The First Film Book in Africa

DIARY OF A FILMMAKER CONVERSATIONS WITH AFRICAN FILMMAKERS

LAMECK MABONGA

First published in South Africa in 2016

By Market Afrika Pty PostNet Suite # 170 Private Bag 9976 Sandton 2146

Johannesburg

Email: info@diaryofafilmmaker.com Web: Â http://www.diaryofafilmmaker.com No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.

This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein).

Library of Congress Cataloging-in-Publication Data ISBN: 978-0-620-68315-9 Editors: Tamsyn Van Gelderen

Eddie Mtetwa Designs: Redline Creative Printed By: SPOT THE PRINT

Š 2016 Lameck Mabonga Inc. All rights reserved.

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ENDORSEMENTS Do not be misled by the title or sub-title of this book: it is not just a diary, or a conversation with African filmmakers. More to the point, it is a candid and unpretentious toolkit for wannabe filmmakers – packed with loads of advice, tips and information on scriptwriting, producing, directing, sound and editing.

Written for those with a no nonsense “can do” attitude and a passion for story making for the screen, Monsieur Lameck is the consummate film set all-rounder with a great love for his craft and with a strong desire to demystify much of the film making process.

There is nothing new about film-making in this essential tool-kit for wannabe film-makers – just good solid advice gleaned from many years on set and in conversation with some of Africa’s top talent and practitioners.

Well done Monsieur Lameck – we salute you.

- Garth Holmes Co-founder and Chairman AFDA Film School Having been in the industry for over two decades and having had the opportunity of travelling the continent, it is great to see the amazing strides African filmmakers have made.

There are numerous books about filmmaking, which include techniques and how to construct stories etc. Non-Africans have documented many of these books from their perspective. It is so refreshing to finally read a book told through the eyes of our filmmakers, telling our stories and adapting styles and techniques that are specific to our continent.

I salute the author on accepting the challenge and highlighting key aspects, thus celebrating our major achievements.

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This book is long overdue. It will help push the Pan-African agenda, thus influencing Africans to tell their stories, their way.

- Rosie Motene Head of Productions and Acquisitions NTV, Uganda / Actor/ Producer A much needed guide in all things film, seen from a unique South African perspective. ‌An inspirational handbook for both beginner and experienced filmmakers.

- Revel Fox Writer/ Director/ Editor This is a timely book - Akin Omotoso Actor/ Producer/ Director As filmmakers in a region where formal training is woefully inadequate, the experts tend to take a lot and give very little back.

So it is a very rare delight to have someone who is willing to invest in the journey that up and coming filmmakers must take in order to arrive at the level he has reached. Thanks Lameck for the gift you have given our industry.

-Ben Mahaka Actor/ Producer/ Director

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Lameck Mabonga’s book “Diary Of A Filmmaker: Conversations With African Filmmakers” is not just a didactic guide to producing, directing, shooting, editing, and distributing your video or film. It is the real life experiences of practicing South African filmmakers. This amazing book reminds me of Robert Rodriguez’s book “Rebel without a Crew”: a part production diary and part how-to manual.

It is the perfect book for anyone who wants to know about the inner workings of the South African film industry. Whether it’s someone who wants to make films as a full-time career, or just someone who is interested in film; this book covers it all.

- Sello Molefe Electronic media practitioner and Television trainer/ Executive Director of the National Broadcast Institute SA (NABI) This book is a great introduction for young filmmakers into the film industry. Peppered with wise quotes from industry professionals.

And it gives the newcomer a realistic peek into the world of filmmaking. It covers a wide range of disciplines and engages with practitioners on all levels. Recommended reading for anyone in the film industry or thinking of entering.

- Marius van Straaten Film Director/ Film Lecturer

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CONTENTS 1. INTRODUCTION .................................................................................................................................................................................1 o o o o

Getting started ..................................................................................................................................................................................2 What is filmmaking ..................................................................................................................................................................3 Why guerrilla?....................................................................................................................................................................................4 What to avoid on a low budget ..............................................................................................................................7

2. SCREENWRITING ............................................................................................................................................................................8 o o o o o o o o o o o o o o o o o o o o o o o

Why do we tell stories ..........................................................................................................................................................9 Before you write, here are a few common mistakes writers make ....................10 Your biggest mistake as a writer .........................................................................................................................11 Common mistakes amateurs make entering the industry ...........................................12 What does it take to write? .......................................................................................................................................13 Beyond writing ............................................................................................................................................................................15 What inspires people to write? ............................................................................................................................15 Stages of writing .......................................................................................................................................................................16 Character development ...................................................................................................................................................16 Why we do not use actors real names ......................................................................................................18 When a script you have written is not told or directed the way you envisioned it; what Should you do and how will it affect you?...............................18 Writing a feature .......................................................................................................................................................................19 The draft ................................................................................................................................................................................................21 Script formatting ......................................................................................................................................................................22 Challenges within the writing industry ..................................................................................................23 Experiment .......................................................................................................................................................................................24 Protagonist .........................................................................................................................................................................................24 Antagonist ..........................................................................................................................................................................................25 Film ending ......................................................................................................................................................................................25 Who or what determines the ending .........................................................................................................26 Why are endings important? ..................................................................................................................................26 Tagline, synopsis, treatment .....................................................................................................................................27 Plot ...............................................................................................................................................................................................................28 VII

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o What is the best way to go: writing from scratch or writing based on a book or a play? ......................................................................................................................................................................28 o What sells a script?............................................................................................................................................................... 29 o When you are done writing it is time to pitch your story ......................................... 29 o How can writing as a medium be of benefit to today’s business?.....................30 3. ACTING ..............................................................................................................................................................................................................31 o o o o o o o o o o

o o o o o o o o o o

What makes an actor? ....................................................................................................................................................32 What is an actor? .................................................................................................................................................................32 Starting a career in acting ......................................................................................................................................... 33 What excites you about acting? ........................................................................................................................34 Director expectations .......................................................................................................................................................35 When a director is not happy with your performance ....................................................36 Casting ..................................................................................................................................................................................................37 Quick tips to help you prepare for an audition ......................................................................... 39 What is an agent looking for? .............................................................................................................................41 Hardest thing to do in acting ............................................................................................................................. 41 • To lie ............................................................................................................................................................................42 • Sex ...................................................................................................................................................................................42 • Crying ........................................................................................................................................................................43 Can anyone perform any genre? ......................................................................................................................44 Difference between drama and film ...........................................................................................................45 How do you engage with another actor? ............................................................................................ 45 When you get the script ..............................................................................................................................................46 What makes you jump ...................................................................................................................................................47 Character development .................................................................................................................................................47 Survival keys ................................................................................................................................................................................. 48 Famous quotes ...........................................................................................................................................................................49 Rehearsals ........................................................................................................................................................................................ 51 Conclusion ...................................................................................................................................................................................... 51

4. DIRECTING ...............................................................................................................................................................................................53 o Who is the director? ..........................................................................................................................................................55 o Director qualities ....................................................................................................................................................................55 o Why directors fail ................................................................................................................................................................. 57 VIII

o Challenges directors have faced ....................................................................................................................... 57 • Lighting continuity ............................................................................................................................... 57 • Time management ................................................................................................................................. 58 • Priorities .................................................................................................................................................................58 • Time ............................................................................................................................................................................ 58 o Are directors born directors? ................................................................................................................................ 59 o What do you want to see in a script? ....................................................................................................... 60 o For you to direct ......................................................................................................................................................................61 o Responsibilities on set .................................................................................................................................................... 61 o Why writers do not direct their own work ........................................................................................62 o What does the audience want? .............................................................................................................................63 o Working with a cinematographer/ dop ....................................................................................................64 o Expectations from actors ............................................................................................................................................65 o Working with the editor ...................................................................................................................................................

66 o Importance of rehearsals ...................................................................................................................................................

67 o Casting .....................................................................................................................................................................................................68 o POV (Point Of View)..........................................................................................................................................................69 o Costume ..................................................................................................................................................................................................

70 o Storyboard/ Screenplay .......................................................................................................................................................

70 o Difference between directing television and film ........................................................................

71 o Assistant director ........................................................................................................................................................................

72 o Format ........................................................................................................................................................................................................

73 5. CINEMATOGRAPHY ................................................................................................................................................................74 o Introduction ........................................................................................................................................................................................

75 o Telling a story ................................................................................................................................................................................77 o Basic concepts for your career ...............................................................................................................................78 • Professionalism ................................................................................................................................................78 • Attitude ........................................................................................................................................................................

79 • Dedication and passion ........................................................................................................................

79 • Commitment ........................................................................................................................................................

80 o The cinematography ................................................................................................................................................................

81 o Director of photography/lighting cameraman ................................................................................

81 o What does it take to be a: • DOP ................................................................................................................................................................................82 • Camera operator (second cameraman) ...................................................................... 82 • First assistant cameraman (USA)/focus puller (UK) ................................

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o o o o o o o o o o o o o o o o o o o o o o X

• Second assistant cameraman (USA)/clapper loader (UK) ............83 • Gaffer ................................................................................................................................................................................

84 • Grips ................................................................................................................................................................................

85 • Basic rules on set .........................................................................................................................................85 • Duties around the camera ................................................................................................................

88 • The board ................................................................................................................................................................88 • Standby duties ................................................................................................................................................92 • Second camera shooting .................................................................................................................93 • Priorities on dawn and dusk shoots ......................................................................................

93 • The monitor ........................................................................................................................................................94 • The camera vehicle ........................................................................................................................................

95 • Filters ................................................................................................................................................................................

96 • The ditty bag/unit bag ........................................................................................................................97 • Must haves ................................................................................................................................................................

97 • At the end of the day ................................................................................................................................

98 Choosing the camera .........................................................................................................................................................99 Responsibilities of the cinematographer ......................................................................................... 100 107 How cinematographers collaborate with directors ................................................................

107 Blocking the scene ................................................................................................................................................................

Camera shots ................................................................................................................................................................................108 109 Storyboard ........................................................................................................................................................................................

110 Height of the camera ........................................................................................................................................................

How does continuity affect the camera department ........................................................110 Moving the camera ........................................................................................................................................................ 110 Pulling focus ................................................................................................................................................................................111 Frame rate ........................................................................................................................................................................................111 Slow motion ................................................................................................................................................................................112 112 Shutter speed ................................................................................................................................................................................

112 ISO ................................................................................................................................................................................................................

113 Depth of field ................................................................................................................................................................................

113 Polariser filter ................................................................................................................................................................................

Framing and composition ........................................................................................................................................113 Framing your shot ................................................................................................................................................................114 114 Lenses ........................................................................................................................................................................................................

White balance ............................................................................................................................................................................116 117 Location ................................................................................................................................................................................................

117 Backgrounds ....................................................................................................................................................................................

o Working with lights ........................................................................................................................................................118 119 o Sound ........................................................................................................................................................................................................

122 o Training ................................................................................................................................................................................................

6. EDITING ...................................................................................................................................................................................................... 124 o o o o o o o o o o o o o o o o o o o

125 Telling a story .................................................................................................................................................................................

Telling a narrative ................................................................................................................................................................125 Ending ................................................................................................................................................................................................126 Software for starters ........................................................................................................................................................126 126 Opening scenes ..........................................................................................................................................................................

127 Difficult things to do in editing ........................................................................................................................

Getting into the industry ........................................................................................................................................127 Assistant editor ........................................................................................................................................................................128 Getting the script ................................................................................................................................................................129 129 Choosing the shots ................................................................................................................................................................

What does the audience want? ........................................................................................................................129 129 Footage brought in from the edit ........................................................................................................................

130 Before editing ................................................................................................................................................................................

130 Replacing audio ..........................................................................................................................................................................

131 Continuity ........................................................................................................................................................................................

Editing for television and film ........................................................................................................................131 Credit list ........................................................................................................................................................................................131 131 Working with the director ........................................................................................................................................

132 Conclusion ........................................................................................................................................................................................

7. PRODUCING ........................................................................................................................................................................................133 o o o o o o o o o

134 What makes a good producer ................................................................................................................................

Different kinds of producers ................................................................................................................................135 How do you find stories/ideas in which to invest money? ......................................136 136 What does an investor need to put money in ................................................................................

Finding the team ................................................................................................................................................................137 Film distributors ................................................................................................................................................................ 137 What does it take to jump to a script? ................................................................................................137 Meeting the budget ........................................................................................................................................................138 Post production ........................................................................................................................................................................138 XI

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o Mistakes producers make ........................................................................................................................................139 o Producers workshops ......................................................................................................................................................139 141 8. FILM SCHOOL ........................................................................................................................................................................................

9. BEST ADVICE ........................................................................................................................................................................................143 145 10. STORYTELLING IN AFRICA ................................................................................................................................

SPECIAL THANKS TO THE FOLLOWING PEOPLE WHO CONTRIBUTED THEIR TIME AND THEIR SKILL IN MAKING THIS BOOK A SUCCESS. THEY HAVE RISKED EVERYTHING TO LIVE THE LIFE OF ART. ADZE UGAH - Director

PAUL S ROWLSTON - Writer, Director SIYABONGA RADEBE - Actor

BONGIHLANHLA NCUBE - Director, Producer WANDILE MOLEBATSI - Actor, Producer FIDEL NAMISI - Writer, Producer

ANGUS GIBSON - Director, Writer, Producer and Creator BEN HOROWITZ - Writer, Producer

TREVOR CALVERLEY - Director of photography HARRIET GAVSHON - Producer

MICHEAL SWAN - Director of Photography, Director MPHO J MOLEPO - Actor, Writer

DAVID FORBES - Director of Photography YULE MASITENG - Actor

JAMIE BARTLETT - Actor

ROLIE NIKIWE - Director, Creator

JONATHAN KOVEL - Director of Photography MQ NGUBANE - Director

CATHRINE MEYBURGH - Editor

JONATHAN PIENAAR - Actor, Writer MIKE DICKS - Editor

DARRELL ROODT - Director, Writer

NATALIE HAARHOFF - Director of Photography

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DEDICATED TO To my late mother Rhoda Ngwenya and to my father Nathan Mabonga who taught me that if you want something in life, you have to work for it.

To everyone who dreams of becoming a filmmaker, time and chance happen to everyone who is passionate and willing to learn. Those who do not maximize the time will miss out.

To my friend, brother, work colleague and mentor Jonathan Kovel who believed in me and never gave up on me and kept encouraging and supporting me every step of the way.

To my Lord Jesus Christ who continues to give me the spirit of wisdom, revelation and also strength for each day. Without You, I am nothing.

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ACKNOWLEDGEMETS I want to express my appreciation to the four musketeers in my life namely Brian Walsh, Bill Gibson, Billy Selekane and Gerry Robert who introduced me to another world and gave me an opportunity to learn to write and put a book together. Every time I set my mind to writing paragraphs of this book, my mind shut down and I saw myself only writing two pages; but the inspiration I got from God kept me going. Thanks to Lwazi Mhlanga who took time to teach me how to operate a mini handycam camera and every filmmaker out there I have worked with, who taught me the art of filmmaking.

Lastly, I would like to acknowledge the support of my team at Market Africa Pty: the editors, designers, Jonah Mzondi a friend and an advisor, and Alpha Mtembu, for encouraging me every day.

Thank you for helping this book become a reality.

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ABOUT THE AUTHOR Lameck Mabonga is a graduate of the film set institute. Having developed his career through a combination of self-teaching and onthe-job experience, he has worked on various projects as a camera operator and sound recordist. This is his first self-published book intended to offer aspiring filmmakers a guide to all aspects of Africa’s film industry, by way of a series of conversations with established industry professionals, from Producers to Cinematographers, Directors, Writers, Editors and Actors.

