Tonight the Pixies are playing. And I've got film class. Quick decision: I'm going to the Pixies.
I mean, nothing's due really. Our storyboards are, but I already showed mine to the teacher weeks ago. If I don't show up with the storyboards, it's not like she's going to say "well gee, Brock must have decided not to do the work". And it's The Pixies. I planned on going to this show months ago.
I'll just go to class tomorrow.
-Brock
Hey everyone,
I know it's been a long time since I've written a post, and I apologize for that. It's just that I've been quite busy, and things haven't been going too terribly well lately. Today was the first day I felt like I wanted to get online and write a post. And I feel bad at the same time because this post will probably sound a little self-indulgent to some of you, but let's just get it over with.
Like I said, things hadn't been going spectacularly. When I last left off I had chosen the San Carlos as my location for Pantomiming and I was gathering everything together in preparation for filming. But after that, things began to take a turn for the worse. It all started out last Tuesday when my location manager, Lee, came into class with some bad news about the San Carlos. He informed me that they were absolutely fine with me filming there. But he also told me that they were currently putting in a new handrail all around the sidewalk. (Why they’re doing it, I have no idea.) The thing is, while I had their cooperation, I couldn’t use the location. This new railing system would completely ruin my shots and make use of a dolly utterly impossible.
So the San Carlos was out. To top things off, one of the program supervisors was beginning to show concern over the amount of light we'd need in order to properly expose the film. I've stated time and time again, Pantomiming is supposed to be black and white; it's a tribute to silent film and the perfection it reached. The problem is that all film types have a certain Exposure Index (EI). Black and white film for 16 mil' (in our price range I believe) can only shoot up to 200 EI's, which is just terrible for a nighttime shoot. The program supervisor practically begged me to consider shooting on color film because we could get up to 800 EI's out of it. He adamantly stated that I could turn the film black and white in postproduction and he'd make sure it still had the look and visual feel I wanted. Using his advice as my guide, I agreed to shoot on color and turn the film black and white in postproduction.
There will still lighting concerns though, and in order to address them (and solve the San Carlos debacle) we had to go out and find a new street corner.
So we found one on the corner of the AT&T building in downtown Phoenix. It was getting decent readings on the light meter and it fit the look of the street corner I saw in my head, so I decided to submit it. But AT&T decided against it. They were displeased for various reasons about my wanting to shoot on their corner. Moreover, some of our shots required that we position the camera in the streets. In order to do that, the city insisted we hire two cops to block the streets off and patrol the area. What’s more, the Phoenix Film Commission informed me that they had to make sure no major events where happening downtown during the eve of our shoot. They'd need a week to get back to us. With the cops, AT&T and the Phoenix Film Commission looming over my shoulder, I decided that the school would probably want to cancel the project. To make matters worse, I had just gotten off a sinus infection a few days earlier and was infected by a second cold. I was sick, my movie was falling apart, and I had a casting call I had to attend on Friday.
Morale was low, my crew was depressed, and I felt horrible.
Somehow, I managed to keep a straight face. I confined myself to my house and attempted to get better the day before the casting call. I still entertained some hope that at the very least, the casting call could produce some viable talent for the school to use in the future. Apparently, my casting director struck a deal with a major talent agency here in Phoenix. He agreed that we'd give his actors an exclusive first look if he provided the school with plenty of talent willing to do student films. I considered that if the school was worried about my film, they also had to be giddy with this great new connection we had snagged them.
But none of that changed my outlook for the film. I was unbearably grim. I thought to myself, "no matter how great the students think my script is, no matter who believes in my story, there's nothing that can get this film back on its feet in time for our deadline".
And then I met the Mime.
