Sean Stansberry’s Post

𝗙𝗶𝗹𝗺 𝗙𝗮𝗰𝘁𝘀 #𝟯: 𝗙𝗶𝗹𝗺𝗶𝗻𝗴 𝗢𝘂𝘁 𝗼𝗳 𝗦𝗲𝗾𝘂𝗲𝗻𝗰𝗲 Films are rarely shot in chronological order ⏳. Due to logistical and budget constraints, scenes are filmed based on location availability, actor schedules, and other factors. 𝗦𝘁𝘂𝗻𝘁 𝗖𝗮𝘀𝘁𝗶𝗻𝗴 𝗮𝗻𝗱 𝗕𝘂𝗱𝗴𝗲𝘁𝗮𝗿𝘆 𝗖𝗼𝗻𝘀𝘁𝗿𝗮𝗶𝗻𝘁𝘀 Imagine a film where an expensive actor, a veteran of countless beloved films, is hired to play a supporting part to raise the awareness of a film that has few brand name lead actors. Let's say that actor appears in four scenes that are peppered throughout the entire two hour run time. Actors get paid for impact, but they also get paid for time. Now imagine you are the writer-producer of this film and you want to make sure to maximize dollars spent making into amazing moments on film. Would you keep that famous actor on set for the entire two and half months of production, paying her for sitting around in her trailer, waiting? Hell no! You'd do your damnedest to figure out how you could "shoot out" that actor in as few of days as possible. You pay her a lot less because that actor is now free to take other jobs, go on vacation, spend time with her kids, whatever she likes. You might even shoot her scenes in reverse chronological order. Why? There are countless reasons, but here's a simple example. The character has a beard at the end of the film and it gets shorter, then completely shaved, at the beginning of the film. The actor shows up with a beard. You film late scenes first, then trim 🪒, shoot more scenes, then shave completely for scenes at the beginning of the movie. 𝗧𝗵𝗲 𝗨𝗻𝘀𝗲𝗲𝗻 𝗦𝗸𝗶𝗹𝗹 These logistical choices to save time and money have repercussions for the actors doing their job well. Actors often have to portray emotional arcs without the context of playing the previous scenes. 🎇 For example, the iconic opening scene of "Star Wars: A New Hope" was one of the last scenes filmed. Actors who can keep track of character moods, beliefs, goals, emotional states, stakes, and logistics are the ones who rise to the top. It's an unseen skill on the screen when done well, but great directors seek these actors out for their intelligence and dedication to the craft. 𝗙𝗶𝗻𝗮𝗹 𝗗𝗿𝗮𝗳𝘁 For screenwriters, understanding the logistics and budgetary expectations of what you write will help you when you pitch your story. Producers are always on the lookout for why they will say "No" and pass on your screenplay. They are risk averse good reason. Films cost a lot of money to produce and market. When they see that you understand their constraints, worries, and hopes, they'll see you are on their side. Do that, and you give them every reason to say "Yes!" For more modern media writing insights and frameworks, check out the FableSpark Newsletter, link in my bio.⤵️ #screenwriting #budget #writing #screenplay #framework #filmproduction #stuntcasting

BLUEPRINTS FOR NEW FILMMAKERS: BLOCKING The attached video is the switchboard scene of "The Marvelous Mrs. Maisel," during Season 2. You can see how tight a set can get sometimes. The cast and crew have to ensure their precise choreographed movements work in unison with one another. In this particular scene, you can see how close the camera can get to an actor's face. I know it looks intimidating but the best part is how all the talented actors stay in character even when the camera is not on them. The blocking here is fantastic. LET'S BREAK DOWN A SCENE LIKE THAT WITH ME. So, your script is ready for production. Your producer has everyone ready to go. You film scene after scene for weeks and then come upon a scene that truly is hard to get done and needs actual choreography by everyone on set. How would YOU go about it? Well... The first thing is the STORYBOARD, which is created to show your SHOT LIST. It would visualize how the scene would be shot. This is normally where your camera crew would come together to create the plan with the director, cinematographer (DP), and others. Then... It's the REHEARSALS. The Director and Actors read-through to understand the dialogue and emotional beats step by step. Some pros compare blocking to a stage play where actors have specific spots to be in. Here, the Director decides where everyone will stand, sit, move, and gesture. The Assistant Director (AD) tends to help coordinating this process. Next... Comes LIGHTING, to set the mood and tone. The DP and camera crew prep the Angles and Framing. While the SOUND TEAM position the microphones to capture clear and crisp Audio. Test walkthroughs and adjustments are made. This process could potentially be lengthy unless you have experienced professionals working with you. Following that... We have the TECHNICAL REHEARSAL where everyone rehearses with the cameras, but do NOT record. Now... The Filming starts with ACTION and the SCRIPT SUPERVISOR ensures CONTINUITY while the Director observes the performances. Most times... Multiple takes are captured and YOU, the Director, choses the one with the best performance(s). Lastly... Of course is the POST PRODUCTION but that's a class for another day. Hopefully, you have a better understanding if you are new to the industry. SIDENOTE: Many more people are involved to bring your story to life. The ones I mentioned are merely a few.

