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Cinema School Log
October, 2003
Thursday, October 2nd - We got to watch a bunch of previous classes� Project 2 films today. Joy. It�s funny; this stuff must be a lot harder than it looks. Kuntz keeps on saying that the films he�s going to show us are exceptional. He showed us seven. One of them was very good. The rest were - maybe - technically impressive, but without any real imagination. I guess I�ll refrain from being too critical, since I haven�t tried doing one yet. But I still have not seen anything that would make me think I can�t do this. Then, we got to watch a whole bunch of our current Project 1�s. And that made me feel a lot better, because nearly every one we saw had serious problems with run-off. So (hopefully) mine won�t stick out as much. And I�m more and more pleased with my composition of shots as time goes by. But this weekend is the real test. I have to get 10 minutes of footage that I can cut down to probably about 4 and a half minutes. And I need to do some serious editing. So this is when it will really start to get interesting. I feel like I�ve been running for about a month now, and that�s not going to stop any time soon.
Monday, October 6th - In today�s Cinema One class, we spent nearly all of our time discussing film stock, its strengths and weaknesses, and the development process. Pretty interesting stuff, but mostly important so you don�t mess things up. You can definitely influence the look of the film by your choices, especially because different film types have different characteristic curves. But most films are done on only one or two kinds of film, so once you�ve made your choice, there isn�t much more to do. (Quentin Tarantino is a notable exception to this rule. His new film, Kill Bill, was shot on over 6 different films stocks, including reversal film and black & white.) But mostly this was just technical details. After we finished talking stock, we moved on to the one thing left that I�ve been worried about: the light meter. To quote Varner, �this meter, your math skills, and your brain are often the only things preventing you from ruining $50 worth of film.� Great! On the plus side, after she explained it to us, I see that�s its really pretty easy. You only need to understand what it is you are doing. The meter does all of the work. It�s like a slide-rule. Really old technology that has never been improved on, because you really can�t improve on it. So, now that final hurdle is out of the way, and I can buckle down to really having some serious fun. Which I�ve been doing already. Tonight we watched a 12 minute film by Robert Rodriguez, of Desperado and Spy Kid fame. He made a feature-length film on a $7,000 budget. I don�t like his style, but he did have a ton of great advice about how to get something like that done. And now he�s a big-budget director. I�d rather make a short to get noticed, not a feature. Even cheaper that way. We finished off the night by watching a 20 minute documentary on special effects for two Ridley Scott films - Black Hawk Down and White Squall - and a Bruckheimer one � Con Air. Those were pretty much the exact opposite of Rodriguez�s stuff. Having more money does not make things easier. But it sure gives you a lot more toys to play with.
Tuesday, October 7th � I�ve forgotten how much I love Frank Capra films. There is something amazingly optimistic and wholesome about them. Maybe unreasonably optimistic and wholesome. But it�s a real treat to watch them. Today we got to see what many consider to be his greatest film: �Mr. Smith Goes to Washington.� (I myself think that distinction belongs to It�s a Wonderful Life, but who�s counting.) An amazing example of great writing, acting, directing, and filming coming together in one film. And, although I�ve seen it 3 or 4 times before this, I had never seen it on a big screen, which really makes a big difference. Several scenes in particular really stood out for me this time around. The first one was the scene where Smith goes to Senator Payne�s house and meets his daughter. The entire meeting is shot by looking at Stewart�s hat. No faces. Really amazing stuff, and really shows off Capra�s silent film background. The second was the barroom scene between Saunders and Diz Moore. Amazing dialogue, and filmed in one long, 4 minute cut. But the last, and most powerful, one was the scene right before Smith heads back to the Senate chambers to begin his filibuster; the one that takes place in Lincoln�s Memorial. In stark contrast to the style of the times, Capra shot the entire scene heavily underexposed. It is almost impossible to see expressions. The scene is reduced to a dialogue between silhouettes. With the exception of this particular scene, I was reminded of how much acting is a matter of expression, and how little talking is actually needed. Harry Carey in particular emphasizes this point. His dialogue in the film is minimal, but his character is completely unforgettable. I was also reminded of the injustice of Hollywood. Gone with the Wind is an epic film, and even one that I have enjoyed from time to time. But there is no way it is a better film that this one. Mr. Smith should definitely have taken home the Oscar. As an interesting side note, watching the film this time around was sad. Especially given the fact that we Californians were busy dealing with our own version of �unlikely candidate makes good through the powers of the American political system.� Two things struck me about this: there is no way a present-day Jefferson Smith type would ever be able to get himself into a situation like the one in the film. And Ahnold, although similar in some non-essential ways, is definitely no Jefferson Smith. So I felt nostalgic and cynical at the same time. (I guess that�s not too uncommon, but it was an emotionally charged viewing, that�s for sure.)