My casting director had been jumping through hoops all week to find a professional mime for the film. He'd contacted all of the major drama schools and universities in the valley, investigated agencies, and even scoped out private entertainers. The result was coming into contact with a drama teacher at ASU (I think) who had studied pantomiming for years. He was very interested in my project and considered doing it himself (even though he wasn't any spring chicken). I was greatly pleased, but when I arrived at the casting call I found out that this elder mime wouldn't be able to make it. He was sending over one of his finest students instead. This student, a pantomime by the name of Kirby, was infamous in Phoenix mime circles. He's the mythical, untouchable performer of the Phoenix mime world, a virtual unicorn. I stepped out of the studio we were using to do a few things and when I stepped back inside there he was. Six foot three, lanky and articulate. It was obvious by my first glance alone that he was the pantomime I had heard so much about.
And then we got to see him perform. I should add that anything I say about his performance would be a drastic understatement. I couldn't praise his brilliance enough. He started out his little performance by getting trapped inside an invisible room. He eventually found a ladder out of the room, climbed to the top of a building and crossed a high wire to the other side. Then, he pulled an umbrella out of his pocket and jumped off the building only to land inside yet another imprisonment. Finally, he found a way out, picked up his invisible box, and with great effort, set it down next to our desk.
It was incredible.
The various issues plaguing me about the location melted away and I knew right then and there that this movie would be shot, and it would be one heck of a ride.
The actresses auditioning for other parts were obviously intimidated by Kirby's brilliant performance. Still, many of them managed to interact with him quite nicely. I think more then anything he brought out charisma and humor in my other actors that even they didn't know they had. What's more, he began offering me ideas and insight about the story that made my visual gags and plotline even more hilarious and expressive. We had only known each other a short period of time and already we were working as actor and director to propel my character into something very real, something very tangible and unique.
After that I managed to work out the location issues with my teacher. There's a place on campus behind the soccer court that looks like a seedy downtown district. Students have used it time and time again in their films, and we decided that it would be the best place to shoot the movie. This way I don’t have to worry about all of the underlying issues and difficulties attached to shooting in downtown Phoenix.
All in all, I don't feel any better, and I hate the fact that I've been too sick to do little else then go to school, but I think things are back on track. We had a little hiccup, but my teacher told me that it's my right of passage. I say, let's get to work.
Well, we're having a very fun and relaxing time here in Steamboat Springs, CO. Rained yesterday. Did some fishing. Fish count is at five. Small, but fighters. We trek back on Friday. See you soon!
I should give you a longer explanation: I had my production meetings tonight, and everyone’s extremely pleased with the pace the film’s developing at. I’ve finished my overhead setups, drawn out my storyboards, and listed my shot commands. The DP told me that I made his job extremely painless. We’ve sketched out several locations, and tomorrow the DP will be visiting them and locking down the final location by Sunday. Tomorrow I’ll begin work on the casting. And for the icing on the cake, the art department enjoys my creative pulse, but values the freedom I give them. And yet, there are a few issues I’m worried about.
I feel like such a tramp. I’m in a student filmmaker’s class and already industry politics are factoring into the choices that are being made on the set. It isn’t without reason though. Already, rumblings are circulating amongst my crew that Pantomiming is going to be one ambitious film for a first-year student. I’m not trying to brag, I’m just saying I’ve got a vision. Although a fixed budget has been laid down by the program director, I’ve been utilizing everything at my fingertips to ensure this film has the visual power and impact it deserves.
But like I said, politics have come into play, and I’m not sure I like it.
The majority of these politics center around a little disagreement the teacher and I had about material in my script. I’ll spare you from the full details of this disagreement, but it ended in me changing the script to accommodate the teacher’s wishes. It’s the age-old battle of industry verses art. No big deal. If the film gets shot, then I’m happy. It’s just a few changes, I told myself, no one will mind.
As it turns out, I was wrong.
