And it's really a question of trends more than individual categories - I can't possibly predict a category like Best Direction in a Comedy Series, but I can tell you who is likely to be kicking around and what kind of shows will perform well in the category. It's one last bit of Emmy coverage before we head into tomorrow, where I'll have live coverage of the nominations themselves followed by the full list of nominees and full analysis of how things went down. In the meantime, let's discuss the "Other" awards, ranging from writing to directing, guest acting to individual performance, and everything in between.

Outstanding Writing in a Drama Series

Trend: The category is usually used to represent the best in episodic television along with the year's standout pilots. It's considered one of the best categories, mainly because of said high quality.

Changes: Unlike last year, there's no show that is going to dominate with a large number of episodes in the tradition of The Sopranos - only Mad Men has a chance at that.

Watch for: Lost's "The Constant" seems like a lock unless something goes hideously wrong (Even last year, with the show snubbed, they won a nomination for "Through the Looking Glass," while the Mad Men, Breaking Bad and Damages pilots might represent new series on the list.

Repeat Offenders: Ronald D. Moore was a surprise nominee for Battlestar Galactica last year, so he could be back. Meanwhile, since three Sopranos episodes made the cut last year, there's room for some returns - David Simon is likely back in the race for the finale of The Wire, for example.

Outstanding Directing in a Drama Series

Trend: A huge, expansive category representing quality drama pilots and standout segments of established series.

Changes: We don't know if we'll see yet another seven nomination kudos list, but if we do it means more of the same from the Academy.

Watch for: In terms of the year's pilots, it's a pretty safe bet you'll see cinematic Damages and intoxicating Mad Men on this list (Alan Taylor, who directed the Mad Men pilot, won for The Sopranos last year). As far as other series go, expect Lost's Jack Bender to pop up again.

Repeat Offenders: Battlestar Galactica could see another nomination here, but Heroes and Friday Night Lights are likely both going to miss the cut. There could be other series, however, that would be more than willing to step in and fill the gap (The Wire and Dexter, in particular).

Outstanding Guest Acting in a Drama Series

Trends: We've got the Actor Top 10, but Actress remains a mystery, but it's the usual: few if any performers are under 50, and the chances of a relevant win seem unlikely.

Changes: Not much, although as usual there's a lot of turnover considering the expanse of the categories.

Watch for: Although the actors remain stalwart, there's room for some younger actresses - Amy Ryan is competing here for The Wire, and then you have two House women. Anne Dudek deserves recognition for her amazing work as Amber on the series, while Mira Sorvino feels a safe bet for her turn in "Frozen." On the male side, Robert O'Toole's hammy turn on Mad Men and Keith Carradine's steely FBI man on Dexter seem likely nominees.

Outstanding Writing for a Comedy Series

Trend: A large number of episodes from televisions most successful sitcoms combined with the usual love for showy pilots.

Changes: Considering that 30 Rock and The Office dominated last year, this will be more of the same - the two shows remain stalwarts in this category although there's room for a bit more new blood.

Watch for: Pushing Daisies is the category's biggest lock, a fantatic pilot script from Bryan Fuller that really drove the pilot's success, and there's an outside chance of a show like Californication breaking into the race. However, I'm be happier to see them follow drama's lead and represent less Emmy-driven series like How I Met Your Mother.

Repeat Offenders: In terms of 30 Rock and The Office, expect episodes to include "Rosemary's Baby," "Cooter," "Greenzo" for the former while the latter should see "Goodbye, Toby" as its main contender.

Outstanding Directing in a Comedy Series

Trend: Single-Camera comedies with either gimmicks or popularity break into this category, along with a pilot or two.

Changes: Don't expect to see Scrubs back considering it doesn't have a big musical episode to submit, but otherwise the rest of the candidates from last year (Office, Entourage, Betty, 30 Rock) seem like contenders.

Watch for: Again, Pushing Daisies is the frontrunner here with Barry Sonnenfeld's expansive and wondrous work on the pilot episode. Elsewhere, this will be a real test of Betty's staying power in the face of shows like Weeds.

Repeat Offenders: Curb Your Enthusiasm is totally different in tone, with its improvisation and all, than anything else on the list, so expect it to find a spot here in this category (And since it kind of represents both writing/directing in one for the show).

Outstanding Guest Actor in a Comedy Series

Trend: Usually, it's a selection of Extras "As themselves" nominees combined with guest stars on otherwise spurned shows like Monk and My Name is Earl.

Changes: But that all changes, with Extras out of commission, right? Wrong, probably - Monk still expects strong representation, although 30 Rock has all of the buzz at the end of with its strong stable of performances.