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What Inspired Some Of These Filmmakers?

Welcome to Diary Of A Filmmaker, a book that focuses on the nuts and bolts of filmmaking. Everything begins with the word. The word in the book of John says, “In the beginning was the Word and the Word was with God and the Word was God.” John 1:1

From my own experience in the film industry, I realized that all stages of filmmaking are actually our everyday life encounters.

– Lameck Mabonga

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1 INTRODUCTION Diary Of A Filmmaker is the first film book of its kind ever

written in Africa. It is a powerful toolkit designed to educate and equip filmmakers in Africa and beyond. This is a conversational journey with real life moments from people who have excelled in the industry and inspired many; some of them without attending film school. By the time you finish this book, I hope you will be challenged and encouraged to excel as a filmmaker – by either working on set and learning your art practically, or by enrolling at a film school where you will learn almost everything you need to succeed. I hope this book inspires your passion and achievements.

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Before you think of being a filmmaker, ask yourself the following questions: • • • •

Why do we tell stories?

How do we tell stories?

How do these stories affect our lives?

Why are films made?

They didn’t open the door. I had to cut a hole in the window to get in. You close the door on me and tell me I can’t, I’m going to find a way to get in.

– Tyler Perry “Read, read, read, read, read, read, read, read, read, read, read, read, read, read…….if you do not read, you will never be a filmmaker.” – Werner Herzog When I was a kid, there was no collaboration; it’s you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.

– Steven Spielberg A story can be told in different ways depending on the budget of a film and looking at variables such as locations, still pictures, characters and special effects etc.

Getting Started There is nothing more fascinating than seeing your name on the big screen.

– Lameck Mabonga 2

INTRODUCTION

To be a filmmaker, you have to know how things are done on set.

To begin with, let’s define filming: According to the Macmillan Dictionary, filming is the activity of making a film or working as an actor in a film. Film is a series of moving pictures with or without sound that you watch at the cinema or at home.

E.L. Katz’s definition of filmmaking: ‘Filmmaking is a lot like being in a serious relationship: it requires all of your time, focus, and love, it requires an insane amount of patience, and you’ll probably spend most of your time pulling your hair out and crying.’

Take time to go through the credit list when the film ends and see the number of artists involved to produce one piece of art. The film industry is a tough industry to break into, so getting your first job on a big production is your passport as long you leave a mark and impress your superiors then you may be called again tomorrow.

When I started in 2003, I was introduced to a small handycam camera with which I learnt the basics of filming. I always asked myself every day: how are cameras made? Why are these cameras still dominating our lives nowadays? Whenever I see a camera that I’m not familiar with, I put time and effort to get to know what makes it so unique and learn how to operate it. I respect the person who invented cameras and today we use those cameras to tell stories better than those days when we shared stories that died by the fireplace. What keeps me awake is God, the future and the film set.

What Is Filmmaking?

Before you become a filmmaker, you have to be a guerrilla filmmaker.

A guerrilla filmmaker is a filmmaker who may not have money but has passion and ideas. This is the best way to start for people who 3

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have a positive mindset and who can grab the bull by its horns. Most filmmakers have to go through guerrilla filmmaking to acclimatize themselves with the film industry. The renowned filmmakers in the world had to go through this process. For you to be a filmmaker, you need to have vision and passion. You must be a responsible someone who can create time. If you want to do script writing, make sure you are familiar with terms used from start to finish of a script. Most filmmakers spend 18 hours everyday working, imagining, writing and dreaming their work, scenes and shots and how they can tell that story better.

Why Guerrilla?

To be recognised as a camera person, writer, director or editor, you must know that failure is not an option. You must seize every opportunity by the scruff of its neck. A never say die attitude. That is the rule of the industry. This is your training field where you will mature. I remember in my early childhood, my friends and I met up every weekend to go around picking up old plastic bags so we could combine them and make a football. By the time we got to kick the real ball, we knew where to start. Buy yourself a small handycam if you can, but if you cannot afford one borrow a camera from your friend and start shooting something. Your camera is one of the most valuable assets you can ever have - it will become your best friend.

Never leave a camera unattended on set. Even though you hired it, you still have to value it because tomorrow you might want to hire it again. You have to maintain a very good relationship with your gear and rental companies.

Behind camera its no playground; we mean business. I remember one time we were working on a certain film, I was operating camera B and someone else from the team was shooting with a DSLR while 4

INTRODUCTION

holding a cigarette and sometimes using a cell phone. Be aware that cell phones are a huge distraction on set even if its on silent. When it vibrates, it disturbs the sound guy because the microphones they use are very sensitive. It is best to leave them in your car, base camps or switch it off and make use of it at lunchtime when you are not shooting.

A good Editor has to know how to make good shots with the camera, and it allows you to have an understanding of the story and the sequence of the film. Back in the day, they used the old Steenbeck edit suite to edit film. Today everyone has access to computers and digital is used. I remember buying a FireWire chip in 2005 that came with free Pinnacle CD software for editing. This software is very simple and anyone can use it. It comes with lots of templates to choose from.

To produce good sound you must record it separately and be able to monitor it. Nowadays there is a Zoom H4N, H6N and a Sound Device 552 Sound Recorder that gives amazing results. Onboard sound is good but not good enough for a film. If you cannot afford one, find a good soundman or an editor who can edit and master sound very well.

Guerrilla filmmaking is not for those who lose heart. If you do not take that first step you will not go anywhere and your story will die in you. You have to be an artist who has love for his work. Its not easy to be a filmmaker, because once you start there is no going back.

Guerrilla is your training ground and mistakes are made; but if you are consistent, great lessons are learnt as well. If you learn things the hard way, you will never forget the lessons and that’s what makes you great.

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Everything I know today I learnt on set not just by observing but also by working for free. – Lameck Mabonga As you go deeper within the industry, you will meet many different people from all walks of life. Some of whom you might not like.

People don’t always tell the truth in this industry. It’s very important to be transparent as you approach your cast and crew. Tell them the truth, show them what you have to offer so they have an option either to take it or leave it. I do not have a problem working on set for free because I want to learn. In today’s world, people have performed all their lives on television and they still have nothing. On set, experience is the way to go. Mostly you work with guys who know their game in the field. Some have their own production companies and if they see hard work and skills, they take you.

Things To Give Your Cast And Crew When They Are Working On Your Film For Free 1 – Gas/Petrol money 2 - Feed them well 3 - Credit them at the end of the film 4 - DVD copy of Film 5 - Fun/joy 6 - Seed of creative input – room to allow them to explore their views Construct your film around what you have and remember money only looks good on paper if you work on a big production. Do not try to tell a story that needs money you do not have. For a start, write your own story; direct it, shoot it and edit it. As you get more experience going up the ladder, you will need to specialise in one or two categories that you see yourself best at. To increase your production values make use of free props from friends and family 6

INTRODUCTION

and use free locations. You can shoot either at your own house, or at a neighbour’s house, a city council park, or at your school; depending on the story. Remember to make the best from as little as possible.

Keep your script simple and manageable if you going to direct it yourself.

Many filmmakers refuse to be economical in terms of equipment and story variables because they fear a rough, low quality look. Being economical doesn’t mean low quality. Never try to make a very big movie that the budget cannot support.

For me to be good at what I do, I had to spend time with filmmakers working with them, asking questions and getting advice. I had to be a student to understand every departmental role. Not only actors get into character - we all do. It took my talent to another level. The worst thing is working with actors, directors and the AD without a proper communication structure.

What To Avoid On A Low Budget Expensive elements such as • • • • • •

Night scenes Crowd scenes Special effects Car crash scenes Complicated camera moves Expensive locations

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2 SCREENWRITING Screenwriting is a piece of carpentry. Its basically putting down some kind of structural form to mess around with. And as long the structural form is kept, and whatever I have written is relatively valid; a scene will hold regardless of the dialogue. Its the thrust of the scene that’s kept pure. – William Goldman Pictures are written as well as acted and directed and photographed and edited and scored and all that. The screenwriter determines what scenes are in and what scenes are out; decides whether that bit of information

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is dramatized or just referred to; whether it takes place on or off screen.

There are millions of decisions made by the screenwriter. – Ernest Lehman Writing is rewriting. Sometimes even when a picture is done, you say, “I wish I could get my hands on it again.” – Walter Bernstein A screenplay is a blueprint for the finished film, it points the way. Most importantly, it lays out a structure, a spine you can hang your visions and dialogue on. A screenwriter’s job is to lay out the blueprint. – Howard Schuman It always seems impossible until its done. – Nelson Mandela A story should have a beginning, a middle, and an end…. But not necessarily in that order. – Jean-Luc Godard Story is a way of communicating an idea that registers with a human brain. When you get an idea, jot it down. We have lost when we fail to capture that award winning idea. Most of us grew up in a closed environment and by the time we were exposed and found our talents, we were already over 20 if not older. We are wooed by talent that is in Hollywood, but we are amazed when that talent matured and grew in our neighborhood but no one realized it.

Why Do We Tell Stories?

We tell stories because we need to express our viewpoints on society.

If your views are strong and your story is good enough you are going to have impact. Robert Mckee said, “Ask yourself a question which level of conflict in life really interest you the most. Most writers do not 9

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understand their own instincts. Do you have the love of art in yourself or yourself in the art? The medium you choose has to pair up with what interest you. ”

Before You Write Here Are Common Mistakes Writers Have Made • • • • • • • • • • •

Presenting your script without a proper format Blowing away the first chance ( good solid first impression) Telling the story rather than showing the story Lack of originality in the story. The market is hungry for fresh ideas Overwriting: The script must be 40% dialogue and 60% action description If there is too much dialogue it cannot sustain a story and it won’t sell People get too detail orientated We want to have details but do not want to be descriptive Acting negatively to feedback Never take things personally There is no time to have personal grudges in this industry. No matter how much you hate the producer or director, if he believes in your amazing script, he will want to tell it even if you are enemies.

Most writers are not going to make it. WHY? Because that is the reality. Talent, dedication and consistency are what matter regardless of how many classes you attend, books you read or scripts you write. People dream of becoming professional writers but may not necessarily have the talent. People fail because there are certain 10

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levels of excellence you must meet for you to write at a professional level. This does not mean that any aspiring writer must quit. Screen writing is like everything else in art. As a writer, you may falter until you perfect your gift and master the art of writing quality scripts.

There are courses on writing but they don’t teach you the ability to write a story that grabs an audience.

Those unpublished works are extremely important; they have to be written in order for the writer to perfect his art until finally, they achieve their first success. For you to be a great writer you cannot escape writing. Take an idea and give it power. Then turn it into an extraordinary story that the world will want to read and watch on screen.

I cannot teach people how to write, no one can. I just give them things to think about. Writing must have craft, thought, re-writing, understanding. Give them things to think about, to consider craft and process so that their work can improve. People take what I teach them and think it is enough.

– Robert Mckee

Your Biggest Mistake As A Writer • • • • • •

Arrogance.

Talking and not listening.

Working with pessimistic people.

Foolish mistakes in the midst of intelligent and experienced people.

Not being paid for work that deserves to be paid for.

Assuming that someone saying you are wrong means you are wrong. But also don’t assume that you are not wrong.

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• • •

Care enough to THINK about and plan your writing.

Always ask the WHY question.

Failing to understand WHY you are telling this story?

Why it is being told that way? Why would the character DO this? If you can’t answer WHY then you are just writing events and those events are hollow and empty.

Common Mistakes Amateurs Make As They Get Into The Industry • • • • • •

•

Thinking its easy.

Thinking its glamorous.

Thinking its not WORK. Thinking they will get rich QUICKLY. Not watching TV and films ALL THE TIME.Loving the idea of ‘being’ the writer, but not the actual ‘doing’ of it Watch other people’s shows! The number of African filmmakers who do not actually WATCH Television astonishes me. Always has. Listen to U.S. filmmakers; they watch EVERYTHING. They talk about EVERYTHING. They KNOW their BUSINESS. It is a BUSINESS not a hobby

As for writers.

• Do not tell me you want to be a writer.

• If you say you want to be a writer then you are not a writer.

• If you want to be a writer, write.

• And read, and consume every written word, and THINK about what you see and read; think about why it works.

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What Does It Take To Write?

“Planning to write is not writing. Outlining a book is not writing.

Researching is not writing. Talking to people about what you are doing, none of that is writing. Writing is writing”. E.L. Doctorow “Write every day, line by line, page by page, hour by hour. Do this despite fear. For above all else, beyond imagination and skill, what the world asks of you is courage, courage to risk rejection, ridicule and failure. As you follow the quest for stories told with meaning and beauty, study throughtfully but write boldly. Then, like the hero of the fable, your dance will dazzle the world.” – Robert McKee I don’t think anyone is ever writing so that you can throw it away.

You’re always writing it to be something. Later, you decide whether it’ll ever see the light of day. But at the moment of it’s writing, it’s always meant to be something. So, to me, there’s no practicing; there’s only editing and publishing or not publishing.

– Steve Martin One of the greatest mistakes writers do before they start writing is that, they forget to ask themselves: WHY DO I WANT TO WRITE THIS STORY? I remember Richard Walter once said, ‘Sit on the chair and get your hands dirty on the keys and see where it goes.’

- To write a good story takes a lot of craziness in someone’s head and a lot of stillness, silence and a good frame of mind. Only then are you able to take your mind into an imaginary world. People take movies for granted. They watch a movie, they laugh and enjoy themselves, but they forget the person who was thinking what those characters should be doing or saying.

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- Discipline - Be able to type more than 30 words per minute - Work on your project everyday and add flesh to it. Every five minutes you spend on it makes a difference - Read a variety of scripts, books on script writing; good ones; not just any book. The advantage of reading many scripts is it gives you more confidence and that confidence will tell you this is do-able.

After you get that confidence, you will also get an element of fear.

Every time you sit at your workstation, you always wonder: Will I be able to do it again? Its weird because although you have more confidence, you feel a growing fear too.

The only requirement to be a writer is to write. Everyone who claims to be a writer or an aspiring writer is lying to themselves. If you are a writer, you write. All you need is a pen and paper or in today’s context, a computer, laptop or iPad. You need as much practice and experience as you can get and that can be hours and hours of writing. Some people have been in the industry for over 30 years and even today they still call themselves students.

Putting the story down on paper is difficult. But when ideas come, write them down on cards. Look at those cards every time. Shift them around till the puzzle gels together. Then you can create your constant characters to complement your story. Most characters are born as you go. If you are a good and focused writer you sketch out your BEGINNING, MIDDLE and END and then you start filling in the blanks.

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Beyond Writing “If my film makes one more person miserable, I’ve done my job”.

– Woody Allen Paul Rowlston states: How you manage time means you can turn an ordinary story into a great film. I have never written for money but for a living. Filmmaking is not a pretty industry whether you have a degree or not, someone has to open the door to the industry for you in whatever way. The job you are going for, there are people who have been doing those jobs already for years. There is a certain element needed and that is talent. In South Africa, people write for the production company. Feature films, not many people or companies want to spend money on them. Some people want feature films written for them but do not want to pay for them. That’s why most writers produce and direct their own scripts. Taking a young emerging writer and investing skill and time in them to work on a schedule is what most production companies are not willing to do but it must happen more.

Writing will not get better if we do not give amateurs a chance to work as interns at our production companies. Its hard to see developed talent in a market with no money.

What Inspires People To Write?

