Week in Review September 14, 2008

I have more details from this week to add, but wanted to get something up before the craziness of the week begins.

This week began with a challenge.  For the first time since moving to LA, I began to doubt myself.  I’m not sure where it arose from, but a combination of exhaustion and increasing workload probably planted the seed.

I found myself frustrated in Cinematography on Tuesday: we were shooting 16mm lighting exercises, and for one reason or another I could not come up with an inspired lighting scheme or scenario.  Often I think that I challenge myself to be too creative or too original, instead of trusting my instincts.  In the end we did fine, but I couldn’t help but beat myself up for making something so elementary into something so complicated.

A shaken confidence can be difficult to overcome, and Wednesday was only moderately better: I misunderstood a scene analysis assignment for Directing, and was forced to redo it rather quickly during the day.  I pulled it off, of course (I always work best under pressure), but it put me on edge for the rest of the afternoon.  I had the opportunity to direct a scene in front of class, but it was especially challenging because I had never seen the “script” before, I was directing classmates rather than professional actors, and I was trying to incorporate our lessons into the exercise and use the “new language” rather than my traditional way of speaking to actors.  Additionally, I once again committed the error of trying to do more than what was necessary.  I tried too hard to explore alternative subtexts of the scene rather than aim for a unified and exciting performance.  Still, it was a good learning opportunity and I think I’m now better equipped as a director.

Thursday and the weekend saw a turn for the better.  Thursday’s editing class was exciting as we received our first assignment (we’re editing a scene from ER).  That evening a large group of us had dinner and drinks, and I really began to feel a sense of community and camaraderie beginning to form.

Friday I worked on a USC student film (a 508 project).  It was to be on a set again and be able to lend the value of some of my experience to another project.  It was a 16mm film (shot on the ancient Arri S), and it was especially interesting because it was a period piece: a WWII Japanese film.  Ah, yes, Southern California can stand in for almost any locale if shot correctly!  The DP Adam was a smart guy and very adept at making the most of the available light.  The only downside to the day was when the battery died, and there was no backup… essentially ending the day prematurely.  The filmmakers were reminded of that cardinal rule of filmmaking: always have a backup!

Saturday brought two wonderful events: Notre Dame beat Michigan, and BACKROADS played at the SoCal Independent Film Festival in Huntington Beach.  A good number of my classmates were supportive enough to come out and see the film, and many members of my family were also able to attend.  I was asked to participate in the panel discussion beforehand to discuss Tarantino and the effect PULP FICTION has had on independent cinema (my film played before it).  I think I held my own during the discussion, and the film received a lot of positive feedback from those I trust.  Afterwards there was a healthy dose of celebrating, making for a very fine evening indeed.

Watching PULP FICTION again was an interesting experience.  The film really is bold.  One forgets how long the film is and how the pace of the film ranges from intense to very slow and intentional.  When one remembers the film, it always seems as if it will have the fast cuts and style-over-substance mentality that its followers do, but I was struck by its very cinematic quality this go-around.  I don’t love everything about the film, but it remains Tarantino’s seminal work and should be admired for its innovation.  I mentioned it in the panel discussion, but I really do feel that Tarantino the figure is just as important as his works themselves, as he is a champion of a different breed of filmmaking, and in many respects ushered the way for future “fan boy” filmmakers like Peter Jackson, Robert Rodriguez, and even Guillermo Del Toro.  His influence on the public’s perception of independent film, narrative structure, and the careers of John Travolta, Samuel L. Jackson, and Uma Thurman (among others) is undeniable.  Also interesting was the hard lighting he constantly employs in the cinematography, harkening back to the olden days of slow film stocks and bright lights.

My resolutions for this week are to get more rest, pay closer attention to the details of my assignments, and to begin to formulate concrete ideas for my first major project coming up in a few weeks.

Comments

[mattn]

Don't doubt yourself, my friend.