Wednesday, October 8th � We�re working our way out of WWII now. Starting off by watching San Pietro, a John Huston film about the Italian Campaign. Radically, radically different than Riefenstahl and Capra. In their films, the production values are very high. So high, in fact, that you often feel rather detached from reality. In San Pietro, Huston is a front-line reporter, bringing his camera into the very heart of battle. The result is a terrifying look at the confusion and horror of war, from the eyes of the common man. And it feels far more powerful and real than Capra. We followed up this film with Come Into the Light, another Huston documentary. This one was about the New York psychiatric hospital that dealt with returning American servicemen afflicted with combat fatigue, or shellshock. An even more powerful film; some of the cures are nothing short of miraculous. And unlike San Pietro, this film was not staged. (Shock! San Pietro was staged? What is cinematic integrity coming to?) But the entire night, although powerful up to this point, was completely upstaged by the last film we watched: Alain Resnais� Holocaust documentary Night and Fog (Nuit et brouillard). It was the most profoundly moving cinematic experience I have ever had. I was moved to tears. Now, I have seen Holocaust footage before. And I have read extensively about the events that took place in those camps. But this was far more real than anything I had ever seen. Primarily because Resnais never allows you to detach yourself from the events. It doesn�t feel like the past, it feels vividly and horribly like the present. For example, he shows Hitler only twice, which prevents us from dismissing the atrocities as the actions of a single man, long since dead. And he moves between still photos and actual footage, to prevent us from dismissing the atrocities as things in the cold, black-and-white past that are no longer our concern. The narrative, which is amazing, was written by camp survivor Jean Cayrol and is read by Michel Bouquet, also a survivor. I can�t recommend this to anyone, because of its sheer brutal strength. I was left feeling emotionally naked and vulnerable. But I am not sorry I saw it. I'm just not sure I could ever watch it again. "Nine million dead haunt this countryside. Who among us keeps watch from this strange watchtower to warn of the arrival of our new executioners? Are their faces really different from our own? With our sincere gaze we survey these ruins, as if the old monster lay crushed forever beneath the rubble. We pretend to take up hope again as the image recedes into the past, as if it were cured once and for all of the scourge of the camps. We pretend it all happened only once, at a given time and place. We turn a blind eye to what surrounds us, and a deaf ear to humanity's never-ending cry."
Thursday, October 9th � Larned how to use the splicers and viewers to edit Super 8 film today. Editing a film is very logical. It requires you to be very organized, and to be able to give a great deal of attention to detail. Should be a lot of fun. Things are getting a lot more comfortable. The professors are beginning to recognize me by name, particularly Stempel and Obern. And that�s starting to make things a lot better. I don�t feel like a face in the crowd anymore. We also finally got to my Project One roll. It was too fast; but I knew that going in. Professor Obern said that it looked very good, with the exception of the speed. And that the camera looked like it was great, before its untimely demise. Oh well. Tomorrow, I try again. Professor Obern made sure that I got a camera to check out, so I should be able to shoot again this weekend. And this time I should end up with something. Can�t wait to get into the editing room�
Monday, October 13th � Another first-time experience today. My first LACC exam. 50 multiple choice and true-or-false questions. Plus two extra credit questions. I�m not sure exactly how I did, but my initial reaction was that I might have gotten one wrong. It was very, very easy. (I�m keeping my fingers crossed. What if I end up getting a bunch wrong? Then I�ll feel really stupid.) We did spend a little bit of time finishing up the chapter on filters, which was pretty interesting. It really is amazing what filmmakers have to do to make things look like reality. Can�t wait to get into the next couple of chapters, where we�ll talk about actual shooting and production stuff. Oh, one other note. Lots of people get to class on the Metro. The Metro mechanics are now on strike. Class may be thinning out a little bit for the next few weeks.