• • • • • • • •

Element of freedom, structured freedom that allows you to go in any direction The structure even though its different all the time Movement of people from one place to another Everything Real life experiences Dreams Songs Paintings 15

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• • • • • •

Magazines articles History books Fiction Engaging life as an idea Dropping of conversations Listen to people’s conversations

Stages Of Writing Stories do not have a middle or an end anymore. They usually have a beginning that never stops beginning. – Steven Spielberg Fidel Namisi states: Different people have different ways of writing. There are those who just write till the end. Some people prefer to outline. When you outline it gives you a better possibility of seeing the entire story and cutting down the time you need to rewrite. Each method has its own pros and cons, but for me the timeline have been helpful because it reduces the amount of time you need to spend finding your story, finding the thing, understanding who the antagonist is, knowing what should happen at the midpoint.

What is the difficult genre to write?

I dont have a genre per se but I respect comedy. To write something that will make people laugh is very difficult in my opinion. – Fidel Namisi

Character Development In writing, character development is the whole enchilada. It is everything. Devise and write a character bible, a little book about your characters. You have to know your characters intimately: who they are, what they eat, what they smell like, what clothes they wear, 16

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which side of the bed they sleep on, their entire life history and the world they live in. You are the God of that character’s world. Because you created them, listen to them and only when you know them, do they start talking back to you. You can base your characters on your family or friends. Research your characters. Some writers make use of restaurant waiter names or other funny names they come across.

Do not write what they are going to do until you know them. You do not know how they walk. Do they walk normally or do they use wheelchairs? Perhaps they have one leg missing etc. You need to write story maps and character maps.

Bad writing is event driven. Characters do things because of the events that the writers decided must happen and can only happen if the characters make those choices. Good writing occurs when the events create an imperative because of the characters development; they make the choices and those choices lead to the events that the story requires.

Good writing is driven by character development. Why would a character act this way? What do they THINK they are going to achieve? What is their internal monologue? What are the reasons that the choices they are making and the things they are doing, make sense TO THEM? Bad writing has people doing things that make no sense, without a clear reason (FOR THEM) to do those things other than to lead to the next event. Good writers know their characters – their characters make the choices they make because of who they are as characters and, when they do – no matter how extreme – the audience says yes, of course he must do that, how can he not. That is who he is.

And as McKee says, real drama comes from the gap between what your character EXPECTS to happen when they act and what 17

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ACTUALLY happens.

From: If I do this, then she will love me (but when I do, she doesn’t) To: If I blow up this comet, I will save the world (but when I do, it doesn’t)

In either case, when the character decides what their next action will be THAT is drama, and that MUST be driven by WHAT THE CHARACTER IS THINKING.

The most important question for every moment, every character, every scene, every moment is WHY. Why are they doing this? Why do they think this is a good idea? Why are WE as WRITERS telling THIS story?

Why We Don’t Use Actors Real Names The primary reason for this is to separate the actor and the character or else it may scar the person mentally. An actor’s job is not to play himself but a character. An actor’s job is to bring to life a personality that exists on paper and embody it. You give him a skeleton; his job is to put the muscle, tissue, skin and everything else into place.

When A Script You Have Written Is Not Told Or Directed The Way You Envisioned It, What Do You Do And How Does It Affect You? “Movies are about story; is it well told, is it interesting? If it isn’t it does not matter how talented the rest the rest of it is.” – William Goldman 18

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It breaks my heart, my soul. It is why I almost never, ever watch anything that I have written for screen. I just can’t stand it.That is why I am still pushing to direct my own stuff, because I’m arrogant enough to think I might do it better. Which is the writer’s curse.But also what makes for the Golden Age of TV in the US.But yes, when it is not what you imagined in your head, when it is not what you wrote, that is heart breaking! Simple as that. – Paul Rowlston

There are two sides to that coin: Each time a script is directed in a way I “{didn’t envision it either better or worse. The two sides are well balanced}”. – Fidel Namisi The producer and director have controlling power of the script. As a writer, the moment you put a full stop at the end of the script and sell it: forget about the rest. All you have to do is start something new, celebrate if there is someone interested in your story. There are millions of scripts piled in offices all over the world, good ones not published or produced.

The producer and director will have responsibility on how that writing can be transferred into a film. Something on the paper and on the screen are two different things so give it a way. – Michael Swan Everything I shoot I learn from it. As long they pay me well it doesn’t matter what they do with my script. Some lines we write in a script look great but they don’t work on the floor and that’s why directors and great actors get rid of them. – Darrell Roodt

Writing A Feature Have you ever woken up early raring to write all day and all of a sudden you look at the cloak and its 5pm and you’ve written absolutely nothing?

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Congratulations! You’re a writer. – Bryan Hutchinson Writing is hard and it isn’t. Yes, you have to fill up 100 pages and tell that story and tell it efficiently. Audiences are demanding. They want you to take them on a journey and you must know as a writer how to do just that. Those empty pages haunt you but if you have that story in your brain, you can’t stop. I believe you can write a full feature in five to 10 days or even faster, because you are only writing what you know and you are putting your mind and time to it. A story tells itself. Writing what you know is a great place to start.

Feature films here are written over a period of three to six months including development and yet in Hollywood, a script can take years in the development process. Some can write a feature in two days as long you give them enough money and clarity on your story line.

Generally, there is no fixed time when it comes to writing. Most Africans do not watch enough movies on television but they want to write. The more you watch films the more you understand what another writer is trying to prove, do or say in a certain movie. When it comes to watching, it is not just about watching, it is about engaging.

Ask yourself why this scene works; what made you laugh or cry or what surprised you.

There is no law that states the duration of writing but in most cases, people write under the cloak so they are paid. The film Taxi Driver came out in 1976: it took five days to write. There are different markets for features which are written differently. The movie Rocky was written in three and a half days by Sylvester Stallone and it went on to win many awards. Some scripts can take a year to write but you might not get paid to spend the whole year writing. It all depends on the budget. If you want a brilliant 90-minute feature, you might require a minimum of one year although some can write 20

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the same amount in a week or two. In that year, you go through different phases. It can take you a month to understand the film you are making. Just to get a synopsis. Simply writing words is easy, but to get to the core of what you are writing about is key. This is what the film is about. That can be one sentence. If that one sentence is not right, you cannot go on to the next stage. That first sentence can be the most difficult sentence in the whole writing process.

There is a Japanese game called GO that is played on a grid of 19 x 19 lines. They use stones to play this game and it takes about an hour to play it. Overall, you use 300 stones in total between the two players.

The most important stone is the stone you play first. Therefore, do your research; think; concentrate on the first stone or line.

You are going to come up with an idea or someone gives it to you. To do your first draft on that idea can take you a month. Creating your outline can take you another month. The outline is when you state this happened or that happened etc. If you are not getting feedback from your producer, director or script supervisor or your own feedback, write the second draft (that doesn’t mean polish, throw away the first draft and write new ideas). There are times you spend 15 to 21 hours on set, tired and exhausted and you feel like crying. When writing, you are on your own, you feel like vomiting and being sick at the same time because you do not have the answer. No one is investing in new writers who can change the face of television. It’s a habit for people to watch one show for years but if you ask them why they watch this particular show that doesn’t have meaning at all, they do not have an answer. The big idea is when you start.

The Draft The first draft of anything is, to a certain extent, crap, as it is purely 21

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experimental.

Writing is rewriting The second draft is not editing the first or last one. It is all about scrapping off whatever is unnecessary.

You go back and change the outline.

A good film is ready to go into production after about eight drafts.

The second draft might be good enough to show other writers and producers and get feedback. Then you can write the third draft.

The head writer works out a broad story outline for a series in the writing room.

People in the writing room keep creating story.

Script Formatting •

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When a broadcaster gets your script, they look at the layout, formatting, font size and then they go through your script.

If you use the wrong font or format, no one will bother to read your work because there are gazillions of scripts on the director’s table that must be read Script format is a script calling card Appropriate font – Courier New Size 12 Script elements You are showing the directors or producers that are interested in the story that you understand the technical side of the craft and the history of the craft Script formats come from history and tradition

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• •

Some fonts helps you to understand the script well when you skimming Easy on the eye

Think of it as the coarsest level of the filter. It works like this: If you can’t take the time to find out how a script is formatted and write it in the accepted format, then really, how can you expect people to take the time to read it? Hollywood might have missed some gems, but for the most part, its a very, very low bar. Formatting your script correctly is showing respect for the CRAFT. And showing that basic respect and willingness to do that minimum amount of work, is good manners and demonstrates diligence!

NB: The Nerdist Writers Panel is full of stories of people who, before writing their first pilot WATCHED hours and hours of Television drama, made notes, worked out how the acts are structured, why each and every scene is in the show, and what each and every scene did in each episode so they could LEARN the writing process. That kind of HARD WORK is what you have to be willing to do. The process on how scriptwriters write television is mind blowing.

Why stories are being told that way, is a film school on its own.

Television is a great film school if you watch it critically. What made this scene pretty, what have they taken away, what have they left out in the frame, where is the light. Copy how they frame in television.

Challenges Within The Writing Industry Finding work Finding clients Money Money is the time that script goes under development 23

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Money is the years, months and months of preproduction Money buys you the best stars, directors, equipment and time for production

Experiment Take your favorite lifetime film and watch it over and over again.

Write a synopsis of that film according to your own understanding.

Break down each and every component of that film. Take Coca Cola for example. Break down all the ingredients used to make it. Take those ingredients and produce that same Coca Cola. The first taste might be awful but the good thing about writing, if its dreadful, you can start again. You do not have to drink it.

Protagonist Is the person who moves first in the story towards achieving a specific goal. The protagonist doesn’t really mean he is the main character. He is not a good guy per se but can be the lead character that is looking for something in the movie. He can be doing something immoral but he is still a good guy. In Law Abiding Citizen, Gerard Butler is a killer. All he wants is vengeance but he is the lead character.

The story is about him. Jamie Foxx, the cop hunting him down, is an antagonist. Though the cop is doing the right thing, he is anti the lead character’s objectives. The guy wants to kill everyone who was involved in the killing of his family. Killing is wrong so the cop wants to stop him. Such a film will not have a happy ending - even though the killer is killed at the end. Sometimes you can have a film where your lead character fails to achieve what he set out to do at the beginning – but that can make a great story.

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Antagonist Sometimes this is not necessarily a person. It is what prevents the hero or anti- hero from achieving their goal eg: human beings or fighting against nature in the movie 2012: or global warming in The Day After Tomorrow, The earth is fighting them. The antagonist can be anything from water, poverty or time; to a disease like the Plague.

Film Ending Everything that has happened in the main body of the story determines the ending of the story. The ending must be logical. You do not come up with an ending; you discover the ending. You do not have to create an ending, the ending is there, and you just have to find it. The writer is like an archaeologist. If he sees a bone in a cave, he is inspired to find the whole dinosaur skeleton. Most films have a happy ending; some have a sad ending. Most horror films have a shock ending. They run up to the end and may seem happy but it is short lived because right at the end you discover that the monster is still alive. It is a shock ending because the issue has not been resolved.

They use that to set up audience for part two. When it comes to a happy or sad ending, most people confuse the protagonist and a good guy.

Every ending has a meaning. Writing is about truth. So, what truth are you communicating? Not the truth i.e. He really did this, they really did that, he really said that, I really said this. But your truth: This is truth about the world as I see it. So, the ending of a film is dictated by the truth of the film. Also, I guess, genre. You do not end a comedy in tragedy. You do not end a tragedy with a punch line. I prefer redemption in scripts, not always a happy ending, but endings that are earned and MEAN SOMETHING. I do not like 25

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story telling where everyone dies, his sister has aids, etc – which is very common in African writing. For me, the truth I want to put into the world is a truth based on hope, life, love, redemption and meaning. Our lives might be brutal but they are not without beauty.

They are hard and sometimes horrible, but they do have worth. You never have a great beginning and a great ending and a great ending is the hardest thing because you never know when to go out.

Who Or What Determines The Ending It is about the relationship between the story and audience The producer is very involved when it comes to the film ending It is more of what your audience needs. Of course, the director will think of the relationship of the film to himself. Audiences expect something that can move them and help them immerse themselves in the story. Horror films can be anything. Americans have the luxury of reshooting the ending many times to make it better but in Africa we don’t always have the luxury or budget of going back to shoot again to perfect what we already have.

Casablanca had three endings. They had to film all three endings and test them with the audience to see which one had the best reaction.

Usually there is a neat ending. In Chinatown, the bad guys win.

I’m resistant to easy endings. The ending must be truthful.

In Heart Of Darkness, they could not find an ending.

I’m not looking for neat packaged ending.

Why Are Endings Important?

Because they ultimately determined how your audience will feel about the film / show.

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For instance, I loved The Departed until the end. When they killed Leo DiCaprio’s character without redemption and without meaning, I hated it – and as a result, I hated the film.

Tagline A story is a story. It is the story you are telling.

Tagline is the one line sales pitch for the film.

For instance, here are some examples of taglines in Box Office movies: Alien: In space, no one can hear you scream.

Jaws: The Revenge: This time it’s personal.

Its a marketing tool eg Gladiator: A hero we rise…

FNB: How can we help you?

Synopsis A brief summary or general survey of something. A basic synopsis is an outline of the plot of a play, film, or book.

Synonyms; summary, précis, resume, abstract, outline, condensation, digest, summarization, summing-up, rundown, round-up, abridgement, review, sketch, compendium; concept.

Short summary of the treatment.

2 – 3 page summary of the story The synopsis is a brief summary of your story – anything from a paragraph to I guess, five pages.

Treatment 8 – 10 page summary of the story

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PILOT It is a sequence of events happening in the story Plot – well, plot is also story, but with an emphasis on the structural events that make the story work mechanically.

To put this into perspective, story is two strangers – a man and woman, agree to kill each other’s spouses so they can both get rid of their spouses and get rich from the insurance money.

Plot is, for example, a man and a woman meet on a train. They realise that they are both in loveless marriages. They come up with an amazing idea.

Plotting suggests the complexity of story mechanics.

What Is The Best Way To Go: Writing From Scratch Or Writing Based On A Book Or A Play?

I am not convinced there is a right or bad way of writing.

When you write from scratch, its fun and the ideas are fresh If you choose to write based on other published works its like copying A book can make great source material as long as you can get the rights.

My only specification would be that whatever you write; you must take ownership of it.

So, when adapting other work (or re-writing), you have to have the faith in your own vision of the material to make it yours.

Just transcribing a story from a book is not enough, even a good book.

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You actually have to take ownership of it.

And of course, own the rights. Otherwise, at best you are wasting your time; at worst, you are stealing (plagiarism).

What Sells A Script?

It’s hard to be original but a good story must be original - more than anything. A universal narrative sells; actors and the first 10 pages sell the script. Conflict and what resonates in people’s lives must be part of the story. Do people see themselves being part of the entire universe of that story? Its all been done before and you must find a new way of doing it, presenting that old story and make it unique and fresh.

When You Are Done Writing It Is Time To Pitch Your Story I read a book called Selling Your Story In 60 Seconds by Michael Hauge. It teaches you how to master and persuade people in power to read your work. You can pitch over the phone or at a writer’s conference. You must have the ability to hit only the most important key points.

The buyer wants to know whom you are writing for, who are the heroes, and what key situations there are in the story. What makes them achieve that impossible goal (conflict)? Keep it simple - you do not have time to present the whole story. Do not start with a log line or title. Tell the buyer how you came up with the story. Ask the buyer if they have any questions or send them a copy as you close your pitch. Register or copyright your script.

