PROJECT MILAN – Upcoming Film Project

The three of us have been working on a little project that has the scope of being much bigger than we’re currently doing. But that’s the beauty of certain projects, you just go out and do them, and then you continue to build and build… then release a section of it — all the while knowing that you have more to unveil.

“You don’t need permission to be a filmmaker”

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BABY DRIVER – STUDY IN PRE-PRODUCTION PRECISION

At the DGA screening of Edgar Wright’s BABY DRIVER, Christopher Nolan (of BATMAN and INCEPTION fame) handled the exceptionally smart Q&A with the near-manic Wright. Nolan’s questions discussed the project’s genesis (some 20 years in the making) and the complex pre-production process, which was told with a certain amount of joie de vivre! Wright, as you’d expect, is a solid raconteur.

Baby Driver's creator Edgar Wright
Writer/director Edgar Wright

 

BABY DRIVER is a… charismatic… film; to categorize it, I’d say it’s an action musical (a musical thriller is a moniker I’ve seen, too). Wright explained how every sequence was written for a specific song — with precise script page counts honed and refined to a given song’s run time! For example, if a chase was married to a song and the song was four and half minutes, then the chase was taking up four and a half pages in the script.

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WHAT INSPIRES YOU – Part 12 featuring Ben Wheatley

It’s been a while since I’ve stumbled across these funny forays into the Criterion Collection‘s backroom. I’m not sure how the Criterion content editors select who they do (just like who can guess the criteria for films that get the “Criterion treatment.”

In this latest installment of the on-going seies, UK director Ben Wheatley gets to dig into the Blu-ray collection of the fabled closet.

I haven’t seen Wheatley’s KILL LIST or HIGH RISE, but our cinematographer Shane Daly continues to champion KILL LIST for its unorthodox structure. It keeps rising up on in “need to watch” queue (which gets reshuffled or over-stacked based upon recommendations… most recently Tarkovsky’s STALKER was added to one of the top spots… from way down in 50s… and I hear the Criterion is doing a version from the recently restored negative — awesome!).

I’m still a huge fan of Blu-ray over streaming because I don’t like the color and contrast reproduction in most streaming services — even Netflix’s 4K. There is still and unacceptable amount of compression that is greater than a Blu-ray’s compression.

And it’s fucking impossible to freeze-frame an easily (and accurately) rewind a movie from a streaming platform, which is sort of crucial when you’re looking at a film with a filmmaker’s eye.

Behind The Scenes from BLOOM

Directing BLOOM in Atlanta

Here are some production stills from the TV pilot sizzle we directed in March 2017.

Directing has to be the most intense rush one can get in the entertainment world. You prepare for weeks, if not months, for a few lightning quick days. Days that are filled with joy, exasperation, and revelation.

Setting marks during film of BLOOM Copyright © 2017 ShadowBoxer Cinema

Story Construction – Pixar’s 22 Writing Laws

pixar logo story telling at its best
Pixar logo

We’re not the first to post Pixar‘s 22 Writing Laws and we certainly won’t be the last, but bare in mind — it is always good to review story fundamentals to stay sharp.

Jazz giant John Coltrane would practice scales EVERY DAY for hours, why? To keep his craft at the utmost sharpness. In the film & TV game, the competition is entirely too fierce for one not to strive for the very best each and every time. And the Pixar Brain Trust has an unbelievably impressive track record of winners at the box office and at Oscar time. And each PIxar film’s success came down to an impressive, driving story.

As Bryan Tracy advises: find out what the best are doing and do what they do.

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Hearing Your Draft Read Aloud

One of the things that weigh on screenwriters is the number of people who actually read your material. Unless it’s getting made, perhaps 30 people TOPS will read the work you’ve spent countless hours on. Such is the vagaries and frustrating aspects of the business.

What is doubly irksome is a screenplay isn’t a work that is supposed to be “read”, it’s a document that is designed to be performed and to marshall resources and personnel so it can be filmed.

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Color’s Power and Potential

What makes color have an impact in cinema?

How it’s used.

Why it’s used.

What subtextual value the filmmaker assigns to a given color.

What specific color palette is used.

Filmmaker’s Color Tools

In cinema, color comes in two forms – light and production design (which includes costumes, hair, make-up, props, and set design); top-of-their game filmmakers utilize both to fit the characters and the themes of their stories.

There’s a fascinating and informative book called “If It’s Purple, Someone’s Going To Die” by Patti Bellantoni. She dissects how color is employed in a film’s production design to elevate, spotlight, or suggest various themes, emotions, and foreshadowing.

The Vimeo video below will give you an idea of how certain directors have implemented some form of color theory in their work.

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Jenkins Influenced by Wong Kar Wai

The Criterion Collection has a new feature called UNDER THE INFLUENCE… which, as you can imagine if it is from Criterion, is a smart and compelling discussion of what films have influenced en vogue or stalwart film auteurs.

Barry Jenkins, director of the knockout MOONLIGHT, discusses his thoughts and feelings on the two WKW films Criterion has the license for – CHUNGKING EXPRESS (this is now out of print) and IN THE MOOD FOR LOVE.

WKW is one of my favorite directors, his films are like intimate visual novels with great expanses of poetry interspersed within the scintillating narrative.

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When cinematographers strive for the “ugly”

On Roger Deakins’ Instagram, he recently posted a quote from the incomparable Conrad L. Hall: Connie used to say he wanted his films to look ugly, to capture something that we [cinematographers] shy away from [beautifully lit images] in making movies. Ugliness can have a certain beauty as well. There’s a strange dichotomy going on there.

What is Ugly Cinematography?

What Hall was championing is eschewing the most flattering and revealing lighting set-ups; withholding visual information is just as important as withholding narrative information. And “ugly” cinematography by a Deakins or a Hall or a Libatique or a Debie won’t be ugly-ugly (which for most means poorly composed and lit), but where harshness overrides the glamor.

Take a look at this clip from IN COLD BLOOD (shot by Hall) and notice the high contrast lighting doesn’t illuminate Robert Blake (yes, that Robert Blake) in a way that makes him look agreeable or even handsome. But the beauty of the image is sublime.

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