Watch for: Of the 30 Rock contenders, Will Arnett and Matthew Broderick feel like locks, but watch for fan favourite Dean Winters and David Schwimmer as well. Meanwhile, Victor Garber is a potential nominee for a rather lame little Ugly Betty role, and I don't mind - he never won for Alias, give the man an Emmy.

Repeat Offenders: Alfred Molina could be Monk's contender on the evening, while Beau Bridges should be back for his turn as Earl and Randy's father on My Name is Earl.

Outstanding Guest Actress in a Comedy Series

Trend: From last year, it's a lot of seasoned performers and a few flashy names doing showy work on series that either aren't straight comedies or leave plenty of room for drama.

Changes: But this is all about to change with the domination of 30 Rock and the backlash against Desperate Housewives and Ugly Betty seen in other categories.

Watch for: The 30 Rock trio of Edie Falco, Carrie Fisher and last year's winner Elaine Stritch seems unstoppable, although I'd argue Fisher is the weak link. Elsewhere, I'll be downright angry if the Academy ignores the amazing work of Amy Ryan on the Office finale.

Repeat Offenders: Still, there's no counting out the various Desperate Housewives mothers and someone like Annie Potts, who has a hammy turn on Ugly Betty (Which logged two nominees in this category last year).

Outstanding Variety Series/Performance

Trend: The best of Late Night for the former, with the best of elderly concert performers in the latter.

Changes: Not much, although this year's likely concert nominee is much younger - Justin Timberlake looks like the spoiler.

Watch for: Tracey Ullman has a showy cable series in play, and Jon Stewart and Stephen Colbert remain contenders alongside Bill Maher and David Letterman.

Repeat Offenders: And while everyone is talking about Heath Ledger, George Carlin is likely to grab his own posthumous Emmy nomination for both his special and his performance - he's been nominated before, and the respect for the man should get him represented here.

Other Awards

• When it comes to art design, art direction, special effects, and all other similar awards, Pushing Daisies is expect to rack up an enormous set of nominations that will look great in press releases.
• Outstanding Music and Lyrics, won last year by "Dick in a Box," could see a repeat comedy winner with either of the Jimmy Kimmel/Sarah Silverman/Damon/Affleck saga songs, although expect fantastic Flight of the Conchords to rack up the most nominations in the category for the original material written for the series.
• As far as Music Composition in a Series goes, any TV watcher who gives a damn should be frustrated if Michael Giacchino (Lost) and Bear McCreary (Battlestar Galactica) aren't on the final list - their work this year has been superlative, and the TV community hopefully is taking notice.
• Speaking of BSG, expect it to pop up in the Visual Effects category again, especially for some of the continued amazing work seen in the Fourth Season (Even if, unfortunately, the amazing work in "The Hub" aired after the nomination period, the early season space battles will be more than enough).
• I'm ignoring Miniseries/TV Movie here mainly because I just have no idea, but expect representation from HBO's John Adams - for me personally, I really enjoyed Recount, and am rooting for Laura Dern and Kevin Spacey.

I talk about the reading of 13 WAYS, and how completely the bottom dropped out of my brain after it. The post-birth doldrums was a thousand times worse than it's ever been for anything I've directed. I ask her, already knowing the answer, if it's always that way with writing.

Yes, she says. But she says it with a smile - and it reminds me of my old comparison between the loggers and the theater people - the more pain, the more pride.

She also brings up something I hadn't considered, that the further you go in the playwriting field, you quickly lose control of casting. This startles me. I realize how specific and important it was to me to be able to cast the particular actors that I cast in the reading.

I walk across the mental aisle, I put on my rapidly fading "director hat" and imagine directing a play that someone else had cast for me. Not so much.

I know, however, as tough as it'll be, that I would be willing to give up casting in order to give up the responsibility and stress of directing. Just another thing to practice letting go of. (Definition: a writer: someone who has let go of everything except the words?)

More pertinently, I had professors proclaim there is a discipline to working with film. You can't just roll and roll and roll. Film costs too much.  Tapes (and now, memory cards) are cheap.  I've worked for some directors who never call, "Cut!" They'll just say, "Do it again," without giving anyone a break. It's exhausting, for the actors, for the camera operators, for everyone.  I've heard of boom operators fainting under those conditions.

There's bound to be irresponsible people misusing technology, but I figured this "film discipline" thing was just blather from Luddites fearing new-fangled gadgets.

Then, a few weeks ago, I caught myself doing it.

In school, I was given 1200 feet of film to shoot a short movie. The final product barely fit on a 400 foot reel. That's a 3:1 shooting ratio. Not bad.