So far the entire film crew has been extremely dissatisfied with the changes the teacher has asked me to make on my script. Apparently, as I waited outside with the other finalists the night of the competition, the teacher informed the class that they could make any changes they like and polish the script until it suited their means. And even though she hasn’t forced me to do anything I haven’t wanted to do, the ugly word has already begun to circulate among my crew about her changes: censorship. The film program is already buzzing with the feeling of mutiny and most of the students feel I’ve been wronged in some way. I just want the movie to be shot, and I’ve communicated that to them. But the truly scary thing is how unconfident the class feels about their teacher. The thing that gets to me is that it isn’t her class anymore…it’s my crew. I’ve pulled an Ender’s Game so to speak. They’ve all rallied behind me and begun to form a little coalition for my cause. I guess I should be thankful they’re bonding with me. In fact, I should be outright pleased that they want to support me and do everything in their power to see my vision fulfilled. I just hope I can spare the school from an internal conflict in the process. I’ve just got to make it to the 25th. If I can hold the insurrection off until then, things will be peachy.
I just came back from my first two production meetings (smooshed into one), and already the crew is behind me and wants to rebel against the theacher over a few fine points her and I disagree upon. Wuh-oh. "Hold on" I told them, "do your job, and we'll be cool, I'll handle it.".
Heh,
-Brock
So last night I went location scouting with my Location Manager (Lee) for our short film, Pantomiming. We didn’t stay out too long, (I think he was giving me subtle hints that his wife wanted him back home at a decent hour) but we managed to pick out a few locations that were suitable for the film’s backdrop. The thing about Pantomiming is that the story completely unfolds on one location: a grimy little street corner plastered in trash with a brick wall dominating the background. I thought finding a street corner like that in downtown Phoenix would be relatively easy, but once we got down there we weren’t sure where to go to look for it. We ended up just cruising around looking for something suitable. We ended up finding a Bank 1 made completely out of brickwork. Red brickwork. It isn’t a street corner per say, but if you shoot on the side of the building where the bank’s sign is out of the way, and where the automatic tellers aren’t visible, then it looks like one. So shoot me, I’m shooting a bank for a street corner. It’s not like I’m filming in Toronto and then passing it off as New York.
The other location we found in the downtown area was this back alleyway to an art supply store. It wasn’t as perfect as the bank’s brick wall, but it was grimy and edgy looking. In the end I think we’re going to go with the bank back-lot. But I’ve been wracking my brain today trying to think of something that might be as good if not better then the bank. The bank back lot looks exactly like the street corner I see in my head, but you know…always the perfectionist. What about Copper Square? Maybe.
We also went down by the Bank 1 Ballpark, but that was a total loss. I want a brickwork street corner, not a modern street corner.
At any rate, I think I’ve got my camera set-ups figured out for the shoot. (A camera set-up is an overhead view of the location with the various camera positions and cast members mapped out. It’s like a director’s morbid version of Risk.)
Now here’s where things could get interesting: I think I may have to work on a second script to carry over into the rest of the program. Pantomiming will be filmed on September 25th, which means I can’t carry it over into my next class. Thankfully, I’ve got a second idea on the backburner that could work…
The only thing I haven’t had to worry about for the project thus far has been the music. It’s going to be Nowhere Man and a Whiskey Girl for sure. No other band has the character and personality needed for this film. I think I've even got the song picked out.
Modest Mouse posted their new video for Ocean Breathes Salty on their website. It's about an odd little kid with glasses who discovers Isaac Brock in a bird suit with a broken wing. One of the best moments of the video shows the little kid nursing Brock back to health. It's...odd. There's some nice use of colors and wide-angle shots too.
This morning was absolutely sublime. I sat inside the corridor before my Biology classroom reading material out of Nine Stories, and no one had any idea who I was. No one even noticed me. That sense of animosity, that feeling that I didn’t even matter in the grand scheme of things was outright intoxicating and absolutely essential for my good mental health. You see; I take my biology class at a completely different college then the one I take my film production classes at. At my day-college I’m just some kid who hangs around the laboratories. To the girl who sat across from me as I built plastic molecules, I was just a sheepish little boy. But when I had to step up before the entire class on Tuesday night I ceased being that sheepish boy and became Brock H. Brown the auteur. And it was outright frightening.
