Whether a critic or cynic, the power of movies has changed the lives of Earth�s citizens. The people that put effort into a film are all part of a network that has to support one another or it will fail. Within this network lie the core leaders: the Director that drives the story, the Composer, who notes the ballads, the Costume Designer that weaves the character, an Art Director who crafts the contours, the Writer that tells the message, the Editor, who denotes the construction, the Producer that grows the green, and the Cinematographer who fashions the framing. All are part of a process of phases called Pre-Production, Production, and Post-Production. Beneath them scurry hundreds of other workers to complete this comb of sweet art. Because �most movies made by studios are commercial,� (qtd. in Avila, par 3) writers get more liberty with their works, including the opportunity to direct the film.
Brian Helgeland, who wrote the screenplay to �Mystic River�, and �The Order,� decided to direct his own �A Knight�s Tale�, which turned out to be a box office success. �The only way to protect your vision,� says Craig Baumgarten, Helgeland�s production partner, �is to make the film itself� (qtd. in Avila, par 8). The screenplay is often considered the �blueprint� for a movie, denoting character attitude, environmental tone, and emotional setting. From this, the Art Director and Cinematographer collaborate on an overall look. Thomas Ackerman (The Battle of Shaker Heights, Rat Race, Jumanji), suggests that a cinematographer should �get an office as close as possible to the art department. . .the more access you have at an early stage, the more you can influence what will one day be in front of the lens�. As with many DP�s, Ackerman advises to have a compelling and hard-working crew, including �a gaffer and a key grip� that will be able to keep up with the cinematographer through each scene. �That way you spend your time on set lighting, not getting ready to light,� he says (MovieMaker.com). In �Northfolk,� �ketchup bottles filled with gray paint and a custom-sewn American flag made of black, gray, and white fabric helped blur the cinematic line between the real and surreal,� (Nash, par 11) to achieve a monochromatic, and dreary mood. �I Am Sam�s� mode was compiled by creating �color palate�s� for the characters. The workaholic lawyer, Rita, was composed of �blue, part of the alien world, which becomes warmer,� (Nelson 2001) as the movie progresses to express her actions of kindness and compassion to the mentally retarded father, Sam.
"The only way to protect your vision is to make the film itself."
"You'll shoot three takes for every one take on screen."
Characters Rita and Sam in the sentimental movie "I Am Sam"
When this well-oiled machine burns fuel together, shooting schedules go by smoothly and accordingly, for most of the time, studios put a restriction on a film�s length of shooting. This phase of the process is known as Production, after all storyboards and locations have been finalized, as well as construction, script changes, and any effect preparation. A shooting schedule also varies according to the type and genre of a production. Special effects and action films are considered longer because of the intricate setup and amount of money spent instead of smaller dramas or comedies. Of course it varies with each movie, but each show is completely different. Whereas ninety plus minute features are composed of �hundreds (of) shots� with an �average production pace. . .(of) 1 �--3 pages per day. . .or 6 pages for low-budget,� a �one hour episodic,� only takes about �200 shots. . .TV=8�12 pages per day, sitcoms=40�50 pages per day, (and) soap operas=75 pages per day� (Hines, 120). Shots are also chosen from a wide range of the same shot taken over and over again (takes) until the director approves that the cast and crew can move on. This is the main reason for spending so long on a film, and can continue a shoot from a few weeks to over a year. �You�ll shoot 3 takes for every one take on screen,� says Renee Harmon (which is an average application, and not a direct mathematical determination) (35). Clint Eastwood is known for usually getting the shots he wants on the first or second take, which is just his style as well.
Shots are also chosen from a wide range of the same shot taken over and over again (takes) until the director approves that the cast and crew can move on. This is the main reason for spending so long on a film, and can continue a shoot from a few weeks to over a year. �You�ll shoot 3 takes for every one take on screen,� says Renee Harmon, which are average applications, and not a direct mathematical determination. As it is with many works of art, there is always the niche of getting it right initially. Clint Eastwood is known for usually getting the shots he wants on the first or second take, which is his style. Eastwood�s experience on movie sets is a reservoir of knowledge, and his calm, sophisticated, and memorable nature bring life into the cast�s performances and the crew�s endurance. �The biggest thrill is looking through the camera and seeing a performance and a scene coming together and realizing it�s special,� says cinematographer Roger Deakins (Fargo, Shawshank Redemption, Dead Man Walking, A Beautiful Mind, House of Sand and Fog), �Sometimes when something is working you get a tingle up your spine. It�s a wonderful feeling when you realized you�ve captured a special moment� (MovieMaker.com).
Writer/Director Brian Helgeland on set with Heath Ledger in "A Knight's Tale"
Pictures Courtesy of:
Underholdning � http://pub.tv2.no/TV2/underholdning/film/intervju/
Umass Darmoth � http://www.umassd.edu/communications/publications/alumninewsletter/helgeland.cfm
Maverick Studios � Sam Avila
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