Do not sit just around waiting, start a new project while waiting for a producer. Get your hands dirty again. As soon as the script leaves 29

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you, it goes through many hands that will break it down and add views to make the story more and more interesting before production begins. If you gain momentum and the studio says they like your work, began to negotiate. The great screenplay will get you money and the strength of your pitch is in the writing.

How Can Writing As A Medium Be Of Benefit To Today’s Business?

Writing is communication.

Good communication is important everywhere.

Good writing can help in every aspect of life.

Imagine a world where all documents and every communication you received was EASY to read.

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3 ACTING Famous quotes from renowned actors: When I was a kid, the only way I saw movies was from the back sit of my family’s car at the drive-in. I really wasn’t even sure if I should continue acting. I would like try and figure out if I could be good enough to do it. It was like 10 or 12 years into my career before I felt like maybe I can do it. It was such a different time than now.

– Forest Whitaker

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I want the world to be better because I was here. – Will Smith

What Makes An Actor?

Anyone can be an actor. The only difference is how good or bad an actor you are. For as long you can open your mouth and talk to someone, there is no difference talking in front of the camera. The problem with many people, they are shy to talk in front of a group of people. I was one of them. The simplest technique I learnt after I attended a motivational speaking seminar, is that you focus on one person that you pick at that moment; even if there are a million people listening to you. Listening is what a good actor must do: have the ability to take instructions from the Director; do them as required and stay alert and focused.

Tell your story as if you telling one person. Whoever is going to see you on television does not care about you. They do not know you.

All they are interested in is to hear what you deliver and see your performance - that’s all. Acting is a job even though its a profession.

It can be the funniest job in the world. If you want to make it your job for life, you need to research well, network with other actors, and get an agent who will market you. Tell the story you know and in a way you understand it.

What Is An Actor?

Its somebody who brings life to stories Someone who can portray different characters Its the embodiment of a character Embodying a character and bringing that life on screen/stage A script is a series of emotions and events so you put yourself there and make those emotions believable 32

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You are acting a situation but you are performing towards camera

Starting A Career In Acting If I do not make mistakes then I won’t learn anything. – Forest Whitaker People will forget what you said, people will forget what you did, but people will never forget how you made them feel. – Maya Angelou People say acting is difficult, is there any easy career in this day and age?

– Jonathan Pienaar There is no right way of getting started. The desire has to be there.

Originally, it was supposed to be a calling. It shouldn’t be everybody.

Really good and memorable actors have more than just a skill – they have talent and talent is instinctive.

You have to love it and want to tell and to communicate stories.

Acting has now become a skill so you can get training to be one.

Acting in Africa has become simple for everybody. A failed teacher or anybody can be an actor and take this acting career as their new profession.

Most people are passionate about being an actor but maybe its the love of being on television or to be famous rather than love of the craft itself.

When you start out in an acting career, things are not always going to go the way you see them in your head. Its a career you have to love and enjoy every day of your life. Be willing to learn every time. You never stop being a student.

There are some moments when I like to watch an actor perform the scene. This way, I learn how this person uses their talent to make 33

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those required emotions come alive.

This field requires that you keep your humility and be a people person. You get to analyse and learn body language from different people in the industry.

You need to take cognizance of the following: • • • • • • • •

Passion Takes time to break into the industry Willingness to learn and develop ideas because acting is difficult You are putting yourself out there Its your interpretation that works Its not about flashing lights on the red carpets It is hard work and very gratifying when you show someone a piece of your work We do what we do to convey a character

What Excites You About Acting?

In acting, I always try to go back to what would actually be the real situation, the real human behaviour in life. – Robert De Niro Excitement comes because of the different world you are getting into. Do not sit back and be comfortable with what you have lived.

Acting forces you to go out talk to people, interact with different races, classes and sexes and find out what makes them do things they do. You are learning about people all the way. It is the idea of being someone else (Character). It’s nice because it feels good being in front of camera.

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It is the ability to see and relate.

The only thing that makes acting fun is breaking the rules. You can only break the rules when you know the rules. Understanding how to build a character out of words. Read between the lines, and delete lines in pictures. Understand the power of the moving picture. Its not about dialogue but understanding how to say it in pictures. As an actor I’m always looking for how the moving picture must tell a story and everything we do will signal the audience what they perceive.

What you can bring to interpret that scene and punch and forge humor, movement on the camera, surprising the camera, coming into a medium close up and it turns to a close up. All the tricks of moving the camera around, surprising the camera, keeping the flow. So the more experienced you are the better you will do it. – Jamie Bartlett

Director Expectations Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong. Directors are individuals who have a vision – they have a clear vision of what they want to communicate. From the outset there are different things pulling from different directions. Having a director who understands what he wants to make and how is very important. They endeavour to make their vision come to life through the camera. They meet you half way and that is an indication of a director who knows his story. Working with a professional director who is highly trained who knows how to extract a performance from an actor. – Robert De Niro A lot of directors you work with are much less experienced than you.

Sometimes actors help in the training of them. Directors obviously are 35

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expecting me to lift the story off the page. To interpret what’s off the page Give them a status change somewhere in the scene You need to find 100 ways to blow air to the fire, same character The audience knows the character, they watching the story line.

– Jamie Bartlett A director is supposed to be a facilitator. Someone who will assist me through images and be able to see the role I am supposed to portray. The director must facilitate me through that process within me to reach the capacity of the role I’m playing The younger directors they learnt the skill to direct as a subject and they might not understand the capacity of an actor and the process an actor goes through and as part of their learning process they are taught about different kinds of acting.

I love a director who engages me and understands what I am supposed to say and what it is supposed to mean in context. Who will come and add a suggestion. – Mpho J Molepo

When A Director Is Not Happy With Your Performance In instances where the director is not happy with the performance, professional actors usually do the following: • Sit down with him on the side and figure it out together • Advise him to shoot another scene We are all team members before we become actors and directors.

In my own case, I prefer a director who is critical of my work because he is going to stretch me and take me out of my comfort zone. This shapes my skills in this field and enables me to operate with excellence so we need 36

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more directors like that actually. – Siyabonga Radebe Film is the best team in the world no matter how much you hate each other on set. You have to be married to one another to bring out that one component of unity and teamwork.

The director is there to bring the script or story to life, so allow the director to stretch you.

If he feels you are not bringing LIFE to the character, he will require you to do it again. Directors have a language that they use to talk to actors. The training that you go through is not only to hear the note but also how to employ the note. How far can you as an actor go? Did you understand the note?

Never ever think that there is no competition between you and the director or that he is undermining you. You are all doing your jobs and must do them with excellence.

Casting I always tell actors when they go in for an audition: Do not be afraid to do what your instincts tell you. You may not get the part, but people will take notice. I didn’t have a problem with rejection, because when you go into an audition, you’re rejected already. There are hundreds of other actors. You’re behind the eight ball when you go in there.

– Robert De Niro In most cases when writers write, they have an image in mind of who can play that character. Casting has become a big thing in Africa and you will see 500 people all waiting to try out for one role. Yet they already know whom they want to play the role. When they audition 500 people, they will scale them down to maybe 20 people. Those 20 37

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might have already gone through serious screening delivering the same message until the directors are confident that you are exactly the right person to play that character.

You are given a script to read and must portray that character in front of the camera or you are asked to create your own monologue but a great deal depends on the age and physical structure they looking for directly relating to the character in the story.

Casting must not affect the ability of an actor.

I believe casting is for new talent, actors whose capabilities we don’t know of. Old and famous people should not go for casting because they are already known, and if you need such people, you must just go through their past work on YouTube or something.

Sometimes all actors go through the process of casting. Whether you are famous or not. Normally the casting agent or casting director plus the director and producer do casting. Mostly they work together to get good results based on the story they want to tell. When they find the right talent, negotiations and contracts are made. Your agent or casting director is the one who sells you. They need to know a lot about you: including your background and the character you are; and this makes it easy for them to suggest you to directors.

Casting is a very interesting process. Actors come inside a room where the casting agent, director and producer will be. Sometimes you have a scenario where you have to act or walk, with dialogue you have to deliver showing the emotions relevant to the scene you are enacting. Nowadays they make you stand in front of the camera to see how you react.

For you to be a great casting director you must understand storytelling; 38

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and have an eye for talent. You need to be humble and patient. You are running a business so you need to be very careful how you work with people.

Remember when you get the part for a commercial, drama or feature, give it your best. They always say your first job must be as good as the last one so that tomorrow they will consider working with you on something different. Every actor has a preferred genre they perform best. Its very rare to cast for a big scene without casting for smaller roles or being featured as an extra a number of times. It is the way to go. Word of mouth is also very important. Get an agent who gives you a chance or opportunity to express yourself.

Quick Tips To Help You Prepare For An Audition 1. Know the address and location so you arrive 10 minutes beforehand.

2. Know what you are auditioning for.

What to ask your agent: • Is it a film, TV or presenting role?

• Do I fit the description? Am I the correct race, gender, height and age?

• Do I speak the correct language?

• When is the shoot date? Will I be available?

3. Read the character description carefully. If possible, dress how you see the character. Dress the part and have your makeup and hair done prior to arriving.

4. Learn the lines

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5. Filling out the audition form: • Do not lie on the form.

• Read all the facts.

• Write clearly 6. What not to do: • Call the casting director after the audition.

• Come in again, without permission from the casting director.

• Make a noise.

• Threaten the casting agent.

7. What to do: • Arrive on time.

• Be quiet, as others might be learning their lines.

• Be polite.

• Research the work.

• Where he/she grew up.

• What languages the character might speak • The way the character walks.

• What music do they listen to?

• What are their fears and challenges?

• What are they favourite memories?

• Where do they vacation?

• Where do they live?

• How do they relax.

8. If you do not get the role, don’t take it personally as everyone is different. Pick yourself up and try again.

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What Is An Agent Looking For? Agents are looking for talent. Getting an agent is the way to go.

When there is work, they get it first. The agent’s job is to go out and sign deals with studios and production houses for more work. Agents are also interested in making money and if they think you will work hard and make money for them consider yourself lucky.

An agent is supposed to work for actors They see a potential in an actor and sign them under their agent so they can look for work for you and get a certain percentage All the extras you see, they even paid a joining fee so they can be represented An agent is a talent scout They must see you as a business partner because through you they are making money. – Mpho J Molepo

Hardest Thing To Do In Acting One of the hardest things in life is having words in your heart that you can’t utter. – James Earl Jones Life is a tragedy when seen in close-up , but a comedy in long shot.

- Charlie Chaplin If it’s a very emotional scene, you’re kind of relieved when you’ve done it, kind of spent. And there are times when you can be rattled, certain characters if they’re hyper, that can carry over the residue of that. But I try to leave it on the set. – Robert De Niro The hardest thing to do in acting is to sustain a career. – Jamie Bartlett 41

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TO LIE It’s a situation as an actor that you can feel it you are not playing the character to its full capacity but you continue to do that.

Actually, you don’t have what it takes to play the character. Being in a position to push through outside of your beliefs is the hallmark of a good actor. – Mpho J Molepo SEX SCENES The actors need be happy and comfortable. Discuss this with production before signing your contract. The following conditions first need approval: •

•

•

That you agree to do sex or nude scenes. I believe its against the law for producers to force you. You might need to find out more information about it from the SAGA (South African Guild of Actors) A meeting with directors and producers beforehand to discuss how the scene will be filmed. All parties need to be happy.

A wardrobe fitting done beforehand so the actors involved are happy.

On the day of the scene:

• •

Respect for the actors needs to be adhered to.

A closed set, with only Director, DOP and wardrobe standby.

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If you can’t do it then acting is not for you, go home It must be done in the right context and with the respect it deserves.

- Jamie Bartlett Never acted naked but I believe sex scenes can be difficult because of culture, religion and beliefs.

Will always ask the director or producer, what is the reason for me to be naked, does it tell a story?

People assume sex sells so the more sex scenes you have the more people will like it. And that means the most disgusting people are watching Sex is not something done in public How can people take something done in privacy and take it as fun, and watch it on television?

What we assume our youth loves is good has alcohol, drugs and sex and yet the opposite is what the youth want but it’s very rare.

Generation of six pack actors is what we have nowadays on television, actors walking around in scenes without wearing shirts It’s not the physicality of the body that tells a story but the actor’s ability to take audience on a journey that’s what is important.

– Mpho J Molepo

CRYING Crying is difficult on set, as in reality nothing would have upset you, so it takes someone who is specially trained to do that. Everyday I’m on set, I like asking random questions to actors and directors especially after shooting a very difficult and emotional scene, about how they did it and here is what I learnt. “If you have written and learnt a concise character proposal, then the actor would have mapped out the storyline. The crying scene will then come from the heart as the actor has gone through the emotions.” – Rosie Motene

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There is a lot of unnecessary crying on television nowadays It’s in that situation of empathy and sympathy How you able to take me through that emotional journey for me to understand why you crying then I can cry with you while I’m watching What fascinates me as an actor when I’m given a crying scene, I will play the whole scene opposite to what is written and resist crying and that is what must affect you as an audience.

Most actors always use an emotional reference they have gone through for them to cry but now crying has grown to become a skill Television is now boring because people are playing lines and not the sub text. Sub text is the story behind writing. – Mpho J Molepo It’s easy to do, some are trained to cry It can be challenging of cinema especially if its single camera. You will have to cry on that line even though the camera is not on you, to match continuity. Sometimes you can do 18 takes in that scene and you are required to cry in all those takes Do it consistently Crying is everything about background events Employ whatever mechanism works for you, use it. – Jamie Bartlett

Can Anyone Perform Any Genre?

Very few people have the actual acumen, the emotional intelligence quotient or EQ, to be actors. It’s not about clever people or a high level of education but also down-to-earth people with an ordinary emotional IQ as well. Most actors can play across a number of genres but you need to be trained in various genres and figure out the genre you best master; but its very difficult. Examples of actors that cross various genres are – Robert De Niro, Sean Penn, Keanu Reeves, Will Smith and Lucy Lui. They can do comedy, thriller, drama, science 44

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fiction, horror, musicals or cabaret.

As actors, we are boxed in here in Africa. The industry is not giving us a chance to experience and try something new.

– Yule Masiteng

Difference Between Drama And Film Performed differently, there are certain disciplines you have to comply with on film set.

There is more luxury on film set.

In television we shoot 12 - 22 scenes in a day, which is almost an episode and a half and yet in film they do not exceed six scenes, that’s why its art.

You watch a television soapie today and you see boom mics, shadows and reflections. Its something people watch today and forget about it tomorrow - because there is no time for perfection. Film goes through many stages of development so it can mature. That’s why people can watch a film today in cinema and buy it later so they can watch it again and again.

How Do You Engage With Another Actor?

This is a game I call the PLAY where actors use many techniques to connect with another character. Its like a game of tennis where I throw you the ball and you return it. Its very funny and interesting especially if you see how they play the scene behind closed doors while they running through the lines preparing for camera. I shot a five-minute scene between two actresses. It was a very emotional scene and I cried during the take and I forgot I’m the one shooting.

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When the director called cut, the first thing I did was hug them. Later on, I asked them how they did it and to them it was easy. Because crying can be created through the correct breathing exercises.

The experience will help you each time you look at the scene and instincts will tell you this scene must be on this level In one of the training processes of becoming an actor is that, an actor you need to be able to become a child. Only children can play. There is no better actor like a child. Children emotions are highly awakened. They cry now and smile at the same time. Adults cannot play they are affected.

They laugh because they are affected by that something that made them laugh. Children are very manipulative in nature that’s why when you become an actor must be able to reach that level of a child The whole retraining process of an actor is to be able to awaken the senses of a child in you as an adult. – Mpho J Molepo

When You Get The Script You need to go through the whole script and understand everything going on around your character.