A few weeks ago, a shot three spec commercials on HD. At the end of the shoot, I asked my editor how much footage we had. He told me it was 80 minutes.

For a total screen time of 90 seconds.

For those of you too lazy to do the math, the shooting ratio was 53:1. That's, um, pretty bad. Maybe my professor was right.

These are the kinds of lessons I want to remember when I become a real director. So many people forget what it was like when they were just starting out. This website is about not letting myself forget.

Or, if you've already forgotten, maybe it will remind you.

Everyone's favorite singer SLASH Kabbalist SLASH fake Briton Madonna has a lot to hope for tonight.  Actually, not really, but she might (more like will not though) want to show an iota of concern and consideration for the American premiere of her very first movie.  That's right folks, taking a cue from her husband, Madonna has actually been permitted to direct a full-length feature film.  Wow.

The movie, which will open the Provincetown International Film Festival (which is NOT a Gay and Lesbian film festival, surprise!) is called Filth and Wisdom.  According to The New York Times, it centers around three young people who share a house together in London (MTV did this with more people, and it was called The Real World Season 4).  The burning question is: Can an actress who was in a couple really good movies and one huge bomb (with a husband who has made only one great film) make the successful leap from in front of the camera to behind it?  Well, no.

Reviews, not surprisingly, have been mixed.  Imdb gives this comedy (Really?  It's a comedy?) a 5.5 out of 10 rating.  And while The Times of London thought it was decent, The Guardian on the other hand...well, let's hear what reviewer Peter Bradshaw had to say:

"Madonna has been a terrible actor in many, many films and now - fiercely aspirational as ever - she has graduated to being a terrible director. She has made a movie so incredibly bad that Berlin festivalgoers were staggering around yesterday in a state of clinical shock, deathly pale and mewing like maltreated kittens."

Ouch, those are harsh words for Madge, especially because she has enough money to practically own you and your loved ones.  But then again, she's most likely spending it on Kabbalah Water, so don't worry.  Anyway, expect this movie to bomb when it hits mainstream U.S. theatres, but at least this is the only problem that Madonna has to worry about for now.

Not really...

]]> http://julian1st.wordpress.com/?p=112 Mon, 16 Jun 2008 19:32:29 +0000 julianayrs http://julian1st.wordpress.com/?p=112

Bijou Phillips sang her little heart out on stage, Paris Hilton strode through to say hi to pal Johnny Brenden, and Genevieve Waite (Bijou is half-sister of China Phillips who is the daughter of Michelle Phillips of "Momma & Poppa's fame") wantonly danced with a curious smile on her face among an entourage comprised mostly of female acquaintances.

 Later, guests of the fundraiser were treated to quite the adrenalin rush at the trendy watering hole - "Rain" - at the Palms Resort.

The setting for the stage show was exotic.

The sun fell behind the horizon in a ball of fury, palms whispered in a gentle desert breeze, and party-goers dangled their feet in the refreshing cool waters of the romantic reflecting pool as they rocked to the bluesy notes of the night's talented line-up.

At an open bar the liquor flowed freely.

The party guests (for the most part) were a select mix of young professionals and industry-types with quite a number of pretty young ladies and well-dressed handsome men thrown in for good measure.

The benefit was to raise funds for the Katrina hurricane victims and the "Louisiana Cultural Economic Foundation".

On the red carpet earlier, Bijou was excited about the unveiling of her new feature, "Dark Streets".

"This is the role I have wanted to play since I was a little girl," she confided in in me last night.

"I used to walk the streets in the rain in New York when I was younger with my umbrella in hand and sing the blues out loud as I strolled along," she recalled wistfully.

But, it wasn't easy landing the part. No sir, she had to fight for the opportunity to play one of two femme fatales playing opposite dashing young actor Gabriel Mann.

While she may not be starring in lead roles in big budget features, she's comfortable in her shoes none-the-less, she assured me.

"I have the chance to do a wide range of work in the Independent film area."

"Dark Streets" was directed by Rachel Samuels. The hot auteur's last turn at the helm was for a Gothic period drama called - "Suicide Club" - starring Jonathyn Rice and Paul Morissey (shot in Ireland).

The period piece has a killer soundtrack, featuring blues contemporary artists such as Natalie Cole, Aaron Neville, and Solomon Burke.

Also, there were contributions from B.B. King and Richie Sambora.

The festival favorite is being billed as a neo-classic that is a "music-driven feast for the eyes and ears" which "stimulates the senses".

Industry buzz is leaning towards a prediction there will be good receipts at the box office.

We'll see.

The after-bash at "RAIN" was wild and frenetic; in fact, downright electric.