Tuesday, October 14th � Got my paper back today. With a C on it. I was disappointed. Especially because I disagreed with Stempel�s comments on it. And he handed out a whole boatload of Cs. But I�ve moved on already. And that way a lot easier to do, since we were watching Citizen Kane. What an amazing film. And what an amazing story about its production. Welles had achieved considerable success as a young, hot-shot stage producer in New York, making edgy, controversial Shakespeare productions. And, of course, producing and acting in many radio programs, including the infamous War of the Worlds incident on Halloween, 1938. But he professed to have no interest in making movies. RKO finally convinced him to come out to Hollywood, on the condition that he could write, star, produce and direct his own film. A studio had never made that kind of concession before; only Chaplin came even close to this level of artistic autonomy. So, given this mind-boggling leeway, Welles created a film that is considered by nearly all film critics to be the greatest American film ever made. I don�t go that far myself, but it is certainly astounding. Rarely have I seen so convincing a depiction of the destructive power of pride and greed. Welles is brilliant, and the supporting cast is also excellent, especially Joseph Cotten. And the film is a visual marvel, even for our times. In 1941, it would have been mind-blowing. We spent most of the time after class discussing the symbolism of Rosebud, and what the film�s message really was. But we got to discuss some of the technical stuff, too. There are a lot of really, really long takes. Lots of great perspective shots. And lots of really, really low angles. A great film, although maybe not quite as great as its reputation.
Wednesday, October 15th � Disney night at LACC. Today we got to watch 3 pretty revolutionary documentaries made by Walt Disney: one from the 40�s and two from the 50�s. The first one was called The History of Aviation. Disney had made a propaganda cartoon during WWII to try and promote the idea of strategic bombing. He re-cut it into this 20 minute documentary. Very strange to see animation used in this way; disturbing, actually. And it also showed a common Disney trait: trivializing the past and making it appear laughable. After that, Walt can give his nostalgia free reign. Still, it was interesting to discuss the strengths and deficiencies of doing a film like this. And the Disney visual style is certainly unique. Then, Stempel gave us some more historical background on Walt himself, and we moved on to the True-Life Adventure Series. Those things are a riot! The synchronization between music and images is priceless. We watched one called Beaver Valley, and there�s an extraordinary sequence called �Nighttime Symphony� made up of frogs and bugs, set perfectly to waltz-type music. It reminded me of my childhood. My uncle recorded tons of those, and they really are great fun to watch�although their accuracy is a bit shady, and they are heavily anthropomorphic. We spent some time discussing how Walt�s middle class American family values show up in his cartoons and documentaries. Most of the class was critical of that sort of thing. Too bad. Stempel, although sometimes critical, made real efforts to point out good things about Disney and his values. Lastly, we watched Mars and Beyond, in its original, unedited version. (Which can�t be found anywhere. There are some advantages to being down in LA for this kind of thing. And having a real character for your teacher.) That was crazy. Directed by a fellow called Ward Kimball, who must have been either crazy or on LSD. The visual style is far more reminiscent of early Warner Brothers cartoons than Disney stuff. But it is fantastically imaginative. Too bad Mars doesn�t really look the way Kimball imagined. That would be more fun.
