided by his company, Wang Jianlin (the Chinese media tycoon who founded Wanda Group, and owns AMC Theaters, Legendary Pictures and a big chunk of Sony and Dick Clark Productions) responded to a question from the moderator at a weekend meeting of business leaders in Beijing by saying that on Friday Dec. 9th he had personally asked the chairman of the Motion Picture Association of America - former U.S. Senator Christopher Dodd - to relay a blunt message to Donald Trump: "[I]n the film and entertainment industry, you have to understand that English-language films are relying on the Chinese market for growth."

What Does a Rerecording Mixer Do?

I've known Jacob Ribicoff since he was a kid. (I encouraged him as he was starting out in sound mixing.) Now, as fate would have it, many years later, Jacob has worked with the complicated, "wise and generous " director/screenwriter Kenneth Lonergan on Kenny's "nonlinear masterpiece", Manchester By the Sea. (25 years ago, I was one of the producers of an early play of Kenny's, which flopped through no fault of Kenny's.) So thrilled for the richly-deserved attention both men are getting. And so grateful for this video and Jacob's insights into what it means to ply the craft of post-production motion picture sound.

Film Incentives to Shoot in China

If you've got a big-budget film or TV show that could shoot on soundstages - or that needs Chinese locations - then you might want to add another city to your list of possible locations.

Qingdao.

Why should Western producers consider a city on the coast of China that many will have trouble locating on a map - or pronouncing?

Because the owner of a vast new studio there, known as the Qingdao Oriental Movie Metropolis, has apparently arranged a 40% rebate for every dollar spent there!

If the rendering of Wang Jianlin's dream on the Yellow Sea (below) doesn't get your attention, visit this link to an eye-popping 3D model of that still-under-construction facility.

What about the cash rebate? 

As first reported by Patrick Frater in an October 14th, 2016 post to Variety: Wanda chairman Wang Jianlin has arranged "a 40% subsidy – aka a production rebate – for projects that shoot at [his new motion picture production] Qingdao complex. Wanda’s so-called “development fund” will cover both feature films and TV shows."

40% of what you spend to be returned to you in cash?

That level of rebate will certainly get a lot of attention from Hollywood types.  But, to be eligible, motion picture features must be officially Chinese government-approved co-productions ≥ 60 minutes (IMAX and other large formats ≥ 45 minutes). And TV shows must also be pre-approved by the Chinese authorities (the government bureau known as SARPPFT or SARFT) and have seasons of 10 or more episodes, with each episode ≥ 30 minutes.

For a more detailed description of those rebates, you can consult the Wanda website.

Amblin and Alibaba: Hollywood Continues Its Journey to the East

On October 9, 2016, China's e-commerce-giant Alibaba (lead by Jack Ma, left above) and Hollywood's Amblin (lead by Steven Spielberg, right above) announced a partnership to co-produce and finance films for global and Chinese audiences. 

According to The Hollywood Reporter: "Under the terms of the deal, Alibaba Pictures will acquire a minority equity stake in Amblin with an Alibaba Pictures representative joining Amblin's board."

As a result of this new deal, the Spielberg-directed The BFG - which was a crushing box office disappointment in the US, when it opened to under $19m over the July 4th, 2016 holiday weekend - will get a splashier Oct. 14 release in China.

What Do All The Different Types of Producer Do?

What do all the different types of producer do?

As per ldsfilm.com, here are some rough guidelines (although these functions can overlap and duties can be rewritten as quickly as a rainy day's schedule)...

The Producer = chief of a movie production in all matters (except the creative authority delegated to the Director by the Producer) including arranging funding, hiring key personnel and obtaining distribution.

Co-Producer = usually performs a substantial portion of creative producing or is primarily responsible for one or more managerial function.

Associate Producer = usually performs a limited number of producing functions delegated to him and under the direct supervision of the Producer.

Line Producer = responsible for managing every person and issue during the making of a film.  Line Producers only work on one film at a time.