When the gyrating dancers on the packed floor were treated to their first jolt of pyrotechnic wizardly - fire ball blasts that burst exuberantly over their heads - they roared out loud.

Every slithering body in the joint was moving to the mesmerizing beat.

The pulsating mood was fast, furious, freeing.

A feature writer for movie web was blown away when we strode in the door, initially.

"I've never seen anything like this in Missouri or Ohio," he exclaimed excitedly. "Just amazing."

Well, "Rain" is described as a multi-sensory experience.

It is that, and then some.

As I departed around 1 a.m., throngs of excited party-goers were still in a line - itching to get in - in a queue that snaked all the back way into the main foyer of the casino.

For those who missed the party extravaganza, there is always next year.

Same time. Same place.

Right Trevor?

Bygone musical era crosses paths and intertwines with another...

As a boy, I pretended my eyes were camera lens. Moving my head was like moving a camera. I “directed” my eyes. I’d look at this object and that person, imagining them as mise en scene (what you put) in the ongoing film of my life.

Every time I blinked represented a “cut” in that film. Disparate images cut together visually forming my moods, setting a tone. For effect, sometimes I blinked rapidly, or flash cut, on the same object: say, a woman dancing, creating a strobe similar to the one popularized in the film, Flashdance. If I followed a specific person for an inordinate period of time without blinking that was the “long take.” I believe Orson Welles (Touch of Evil) and Alfred Hitchcock (Rope) created this move but I became its master. When I ran, my eyes took in the passing scenery like a tracking shot. Jogging created the “shaky cam,” which seemed to heighten my reality. Chasing a fish underwater, be-snorkeled, my eyes were like the cameras of Jacques Cousteau.

Like most filmmakers I loved to “shoot” at dusk when the light was perfect. I’m not a morning person so I usually missed dawn’s “golden hour.” My eyes like being closed at 6 AM. Speaking of shuteyes, staring at a specific object long enough I could then capture its essence upon shuttering mine, burning the image into my mind. An arty effect, I used the technique sparingly.

A few weeks ago on this blog (May 14: Dreaming in Ads. What would Freud say?), I speculated that TV commercials were like waking dreams, that these countless brief films, or photographs, pandered to our desires, or emanated from them, much like dreams.

Furthering this idea, what if everything we view are commercials? Do we stare at a car because we want it or do we come to want it by staring? People, places and things have become subject matter, content. We direct our head at them and shoot. We are all consumers. We are all media. And we are all creators as well. You Tube and Facebook exploit this idea. Yet, what I am talking about is even faster than those, and far more personal. It’s as personal as it gets.

Everything we look at is... commercial, is... advertising, is…content. But we cannot alter these commercials in post. They are as transient as air, subtle yet crucial.

While it certainly didn't come out of nowhere, considering that it had nominations in both lead acting categories, 30 Rock's Emmy win last year was still a bit of a surprise. However, it was a pleasant one, and signaled and onslaught of critical praise and accolades for a series that (at that point) seemed to be on shaky ground where it matters most these days: ratings.

But with a third season guaranteed and more hardware in the closet, 30 Rock has gone from the upset victor to the perennial frontrunner for the 60th Annual Primetime Emmy Awards. And with great power comes, well, great responsibility; in this instance, responsibility to pick the right submissions to reflect the season's quality.

Outstanding Comedy Series

Submission: Unknown

My Suggestion: "Secrets and Lies"

It's hard to pick a single episode to encapsulate an entire season: I think the show's smartest segment has to be "Rosemary's Baby," for a lot of reasons I'll discuss further below, while part of me gravitates towards "Greenzo," featuring a fantastic David Schwimmer in the title role. However, I like "Secrets and Lies": it has a great storyline featuring Baldwin and perennial Emmy favourite Edie Falco, a couple of great moments for Tracy Jordan, and the fantastic ending sequences as corporate republicans reveal their inner demons. Regardless of which they actually choose, however, the deal is sealed either way.

Chances: Definite Nomination.

Lead Actress in a Comedy Series

Tina Fey

Submission: "Episode 210"

My Suggestion: "Sandwich Day"

In this instance, my suggestion isn't hostile: the last pre-strike episode may have been rushed, but Fey knocked both her initial interaction with and her late-night phone call sessions to the co-op board of her new apartment out of the park. In particular, the image of Fey on the phone while walking on her treadmill and drinking a glass of red wine while proclaiming that she bought a black apartment stuck with me for a long time. However, "Sandwich Day" had Fey doing what she does best: being neurotic and eating on camera (plus looking really attractive in the dress on the left. An argument could also be made for "Succession," as Liz goes corporate, but something about that episode didn't sit right for me.