Characterizing and articulating my thoughts and feelings regarding this (now school sponsored) project has been difficult. Of course, I could begin by first describing the overwhelming feeling of ecstasy I experienced when I was given this distinction. In fact, I could even go back a little bit and describe how satisfied I was to be recognized among the four class “finalists”. But more likely, I’m better off highlighting the surreal disposition I held myself in the following morning. “Did that just happen?”
Maybe I’d be better off describing how inept I’ve suddenly become at articulating my artistic and creative impulses. (I could tell you that it’s because I no longer feel like one of the “alienated ones”, that it’s as if I no longer have a right to muster indignation in my work anymore) I could describe all of these feelings and feel wrong for stating them because in the end, I have no right to complain. Moreover, it’s just a stupid student project.
But it’s gotten me thinking none the less; especially when I had to stand up in front of the entire class and hunch over a podium judging how much each student is worth to the school’s project. That age-old adage of how disenfranchised artists often end up falling prey to the woes of the spotlight is true.
It’s just awkward, but in a completely new sense. Before, I had to look up to speak to my fellow classmates. Now, they look down. And I apologize, but to have a girl repeatedly tell you “she’s happy she didn’t have to sleep with anyone to get on the project” is just creepy.
Anyway, I’m sorry. Enough ranting. It’s just stifling: Tuesday night I sat on a bench and had this great talk with a fellow classmate about ‘his vision’. He told me about all of these great skate videos he filmed; about the great locations he’s found and about how much fun he has making films. And then 20 minutes later I stood in front of the class and told him he wasn’t right for the job of DP while the teacher looked on approvingly.
When that happened I pulled a Thom Yorke, I mentally checked out of the hotel so to speak. "I’m not here, this isn’t happening."
English with Marco is comparatively better. It’s a droll subject, but it’s nice to be in a class where I don’t have to ‘hire’ anyone.
Nevertheless, my creative interest in the project hasn’t diminished in the slightest. I spent all day today looking up pictures of actors so I could visualize my characters. And I’ve also snatched photographs by famous artists in order to shade the look of the film.
Back when Gabe, Rebeckah, Alex and I visited the Getty museum in California, we saw a great exhibit of ‘genius photographers’. By tracking down that exhibit online, I’ve been able to find plenty of inspiration for the imagery of my short.
Yeah, I’m a little taken back by the experience. But I’m also excited to begin working on my film. I wanted Gabe and I to have a bigger presence in the Phoenix film society; maybe this is our doorway.
Merchants in the temple, making money. This time they’ve moved Jesus into the merchant booths, marketing him. I ventured into Best Buy today during my lunch. What blasphemy burned my eye sockets? Jesus for sale. Everywhere. Not just Mel Gibson’s The Passion of The Christ, but everything in the past that related to Jesus or religion. The Greatest Story Ever Told – on sale. Ten Commandments – on sale. Jesus Christ Superstar – on sale. Touched by an Angel – on sale.
The worst part of it? You can buy The Passion of the Christ, packaged with two cans of Coca Cola’s C2, a free issue of Sports Illustrated or Entertainment Weekly, free CD-Rs, and some money saving coupons!
Lord have mercy.
It's been over a week since I've posted! What a loser I am. I just haven't been able to think of much to post about. Let's see what I can come up with.
Well, I purchased some stuff. Jeff Buckley - Grace: Legacy Edition was one. It's a double CD, DVD set. The first being the original album remastered. The second being some Grace session songs. "Forget Her" on that disc was a previously unreleased track. I like it a lot. Apparently it's being released as a single. I couldn't figure out what station would play it. Something The Zone would've played a few years ago. I'm not so sure now. They've changed too much.
The DVD has an updated EPK and four music videos from Grace.