Unit Production Manager (Unit Manager, UPM) = responsible to a more senior producer (sometimes the Line Producer) for the administration of a particular movie. Unit Production Managers only work on one film at a time. These professionals (also sometimes known simply as Production Managers) are often hired to prepare budgets. Because of their knowledge of budgets, they can be delegated the responsibility for hiring the crew and approving purchase orders and time cards (although often the purchase orders and time cards are handled by production accountants). Not all films have Production Managers: On some films, the Line Producer, 1st AD and Production Accountant cover all the UPM responsibilities. Generally, on bigger films, Production Managers make sure that all departments are doing their respective jobs within the parameters of the budget.

Assistant Director (AD, A.D., 1st A.D., First Assistant Director, 1st Assistant Director) = running the set, making sure the progress of filming stays on the production's schedule. If there is a 2nd Assistant Director, that person prepares the call sheets and typically oversees the movements of the cast. ADs only work on one film at a time.

Executive Producer 
(aka Executive in Charge of Production) = typically handles business and legal issues. An Executive Producer is often someone who got the money and is therefore not involved in any technical aspects of the filmmaking but is still (in a sense) responsible for the overall production.  

Note: Although they are not billed as producers, the following work very closely with the Producers, ADs and/or UPMs:

Production Accountant = works from the production office, responsible for recording and reporting on finances during the production.

Production Assistant (Set Production Assistant, PA, Gopher, Personal Assistant, Assistant To, Assistant To Producer) = responsible for all sorts of unglamorous but essential errands - including "locking down" traffic so that filming can happen without interruption, running errands for various departments, as well as serving at the whim of the Producers and ADs. Sometimes big stars are assigned their own production assistant.

Production Coordinator (sometimes known as Production Supervisor) = responsible in the office for the smooth flow of information and equipment to the set - including making sure the reports and call sheets are being properly prepared and circulated. The Production Coordinator runs the production office and generally knows where everyone and everything related to the production can be located (including the most elusive of production assistants).

What Everyone Does On a Film Set

Q: What department on a film set is responsible for everything the actors touch (besides costumes, set dressing, hair and makeup and each other?)

A: Props

Q: What does a "grip" do?

A: Watch the helpful video (from Vimeo's staff), check out the text (also from Vimeo) below or read the primer compiled by Brandon Tonner-Connolly with Alicia van Couvering and published by Filmmaker Magazine in 2015.

Here's how Vimeo explains the functions of the various workers on a film set:

"A Producer is a key coordinator for the production. They are involved in many if not all aspects of the production from start to finish. They often have a hand in the production process, creative, financial, and administrative.

An Executive Producer is usually the main investor of the project.

The Production Manager works alongside the executive producer and helps to prepare the budget, oversees the preparation of the production team, and various day to day production decisions.

The Director is in control of all creative aspects of the film. They are the primary person responsible for the storytelling, creative decisions and acting of the film.

The 1st Assistant Director is in charge of basically running the set. As an assistant to the director, they organize the crew, prepare shooting schedules and organize the entire flow of all production activity.

The 2nd Assistant Director distributes documents such as scripts and call sheets to the cast and crew. They also help supervise the set with the 1st AD.

The Script Supervisor's job is to keep track of what has been shot in accordance with the script including what changes has been made and how to prevent any continuity errors going forward.

The person who makes the chief lighting, framing, and composition decisions is the Cinematographer, often referred to as the Director Of Photography (or DP). The director will often tell the DP what they want the shot to look like and then they will work their magic, making sure everything looks great to help achieve the director's vision. On smaller sets, the DP will often double as the camera operator.

The Camera Operator is the person in charge of working the camera to capture the scenes.

The 1st Assistant Camera is often the focus puller. Their job is to make sure the shot is always in focus. On smaller productions, the camera operator will also handle this job.

The 2nd assistant camera is the person who writes all of the shot information on the slate and holds it in front of the camera before each shot. The slate (or clapboard) is the device you write all of the shot information (shot number, take number, etc) as well as the clapper to help sync sound.

It's the Production sound mixer's job to make sure the sound is being properly recorded and mixed on set. They will hold the sound mixer and listen with a pair of headphones to monitor the sound.

A Boom Operator is the person that holds the boom microphone near the action. On smaller sets, the production sound mixer can also take on this roll.

The Key Grip is in charge of supervising camera cranes, dollies, lights, platforms and all on set equipment. [Note: The grips also move the camera on these devices.]