Chances: Definite Nomination.

Lead Actor in a Comedy Series

Alec Baldwin

Submission: "Rosemary's Baby"

It was the most inspired piece of comedy all year, a stunning sequence wherein Jack Donaghy comes alive with the spirit of Tracy Jordan's father (From funky North Philly with an unattended root canal), mother, Tracy himself, the white guy his mom left his dad for, and their upstairs neighbour Mrs. Rodriquez. A monkey could have chosen this submission, and it pretty well guarantees that Baldwin is the front runner. It's also a much better tape than he had last year (The decent but not overly great "Hiatus"), so the chances of anyone else topping it seems unlikely.

Chances: Definite Nomination, Likely Win.

Supporting Actor in a Comedy Series

Tracy Morgan

Submission: "Secrets and Lies"

Morgan was smart enough this year to submit in the proper category (he submitted in lead last year), especially since Tracy never really had a showcase episode as a character this year. "Secrets and Lies" is as close as he gets, however, if only because of one of my favourite lines of his season:

"I do not want to disappoint my Japanese public...especially Godzilla! Ha ha ha...I'm just kidding, I know he doesn't care what humans do!"

Now, his major problem is that he's only in two scenes, so there is definitely going to be screentime issues when being compared to other competitors in the category.

Chances: Unlikely.

Jack McBrayer

Submission: "Episode 210"

McBrayer had a lot of different choices here, but this is a smart one: while it is a strike-rushed segment, McBrayer does great work in displaying Kenneth's coffee addiction, from his manic discussion with Liz to his general insanity. I think that he's had better scenes as a character, but if the goal is to show off comic chops this one does the trick.

Chances: Dark Horse for a potential nomination, but not likely.

Supporting Actress in a Comedy Series

Jane Krakowski

Submission: "The Collection"

My Suggestion: "Jack Gets in the Game"

This is, again, not a hostile suggestion: I'm torn between which of the "Jenna gets fat" episodes she should select. On the one hand, I think that "The Collection" features the most direct comedy (And a great David Blane line) that could make it more broad - on the other hand, I kind of like her journey in the first episode, especially considering her overweight rollerskating and her trips to see Dr. Spaceman. Either way, it was a strong arc for Krakowski.

Chances: Will make the Top 10, little chance at a nomination.

Guest Actor in a Comedy Series

• Will Arnett - "Jack Gets in the Game"
  • A sure bet, particularly with this great submission.
• David Schwimmer - "Greenzo"
  • A bit of a tough sell, considering he was never an Emmy favourite, but he's awesome in the episode.
• Dean Winters - "Subway Hero"
  • My sentimental pick, as Dennis is one of the show's best characters and Winters knocked it out of the park.
• Matthew Broderick - "Cooter"
  • Big name star, great finale performance, good shot at a nomination.

Guest Actress in a Comedy Series

• Carrie Fisher - "Rosemary's Baby"
  • She'll get a lot of attention being in Baldwin's submission, and for being great in it.
• Elaine Stritch - "Episode 209"
  • She's an Emmy favourite, and won last year for a much stronger episode - this one pales in comparison, but she'll get a nod.
• Edie Falco - "Episode 210"
  • She was an Emmy darling, and was quite funny, although I might have changed this submission to play more to her humour. Regardless, well deserved.

Outstanding Writing for a Comedy Series

Contenders: "Greenzo," "Cooter," "Rosemary's Baby"

Likely Nominees: "Greenzo," "Rosemary's Baby"

Outstanding Direction in a Comedy Series

Contenders: "MILF Island," "Rosemary's Baby," "Cooter,"

Likely Nominee: "Rosemary's Baby"

I have a unique point of view and it burns my blood, yearning to tell those stories to the world. It’s all in my head, just waiting to come out and dance around on the stage or on film.

I have grand visions. I am an idea man and many of them are easily worth millions of dollars. I see the big picture of running a fun and cool production company, but every time I get going, I don’t know what it is, but I get derailed and I end up staring at the ceiling.

Problem is, I don’t have the chemical makeup to make those visions into a reality. I’m so disorganized (except when I’m in someone else’s structured world, then I am a field general), I have too many spinning plates around me and I can’t seem to keep them spinning without dropping one, and typically it’s the big Platzgraff plate.

But I know I can do it. I know it’s in me. I’m a hard worker. I’m smart. Here’s an example: When I was in college I spent the entire year blowing off Physics class. I was getting a D- going into finals. Finals was a huge part of the final grades. I put it in eighth gear. I must have done every single homework assignment in two nights to learn an entire year’s worth of physics. I got an A- on the final and ended up with a C in the class. WTF is my problem?