Directing is all about teamwork. People watch movies and often praise the director. But the director shouldn't get all the credit, it should also go to: Actors Editors Producers Scriptwriters Sound Engineers Cinematographers Costume Designers In my view, if everyone shares the blame for a bad movie, then everyone should also share the praise for a good one. Everyone on the team is important. From the actors who make characters real to the editors who piece scenes together, every part matters. Producers and scriptwriters start with their ideas and stories. Cinematographers capture the vision, while sound engineers and costume designers add the finishing touches. We should celebrate our wins as a team because it takes all of us to make something great. Remember, it’s our joint efforts that bring stories to life. #directors #teamwork #stories #success

🎬AUDIODESCRIPTION OF HORROR MOVIES (PART 1) The horror genre is by no means my absolute favourite and lately I have been wondering how to create an effective audio description that conveys to the blind viewer the suspense, tension and fear that characterises a horror film.  I did a bit of research, but actually found very little on this topic, probably because it is an issue yet too little explored and discussed. However, I did find an interesting article published by two PhD students (Marcella Stefanini and Anna Matamala) from the University of Barcelona, who interviewed 8 English and Spanish audio-describers of horror films and asked them what they thought were the most common challenges and effective strategies regarding this genre. Here's a summary of the most relevant points. 🟣Firstly, interviewees discuss strategies for selecting audio description content regardless of genre. Audiodescriptor 1 (A1) mentions the debate on describing colors, noting that colors can be significant due to their cultural values and importance to those who were not blind from birth. This is especially relevant in horror films to create an atmosphere of fear and mystery. 🟣Interviewees also discuss general strategies for AD, such as anticipating or delaying important information due to time constraints and handling seemingly irrelevant details that later become crucial. For instance, A5 talks about compensation strategies when multiple events occur simultaneously, noting that in horror films, early description can be very dangerous, as it spoils the mystery. As a consequence, one must carefully consider when and whether to anticipate. 🟣A7 addresses jump scares, a common horror element, explaining that an effective strategy is to describe them in advance while leaving enough room, so that the viewer doesn't know when it's going to happen. Another challenge regards describing foreshadowing, where subtle hints become important later. A3 explains that language choices can help present such information without giving away the plot. 🟣Describing monsters poses another challenge. A1 suggests using comparisons with familiar concepts to help the audience visualize the creature, while A7 emphasizes not censoring the content, as horror audiences expect to see gore, violence, and other explicit elements. 🟣Another key topic in film audio description (AD) is cinematographic language. There is debate on whether camera shots should be audio described, but they are essential as they convey both content and cinematographic language. A6 highlighted the importance of understanding what the director communicates through camera work. However, it is preferable to describe them by avoiding mentioning the specific terms (e.g. "from above", "bird's eye view). 🟣The interviewees also mentioned voice and prosody, highlighting how the choice of voice tone and rhythm are crucial, as they contribute to creating tension and fear. Source: https://lnkd.in/dWzw9MX6

