Learning What Not To Do

Confession: I used to hate watching documentaries. People used to ask me if I had seen a certain documentary and I would usually tell them no, I don't like watching documentaries. "But you're a documentary studies major," they would usually say in response. That's when I would explain to them that I'm always picking out the flaws in documentaries and that's why I stopped enjoying watching them. Then, this year, I realized how ridiculous I was being.

One of the best ways to learn is by learning what not to do. It's important to watch documentaries that are really well made in order to gain inspiration, but it's just as important to see what doesn't work so great in films. In order for a doc to be really great, you have to incorporate the good and keep out the bad. You can use some really awesome techniques, but if you also use bad ones it can completely break the entire film.

Sure, I sometimes long for the days when I could absentmindedly watch a film without being hyperaware of where the lighting is coming from, how many cuts are in a specific scene, or why a director made a certain production decision. I think that for a while, I resented the fact that it was hard for me to sit and enjoy a film like most spectators do, so I decided to stop watching them all together. Now I realize though, that I'll never grow as a filmmaker if I don't study and pay attention to what other people do. I try, in life, not to make the same mistake twice. What I've realized now, is that by seeing other people's mistakes, I can avoid making certain ones from the start. I can't watch documentaries like I used to, but I'm finally realizing that's a good thing.

Tarkovsky and Herzog on Film Schools and life.

"What is important to the education of a filmmaker is not a matter learning a set of skills and techniques, but having a vital, passionate need to express something unique and personal. Above all, the student has to understand why he wants to become a filmmaker rather than work in some other art form and he has to ponder what he wants to say in film's unique form of expression. "In recent years I have met more and more young people who go to film school to prepare themselves to do "what they have to do" (as they say in Russia) or "to make a living" (as they say in Europe and America). This is tragic. Learning to use the equipment and edit a movie is child's play; anyone can learn that without half-trying. But learning how to think independently, learning how to be an individual, is entirely different from learning "how to do" something. Learning how to say something unique and different is a skill that no one can force you to master. And to go down that path is to shoulder a burden that is not merely difficult, but at times impossible to bear. But there is no other way to become an artist. You have to go for broke. You must risk everything in your quest to express a personal truth. It must be all or nothing. "The man who has stolen in order never to thieve again is forever a thief. Nobody who has once betrayed his principles can have a pure relationship with life ever again. When a filmmaker says he will try to please people - relatives, friends, teachers, or reviewers -- this time in order to get a degree or earn the money to make the film of his dreams the next time, he is lying to you, or even worse, lying to himself. Once he heads down the path of deceit he will never be capable of making a real film." --Andrei Tarkovsky, Sculpting in Time, p. 124 (adapted and updated by Ray Carney)

   

 Werner Herzog on Film School "I personally don't believe in the kind of film schools you find all over the world today. I never worked as another filmmaker's assistant and I never had any formal training. My early films come from my very deepest commitment to what I was doing, what I felt I had no choice but to do, and as such they are totally unconnected to what was going on at the film schools - and cinemas - of the time. It's my strong autodidactic streak and my faith in my own work that have kept me going for more than forty years. "A pianist is made in childhood, a filmmaker at any age. I say this only because physically, in order to play the piano well, the body needs to be conditioned from a very early age. Real musicians have an innate feel for all music and all instruments, something that can be instilled only at an early age. Of course it's possible to learn to play the piano as an adult, but the intuitive qualities needed just won't be there.

As a young filmmaker I just read in an encyclopedia the fifteen or so pages on filmmaking. Everything I needed to get myself started came from this book. It has always seemed to me that almost everything you are forced to learn at school you forget in a couple of years. But the things you set out to learn yourself in order to quench a thirst, these are things you never forget. It was a vital early lesson for me, realizing that the knowledge gleaned from a book will suffice for the first week on the set, which is all the time needed to learn everything you need to know as a filmmaker. To this very day the technical knowledge I have is relatively rudimentary. But if there are things that seem too complicated, experiment; if you still can't master them, hire a technician.