When I’m on the movie set, a lot of producers, department heads, writers, actors, etc, give me the confidence that I can also achieve beyond my level, just by watching some of the things that they do. And so many people with whom I started the business is moving up except for me, becoming producers, directors, writers on big movies and TV shows. Me? I'm trying to figure out how to get out of Target without being so overwhelmed.

I talked to Mel Gibson last night at the Hotel Café. We worked together ten years ago on Payback and he hasn’t forgotten about me because I fully volunteered to be the butt of one of his practical jokes. I wore Lucy Liu's dominatrix outfit from the movie and he wanted to put it in the Hollywood Reporter. I loved making him laugh.

At the Hotel Cafe, Mel and I chatted about what he was doing and what I was doing. It wasn’t a Hollywood / Entourage / TMZ conversation at all. Just two guys talking about stuff. No mano a mano, or comparing penis size kinds of conversations. We should be working together, damn it!

I went home frustrated, because I’m so accustomed to working with people of his caliber, and I seem to consistently partner up with people who don’t have the chops or who haven’t paid their dues. WTF?

I spent all night filled over the brim with chutzpah. I'm thinking, I'll send him a postcard and tell him I want to have a meeting with him and talk about directing, or talk about working at Icon, or something...

Then it got overwhelming again. I didn't want to burn my bridges with him by saying the wrong thing, by trying too hard to impress him or by appearing to be too desperate. Flooded with possibilities, I stand still instead. Running to stand still. These are the moments I wish I had a dad who could help me write a letter.

So it turns out I'm probably not going to write anything. It's so much easier to just be around the people "trying to make it" than the people who are are already incredibly successful.

I take a VyVanse. It works to keep me focused, but it's a matter of 1) what shoud I be focused on? and 2) contending with all the scar tissue caused by all my past patterns of self-sabotage. At this moment, I'm inspired to find a coach, which brings up another issue...

Cash flow. And to follow my heart and my dreams of writing and directing I cannot go back to making $12,000 a week and doing what I'm very good at. I just can't. Like someone told me once, "it's chump change."

I've been invited to screen my film I'm Muslim Too! at UiTM, Shah Alam, this Thursday, 17 July 2008. It starts at 8pm and will be followed by a Q&A/talk session with me. This is kind of a proud moment for me personally since when I was studying in UiTM in 1998, I attended a similar screening and Q&A session by U-Wei Hj Saari of his film Jogho. I was so in awe of his film. And now... I'm being invited. How cool is that?!?!? Muahahaha!!

Here are the details:

Screening of I'm Muslim Too! followed by Q&A/talk session with director Zan Azlee
Thursday, 17th July 2008
Starts at 8pm
Faculty of Artistic and Creative Technology
Universiti Teknologi MARA
Kampus Puncak Perdana
Blok 6, Jalan Pulau Angsa U10/14
40150 Shah Alam
Selangor.

WWW.FILMCAREERNETWORK.COM brings FREE education on filmmaking and the special trades of filmmaking to kids & people that can’t afford college. We also have an ONLINE FILM FESTIVAL where filmmakers can submit their short films and the winner is granted a pitch meeting with a reputable production company in Los Angeles. WWW.FILMCAREERNETWORK.COM is a complete online forum that is all about educating and creating new opportunities for screenwriters, filmmakers and people seeking careers within the film industry.  WWW.FILMCAREERNETWORK.COM are based out of Los Angeles, California. We offer filmmakers and people in pre and post production ways and means of furthering their careers. At WWW.FILMCAREERNETWORK.COM our goal is to create as much opportunity and education within the film industry as possible and to bring the whole of the film industry to one place on the Internet. FCN BACKSTAGE is our online video educational series that focuses on educating filmmakers and people working in trades in the film industry. Our online series will be including classes on filmmaking, screenwriting, getting an agent, selling a script, producing a film and all of the technical aspects of film making and its latest technology. We hope you join us and we hope we can help you in your dreams to pursue a career in filmmaking.

To read the interview, CLICK HERE.

Come back, leave comments, and let me know what you think!

I do more acting as a coach, than I ever did as a director. Coaching Drama requires the same set of disciplines as acting does, but in higher volumes. To communicate effectively with a group of actors you have to make direct eye contact and guard against distractions. You must be compelling with your voice and engaging with your facial expressions. If you seem distracted or disconnected, your message will be lost on the ears of your audience… sound familiar?