Acting is not about reciting lines. Its about bringing the character to life on set.

Understanding where the other character is coming from Understanding the story You need to be in the story You need to be in the moment (in character) Quick check after reading the script Narrative engagement Emotional engagement Knowledge Aesthetics Control 46

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What Makes You Jump When I started, I did not care what part I got as long as they gave me a part, I would be happy. Now I look at the character, how far does this character take me? Is it something new I have never done before and so on.

– Siyabonga Radebe

Character Development Breathing and warm up: It is necessary to do breathing and warm up exercises before working.

This prepares the mind and the body for battle.

In acting: Creating a character: This process helps you to develop traits about your character as the shooting process begins.

Write a character proposal: Create a back-story of your character from the following: Working with other actors: It is essential to sit down with your fellow actors and see how they have created their own characters.

Spending time getting to know your colleagues is essential and respectful.

As an actor, I’ve always wanted to do characters that would help me find my connection with others and connect all of us together. You always want the energy of the character, the spirit of the person, to enter you. I’ve been doing this for 26 years and some of the things I’ve done are always with me. – Forest Whitaker

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If the character doesn’t do anything for me, I do not take it.

Also you can see that this character has a vision but they haven’t worked the script. It doesn’t have a nice Beginning Middle and End If a character doesn’t give you a certain thing to search inside yourself to be able to portray it you do not take it. – Siyabonga Radebe This is the highest-level of creativity in our art. Sometimes you don’t get a character bible and you just play the character in moments One of the biggest danger in acting is that, the first referral point you make in any character you get is the last one you played so you must play the character and add a little features that your last character was not doing like change of language, movement, posture, voice, pace, how you speak.

Most actors they play a character with their own voice, language etc and yet every character has his own that does not even relate to you as an actor Character development process helps you to discover all those little things And it’s very rare that directors sit down with actors and say name, age, where was he born, how does he walk, what did his parents do to him, how does his voice sound different from yours. That’s what the ability of an actor is to go through characteristics make a character. I don’t memorise the lines when I look at scripts, I just read and understand what my character is supposed to be doing and when I walk on set I just look at what he says. You don’t have to memorise what he says but you have to have that. – Mpho J Molepo

Survival Keys • • •

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Arrive on time.

Know your lines If you are a smoker carry breath freshener, especially if you have intimate scenes.

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• •

• •

• • • •

• • • •

Be clean and wear deodorant on set.

Etiquette on set: o Arrive on time and be prepared. o Know what your job description is. o Nobody likes working with a prima donna or a diva.

Do not interfere with other departments. Such as touching equipment, eating set food and drinks, playing with props etc.

Be polite.

Self knowledge Don’t go to the audition telling yourself you are the next James Bond Get yourself a website with more information about yourself and what you have done The medium has changed and we now living in a world where everyone is holding a camera in their hands (cell phones) If you are an actor you can create art If this is what you want to do and what you are going to do, grasp everything you can to get what you want Any experience is valuable Shoot yourself with your phone and watch yourself to see how you perform. Think of yourself and study your actions to see what more you can do when it comes to creating life in another character

Famous Quotes One of the things about acting is it allows you to live other people’s lives without having to pay the price. – Robert De Niro In a lot of films, they’re showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully 49

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explore the stereotypes, and still move past them to see the core of people.

– Forest Whitaker I have stayed because I’m passionate about it.

Have less scenes in a day so you don’t become flat as an actor You have to be inventing ideas, inventing laughs and tricks to make the scene interesting. – Jamie Bartlett Its also a matter of humility. No one knows all the ins and outs of everything. You need patience. Acting is not an easy business. I still learn from actors who started last year.

I keep myself busy performing for people and also in front of the mirror.

As much as people say we lucky to have this guy in the room, I pray to have them who like what I’m doing and support me.

Saving people is what you do as an actor.

As a singer you are lucky to have people listen to you sing.

– Siyabonga Radebe The concentration span of an actor. In theater, it takes 5 hours for an actor to get tied and in television, to do 24 minutes that people watch it takes 12 hours and that is about 16 scenes.

The ability of an actor is that, they must preserve energy that will last them 12 hours and beyond that it’s like a soccer game. That energy must last you until extra time and penalties If you can stretch actors to that level of more than 12 hours, you should be able to match that with figures Acting is about choices and some of those simple choices is the in ability to act The new actors come in and become a jam, involved in 4 different dramas and features then they turn to be a celebrity but their bank statements doesn’t correspond to their state then they want to live an expensive life to match their status and before they know it they fall 50

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Have the ability to make that decision and say yes or no.

– Mpho J Molepo

Rehearsals I read the script a lot and even though I know the lines, I still read.

It also depends on the story: some are very challenging so I have to prepare myself. My best friend is my mirror so I rehearse a lot at home before I come to set. –Siyabonga Radebe In cinema, you rehearse a lot There is little time for rehearsals nowadays on television You need to know what the camera is doing and what the director needs I rehearse 99.9% of the scenes Maximize what the director is expecting (surprise him) – Jamie Bartlett

Conclusion One of the things I do when I work with new actors is to introduce myself so that we can all connect and flow together. One thing for sure, there are very few actors that hit their mark the first time, and that makes the focus puller angry because he has to look for the focus for the new position of the actor. At first, I thought actors are celebrities and that the life they live on TV is their daily life. I didn’t realize they go home to live a relatively normal life just like me.

One of the things I liked about interviewing actors was their willingness to be part of the first film book in Africa and share their experiences. I remember interviewing two actors in between their scenes, while others opened their homes to me and some people took me more than a year to find them. That’s shows how busy the 51

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industry is becoming. The business is becoming very challenging and busy as new content is being written everyday and you find one actor playing in more than four shows at the same time.

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4 DIRECTING If a million people see my movie, I hope they see a million different movies. – Quentin Tarantino I couldn’t sleep one night and I was sitting in my office and I realized that I was an independent filmmaker. – Darren Aronofsky There are no rules in filmmaking. Only sins. And the cardinal sin is dullness . – Frank Capra I do not dream at night, I dream all day. I dream for a living. – Steven Spielberg We do not make movies to make money, we make money to make more movies. – Walt Disney 53

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My three Ps: passion, patience, perseverance. You have to do this if you’ve want to be a filmmaker. – Robert Wise Everybody’s a filmmaker today Pain is temporary, film is forever! – John Milius I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student. – Edward Zwick The only safe thing is to take a chance. – Mike Nichols Cinema is a matter of what’s in the frame and what’s out. – Martin Scorsese It’s always been my formula to get the next picture set up before anyone’s seen the last one. – Alan Rudolph Anyone can call himself a Director but only a selected few actually are. They are directing simply because they have taken a camera and told someone else to shoot. When it comes to the film industry, there are no rules. There is no hard and fast procedure to follow. There is nothing laid on paper that you cannot break. The only thing that works is your experience in the industry.

A film Director has many jobs but the most significant one is directing actors and making sure that the best possible performances are given on screen. Directing is the heart of filmmaking; it is different from suggesting a painkiller for someone with a headache. Directing is knowing how much of everything to use or discard and how much of it is enough to tell a story. It’s all about a one long life research.

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I have worked with Directors who never leave set if they don’t get the shot they want. There are few scenes that cannot be repeated. Ninety five percent of the scenes are shot up to five or seven takes just to be safe. Not that all those takes are good, but they want to be on the safe side. Some may have technical errors but mostly the director would be expecting a better performance with lots of energy.

The moment you know you want to be a Director, you spend time studying people, sociology, psychology, medicine, engineering, humanity, arts, music, communication and understanding these things to a certain level so you can fit any of these into your work.

If you ask me what directing is, the first answer that comes into my mind is I do not know. – Michelangelo Antonioni

Who Is The Director?

A director is the person responsible for turning the script into a motion picture. He or she is the creative person who turns the writer’s vision into a picture. He holds the vision of the script and breaks it down so that every department understands it.

Director Qualities • • •

• •

Passion Engagement with the world Having an eye for detail who thinks very fast and is flexible when making choices (being prepared for every minute or moment) A good storyteller A good manager. You manage people in different ways.

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•

• • • • • • • • •

•

• • •

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They are the directors and you are a student of life and an observer. As a director you manage people all day A good editor. To be a director and not understand editing is a bad thing because you will fail to cut your own picture or be able to explain to your editors why you prefer to cut a scene a certain way Understanding a frame because the structure of a scene is about putting together different images and sound.

Sidney Lumet once said, ‘Its all about taste. Do you have good taste?’

Always be prepared.

Research (Research many fields and read books) Intuition - Key to directing is creating something new and make people feel something and believe its real Humanity Be a voice the world pays attention to Knowing your audience is knowing yourself Know when its ENOUGH - more or less, enough quality, quality of the emotion, how people react to grief – all helps to make a decision / choice.

A good communicator - Knowing and understanding – has to be communicated to your crew and cast or they won’t understand what it is you really want in a scene.

Knowing what is relevant and what is not because if you do not know, you cannot tell your crew or your audience If you miss these keys you will make movies that people do not like.

Set light, audio and video, mood, montage, colour, script, wardrobe, make up, actors – these are just some of the things that make a great story

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My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water. – Robert Bresson

Why Directors Fail

Making films is one of the most difficult things in the world. Making good films is one of the most impossible things in the world. Of most films we see made each year on DVD or cinema, only a few are good. Many films with big directors and big casts are still not good even after spending millions. Its very rare for people to make good films one after the other. People like Steven Spielberg and Martin Scorsese are born with it. Just like any other industry its very difficult, and you need some skill and huge determination. That’s the nature of our lives.

Most directors fail because they do not storyboard. They fail to understand the story - especially its purpose. It is also about knowing every aspect of existence. Student of life – that’s what you put on screen. Being a storyteller. What stories do you tell, experiences, past places in time / people? Africans do not want to be taught they think they know too much. It is just like driving a car without someone teaching you how to drive. It is like art - not everyone can draw.

CHALLENGES DIRECTORS HAVE FACED Lighting Continuity Mostly a problem when shooting exteriors on a cloudy day. One minute during the take, you are in sun and the next minute you are in cloud so its not useable. Either shoot the whole take in cloud or 57

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make sure you are able to shoot the whole take in sunlight.

Time Management When you see the number of days of the shoot on paper, you think there is plenty of time - until you start shooting. Only then do you see its not enough.

Spending too much time in the morning and then rushing things towards the end of the day.

Taking the time to make the scene perfect.

Walking off set without achieving everything that was planned for that day.

It’s expensive to make a film for every director because everyday all you are doing is chasing the clock.

Priorities Getting done what you can for that day; and knowing when to prioritize and when to let go Time Time is money The shoot is taking longer than expected because its not studio work.

There is no control or proper direction Re-shooting Equipment failure Weather Make up 58

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Lens lose focus when tilted up and down or perhaps are not calibrated correctly Are Directors Born Directors?

There is no profession called directing. Its a function that anyone can do if they understand the fundamentals and basics of what it is.

Directing has nothing to do with camera shots. Everything you see and hear on TV screen is there because the director made a choice to put it there. The Director is responsible for everything you see and feel when you see a frame of motion picture. It depends whether you are a storyteller or not. You can be an actor storytelling, or a writer or producer storytelling as well. Assemble the resources needed to tell a story. I do not think directing is a specialty in a way as sometimes actors and writers direct. It is interchangeable.

Anyone can develop the ability to direct. Many American actors like Denzel Washington, Angelina Jolie, Clint Eastwood and Sylvester Stallone are now Directors. The more time they spend on set, the more it qualifies them to direct.

Most people spend decades learning and watching how films are made and that’s what life is. Films are a reflection of our lives. You must have lived a life before you make a film. If you are 18, there is very little to tell. Many directors become better and better as they grow older with more experiences in life and more stories to tell that are a reflection of that life. Actors have much experience and have ‘lived’ many lives through their character portrayals, so might have many stories to tell.

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What Do You Want To See In A Script?

What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you’ve got to keep reinventing yourself to stay on top. – Michael Bay Within the first 5 pages I would have known do I know and care about it.

What draws me in to believe in the story or character? I want to be compelled. – Angus Gibson The same thing you pick in a song the first time you hear it The soul, the essence of the story - Does it spark?

You know when a story has a potential to move people.

– Rolie Nikiwe Does a story have something fresh?

Is the story satisfying?

Do I see a journey, change, new perspective, a story deserved to be told The following series – is a reflection of meaningless lives. The chances of following are higher. Layers of truth. They do not have anything to live for.

Layers of truth I can expose Truth Entertaining.

A good story tells its self All we do is just adding a certain flavour Film is not about communication or language, it’s about emotions A good director understands energy of emotions, what connects us as human beings. – Adze Ugah

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For You To Direct For you to direct well, you need to have an affinity to learn, be a passionate person, a student of life and learn everything. Be like a sponge soaked in water and absorb it all.

An actor walks up on set and in the scene; it says his mother passed away. Grief is different for everyone – some shout and scream while others grieve with silent intensity – but the passion the actor shows on screen must make the audience feel that grief even if they themselves grieve differently If you eat food that is not of good quality you quickly forget about it, but when it is excellent and substantial you remember it: those are just some of the things directors need to attain.

You can have one story but give it to 10 people and they will all tell it differently. Everyone will tell it best according to their understanding; not the story, but the humanity behind the story. That’s how you will know the best of the story that offers you the layers of truth. Sense of story where the story is king and understanding is a sense of emotion.

You are only a Director when you are directing. The rest of the time, you are just unemployed. You are an unpublished writer if your work hasn’t reached out to people. A Director is a leader of a group of people. You cannot direct anything on your own. To direct you need a great team, equipment and great cast. It is a collaborative medium.

You can have a story to tell but everyone on set will tell it.

Responsibilities On Set Make sure you get the story. It serves the purpose of a manager in 61

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a shop. Some people will be cashiers, some cleaners and you are the overall person in charge. You are responsible for everything.

You approve what goes down. If the shot doesn’t work, it’s not the DOP’s fault, it’s your fault. The scene doesn’t work; it’s also your fault because you are responsible for managing all those processes. You are the custodian of the quality of the story. You are responsible for the money. Even though it’s the Producer’s job, you are the one spending it.

Why Writers Do Not Direct Their Own Work Many Writers have directed and many Directors have written. Its also easier to direct something you have written because of the interchangeability of the roles. Its like singing your own song over someone else’s song. I think people who write scripts and do not direct them, are lazy. I do not believe in passing my vision on to somebody else. It also works best to have the Writer on set as an Assistant Director and help in the making of that story. Writing and directing are two different things. There is something in their different personalities that makes either good writers or directors out of people.

There is a distinctive difference in writing and achieving it practically on the floor. That’s why it can be a very frustrating process for writers who have a distinctive vision in their mind. It’s a frustrating experience for them so they prefer to write and choose good Directors to interpret their material.

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What Does The Audience Want?

Audiences do not really care a lot about your film except the tone, flavour, and message in it. They do not care about the format, or how the film was shot, or what camera was used: they are following characters and story. What the audience wants is a mystery. You can put your best in the film and at the end of the day the audience still might not watch your film.

You can’t make a film for yourself, friends and family Do not tell a story that interests you alone Tell a story that everyone will want to spend time watching, a film that millions of people want or else it won’t sell. – Michael Swan Audiences are very clever and your job as a director is to be the first member of the audience. You know when something is not right and if the shot is not working, you have to find a way of fixing it. They want to be moved, to cry and laugh at the same time. At the other hand they are not stupid and the moment you start playing them, they will know even when you try to create a fake emotion to win an Oscar but you not getting there. – Darrell Roodt You have to balanced. You can’t make a story for an audience you do not understand. That you stay outside of. You can’t make that story you are not involved so get into it.