Thursday, October 16th � The Cinema Two classes have become pretty uneventful. In fact, there will be no more lecture material for the rest of the year. We will start watching people�s Project 2�s next week. And once those are done, we�ll start watching Project 3�s. Today, though, we finished off the Project 1�s left over. Saw a good one done by a photographer. Great use of light. But looked a lot like still photographs. We also get the combinations to all the rest of the editing rooms, and the sound rooms. And we were shown how to make a tape with layered sound. I�m hoping I can do that myself without having to go down to LACC�but we�ll see. There must be someone around here with a mixer. I got out of class a but before 9, and got the listen to the last 2 innings of the Red Sox-Yankees. Good times.
Monday, October 20th � We got our tests back today. I was happy. 52 out of a possible 50 points. (Extra credit questions are only added, not subtracted.) But then I found out that 47 out of 97 students got A�s. Wow. Still, one less thing to worry about. Unlike tonight, where we get Stempel�s first test. Who knows what that will be like. Quite a bit more worrisome. That book is so big, it would be almost impossible to know people in there without several years of preparation. I hope he realizes that. I also got my film dropped off before class, so once I pick it up tomorrow, I�ll have everything I need to start editing. And two days to finish it all, which should be plenty. We�ll see. In class itself today, we spent all our time talking about lighting equipment and effects. Things like how to use white board to fill in the sun, what a tweeney is, how to use spots and floods in lighting faces, etc. There is a massive amount of equipment created for this stuff. But they also use a great deal of ordinary, every-day stuff: aluminum foil, Home Depot lights, and even clothespins. (They do give everything a really technical name, though�just to keep people on the outside of �The Industry� confused. Why else would you call a clothespin a C-47?) Most of the things we talked about today were pretty technical, but they really have a profound artistic effect. Movies feel totally different based on how they are shot. The other interesting thing is that there is really no right or wrong here. As long as you can see things, that is. I hope to experiment with lighting more for my Project Three, which I�m going to try and shoot inside. And on color film. So I�ll need a lot of light. I�m hoping to run tests this weekend, so I�ll have some idea of how to get the look I want.
Tuesday, October 21st � Today, we got into the Italian Neorealist period. (That sounds like a painting term.) And we also get to take a one hour test. 30 questions (multiple choice). And 2 essays. But it was pretty straightforward, really. A bit strange to spend so much time writing by hand. Haven�t done that since my days at the College. I was a bit stiff when it was all finished. But the film more than made up for it. It was spectacular. The Bicycle Thief, one of the first films from the Italian Neorealistic style, which tried to make �real movies about real people.� There was a strong movement towards grittier, dark stuff after WWII, especially in Europe. And this film was definitely darker. It is the story of an Italian man, married and with two little children. He lives near Rome, which is struggling to recover from a massive depression caused by the end of the war. Finally, he finds a job as a poster hanger, although he must have a bicycle to qualify. His wife sells off some of their wedding gifts to scrape together enough money to purchase one. Then, first day on the job, it gets stolen. The rest of the film revolves around his search for the bicycle, and the way he relates to his son during the hunt. Very, very powerful, mostly because of its amazingly accurate portrayal of human nature. There really is no black and white here, just a lot of grey. And that seems right to me. I think I was able to relate to this film a bit better because I have a kid of my own. That really seemed to bring it closer to home. A great, great film. Maybe I'll write a paper about it. That's a problem. Every time Stempel shows us a new film, I want to write a paper about it. Having a hard time making up my mind. But I think either this one, or Citizen Kane. Tomorrow, I�ll be down here at 7:00am to start editing. Whew.