#RegRecommends - 𝐌𝐲 𝐓𝐨𝐩 5. Back for another. 2 weeks have flown by but still able to stay across my watchlists and intentionally consuming. So here's my end of May new list of 5 cross-platform favourite things. (This list doesn't include anything that I've seen at the cinema or an event. I'm keeping it homely or digital). 𝐅𝐞𝐚𝐭𝐮𝐫𝐞 𝐟𝐢𝐥𝐦 𝐨𝐫 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭𝐚𝐫𝐲: Civil War - https://lnkd.in/epsxP8Sc Watched this on Prime, on bank hols weekend. It remains quite apolitical in choosing sides, which is a bold choice considering the times we're in. I've seen that as a criticism but I think that's a lot of the point of this story. It has a really memorable Jesse Plemons cameo - do I need to say more? Great cinematography and solid performances all round too. I quite enjoyed it. 𝐒𝐡𝐨𝐫𝐭 𝐟𝐢𝐥𝐦: Brown Brit - https://lnkd.in/eUf96Svs I've been lucky enough to watch a few shorts lately at events in real life, but also caught this online recently. Which I thought was well done. A woman pays a sweet tribute to her mother with a montage of real archival VHS footage from 80s and 90s. Powerful stuff. 𝐈𝐧𝐬𝐭𝐚𝐠𝐫𝐚𝐦: blackcactusx - https://lnkd.in/eADXmCj8 Easy to digest, visual/sensory satisfying page. Not everything on here is a hit or especially deep but it has it'll have its place on your feed. Think of it as a scrapbook of images and bold/thought provoking, aesthetically pleasing quotes. Reminds me of how IG used to be. 𝐘𝐨𝐮𝐭𝐮𝐛𝐞 𝐜𝐡𝐚𝐧𝐧𝐞𝐥: Cinema Stix - https://lnkd.in/eqVkUr_9 "when the filmmakers respect the communities they're depicting". This particular film essay and channel usually does a big service in recognising the socio-impact and responsibility of cinema, through digging into the craft on filmmaking - usually looking at quite popular/classic films. 'Sound Of Metal' is the focus of this engaging piece and a film that continues to age well.  ̶T̶V̶ ̶s̶e̶r̶i̶e̶s̶ 𝐏𝐨𝐝𝐜𝐚𝐬𝐭 𝐞𝐩𝐢𝐬𝐨𝐝𝐞 - Innovation 2.0: Do Less - https://lnkd.in/etkvEJKW I've gone with a podcast ep this time instead of a tv show (we'll be back with that next time), as felt this was more valuable to share. Maybe I'll alternate between the two types of content, to keep it fresh. But this is an amazing ep from Hidden Brain, that I listened to. It mainly gets into speaking on how to approach things in life from a point of subtracting as innovation, rather than the common approach of adding. This ep also includes an interview with a philosophical but well known engineer and architect. What's been on your list lately? Have you managed to watch anything? #mytop5 #regrecommends #filmdiscussion #digitalfootprint #whattowatch

PRIMUS INTER PARES!! There's a magic to directing that goes beyond calling "action!" Some directors, like master cinematographers, paint with light, crafting unforgettable visuals. Others, like seasoned acting coaches, coax captivating performances from their actors. But the truly exceptional directors? They're the alchemists, blending both. They collaborate with the camera department to develop a shot list that's not just visually stunning, but also serves the story and the actors. They spend time in rehearsals, honing performances with a keen eye for nuance. On set, you'll find them bouncing between the monitor, studying the actors' delivery, and the camera, ensuring every shot captures the essence of the scene. It's a beautiful dance, this filmmaking process, and the best directors understand the power of balance. What directorial style resonates most with you? Let's chat in the comments! PRAEY IS COMING!!! TUNMISE IS COMING!! #Filmmaking #DirectorsLife #CollaborationIsKey #Praey_TheMovie #Tunmise_TheMovie

What Are Some of the Most Intense Scenes in Movie History? https://ift.tt/AXEaupW Last night, I watched The Last Detail, a hilarious Hal Ashby movie that also contains some of the most intense moments of human emotion that catch you off guard and have you wondering what's going to happen next. These beat changes make a movie special. And I couldn't help but take a few notes during some of the standoffs, because I felt like there was a lot to learn. Movies have the power to evoke a broad range of emotions, and some of the most memorable scenes in cinema history are those that have gripped audiences with their intensity. So today, I thought It would be a good idea to pick out a few of these great scenes and discuss what we can learn from them. Let's get started. Why Intensity Matters Do you know when you're legitimately sitting on the edge of your seat in the theaters, almost shaking in anticipation? Well, intensity is one of the main elements that gets a visceral audience reaction. It can help keep people invested in your movie and also be a fun way to let actors ham it up, cinematographers get cool shots, and keep the audience putty in your hands. Here's a list of other reasons intensity matters. Emotional Engagement: Intensity in scenes, whether through conflict, suspense, or drama, evokes strong emotional responses from the audience. This deep emotional connection is what often keeps viewers invested in the story and the characters, leading to a more impactful and memorable viewing experience. Narrative Tension: Intense moments create tension, an essential component of storytelling. Tension keeps viewers on the edge of their seats, eager to see what happens next. This anticipation and engagement are key to maintaining interest throughout the film. Character Development: Intense situations often force characters to make difficult decisions, revealing their true nature, strengths, and vulnerabilities. This can lead to significant character development and growth, making the characters more relatable and compelling to the audience. Theme Exploration: Intensity in film can be used to explore complex themes and ideas. By placing characters in extreme situations or intense emotional states, filmmakers can delve deeper into topics such as morality, human nature, and societal issues, allowing for a more thought-provoking experience. Entertainment Value: At its core, cinema is a form of entertainment, and intensity adds to the entertainment value of a film. High-stakes action, suspenseful sequences, and dramatic confrontations are often what audiences remember and talk about long after the movie ends. Visual and Sound Impact: Intense scenes are often accompanied by striking visual and sound design, enhancing the overall sensory experience of the film. This can include dynamic camera work, impactful sound effects, and emotive music scores, all of which contribute to a more immersive and visceral viewing experience. Memorabl...