In the stories I create I can identify the ones that speak more and appeal to the audience. – Rolie Nikiwe As filmmakers we really do not care about what people want It is always the story you want to tell; that’s why commercials are hard to make because clients always tell you what they want Audience want change 63

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But one thing that is always constant about them are stories that have hope and how you package them That’s why we have five television channels and the DSTV on top so that their audience can have a wide variety of programmes to watch.

– Mq Ngubane

Working With A Cinematographer / DOP The DOP must be into his story as much as his director must. The director wants to come up with a picture but the DOP is the one with a paintbrush.

As much as the director visualizes this, Director and DOP must be coupled on set, think alike and produce a screenplay that will include angles, coverage, lighting, location and how the film will be shot.

The principal way is to get the work done quick and efficiently. The DOP must tell a story with the images on the screen just like the production design and editors - a visual collaborator. Even though directors design their own shots, the DOP must take those ideas to the next level. It differs with each story.

The worst mistake Directors and production houses do is call a crew agent and get the next available DOP. Most Directors know their own styles, so depending on what they are working on at that time; they will find a DOP who can execute it better.

That’s why the style of our films are all the same because we do not design shots, storyboard, do treatments and make shot lists.

The DOP…is the most crucial guy on set and I give him all the support and respect to help me tell the story I need someone who will capture the drama and find the heart of the 64

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drama The DOP must be driven by his instinct to drive the camera and find the hidden magic. – Darrell Roodt

Expectations From Actors The hallmark of professional actors is turning up on time, knowing their lines, and creating the world of the character. A good actor who is a great actor will come to set fully prepared.

The Director does not direct dialogue, that’s the job of a continuity person or script supervisor. The director is allowed to change the lines when shooting.

Actors are big stars and directors are not because they have the responsibility of projecting the story to the audience behind the scenes.

A certain take of their characters A proposal that they can come and perform on set. The worst thing is actors coming to set not knowing what the character is supposed to do.

If you don’t hire the right actor you are finished I need actors that will take me on a journey One of the things I do is always ask them, “Are you happy?” and if they’re not then we go again. Also as a director, you must not be friends with actors because they will end up losing it. – Darrell Roodt I give them the script to go through it then I take it away. You got to give the actors the opportunity to live their characters (express themselves).

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Even when I am rehearsing I give them the opportunity to show me what they have, then I can add on top. Some directors have a different way of doing it and some directors always come on board with their own cast. For example Tony Scott and Denzel Washington.

– Bongihlanhla Ncube I like working with actors, what they bring to add flesh to the skeleton.

They inhabit the skin of the person they are portraying They enter a scene and bring a part of the realm They bring something new to the table. – Angus Gibson

Working With The Editor When it comes to the editor, I tell him my story how I want it and come back to watch my cut. – Bongihlanhla Ncube He assembles the story I come in and go through the scene and see how far he has understood my vision since he is the person writing the final draft of the film.

– Rolie Nikiwe The editorial process is another writing process of the film. The story is written on paper, written on set with director and actors and the editor is the 3rd person to write it.

Give them freedom and respect. They deserve to be given a chance to mould the film to how they see it.

They going to assimilate the written word, mix with the performances and come up with a new version of what is expected. – Michael Swan I’m very involved with editors. The director should be creating a platform for people that will make everyone comfortable. Such as giving an actor 66

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freedom, a DOP freedom to express his imaginary and understanding based on the scene. – Angus Gibson We can shoot and try to get great material but mostly we don’t as we are busy chasing the day but the true art of the story is in the editing room.

If you have a great editor, he can take ordinary material and make it amazing. As I shoot, I will edit the film in my mind and in camera and will know what shot will work for that particular moment. Prefer working with the same editor who is committed. Editors are amazing people they look at the material and interpret it in a great way A good editor can put two images together in a way you didn’t direct or intend to go that way and when you watch, its so beautiful and ask yourself how did he do that?

Don’t step on editor’s toes. If you make suggestions, make then in an understanding way so you can all come up with solutions to achieve it Editing is not about following dialogue but if he does, it will be in a clever way Sometimes good editors can go to the close up right to the end of the scene, instead of the beginning, that how you planned it and use the very wide then start to grow the inside emotion of the scene then bang, everyone is amazed. – Darrell Roodt

Importance Of Rehearsals I love rehearsing so I can master the movement and get my focus marks. Of course, we do take shortcuts when we shoot television especially when they are sitting down with no movement. But in film you rehearse every scene no matter how simple or complicated it is.

One of the challenges I encountered is that actor will take shortcuts during a rehearsal and not give you all the movement you need, and when we go for a take its just guess work.

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Very important process but African productions are not getting enough rehearsing they deserve. It leads you back to casting. The actors must understand story, character and how that character will live in the world of the film. Its by default because we do not have time and money to spend on rehearsals. – Michael Swan Set it up well so you are able to shoot the rehearsal always because there is magic in that rehearsal. If you don’t shoot the rehearsal you might not get it again. Directors try too hard to be perfect and you cannot be perfect all the time. Your day is chaotic so you have to capture the perfect in the chaos. – Darrell Roodt I want performances where there is freshness.

The way we work, there is no time The most important thing is for the actor to understands what the scene is about, who they are, who their character is, history of the character is, what have they done before they walk into the scene.

If they do not bring anything interesting, I intervene.

I will give them things to play with to improve the performance.

– Angus Gibson

Casting Casting is 65 percent of directing. – John Frankenheimer Casting is very important in the film. You can’t make a great film with the wrong cast but you can make a great film with a good cast.

The right cast makes life easy. Normally 80% of directing happens by the time you get to set. You cannot change your locations, the actors you are working with, or the script, no matter how great a Director you are. If for some reason, you have a bad cast, location or script you will never win the fight. Actors may be expendable, but they are 68

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crucial. With good directing, you can fit your cast in any genre. As a Director, you need to identify every person who affects the movie, creatively. Make sure they understand the Director’s vision for the story. There is no need to talk to key cast about their lines or about the story after giving them the script. They will read it and internalize it. The Director will expect the cast member to know their character, their character’s background, and challenges and make sure the actor understands their character completely.

Actors have ranges; they can use a range of performances. As a Director, it is your duty to get the right cast for the right role.

Nowadays we have Casting Directors. They find talent for Directors according to their understanding of the script. They consider who is hot on the market and can ably fit that role. They develop character profile. One of the best and cheaper ways to find talent is using the television networks as your casting agency. This allows a Director to work with new talent. New talent that has not yet reached superstar status has a lot to prove, and they will put in their best performances.

There are Directors who prefer to write their own scripts and as they write, they have people in mind to play the characters.

POV (Point Of View) The Directors POV is the Point Of View from which the film is made according to his interpretation of the written story. This gives direction and defines what the film will be. Point Of View is what someone is looking at in the film as though it was a subjective view.

Is simply a view from a point. Every film you see is a Point Of View.

Everything you see is the Point Of View of a Director. Even a real life story will be shot from their point of view. It may not be accurate but it is according to their understanding of what they want the 69

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audience to see and experience.

Costume Characters are not playing their normal lives. The DOP, lights and camera determine how the costume looks on screen. The costume is very important. Most of the time, the character played is far from their ordinary day-to-day life. They will not have the costume. The costume compliments the character, so the issue at hand is that an actor can change costumes many times in a day to match scene, location and different days. As a Director, you suggest everything but don’t spend too much time stuck in one department. You have to be specific with colors, so they look good on camera. Concentrate on the real issue - that’s why its important you choose your team correctly. You can’t micro manage everything.

STORYBOARD/ SCREENPLAY A screenplay will contain transitions, shots, extreme close up, fade in – fade out, POVs, notes intended for the editor or soundman. For example, if you want to emphasise a particular sound in a script, you write it and capitalize it, e.g. the pen went BOOM. It will indicate the Director’s emphasis that sound must be exaggerated. It is an illustration created by the Director or by the storyboard artist to give the Director a clarification of what to follow whilst directing the production. It is more detailed than a script; it shows how the movie will come out on screen. Let us look at the movie Django Unchained.

Script The script will say six prisoners chained together are hauled away over the mountain.

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Screenplay The screenplay will say from a long shot we see six prisoners chained together. It’s dawn, which defines the lighting conditions. We move in to their feet and we hear the sounds of the chains as they walk down the mountain, exhausted. We pan up to one of the slave’s faces and notice how weary he is with sweat pouring down his cheekbones.

When you go through that line as a DOP, Director or Art Director, you know exactly what to do. You do not only have slaves going down the mountains as the script said. The screenplay is now given more visuals: it is showing you they are sweating, they are weary, and it is telling the soundman to record the sound of the chains on their feet – all of this is very important to the visual effects person.

Take note that there are screenplay specialists, who start visualizing and start watching the film in their mind and putting the big picture together the moment they read the script. This is art on its own.

Most Directors like writing their own screenplays. If you have a great screenplay, it’s hard to fail even though you may have an inexperienced director. But a bad screenplay means there is nothing you can do to fix it even if you have a great actor and Director.

Difference Between Directing Television And Film To start off, Film always has a higher budget than Television. The approach is different. In film, you try not to hide detail but to show it. On the other hand, due to budget constraints, Television cannot afford to have a lot of detail.

In film, there is a lot of detail. For example, if its an assassin trying to shoot a guy on top of the building; you try to show a close-up of him; his eyes; extreme close up on the guy; a shot of the guy walking 71

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in slow motion. In Television, you give them one shot or a three shot.

Television is like a summary of the scenario, whereas film takes you through it bit by bit. Television is a producer medium and Film is a director medium.

When the producers have an idea for a Television show or series, they approach a broadcaster, who in turn will give him money to make it.

It is like hiring an architect to design your house. They decide what cast they want. In Television, you try to get more coverage because that’s the nature of the medium. You go from close up to close up; but with film, you get to explore a bit more. Nowadays filmmakers are making television in a more cinematic way. That reminds me when I was shooting a Telenova. We had a party scene in a bar and to make things worse we only had six extras. We ended up using our own crewmembers as extras and to save the day, we had to shoot everything tight and it came out beautifully. I’m sure the audience got confused how a party scene was shot tighter instead of on a wide but at the end of day, they loved it.

Assistant Director An Assistant Director is someone who stays by the Director’s side and moves as fast as he does. His role is to manage people. He is a very important member of the crew because he alleviates the workload from the Director who has so many responsibilities on set and must answers questions from all departments. The first Assistant Director controls the set. He brings law and order on set; he makes sure all scenes scheduled for the day are shot. He is the timekeeper and ticker of the crew. He also has to understand what the Director is trying to say. A film is always a compromise. It’s never perfect.

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done the best way it can be done within the compromises they must face. A good AD can get the work done in the most efficient way possible.

“The main job of the AD is to build an environment on the set that allows the actors and director to create, and the cameraman and crews to work efficiently.”

– Jerry Zeismer (USA)

Format There has always been a change of course in the last few years from film to digital capture. The camera you use now is probably the easiest thing to use because there is now a far wider range than there ever was in the days when there was only film. Choice of camera is not important. What is important, is how the camera is used and how the film is arranged and lit. The camera is of importance when there is something specific you want to have in your film such as shooting on Green Screen, when the film has a lot of Computer Generated Images (CGI) and visual effects.

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5 CINEMATOGRAPHY “Cinematography is an infinity subtle language, even more than music or words.” – Conrad Hall ASC “All great films are a resolution of a conflict between darkness and light” – Vittorio Storaro Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you’re a director. Everyone after that you’re just negotiating your budget and your fee. – Every job is a learning experience. – James Cameron

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INTRODUCTION Every time I watch a film, I check the credit list and Google more about the writer, the cinematographer and the director; sometimes just interesting characters. In this way, I came across Christopher Doyle’s work. One of the world’s brilliant Cinematographers, born in 1952 in Australia, who spent most of his professional life in Asia.

Christopher Doyle is an international Cinematographer who inspires me. I am sincerely looking forward to working with him.

Prior to his first Director Of Photography job in 1983, he had worked as an oil driller, a cow herder, and a Doctor of Chinese Medicine; but it was his 8mm and video work that inspired Taiwan’s Edward Yang to hire him for his debut film. Fluent in Mandarin, Doyle subsequently found himself a popular Cinematographer in Hong Kong and China. And his work as a Cinematographer there helped to define the beautiful formalism of contemporary Asian cinema.

Here are some of Christopher Doyle’s views toward cinema: ‘Cinematography really is a technological art form, and cinematographers are indeed artists, alongside directors and actors. Hopefully, the function of what we do gives resonance to the image. The function of the cinematographer is to be the bridge, the conduit between the audience and what’s in front of the camera. To me there are only three people in cinema: the person in front of the camera, the audience member, and the person who is the real passage between them—the cinematographer.

Of course, there is a logistical structure, and a director and producer to facilitate the interface. But for the engagement to be direct and compelling, I really believe we have to be transparent and remove ourselves enough so that the passage between the actors and audience is direct.

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How I operate the camera demonstrates the intrinsic value of my work.

I operate not because I think I want to have an idea translated or reinterpreted, I have to use my talent to make the film a reality. It is not getting from A to B that counts, but it is how you get there. Otherwise it’s too far removed from the process and if you are not engaging with the person in front of the camera, you may ask yourself the question: How can I articulate something that needs to be shared with the audience?

I don’t think lighting is everything. I believe location and climate are everything. “There are no problems, there are only solutions” might sound a little like a Starbucks cliché, but don’t let “the eyes be higher than the hand” as they say in Chinese. Do what you can. Don’t get stuck on what you want, and then when you find a crack in the possible go through it. It’s your crack—”that’s how the light gets in” Leonard Cohen assures us.”I went to Taiwan to study Chinese and, as usual, I hung out in bars, and people in bars are usually musicians and artistic kinds of people. I had accumulated a little life experience so I could articulate things, which were a little bit more complex than I could actually do and for some reason Edward Yang trusted me. And then we made this film (“That Day on the Beach,” 1983) that won all these awards and I didn’t know what I was doing. – Chris Doyle HKSC My best film is always my next film. I couldn’t make Chungking Express now, because of the way I live and drink I’ve forgotten how I did it. I do not believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love. – Chris Doyle HKSC The East is rising and the energy of the region is reflected in everything we do here, whether commercial, military or cinematic. I just happen to be part of that. We’re in a golden age of cinematography. Most people are on-line at least four hours a day. They’re seeing images all the time and

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their visual sophistication is jumping far beyond all the old farts in the Academy. – Chris Doyle HKSC “Life experience is more valuable than theory or technical expertise. The technical stuff can be passed on but experience can only be gained” – Chris Doyle HKSC

Telling A Story To tell a complex or interesting story, you need to understand and know how to use all camera functions. Each of those functions will help you to give the story a unique flavour. You also need to understand the power of the frame and what’s in it (detail of everything). People call themselves DP’s, but they do not know how to tell a story or light a scene. One of the hardest things as a cameraman, is spending a week or month without shooting anything or rolling a camera, it’s like being a photographer who doesn’t own a camera. For you to tell stories better and better each day, you have to be married to the camera. Size doesn’t matter, what matters is learning something new on it or what it does. Do a case study, study light, and images. How you marry the two will help you tell a story differently.

The question is, is the content broadcastable? People come from University excited about being a DOP in class or on a certificate but not on set. And they can shoot very nice images but they cannot construct a scene to tell a story. A story can be told without beautiful pictures. Beautiful pictures on their own cannot tell a story. No matter how much knowledge you get from a course or book, knowledge is only one component. Knowledge has to be supported with a skill.