Wednesday, October 22nd � Well, I pretty much got it done. Took 4 rolls of film (13 minutes and 20 seconds worth) and reduced it to 4 minutes and 25 seconds. I still need to do the sound, but things are pretty good. I have 4-5 more cuts I�d like to make, but no more splicing tape. And I don�t want to buy any just for those cuts. Besides, its close enough for government work. I�m fairly pleased with it. So, off to Cinema 4. We�re watching TV documentaries today. And boy, were they different in the 60�s and 70�s. Much more confrontational. Much less concerned with keeping all their sponsors happy. We started off by watching a film called Guilty by Reason of Race. It�s about the Japanese-Americans that were interned in the Southwest during WWII. It was fairly moving, but it had two serious problems. The first one: it was filled with talking heads. Which I find pretty unmoving. And the second one: we watched it two weeks after watching Night and Fog. So what they were forced to go through seemed extremely humane compared to what the Nazis forced on their prisoners. The next film we watched was called Black History: Lost, Stolen or Strayed. It was about the revisionist slant against African American historical figures. Billy Cosby was the narrator, which was very interesting. Gave it a little extra edge. But I�m not sure how accurate some of it was. It was a Black Power movie. Definitely. A bit strange. Also, I got my papers back: (one), (two), (three). With better results than in Cinema Three.
Thursday, October 23rd � Project Two was due today. And I got mine in. Plus, I got it shown. I was number 6 on the list, so I got it out of the way early on, which is nice. It was quite well received. People laughed at the right places. One fellow said that it was Chaplin-esque. And Professor Obern said I had a fine natural sense of screen composition. So I felt really good about things. Can�t wait to get started on Project Three now. I�m going to shoot a test roll this weekend.
Monday, October 27th � Headed down to LACC with fires �raging� all around Highway 126. Good times. But the drive itself was pretty uneventful. And so was class. We finished off the lighting section, and began going over actual production stuff. I keep getting more ideas for my Misfit short. (I also see how important a script director is. What a neat job!) Basically, there are tons of ways to be really organized. And if you just follow those, things should work out fine from a technical standpoint. I think I can do this. On the way home, I got a great view of the fires, especially around Piru and Filmore. It was like driving through a tunnel, with snow falling all around. Except the tunnel was smoke. And the snowflakes weren�t snow; they were ash.
Tuesday, October 28th � A strange day today. First off, there was a lot more trouble on the freeways, especially I-5. Very poor visability because of all the smoke. The fire seemed to be coming back over the hill from Simi Valley, and was all around the back of Valentia. Lots of evacuations, so the road was pretty clogged from the 126 to the 14. But I made it to Yale in time to pass over my roll of color film. Should be able to pick it up tomorrow. Then, to class. We started off by talking about all the problems Hollywood experienced right after WWII (attendance problems, the Blacklist, divorcement, foreign assets being frozen, etc.) And that was pretty interesting, especially to see how short-sighted they were � or are. But the film itself was a real bummer. Sunset Boulevard, from Billy Wilder. A film noir-style picture, which is a favorite style of mine. But, Professor Stempel�s DVD had real problems. So, we were only able to watch about 20-25 minutes. And go home early. That part was nice, but I was pretty disappointed about not being able to finish the film. I�ll have to rent it this weekend.
Wednesday, October 29th � More tests, courtesy of Professor Stempel. This one was on documentaries, and was pretty straightforward. Didn�t even have to deal with multiple choice this time. Instead, we were given one hour to write 4 essays. That was a bit strenuous, but I feel that it�s playing to a strength of mine, rather than a weakness, so I won�t complain too much. After the exam was over, we got a chance to watch Promises, a documentary style film on the techniques used by companies that make TV commercials. It was pretty funny, despite its incredibly dated 70s look. Also, it was produced by Professor Obern, which was pretty neat. Its nice to know people that have done something in the business, and still seem like real nice, grounded folks. After watching the film, though, we got into the really interesting stuff: 1.5 hours of lecture on Cinema Verite and Direct Cinema. (They are the most widely recognized and commonly produced documentary styles.) They raise the whole question of whether or not you can actually make documentaries where people act natural. Should be fascinating to see how this question plays out over the next few weeks.
Thursday, October 30th � Even more Project Two�s. But they are pretty interesting. There�s enough imagination around that they don�t start to seem the same. And some students used Kodakrome for their filming. It has an amazing color. Beautiful, beautiful stuff. I was tempted to use it for my last project, but its not gritty enough. It would detract from the overall mood I have in mind. (As an aside, I think I can tell who will be around next semester. Some people definitely have it�others definitely don�t.)