I also ordered Dr. Strangelove and Visions of Light: The Art of Cinematography. Summary:
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.
Then, for the right price, I'm hoping to get something to make a little noise with.
Man, this heat is getting really old, really fast. I stood outside after my Biology class this morning and it felt like a thousand degrees were melting away my skin and burning my hair ashen. Hopefully it’ll cool down soon. Last year I think the heat lasted until mid-October.
So tonight I’ll be taking my first big test in Pre-Production. I have to define the elements of the Canon Scoopic and be knowledgeable about its technical capabilities. It’s not going to be too difficult, but a few of the terms and definitions tend to sway awfully close to one another. Hence, my biggest fear is confusing one aspect of the camera, like the focal plane, with another, such as the film plane.
Also noteworthy about tonight’s film class is that we’ll be introducing our scripts for our personal short film project. Each script is supposed to be around 3 minutes in length and since we’ll be shooting on non-sync cameras, there won’t be any dialogue. I’ve decided to go for a Keystone cop approach with my short film by playing up the silent angle. Hopefully, the class likes my script, because the story the students pick as “the best” gets completely funded and sponsored by the school. A free ride? Yes please.
On September 1st the Phoenix Film Festival will begin accepting submissions for short films and screenplays. They haven’t posted the complete rules yet, but as you probably know “I’m Not Crazy” is automatically submitted to the festival. I think Gabe and I talked about working on another one to submit as well, but we haven’t decided on anything definite yet. And if I get my student short finished on time, I plan to submit that one too.
But what’s especially noteworthy about the festival (to me anyway) is the screenwriting submission. Make no mistake; I’m going to submit another script this year. It’ll be a completely new story that I’ll begin researching and writing at the end of September. If it turns out to be half decent then chances are it’ll replace “Last Rights with Johnny Bosocw” for the 2005 festival/contest circuit. Johnny had a good run, but I can’t submit him to all the same contests again next year.
Hey everyone, what’s new?
It’s been quite some time since my last post, and I apologize for that. If I had both the time and the energy to post more, I guarantee you I would. But, I promise to try my best to make up for the lost time. In fact, I’m going to attempt posting every single day this week. If I’ve got a minute to spare, you’ve just earned yourself a new post.
Anyway, we had a good weekend around these parts. Saturday night, Gabe, Josh and I (and a host of other people) saw Hero at the new Cine Capri. It was amazing. Gabe had shown me Hero months ago, and more recently we introduced it to Josh. Since we all liked the film and wanted to experience it on the big screen, we decided to spend Saturday night in support of Jet Li’s greatest Kung-Fu masterpiece. In short, it was worthwhile to see it at the Cine Capri (but also a bit disappointing). A couple of things I admire about Hero are the performances and the visual brilliance of the film. The performances are of special note since all the actors deliver deliciously bitter, selfish and even poetic portrayals of their characters. Tony Leung Chiu Wai of Wong Kar Wai fame gives my second favorite performance of the film. Playing off the stoic nature of his character Broken Sword, Leung also happens to deliver a solid dose of heartfelt emotion in his role. Any other actor could have left the character as a simplistic “higher then high” master of the sword. But Leung made his role distinctive and immediately separated it from Jet Li’s torrid character, “Nameless”.
That would be my favorite performance of the film. Why? I like it simply because of how anguished and conflicted Li plays his nameless warrior. Where Broken Sword has empathy for the warrior who lays down his weapon, Nameless only seeks to sate the bitterness in his heart. All the other performances are masterfully played and well-executed as well, but I can’t extol them all.
The other aspect of the film I regularly enjoy is its sheer visceral power. The camera set-ups, shots, use of color and frame speeds make this a film a thousand times more visual then any Kung-Fu film to date. Truly, Yimou Zhang was obsessed with the visuals possible for a film like this. (I think my favorite moment is in the ‘Chess House’. The angles and slow-motion really play up the rainfall trickling down and exemplify the ‘lyrical nature’ of martial arts and music.)
