Watching back the groups scenes are always interesting experiences. It’s really intriguing the way that different instructions lead to different (yet still similar) portrayals. We are all so quick to jump to the conventions. How would the “greats” cover it? How would Hollywood cover it? How much are we here to be inventive and creative and how much are we here to explore the techniques and trials of other peoples work practices? Robin has spoken a couple of times about how few of us in the world are, or will be creative geniuses. We have a set of pretences for the way we think “film class” should be, the kind of stuff we should make. These on the spot exercises challenge that, in a big way. All that time and effort spent in pre-production no longer exists. The director does not have time to really play out feelings and emotions that the scene needs to translate to the audience. I think that’s a huge aspect that has been underplayed. Actors and the direction they’re given play a MASSIVE part in creating good shots. In fact, Robin posed the question, “Can you do good shots only with good actors…?” and I am inclined to agree. I have gained so much more respect for actors, and I have begun to understand that there are aspects of filmmaking that I simply do not yet understand to be able to describe. Why, how, does someone look good, or better than someone else on camera? How can we subtly convey emotion and feeling without being direct? And how can we cover that in a way that is also subtle and nuanced? I continue to pose more questions then I answer!
Friday’s Class
Making our own scene in class was a really great experience. To be the boss, so to say was an awesome learning curve – and one that does not occur often enough in this course (the Bachelor). Yes, collaboration and communication is key, however being able to articulate what you want and then achieve it is also rewarding.
The exercise on Friday was so focused, so intense – so different to the collaborative workflows of RMIT that I am used to (this is a good thing!). It was similar to the way I have experienced professional sets. Everyone knew (maybe not exactly what they were doing) but what they were in charge of and what they were meant to be doing and offered each other the respect and care that was deserving of each other’s time. We all knew that we wanted that when making our own scenes so we gave it to each other.
Our group worked really well together. Not overly constructive in providing suggestions or feedback, but still willing to offer suggestions when deemed appropriate. The one thing we struggled to manage was time. Of course this was bound to happen as the first scenes would take longer anyway while we worked out the dynamics of the whole thing. However, without a 1stAD we were left with the last scenes being rehearsals that were recorded and we even didn’t slate the last one (I’m sorry Georgie!). We ran overtime and it left everyone a bit on edge and didn’t close the exercise well. I think that 1stAD’s are ALWAYS important. If you haven’t got one, you’re doing it wrong.
The scenes themselves that our groups made were spectacular. I felt totally overwhelmed by the creativity and concentration of my group members. It was really great to see everyone attempt things that were (for the most part) achievable – but at the same time they were so skilled and well thought out. They were also ambitious. More then just simply a shot, many group members chose to cover a scene, or more action then was probably necessary. We all like to try and be ambitious, to bite off, maybe not more than we can chew, but a sizeable mouthful to say the least. We all want to be amazing…and we want to impress each other, but we ought to try and do that through being sophisticated and perhaps somewhat reserved rather than through just being left of field. That’s what I aimed to communicate with my shot. I have come to realize that there is an elegance and a beauty in the pacing, and the calmness of filmmaking. Be calm and placid – in manner and in practice. You will not necessarily get what you want through bombarding other people. When you’re the director people still want to pay you respect (and you have to ensure you don’t lose it), but you don’t have to be the loudest voice. Bits of our work, you can tell, is rushed. Films that I like, and in the excerpts we’ve been shown there is a distinguished air of serenity in taking one’s time with each shot. Holding a closeup; pushing, searching for emotion and for character.