 "Filmmaking is a more vulnerable journey than most other creative ventures. When you are a sculptor you have only one obstacle - a lump of rock - which you chisel away on. But filmmaking involves organization and money and technology, things like that. You might get the best shot of your life but if the lab mixes the developing solution wrongly then your shot is gone forever. You can build a ship, cast 5000 extras and plan a scene with your leading actors, and in the morning one of them has a stomach ache and can't go on set. These things happen, everything is interwoven and interlinked, and if one element doesn't function properly then the whole venture is prone to collapse. Filmmakers should be taught about how things will go wrong, about how to deal with these problems, how to handle a crew that is getting out of hand, how to handle a producing partner who won't pay up or a distributor who won't advertise properly, things like this. People who keep moaning about these kinds of problems aren't really suited for this line of business.

 "And, vitally, aspiring filmmakers have to be taught that sometimes the only way of overcoming problems involves real physicality. Many great filmmakers have been astonishingly physical, athletic people. A much higher percentage than writers or musicians. Actually, for some time now I have given some thought to opening a film school. But if I did start one up you would only be allowed to fill out an application form after you have walked alone on foot, let's say from Madrid to Kiev, a distance of about five thousand kilometres. While walking, write. Write about your experiences and give me your notebooks. I would be able to tell who had really walked the distance and who had not. While you are walking you would learn much more about filmmaking and what it truly involves than you ever would sitting in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion."

 

Light: The Brightest Form of Art

I was flipping through reddit.com the other day (like a good college student should) and I came across this really cool picture posted on r/pics. He strapped a flashlight to his chest and then took a long-exposure shot. The result was fantastic...

Original reddit post

After being a little inquisitive, I found his personal website: DennisCalvert.net
He's posted dozens of amazing pictures here that he created with artistic lighting, but what I found most exciting was his tutorial section where he explains how he made several of his pictures.

Keep in mind that there is no serious photoshop work going on here. All of these were created with specific lighting tools to create really interesting designs. To see how he made any of these visually stimulating pictures, check out his tutorial page here.

Of course, this blog mainly focuses on films and not photography... so let me reel this in a little.
Because film can not take long exposure shots like photos can, the possibilities become a little more narrow unless you want to use special effects. However, there are still plenty of ways to artistically use lighting. By this point most of us understand the standard three-point lighting system like in this diagram:

When all of them are used, you get a nice looking shot like this one here:

It looks great, but the absence of one or more of these lights is when you can get a really interesting shot. Take for example this shot from There Will Be Blood:

In this shot there is only one light source on Daniel Day Lewis and he is blending right into the background. It really pulls our attention to his face and makes us wonder what his eyes are so transfixed on. 

Here's another example from The Third Man, where one light is creating a dramatic contrast between the character and the environment. 

I pulled all of these pictures from an album I found (on reddit... of course) which explains lighting and color temperature really well. Check it out here.

On a final note, I just want to say that we really do live in a world of free education today. You just need the motivation to find it! 

That's A Wrap.

As the semester draws to a close I am left to look back on and evaluate my first semester of junior year. It has without a doubt been the best semester of my college experience. I have changed in so many ways, my outlook on life has become more targeted and refined. I finally feel that I am beginning to gain the experience and skills that I need to transform my ideas from foggy thoughts in my head into a clear product. I learned the importance of time. Things take time and time always seems to be slipping away faster than you hoped it would. Wait until the coffee is poured, and the cigarettes are lit. You cannot expect to arrive at your destination without taking the proper steps, steps that may seem unimportant or unnecessary at the time but in the end will come around to make a fool out of you. You need to know what you're getting into before you put everything you have into it. I am proud of what I have accomplished this semester, I know the quality of everything I have done could have been higher but that is not as important to me in this moment. What is important to me is that I now know what doesn't work. That is important to me because now I can try different things, those different things may or may not work but after trying them I will have one more thing that I know works or doesn't work. This semester has impacted me enormously as an individual and made me excited to try different things. Arturo, you have given me so many things to dwell on and think about. I have an entirely new take on film after taking your course. Thank you. That's all I can say to you, thank you. 

A Surprised Movie Addict

On my trip to Virginia Beach this summer, I was squished into the backseat of my mom's Buick with my two nieces. With their iPods an inch away from their faces and their headphones softly leaking music and dialogue, I watched as their eyes filled with wonder and disappeared into whatever world their movies were taking them. I can not even begin to tell you how many times I caught them watching  The Lorax or Puss In Boots. That is the funny thing about children. They can sit through an hour to an hour and a half long movie, turn around to their parents and say, "Can I watch it again?" At one point during our twelve hour car ride I whispered to my mom and my brother, "I can't believe they are watching that movie again!" My brother, who is twelve years older than me, just laughed. He continued to recount how when I was their age I did the same exact thing with my movies at home. Well. That put me in my place for certain. I recalled going through my old picture books and seeing some pictures of my four or five year old self, laying on the floor staring up at the moving pictures on the TV. 