Before I begin work on making a film, I like to share a list of movies with my collaborators. As a way to build camaraderie and inspiration, but also for us all to be on a similar cinematic page -- having a common point of reference. Over the next 10 days, I'd like to post, each day, about 1 of the 10 films I shared before making L'IMPOSTEUR DU 16 RUE RAVIGNAN, writing about why I chose them. First up: MY DINNER WITH ANDRE. Perhaps the cult classic to end all cult classics, this film is essentially just two theater veterans, playing comic versions of themselves, having a wide-ranging conversation over dinner. Boring? Anything but… Well, I guess that depends on who you ask. To me, it's a favorite, and not despite its fundamentally un-cinematic concept, BECAUSE of it. It's deceptively simple in execution, and contrary to popular belief, extremely cinematic. The biggest clue is that master filmmaker Louis Malle directed the film. Through totally selfless, understated camera and editing choices, not to mention the brilliant, naturalistic performances from the two leads, most audience members (who didn't walk out of the theater), thought the film was unscripted and filmed in a real restaurant – both incorrect. The truth is, this is the highest form of filmmaking, only made to appear off the cuff. Going into L'imposteur, which is an adaptation of my one-person stage play, I knew we'd have to contend with a dialogue-heavy film that needed to be translated to film language. MDWA was an inspiration to present things simply, to imbue the film with nearly invisible cinematic choices and techniques that retained the feel of the original play while also making it intrinsically a motion picture. You could perform both Andre and L'imposteur on the stage, but something would be lost from the film versions. Also, Andre helped me luxuriate in the language of the text. When you don't have a lot of money, or special effects, or cast members – you need to use the elements you do have to their fullest effect. I think the language in L'imposteur is part of the joy of watching and listening to it. Like Andre, poetry, philosophy, irony, sarcasm, humor, turn of phrase, and double entendre vibrate through both the heightened and naturalistic language – the English and French bits 😉 In the tradition of My Dinner with Andre, where theater and film overlap, L'imposteur du 16 Rue Ravignan attempts to inhabit a totally cinematic world, but one you'd never notice. ❤️❤️❤️🎞

How 'Vincent' Finds Dark Comedy in Fine Art https://ift.tt/YwucVjI Like many great filmmakers of our time, Alan King didn't originally set out to make films. Much like our Jorodowsky's and David Lynch's, Alan's approached making his latest feature Vincent less like a traditional film production and more like a fine art piece—and it's all the better for it. Vincent follows a writer struggling with brutal alcoholism, wavering from writing a renowned literature to children's books, partying deep in the woods with his signature eye patch to finding sobriety through a televangelist pyramid scheme. Oh, and fishing hangs with his pal Gunther (Bill Evans). We all love Gunther. I was delighted to catch the world premiere at Cinequest and absolutely love this film. The perfect blend of pitch black dark comedy and emotional character exploration, Vincent is an unconventionally structured gem that had me laughing uproariously and tearing up in equal measure. Not tot mention the additional flourishes of horror and absurdity, as well as a supporting cast of unforgettable side characters. We'd be so lucky to get more movies like this. Below, writer/director/producer/editor/sound designer/lead performer Alan King chats with No Film School about his unique approach to film, creatively making your movie bigger with a micro budget, and some sound advice for filmmakers everywhere. Alan King On Transitioning From Fine Art to Experimental Film "I started as a professional actor for 25, 30 years, and I started painting and developed that skill and went to night school and became interested in fine arts. I went to fine art school full time and did a Bachelor of Fine art at the Victorian College of the Arts, and thought that I was going to pursue painting and got out of fine art school, kept painting for some reason, I dunno how it came about me and a mate made a short film and I produced and wrote it, and he directed it. And I really got into it. And then I decided to direct one, and I sort of started discovering that instead of the painting sort of igniting my sort of fire, it was the filmmaking. I found out that [making films] is an amalgamation of the acting and the fine art together so I could amalgamate the skills I'd learned in fine art with the skills I'd learned in acting. It was almost like the perfect coming together of both those skill sets. So it was the perfect storm for me. So I just kept making shorts really experimental using all the skills I'd learned at fine art school. So I was always very experimental with my fine art and sort of testing new boundaries and trying to do stuff that's really individual and true to myself, and not trying to copy any formulas, but being inspired by different filmmakers, but always trying to do something that I suppose challenged me and that made me feel like I was doing something that really drove me or I was passionate about. So yeah, my films have been sort of, you could say very unconventional...