The hidden cost when you want to shoot a movie is time and you cannot cheat on that. Do not be afraid of what you do not know and do not be afraid to tell people that you do not know it. If you tell 77

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people the truth the more they are willing to teach you what you do not know.

Basic Concepts For Your Career Five key winning concepts: (PADPC) • Professionalism • Attitude • Dedication • Passion • Commitment The real meaning of production value Without the winning concepts, you will never amount to anything.

Apply them and you will be respected in the industry, and you will work with the best. These words will earn you money, respect and enable you to work anywhere in the world, at any level.

Professionalism Professionalism is demonstrating competence and diligence in what you do, and that means knowledge. It means knowing your equipment, where it is at all times and what condition it is in. It means no one should ever have to wait for you. It means looking after the equipment so it isn’t damaged. It means not allowing personal issues to come between you and your work. It means concentrating when others may be frivolous. It means keeping your mind on your work all the time, checking, double-checking, triple checking. It means that no one should ever be able to catch you out. It means being on top of the job.

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dedication to your cameras, lenses, filters and equipment, to make sure everything flows quickly and smoothly, that the job gets done as efficiently as possible. It means an obsession with neatness and tidiness. It means carrying yourself in a professional manner, and impressing people with how professional you look, act and talk. This does not mean you need the latest fashions, that you cannot arrive unshaven for work and expect people to take you seriously. It means making sure your shoes are polished, your appearance is neat, and that you can fit into any milieu (from a squatter camp to a presidential Press conference). It means learning and knowing proper etiquette, ensuring that you never stand out like a sore thumb that you are quiet and diplomatic and people can see that you know your job.

Attitude Attitude can be defined as “the right mental disposition towards the job�. It is your perception of the job, your inclination towards it, and the way you perform it. It means being humble, looking for work, not glamour. It means putting others first. Do not tell others how to do their jobs, and avoid complaining at all costs. Be there before everyone else, leave last, knowing you have done your best all day. Be willing to learn from everyone, to watch (another important way of learning), and learn to anticipate. Have a positive demeanor all the time.

Passion Passion is about loving what you do; it is about feeling with your heart. You must love what you do; you must love making images.

Cameramen are happiest when they have their eye on the eyepiece and are looking through the lens. That is passion. It is about finding ways to improve the images you make, the way you make them, and 79

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constantly seeking excellence.

Sometimes passion will take you (and a film) to places you never imagined. It will create the magic sparks that your rivals will envy and that will dazzle the critics. Passion is also about believing in something when no one else does, or wants to; when days are dark and friends are few. Oliver Stone hawked Platoon around Hollywood for 10 years. There are thousands of projects like that, and only passion will keep alive the spark that will see it finally turn into a lamp that lights the way. Passion is about also believing in yourself, and your principles, your striving after excellence and in fighting for what you believe in.

Commitment Commitment is a close ally to passion, which requires you to go the extra mile, to bite your tongue, to smile when you want to scream. It is about a level of maturity in you that will enable you to rise far above your contemporaries. It is about climbing that steep hill to get that shot you know will be amazing, it is about fetching the extra piece of equipment so you do not have to compromise. It is about working the hours that need to be worked, in order to get the job done, and more than that, done well. You must be committed to the overall objectives of the Director, the production crew. Commitment relates to your integrity and keeping FOCUSED on what is important in line with the goals and objectives.

A film crew is a TEAM. Being part of a team means working together. It means that team members have to communicate with each other. You have to get on with everyone. You have to work on your communication skills, and improve the way you get on with people. Everyone’s job is important, and it is important that everyone 80

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does their own job, because that is what creates success in production of a film.

Cinematography/Director Of Photography/Lighting Cameraman Cinematography is a translation of a narrative story or idea into a visual medium that is motion picture. You translate the Director’s vision into a visual language.

A Director of Photography is a visual story teller who must be completely familiar with and able to: light a studio and location settings; compose scenes, take meter readings; select lenses, determine the use of filters, gauzes, mattes, call attention to and solve any photographic problems pertaining to the production which may arise.

Whenever requested by the Producer, he/she shall help and advise the Producer; attend story conferences; give advice and suggestions in connection with the design and selection of sets, costumes, and locations as they relate to photography; and generally render assistance in simplifying production, and in heightening production values and affecting economies.

The Cameraman interprets the Director’s vision, establishing the visual mood of the film in consultation with the Director, and is overall responsible for the visual image. Traditionally, he or she is the senior crewmember on set. Cinematography is not moving camera from point A to B or just pointing it to an actor. It is an artistic journey, where you discover new things every day. What makes it fun is new cast, new locations and different directors. It is like a painter who uses different kinds of paint and canvas to produce a beautiful 81

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image.

What Does It Take To Be A DOP You do not need a special qualification to be a DOP. It takes skill, incredible focus, and dedication to the moment, trust in your instinct and years of hard work. Learning to be a unique filmmaker is a developmental process that is practice, practice and more practice.

It doesn’t take a muscles to be a DOP, it takes your mind. You don’t need to lift the light but you need to figure where to put it. – Natalie Haarhoff

Camera Operator (Second Cameraman) A camera operator must be completely familiar with and able to: execute smooth and efficient camera movements; maintain the composition(s) prescribed by the Director of Photography; certify each “take” as it relates to the camera operation; set the ground glass focus; regulate all shutter changes; note footage count; and assure the security of the mounted camera.

It was a huge shift for me to move from being a cameraman to a camera operator. When people ask me the difference, I always say a cameraman is the guy who shoots church, news and weddings but a camera operator is a DOP’s right hand who works under instructions. I came from a point where I thought I knew everything only to discover that what I knew did not work for me and I had to adjust quickly to learn.

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who met me half way. I have worked with Directors that don’t use a monitor for a quick shot but will ask me if I’m happy with the shot and if I am, we move on. Such freedom puts you on another level.

For a Director to ask you to execute a shot on your own, you must be really good.

First Assistant Cameraman (USA)/Focus Puller (UK) The first assistant cameraman has to be completely familiar with and able to check out camera equipment and accessories to determine they are in working order. He should check that no items are missing and inventory and record all raw stock assigned him. He must load magazines; assemble and prepare the camera at the photographic site, make hand tests; run the tape; set marks; handle the slate; make camera reports; set lens aperture; regulate all focus changes; record meter readings; execute use of filters, gauzes, mattes; change lenses; check gate; change magazines and thread cameras.

He must be able to disassemble and store camera equipment and accessories; charge camera batteries; unload and reload magazines; label pack and ship exposed stock to the laboratory; inventory film supply; present duplicate camera, raw stock and exposed stock reports to the Production Manager, and any further and incidental work required.

Second Assistant Cameraman ((USA)/Clapper Loader (UK) The second assistant cameraman has to be familiar with and able to do: Inventory and record all raw stock assigned him; Load magazines; Handle the slate; Make camera reports; 83

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Record meter readings; Charge camera batteries; Unload and reload magazines; Label pack and ship exposed stock to the laboratory; Re-inventory film supply; Present duplicate camera; Take Raw stock and exposed stock reports to the Production Manager; Assist the First Assistant in any, and all of his tasks, and any further and incidental work required.

It is very common that small production houses, in-plant industrial film units and news and documentary units may not always adhere closely to these definitions.

Nevertheless, before a person can call himself a Cameraman, he must know and be able to perform the duties of each classification. When I was a camera assistant, I didn’t have a car and the biggest challenge I had was charging batteries. So I had to make sure the moment I arrived on set I prepared my charging station so that there were fresh batteries for the next morning. That system worked for me but it might not work for everyone. There were times we had crazy calltimes like 3 am and I prided myself on never being late.

Gaffer A Gaffer is a DOP’s right hand man. He is responsible for designing and execution of lighting on a film set. He should be a qualified electrician who can use different lighting techniques to get the right light. He runs the Lighting Department. The Gaffer works with the Key Grip, who is in charge of some of the equipment related to the lighting. Depending on the size of the job, there will be crew 84

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members known as ‘electricians’, but some crewmembers may not be trained as actual electricians. They work for several years in different lighting roles before becoming a Gaffer. Before you become a Gaffer, you work as a Spark and then you are promoted to Best Boy. Many Gaffers work freelance and they often work with the same DOP’s (Director of Photography). They rig and point the different lamps, diffusers and reflectors. The Gaffer can sometimes play a large role deciding on the type of set lighting.

Grips “Grip” is the name for the person who is a rigging technician. They are part of their own department on the set of the film. They are responsible for all equipment below the actual camera (head, legs, tripods, cranes, dollies, car and aerial mounts, rigs, tracking vehicles etc.) and for the safety of camera and camera crew. The Grip is also in charge of the maintenance of the equipment to make sure it is working and ready to go when needed. He collaborates closely with the lighting and camera departments. The Grip’s job is also to make the movement of the camera as smooth as possible on dolly tracks.

Basic Rules On Set 1. Always be on time, or early. NEVER LATE. 2. Always read your call sheet the night before.

3. An important function for a camera assistant is to make tea or coffee, or fetch cool drinks during the day for your team. The Director and DOP are busy from the moment they arrive on set until the moment they leave, so they need your help. Look after their clothes, bags, sunglasses, and light meters, whatever. . . KEEP THEM HAPPY. 85

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4. Know each piece of equipment, what its correct name is, its function, where it is stored when it is not working and, if possible, how to fix it if it breaks.

5. When you are not fetching something from the truck, cleaning a filter, marking up a box or making tea; your place is BY THE CAMERA. 6. Be quiet on set. Do not ask questions at inappropriate times. The best attitude here is speak when spoken to. Question by all means, but choose your moment carefully.

7. Remember, the camera is a busy place. Do not crowd it with boxes.

Keep equipment near enough for quick access, but not so close it gets in everyone’s way. A good place is about 6-10 feet away. Never leave equipment in front of the camera.

8. Never try to do anyone else’s job without asking them first. You would hate to look for a box, only to find that someone has moved it and did not tell you. Make sure you have done your own job first.

Then ask others if you can help them. If you have to leave the camera, ask your senior, and tell them where you are going.

9. Keep your eyes and ears open and your mouth shut. When people talk around the camera, you can often get a good idea of what is going to happen next. You can plan ahead. This handy way of working works wonders. Being a good assistant is about learning to anticipate.

10. NEVER ARGUE. Especially with the Director. Keep a smile on your face, no matter how difficult it is. If you have a problem, go to your senior and ask to discuss it privately. He will take you aside the 86

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first free moment he has and will sort it out. If the problem is too big, he will take it higher. Shouting matches on set ARE TABOO. They exhibit your unprofessional behaviour. Anyone can make a mistake; we are all human (except for the Director). Everyone knows this. If you have messed up, own up (quietly) If you do not own up, you will get found out eventually. Take the punishment, but the next day it will be forgotten. This is professionalism. The Camera Department works on a basic premise of trust.

11. Make sure the batteries are always charged.

12. Attention to detail, neatness, organisation and cleanliness are other prized attributes. Not only do they make your life easier, they also show you care about your job. Your equipment and the way you do your job must exude professionalism.

13. Make routines for yourself, ways of doing things, certain procedures that are always followed. Develop your own way that works for you. When you have worked 26 hours and you can’t think any more, the routine will save you.

14. No matter how tired you are, FINISH THE JOB first. Keep the adrenaline going until the job is finished, then you can relax or slow down.

15. If you borrow anything, return it personally in the same condition.

16. During a take, do not talk or move. NEVER stand in front of the camera. Always keep an eye on where the camera is pointing. This could save you much embarrassment. If you have to cross in front of the camera, check if the DOP’s eye is not on the eyepiece; call out “CROSSING” just before you do so.

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17. DO NOT LITTER. If the camera crew smokes, get them an ashtray, or make one. Do not let stompies or poly cups lie around.

Keep the location/studio tidy and neat.

18. NEVER stand underneath, touch or walk under a crane. Do not touch other people’s equipment, such as props, lighting etc.

19. NO DRUGS, NO SMOKING, NO DRINK, NO TEMPER - EVER. 20. NEVER RUSH. Do not let anyone push you so hard that you make a mistake. Mistakes cost money. If you learn to anticipate, you generally will never get rushed. Everything ties together, with a good attitude and you will be more professional, better at your job, and you won’t get into these situations.

Duties Around The Camera

Stay with the camera. It is your place.

1. The Board (shown above)

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A slate is a means of identifying the take, synching up sound and picture, and providing additional information useful to the editor.

The camera records visually the information on the board, some of which is spoken and therefore recorded by the Sound person. When the board is clapped, the editor can “synch up� the sound with the picture using the sharp clap of the sticks with the visual image thereof. There are two types of slates: synch slates and insert slates.

The basic data a board will contain is: a) Scene, slate and take number b) Camera Roll number c) Sound Roll number d) Date e) Name of Production Company f ) Name of Production g) Name of Director h) Name of DOP i) Whether board is synch or insert j) Whether scene is Day Interior (D/I), Day Exterior (D/X), Night Interior (N/I) or Night Exterior (N/X) (applies to script, not actual conditions) k) Frame rate, language or other special information, like Guide Track (G/T), or Pick Up (P/U).

Numerals and letters must be clearly and legibly written. Number one has no hook at the top or horizontal line at base; the number seven has a bar through it in the European style; and the number six has a small bar underneath it to differentiate it from a nine on an end-board. The slate number changes every time the camera is moved or a lens focal length changes. A new take number is used for each subsequent take of the same slate. If using multi-camera 89

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setups, each camera should be insert slated beforehand, and one synch-board done for the take, or front-board for one camera, and end-board for another.

With multi-camera setups, the board is usually done for the A camera. As you learn the lens sizes, you learn to estimate how far away you should be for the board to fill the frame. This helps the editor. Insert slates should be done straight after the last take of the previous shot if possible, as this avoids a delay for the cameraman if he wants to roll immediately when the new shot is lit.

Synch slates are different. A FRONT BOARD is shown before the action commences. An END BOARD is shown on completion of the action, but before the camera is cut.

The procedure for synch slates is to verify the information on the board with Continuity and the sound-mixer before the take. Once they have acknowledged the board, you turn it towards the camera.

The Camera Operator will call “Board In” whereupon you offer the board up to the camera, holding it in a way that allows all the information to be read, and you to clap the sticks without moving the board.

The Operator will either frame the board, or tell you to move the board “Up”, “Down”, “Left”, or “Right”, “Upstage”, “Downstage”, “Flare”, “Clock” or “Anticlock”. Hold the clap-stick up with one hand, and hold the board firmly underneath with the other. The AD (or Director) will call “Roll Sound” at this point you wait for the Mixer to call “Rolling” or “Speed”. You then announce the scene, slate and take number and any other information required.

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“speed” he or the camera operator will call “Mark” or Mark It”. Bring the clap-stick down firmly and positively, not allowing it or the board to bounce or move. Hold the board motionless for about half a second then swing it down smartly and get out of frame as quickly as you can without crossing the frame.

For an End-board, do an insert slate before the take begins. When the Mixer calls “Rolling” or “Speed”, shout, “End board”. When the Director or AD calls “Cut” or “End-board” rush in with the board held upside down. Wait until the operator calls “Mark”, then clap the board as before. After the clap, announce the take, followed by the word “End-board”.

The reason why we clap the board first when it is an “End-board” is because before digital cameras were introduced, film stock was very expensive. It is done fast to save the reel. If the clapstick is framed out, or missed by the operator, “Second Clap” will be called for. Make sure the board is properly framed this time, call “Second Clap” loudly and mark the board again.