I loved watching movies when I was young, and as the years flew by, that love never vanished. I eventually developed a passion for reading novels (I read fifteen or sixteen different ones this summer!), but I never get tired of movies. Even television shows, although I'm a little picky when it comes to this kind of entertainment. When I was little, and today as well, I was quite an oddity I think. Instead of waking up in the morning and putting on cartoons, I would put the channel to TVLand. I loved Get Smart, I Dream of Genie, I Love Lucy, The Andy Griffith Show, Bonanza, MacGyver, and the list goes on and on. 

By the time I was a senior in High School, I thought that I had a pretty good movie and TV show library in my head. I had even watched the Behind the Scenes footage from Lord of the Rings (my favorite movie) directed by Peter Jackson, and I think by then, even Behind the Scenes from Avatar directed by James Cameron, and many others. Then my world was completely changed by one thing. Netflix. Not only did Netflix have a billion movies and shows I hadn't seen (or heard of) that you could rent, it also allowed you to stream some of those movies right online! It was thanks to this discovery that by my freshman year in college I was a pro at browsing through Netflix in search of my new favorite movie. This is still my addiction today. Recently, I have gotten hooked on movies set in 19th century England, such as North and South directed by Brian Percival, Pride and Prejudice (the 1980 TV miniseries), Mansfield Park (1999) directed by Patricia Rozema, and again, the list could go on and on. I have also watched different TV shows on Netflix including Downton Abbey, Lost, and Robin Hood (2006 TV series). 

By this point in my life, I was again content with my new expanded range of movies and shows. I had even enjoyed Charlie Chaplin when I went with my friend to France. We stayed with her grandparents in Antibes, and her grandfather loved Charlie Chaplin. My friend translated later of course, but her grandfather said that Charlie Chaplin was the best because it didn't matter what language you speak, everyone can understand and laugh along. He was right. I also took a course called Bollywood while I was in college, and we watched films ranging from Jab We Met (which I recommend because it is amazing!) directed by Imtiaz Ali to I've Loved You So Long (another great movie!) directed by Philippe Claudel. 

Yet, I am continually shocked by how small my knowledge of movies is still. Even though I watch movies on Netflix all the time, (Seriously, sometimes I watch three movies in a row. Don't worry I still have a life.) somehow I am still in the dark when it comes to the classics. In class this week we were asked if we had seen several different films for examples. I don't think I raised my hand once. This was such an eye opener for me. 

So, since I am heading into a career where it is important to know and see other people's work, I have decided to watch as many movies on the list that Professor Sinclair provided for us on the blog page. Through all this I have learned that it doesn't matter how many movies or TV series you have watched, you will never have seen enough. The learning process never stops throughout life. Just like my nieces, I have to be prepared to watch, watch and watch some more. Not only for entertainment, but in order to learn and become more knowledgeable. 

~Amber Capogrossi

Learn From Watching

As I was reading through all of the previous posts from the past few days, I came across Olivia's and definitely understood what she meant by trying to watch new movies as much as you can. Like her, I myself try to watch a decent amount of movies every week and get exposed to different genres and different types of films. The only problem with this is that once I entered Ithaca and got exposed to the world of film (as well as the amount of time one must put into it), I discovered that I had less and less time every week for free time, which was when I would watch my movies. I guess that was a trade off that must be made though. In order to make movies in the future, you have to put in countless 17 hour days on set in the rain, snow, and shine.

Anyways, all of the movies I have ever watched prior to working on sets over the past year had made a huge impact on me and have influenced me in films I made in and outside of production classes here at Ithaca. Whether it be camera angles or movements I see in a hollywood film, or high key lighting I see in some sort of indie film, I can always take away something from almost every movie I see and apply it to my own work. I feel like that is the best way to learn. By watching those who are more experienced than you work in their environment, whatever it may be on set. Cinematographers, gaffers, sound mixers, directors, something can always be learned and the more you learn about the broad range of topics related to filmmaking, the better off you will be.

So now this year I am going to do my best to commit more time to watch any kind of movie that I can in my free time and work on applying anything that I see to my own work and learning from the mistakes of others as well as my own mistakes.