The Gaffer is responsible for the design and execution of the lighting plan on set. They work closely with the DP to make sure everything is lit correctly. Also referred at as the Chief Lighting Technician.

The Special Effects Supervisor is in charge of the creative and technical issues of visual effects on a project. They take care of anything that will break, explode, burn, collapse, etc. and work with the director on blocking the actors' so they don't get in harm's way.

The Production Designer is responsible for creating the visual appearance of the film. Working closely with the DP and Director they are in charge of the look of all settings, costumes, character makeup, and more. Also known as the Creative Director.

The Art Director develops, coordinates, and oversees the overall design of the production and is responsible for everything you see on screen. On a smaller crew, this is also the Set Designer.

The Props Master is in charge of finding and managing all the props that appear on screen.

The Props Builder's job is to construct all custom props that are needed for production. Also referred to as Propsmaker

The Make-up Artist / Hairdresser is the person that dresses and maintains the cast's hair and makeup throughout the shoot.

It's the Costumer Designer / Supervisor's job to design, obtain, assemble, and maintain the costumes for a production."

Fascinating Data: Profitable Small Films 2000-2015

What do the numbers tell us?

Is there a secret to making a profitable low-budget (under US $3 million) film?

Are there common themes or plot lines?

Do big stars help?

Thanks to writer-producer-teacher Stephen Follows and movie business numbers cruncher (founder of The Numbers) Bruce Nash for collecting the data and to Candice Vaughn for sharing the link.

Where Does All That Money Go? The Fees on a US $200 Million Movie

Dealmaking Whoopsie

The package?

Sure to attract a great deal of attention.

Big stars (Russell Crowe and James Franco)!

Produced by Hollywood titans (Scott Rudin and Cassian Elwes)!

Based on a book that appeared on Time Magazine's list of the 100 Best English-language Novels from 1923 to 2005 (Cormac McCarthy’s Blood Meridian)!

A launch at the 2016 Cannes Film Festival!

What could go wrong?

Read this!

VR From Google and Blockbuster Director Justin Lin

Google's 360-degree monster short "Help" - directed by Justin Lin (born in Taipei, Taiwan and known for reviving Universal's Fast and Furious franchise with The Fast and the Furious: Tokyo Drift, and directing the July 2016 Paramount release, Star Trek Beyond) - was posted to YouTube on April 18, 2016.

In less than a month, the under 5 minute immersive film has received almost 1.5 million views.

To view in 360, use the YouTube App on a compatible Android device (https://goo.gl/7BYwRJ). For iOS, you can download the Google Spotlight Stories app (https://goo.gl/eadPnO).

Big Data and Moviemaking: To Paraphrase The Martian, Can We Science the Sh*t Out of the Cinema Business?

On May 6th, 2016 the team from Slated shared a fascinating new post entitled Using Science to Pick Hit Movies, examining the film financing and packaging process through the lens of statistical analysis."

It's a lot more interesting, accessible and relevant than my brief intro might sound.

You can read that new article - one in an important series that now includes 3 Film Financing Myths Hacked By Data and The Smarter Way to Hit the Film Financing Bullseye - by following this link.

China's Movie Business By The Numbers

The Making of a Sitcom Episode With Prince

"Prince rarely, if ever, lost his vision. That wasn't because he was a magical, otherworldly being; it was because he was rigorous, and generous, and he knew how to fight for what he wanted. It was a beautiful, constant fight. It was love."

Thanks to writer/producer Liz Meriwether for her sweet recollection (published online by Vulture April 26th, 2016) of working with Prince - and his dedication to craft - on an episode of New Girl.

What Nic Cage's Career Can Tell Us About the Cannes Film Festival

In a brilliant April 25th, 2016 post, Stephen Follows explains what has happened to Nic Cage and Cannes.

Does Hollywood Make or Lose Money?

According to what seems to be a well-researched (analyis of 1600 films released from 2010-2016) April 7th, 2016 article in Slated, Hollywood films tend (on average) to make a profit for the studios and "star-showcase films, within a budget range of $20m-$80m, were profitable thirty per cent more often than the average Hollywood film."