I approach coaching and directing in much the same way as I did acting. I study the characters, I prepare my own heart and mind, and then I communicate rather than perform. The difference is that I am not pretending to be someone else, but rather I am playing myself. You would think that the difference would be great, but it is not.

This production was directed and designed by myself.

The cast was Johanna Kasimow, Reid Prebenda, Seth Braley, Jane White, Rebecca Siegel, Ian Wrangham, Bryndon Tarafa, Chelsea Schmidt, Matt Palley and Jessica Canning.

How many times will I ever again have a good reason to make a bathtub glow fluorescent blue

(click pictures to see bigger and brighter)

"The Fever" by Wallace Shawn, starring Rebecca Siegel, directed by myself, July 5 & 6.

February 2009, i will be composing for a new musical (quite non-traditional) created with the Buntport Theater Company in Denver, CO.

May 2009, I will be composing for a new show in Massachusetts, the title of which has yet to be announced.

I have also signed on for a project in fall 2009, but will give more details as the project approaches.

There are more in the works for the time before and in between these, and as they come, I will post them here. Also, as each of those above draw near, I will announce specifics, and i hope you will be able to attend.

"No Bikini" won the Best Narrative Short Award at NewFest and I have to agree with the decision. Although I didn't see Claudia Morgado Escanilla's film at NewFest, I watched it on LOGO Online. If you have some time to kill, log on and you can watch tons of short films for free. "No Bikini" is a gem of a short with a message that reminds us all that gender and identity was once a beast of innocence, not burden.

A feature narrative film we'd like to see and have missed is "Pariah" directed by Dee Rees. If anyone has seen this or knows where to get a copy, let us know.

Når det klippes mellom to karakterer i som snakker sammen, kan filmskapere benytte seg av to ulike komposisjoner. Det ene alternativet er såkalte singles (på norsk enskudd), der bare en karakter sees i bildet. Det andre er over-the-shoulder (OTS).  Som navnet tilsier er dette en komposisjon der bakhodet og skulderen til ene karakteren kommer i forgrunnen av bildet.

Singles kan fremstå formelle og kunstige, mens OTS er mer intime og skaper en relasjon mellom karakterene. OTS gir også mer dybde i bildet, noe som kan være er ønskelig da telelinsene som oftest brukes i close-up gjør bildet flatt. Man skaper også en større illusjon av kontinuitet med OTS, som er fordelaktig med skuespillere som ikke er gode på kontinuitet. 

Planimetriske singles for å skape en formell avstand mellom karakterene i Charlie Bartlett (Jon Poll, 2007)

Over-the-shoulder for å skape intimitet i Into the Wild (Sean Penn, 2007)

The Good Shepherd (Robert De Niro, 2006). Når Edward møter sin kommende kone Margaret tidlig i filmet vises det i OTS (over), mens når de krangler mot filmens slutt blir det servert i enskudd (under).

I klassisk kontinuitetsklipping var det vanlig å begynne alle scener med et mastershot. Mastershot er et totalbilde der alle scenens karakterer er synlig, og fungerer som et referansepunkt om hvor skuespillerne er plassert i forhold til hverandre. I Hollywoods gullalder var det vanlig å klippe seg gradvis nærmere inn på skuespillerne:

A master shot had to come first, and then if you had an over-shoulder, you went to the over-shoulder. You never went to the close-up till you’d done the whole dance, coming from far to close.

Dede Allen, klipper (1)

Klassisk kontinuitetsklipping i Casablanca (Michael Curtiz, 1942).

Regissører valgte tidligere å holde treskudd og toskudd lengre og heller spare de nære utsnittene til scenens dramatiske høydepunkt. Enkelte regissører holdt konsekvent mastershot uten å klippe seg inn i et shot-reverse-shot-mønster. Otto Preminger gjorde seg bemerket ved å la nesten samtlige dialogscener utspille seg i toskudd i Exodus (1960). John Ford er også kjent for sin meget konservative bruk av close-up. Steven Spielberg sier følgende:

(John Ford) has tought me how to hold back for an overhead shot, when to go wide, when to go close – don’t shoot close-ups every scene of every shot, they don’t mean anything. (…)Ford was so judicios about his close-ups and wide shots. (2)

I dagens Hollywood har kontinuitetsklippingen utviklet seg til det David Bordwell kaller intensified continuity. (3) Regissører  og klippere bruker nærmere utsnitt enn tidligere, og mastershot blir ikke brukt i like ustrakt grad som før. Totalbildet kan nå komme forsinket i en scene, eller være helt forkastet. De aller fleste dialogscener vil derfor i hovedsak bestå av kutting mellom karakterene.