I have to admit though that it was also a bit disappointing due to the translation and transfer of the original movie. Gabe mentioned to me during the film that the colors looked a bit darker and the film a little bit grainy. I began to notice this too. As for the translation… well, it left much to be desired. They seemed to take out the poetic nature of the dialogue, and the story even felt a little dumbed down for American consumption. It’s a fantastic movie, don’t get me wrong, but they seemed to loose a plethora of small visual and story qualities in the American release.
I was glad to see it though. I had a long week. As I mentioned earlier, this was my first week back in school. It was good, and the classes were in many cases quite easy, but the sheer amount of homework the teachers assigned quelled my enthusiasm. I’m overjoyed to be busy, but at the same time I long for my lethargy.
Getting back to movies, I’ve been adding plenty of ‘new favorites’ to my DVD collection recently. Just a few weeks ago I purchased my latest favorite film of all time (tied with A New Hope) ‘The Graduate’. And last night I snagged a copy of Dr. Strangelove. I haven’t watched ‘The Graduate’ yet, but I did watch Dr. Strangelove today, and I appreciated it even more since the last time I viewed it. It’s truly a remarkable piece of cinema. Also noteworthy is the fact that it seems even more applicable to today then it may have been ten years ago.
That’s all I can say for now. I’ll post my write-up for my short story “Blood on the Golden Shores” tomorrow. Also, anything else that seems to come to mind will surely be mentioned right here.
Ta ta,
Brock
Gabe and I are posting it up over at Leonard Hughes today. Speaking of which, Blood on the Golden Shores is finally up. I'll put up some notes and thoughts about the story in a little bit. Read it and then stay tuned for my discourse.
This morning I got my first kick of the Fall Semester. As many of our readers may recall, I’m a college student who likes to ramble about his college rumblings from time to time. These rumblings were put on hold over the summer as I went on trips with friends and family to see bands and visit amusement parks. But today the fun came to an end. That’s right; today I entered myself once more into the halls of learning for the fall semester of college. And I couldn’t be happier. Why anyone would be happy in a school environment is beyond some people’s comprehension, but I’m simply more satisfied with learning. I feel sated, alleviated, and to some extent, that I’m being put to good use. Now don’t assume that I’m sniffing my nose at summer writing. Scripting and writing little stories for myself is still a primary form of self-enjoyment, but it’s nice to be making progress in school.
What’s even nicer is that after this semester I will have “cleared the breaking point” so to speak. Most, (and maybe even all) of my prerequisite courses will have been completed at the end of this semester and I’ll have done away with the core film classes (or as Scottsdale likes to refer to them, the “Boot Camp”).
Class breakdown:
Biology 100 – The study of life; examination of basic scientific principles; a crash course in chemistry: Biology 100 promises to be all of these things. At least, that’s what the introduction to my textbook says. Either way, I’m greatly looking forward to this class, as I’ve always been fascinated by science. True, I’ve spent most of my time devoted to the pursuits of literati, but like all geeks, I enjoy learning about molecules and atoms from time to time.
English 102 – A subject I enjoy all too well. English 102 is a course that I neglected to take back in 2003 because I suspected that English 101 was all that was needed to satisfy my prerequisites in this field. Apparently, I was wrong. Either way, I’ll be taking this class with Marco this semester. Marco had previously taken English 101 and wanted to take 102, and so I thought to myself, “what the heck, at least we’ll have fun”.
Boot Camp: Pre-Production/Production/Post-Production – The real meat and potatoes of my college experience. I’ve been building up to these courses for a year now. This is the unhindered, unadulterated study of the mechanics of filmmaking. Everything, from storyboards, to scripts, to call sheets, to the actual filming is covered from the ground up in this course. The classes are sequenced to mimic the production of a film. I’ll start off this month by developing an idea for a short film, scripting it, storyboarding it, and bringing it together to prepare for actual shooting.