Kjerringa mot strømmen: Noen regissører velger fortsatt å la dialoger utspille seg i totaler og halvtotaler. Her fra Woody Allens Cassandra’s Dream (2007).

Det kan være interessant å se på hvordan regissører velger å bruke og eventuelt kombinere OTS og singles. For å markere at scenen intensiveres klipper filmskapere inn på nærmere utsnitt.

Et skifte fra OTS til singles kan også benyttes. En single kan i en serie OTS-klipp ha samme effekt som et nærbilde i en serie av halvnære utsnitt. I denne anledning er brødrene Joel og Ethan Coen sin regi av dialogscener er verdt et nærmere titt. De planlegger alle scener med storyboard før opptak, og klipper filmene selv under dekknavnet Roderick Jaynes. Regissørene skyter lite dekning, så valget mellom singles eller OTS blir ofte gjort i pre-produksjon, ikke i klipperommet.

I think the Coens generally prefer singles. Singles tend to put the viewer right inside a conversation and can be, perhaps, more intense. I would say that overs give a more observational feel depending on the length of the lens used but they also give interesting possibilities for framing. 

Roger Deakins, filmfotograf på en rekke Coen-filmer (4)

I deres nyeste film, No Country for Old Men (2007), benytter regissørene seg av både singles og over-the-shoulder. Noen scener er i sin helhet vist i singles, andre i OTS. Her er eksempel fra en scene der Coen-brødrene tar i bruk både singles og over-the-shoulder.

Da Carson Wells er hos sin oppdragsgiver og får beskjed om å prøve å skaffe de savnede dopdollarne tilbake, starter scenen med et total og går over til OTS i shot-reverse-shot-mønster.

Mannen som hyrer Wells spør da om Chigurh, en annen leiemorder som er på jakt etter pengene. Her intensiveres scenen, Coen-brødrene velger å klippe over til å singles:

Wells spøker vekk emnet med ”He’s a psycopath killer, but so what?”, og tempoet går ned for et lite øyeblikk. Dermed får vi se mannen bak pulten i et OTS-shot, men han parerer med å påpeke at Chigurgh etterlater seg lik hvor enn han beveger seg. Dermed når scenen nok et dramatisk høydepunkt, og vi går igjen inn til singles.

Wells blir svar skyldig, og hans oppdragsgiver benytter da anledningen til å sette spørsmåls ved hans integritet. Wells roer igjen ned situasjonen med å spøke det vekk mens han reiser seg, og det klippes over til OTS.

Coen-brødrene bruker her veksling mellom over-the-shoulder og singles for å forsterke den skiftende intensiteten i scenen, og for å understreke forholdet mellom karakterene. Når oppdragsgiveren bak pulten skaper en mer trykket stemning med sine spørsmål og kommentarer, viser filmskaperne denne kjølige avstanden med formelle singles. Wells forsøk på roe ned tempoet ved å spøke blir hjulpet av OTS-shots for å gi mer nærhet og ro mellom karakterene.

Regissører bruker bevisst singles og over-the-shoulder for å lede seerens opplevelse av en samtale.

I directed/designed this a year ago, as well as writing an original score. It starred Rebecca Siegel and Daniel Joeck.

I have now begun work on shows for next spring. I will post the information regarding those tomorrow, as well as photos from "La Dispute" (the play before KVETCH).

(click the pictures to see them bigger)

I'm excited and nervous about the festival. two julias was my life for about a year - I made some lasting friendships, learned alot about working with actors and producing a film on a microbudget, and am proud of the piece we submitted. It's wonderful to get into a festival in a big film town like Toronto. RHIFF has been great and I'll be posting my impressions as Kurt and I spend time at the festival and in and around Toronto.

I was worried straight performance would not be enough, but it was! I'm glad we were able to tie in the feel of the album cover to the treatment just to make it a real Anglo video.

Before the shoot I really wanted to make use of Apple's Color app and I made it a point to use it for the grade and it really added the final polish i wanted. I plan to make it a regular part of our workflow now. Its not a Spirt 2k or Resolve but for the rest of us, it is miles away from the usual FCP grade. Hoping to do more of this and next time add a more narrative aspect to the videos.

Overall mission accomplished.

The video is now on the blue rain site.

Karmic Courage Production is in development on their next project.

Shoki’s Bag, is a mythic tale of a sub-human creature who struggles to let go of a black bag…a bag that moves.

A film with a visual style in the same vein as Pan’s Labyrinth and 300, Shoki must overcome a shameful past and a haunting venom that attempts to kill him. 

Filming is slated to begin next summer with Kate Chaplin writing and directing.

Auditions and crew calls will be held in the upcoming months.