On commercials, often only the head of the roll is marked and many takes, even slates are done without ID. Check beforehand. I remember my first day back in the day when I used to be a camera assistant. It was a train wreck until the continuity lady and my focus puller gave me a heads up on how to write the camera info and do the board correctly. A few days later I bought my own clapper board and pracised at home. The most important thing when shooting with two or 3 cameras, I look at my lens first then I find the point of convergence, that’s the axis where both cameras are able to see the board.

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2. Standby Duties

- Stay with the camera as much as possible.

- Keep an eye on the footage.

- NEVER LET THE CAMERA RUN OUT. - Standby battery, tape and cleaning equipment should be nearby.

It may include other lenses, matte boxes, filters, other equipment, or another camera.

- You may be required to cut little triangles (focus markers for the lens).

- Do whatever you are asked to do IMMEDIATELY AND WITHOUT QUESTION. - You should never, from the moment you arrive until the moment you leave, have a moment to forget your job. There is always something to do. Keep busy - it looks good.

- NEVER TRY TO BE CUNNING, or show off. You will make a fool of yourself; you might hurt yourself, damage equipment or endanger the production. There is no romance in films, just hard work and professionalism.

- Make markers for the filters. Keep them small and neat.

- Ensure the camera is positioned correctly, the tripod is bubbled, and the camera is balanced depending on the size of the battery, matt box and lens size.

- Make certain the friction and balance is on the camera head before the camera goes on so the camera doesn’t drop suddenly when the lock comes off.

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- Make sure the lens, filter and sensors are checked for dust, and the eyepiece is clean and covered.

The Camera Report Card During shooting, keep a record of important information such as time codes; whether shots were interview (IV) or B-Roll; or other special information such as filters, special lighting, effects, aerials etc.

On dramas, you may need more detail.

3. Second Camera Shooting When you only have one crew, work may be very hard. If you are unsure of anything, ASK. DO NOT TRY TO BUSK IT. You could make a serious mistake. This is why you should be improving your technical knowledge of the equipment all the time, so you can step into these kinds of situations with confidence.

It also gives you a chance to begin working out your routines for when you move up to the next category. Start learning to estimate distances, in feet, learn what to remember and what to watch out for, in short, try to learn as much as you can. In this way, when you land up in a situation that takes you out of your depth, you can handle the pressure calmly and in a professional way.

4. Priorities On Dawn And Dusk Shoots “Magic Hour”. I like calling it “Happy Hour” although it is often more than that, and can be two to four hours of intensive, sweaty labour and panic; going through more stock than is used the entire

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day, possibly with two cameras and lots of shouting and running around.

The only magic thing about it is the quality of the light. It is the duty of the camera crew to take full advantage of that light, and to cram as much of it as possible into the can. A good camera crew will simply move into a higher, smoother, faster gear at this time. A bad crew will panic, shout and run around in circles.

The main thing to remember is that you are fighting the light. The sun doesn’t stand still to allow you to change a filter, battery, tape or lens. Dawn shoots are the worst. Call up time is very early and you have to prepare the camera in the dark, often when it is cold, and the grass is wet and slippery, and everyone is in a bad mood. A thermos flask of hot coffee really helps in these situations. You are remembered for such tiny details.

Gloves with the thumb and first two finger ends nipped off help too. So do balaclavas, snow boots, scarves etc. Keep sun block with an SPF of at least 20 on you and force it on the camera crew if you are going to be in the sun all day. You may have to handhold to flag the sun off the lens. If you are going to do this, learn how to do it correctly, there is nothing more irritating than a flag wavering on the edge of frame.

Always have an extra battery standing by; they always die at critical moments. The more you do them, the more you know what to expect.

They never get easier; you just get more adept at them.

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pain in the neck. Your duty is to learn to love it and look after it.

In the old days, cameramen had to explain to directors what had happened in the shot. The director would tell the agency and client it was fine or it was not. Nowadays, everyone wants to direct, and the agency and client look at this video screen and imagine their name is Spielberg. Learn how to calibrate and set it up (together with the eyepiece) and then TAPE IT DOWN!

6. The Camera Vehicle The camera vehicle is the camera assistant’s responsibility. You have to keep it safe, clean and neat. Drive it carefully. Keep it locked, parked in the shade and full of nice little surprises, like cold beer for Wrap; coffee first thing in the morning, cellular phones, extra cigarettes, chocolates, rubbish bags etc. The day you tell yourself you want to be a filmmaker you must get a driver’s license. You might struggle to move from point A to B but if you have a license, your HOD may well suggest you drive the camera vehicle.

On features, the camera truck driver (it will normally be a 10-ton truck with shelves and a darkroom) will look after the truck and keep it clean. On smaller productions, it is your job. Pack boxes so they can be pulled out of the van easily. Boxes not used very often should be stacked further away from the entrances and those used a lot, stacked at the door. Make sure things can’t rattle around, and that everything is firmly packed - in the event of an accident, you do not want twenty heavy steel boxes with sharp edges flying around your head. Keep the stock in a cool place, under space blankets or white clothes, or in cooler boxes.

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7. Filters The “art” in cinematography lies not only in the creative use of lighting, but also in the equally creative use of filters placed in front of the camera lens. Lighting may well be described as “additive” in process, while the use of filters is more “subtractive”. Together they are by far and away the most important means of image manipulation available to the Director of Photography.

Filter is defined as a coloured plate allowing only certain colours or intensity of light to pass, or excluding or modifying certain radiations or frequencies. In film, this is usually a glass filter, sometimes gelatine, Perspex or plastic. Filters placed in front of a lens, whether there to control the colour, the quantity or quality of the light, or for the purpose of optical effect, need to be every bit as good optically as the lenses with which they are used. Filters that are not perfectly flat and parallel, become lenses in their own right. The filters to be most careful of, are laminated sandwich types where a layer of gelatine is glued between two sheets of glass. There are also gelatine filters which can be placed internally or behind the lens, and which are most often used for telephoto lenses. Gel filters must be scrupulously clean and free of even the smallest speck of dust. To avoid finger marks, gel filters should be cut out of a large sheet to exact size. Nets (BOL). All filters must be protected from stray light just as much as lenses. Mattes, matte boxes, sunshades, adjustable flags and donuts should be used. There are many kinds.

Demo (with camera, lens and matte box): 1. Colour Correction Filters: 85, 85B, 81EF, 80A etc.

2. Neutral Density Filters: ND.3, .6, .9, Polariser, 85ND filters, ND 96

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Grads (h), (s).

3. Graduated Filters: NDs, Colour Grads, Corals, Sunsets etc.

4. Diffusion Filters: Fogs, Pro-mists (B/W), LCs, Diff, Double Fogs, Nets, Stockings etc 5. Special Effects Filters: Chocolates, Starburst, enhancers, Op Fl, Other methods (Vaseline, etc).

Filter Factors. Marking Filters. Exposure compensation. Changing Filters.

How to tape on a filter. Aerials. Car Mounts. Care of Filters.

8. The Ditty Bag / Unit Bag The Ditty Bag contains many items that can save the shoot, or your reputation, because you have the right tool at the right moment.

Every camera assistant has one, and every good camera assistant works at building it up - it is never complete. The important thing to remember is that it must be highly mobile, highly flexible, as light as possible, yet including the most useful things. As you work, you will become aware of what the most important tools are and what you need.When you buy tools, go for the best, they will last the longest, and reward you with good service. They also feel good to use.

9. Must Haves: You must always have the following kit at hand: Leatherman Set Jeweller’s Screwdrivers (both flat and star) Large Screwdriver (flat) #7 Small screwdriver (flat) #0 (this one is hard to find!)

Medium long screwdriver (flat) #3 or #4 Medium screwdriver (star) #1 or #2 97

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Small electrical screwdriver Set Metric Allen Keys Set Imperial Allen Keys Medium adjustable wrench Pair medium pliers Pair needle nose pliers Pair electrical side cutters Pair grip pliers Stanley knife Pair good fine scissors Small spirit level Pair gloves (with fingertips cut off ) Small bottle alcohol Earbuds Orangewood sticks Elastic bands (assorted) Tiffen lens cleaning liquid

Tiffen lens cleaning paper Assorted coki pens and markers Pair of tweezers with fine point Mag cards Piece of black wrap Piece of black velvet Selvert or chamois leather Small roll of camera tape (Rotunda) Prestick Sun Block (SPF 20) Blistex (lip balm) Peak cap Extra can labels X-ray stickers Dust-off nozzle and refill 1” paintbrush Gaffer tapes (assorted)

10. At The End Of The Day Many things happen at the end of the day. Especially if it has been a long day. The moment the Assistant Director calls “That’s a WRAP!”, everyone begins to put away their gear, and to make sure they are ready for the following day.

You still have quite a lot of work to do. First, take all the equipment back to the camera vehicle. Wrap the camera. Label the tapes. Check you have the correct number of tapes. The camera vehicle has to be driven in a responsible way. People have crashed camera wagons and died because of careless driving, speeding or drunkenness. You are 98

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expected to maintain the speed limit and drive with care.

The end of the day is also a time when your senior may want to talk to you about the day: good points and bad. You have to work together as a team, so listen and learn. It may not be from your perspective, but it is another view. Try to see it like that. Try to get better every day.

Defects or faults in the equipment should be marked with gaffer tape so the rental company can fix them when the equipment is returned, or exchanged at the production office. Remember rental companies are not psychic; they can only fix faults they know about.

The end of the day is also a time to review your behaviour and performance personally. Think about what you did, how you could improve it, what you learned, what you did and how you could make it better. It may also be a time to enjoy the beautiful light, a long drive home, time out in an unexpected place to think about your life, your career, and other important things.

Choosing The Camera The story determines everything. You can’t make a camera choice until you know the story. The camera format is not important. It does not guarantee you success. The success is in what you can do with that camera. Modern day’s films are shot on 8mm, 16 mm and 35mm film reels, although we now shoot digital on Alexa, Red and DSLRs. Shooting on film is very expensive compared to digital and the process of developing the film reels in the laboratories is very long.

Once you shoot on film, you can’t play it back until the film has been developed. The good thing about film is you are guaranteed to get what you see on the viewfinder. Digital footage might look very good as you are busy shooting but once it is transferred onto the computer, 99

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it looks different and sometimes you will have to shoot it again.

Sometimes a director will have a say on the format depending on what he wants to achieve at the end of the day. The DOP will call the cameras out by name for example Camera A produces a lovely picture but underperforms at night. Camera B has a good dynamic range but it needs a lot of light. Camera C has a high quality image but difficult to operate. It will then be easy for the Director to choose.

Depending on the film and visuals the Director wants, he will tell the DOP to use a specific camera. Most DOP’s are looking for director partners. Most directors stick with their DOP’s.

The Responsibilities Of The Cinematographer Our thanks to John Hora ASC who drew up this list for publication in the ‘American Cinematographer’ magazine website.

He works closely with the director to write the second draft of the film.

Pre-Production (a). Conceptual Research and Design discuss all aspects of script and director’s approach to picture in preliminary talks with Director o Analyse script as whole o Analyse story structure o Analyse characters o Research period, events, general subject and appropriate design elements o Devise style, visualise approach o Continue talks with director on new ideas o Come to agreement with director o Discuss and come to agreement with production designer 100

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o

Discuss and research with technical advisor

(b). Practical Research and Design o o o o o o o

Ascertain or find out budget requirements Recce and approve locations Plot sun position for locations Check local weather Check tide tables near ocean Review, discuss and approve set plans Review and approve props, action vehicles, airplanes, boats, horse-drawn vehicles, mock-ups and miniatures

(c). Technical Research and Design o

o o o o o o o o

Visit laboratory to calibrate, customise and evaluate exposure system for any combination of electronic or chemical image capture; and establish developing, printing, set timing and transfer protocols Visit rental houses Explore new equipment Learn how new equipment works Invent special equipment or techniques Standardise and create Effects Bible Help create and approve any story boards Design (or cause to be designed) and approve any built-in or practical lighting fixture Design lighting-plot plan and rigging for stages and locations with gaffer and key grip

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(d). Quality Control o o o o o o o o o o o

Choose and approve crew, film stock, lab, equipment, second-unit and visual-effects crews Supervise manufacture and testing of new or modified equipment Visit sets under construction Approve wild walls, ceiling pieces and any moving set pieces Check lighting-fixture crew Walk locations and stages with all departments to discuss requirements Approve set colours and textures Approve costume colours and textures Approve makeup and hair Generate (or cause to be generated) and approve equipment lists for camera, electric and grip Check rushes screening rooms for correct standards and/ or check quality of rushes tele-cined to tape.

(e). Implementation o Approve stand-ins o Train crew to use any new equipment o Walk locations and stages with director and devise shooting plan o Make list of special equipment for production manager and indicate number of days required o Work with assistant director on shooting schedule (order of and days required for each scene) o Estimate and order film stock (type, size and quantity) o Generate (or cause to be generated) and approve rigging and shooting manpower and man-days 102

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o o o o o o o

Assist other departments in getting required equipment, manpower and tests Maintain regular contact with other department heads.

Mediate any problems between departments Check loading of production trucks or cargo containers for location or international shipping Visit cast run-throughs and rehearsals Advise and back up director on any problems Help producer or studio solve any production problems

(f ). Testing o Shoot tests for style o Shoot tests for lab o Shoot tests for lighting of principal actors o Shoot tests for camera and lenses o Shoot tests for wardrobe and makeup o Shoot tests for any special effects processes, unusual rigs, props or methods.

Shooting (a). Planning o Check and approve all call sheets and shooting order of the day’s work (b). Blocking o Watch rehearsal of scene to be shot o Devise shot list with director (coverage) o Choose lens and composition; show to director for approval o Make sure composition and movement fulfill scene task o Work out mechanical problems with camera operator, 103

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o o o o

assistant camera, dolly and crane grips Set any camera-movement cues Place stand-ins and rehearse, fine-tune Ensure proper coverage of scene for editor Work with assistant director on background action

(c). Lighting o Design lighting to show set/location to best advantage relative to story, style and dramatic content o Light each actor to reinforce and reveal character o Make sure mood and tone of light help to tell story o Design light for minimum reset time between set-ups o Utilise standby painter for control of highlights, shadows, ageing, dusting-down of sets and props o Set any lighting cues (dimmers, spot lights, colour changes and any pre-programming) (d). Preparation o Work out any sound problems o Work out any problems with other departments o Check, set and approve all stunts with stunt coordinator o Set any additional cameras required for stunts o Double-check safety with all concerned o Show shot to director to make any final changes o Get actors in for final mechanical rehearsal; solve any outstanding problems (e). Photography o Photograph scene o Approve or correct take o Check parameters and reset for next take o Shoot any plates 104

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Shoot any video playback material o Move to next set-up o

(f ). Administrative o Define first set-up in morning and after lunch o Make sure that stills are taken of scene o See that “making of ” and/or EPK crews get needed footage o Make sure script supervisor has any special camera or lighting notes o Check film raw stock inventory o Try to shoot up short ends o Check that camera logbook is being kept up to date o Complete day’s work o Discuss first set-up for the next day o Ensure that camera, electrical, and grip crews get all copies of equipment rental or purchase invoices and approve before accountants pay vendors o Take care of any future or ongoing production issues o Answer any questions about future problems o Visit production manager and producer at end of day o Check for return of all unused equipment (g). Quality Control o Call in for lab report o View previous day’s work in projected rushes with director, producer, editor and camera crew o Discuss and approve rushes o Consult with makeup, wardrobe, production designer and assistant director about rushes o View, discuss, correct or approve second-unit or effects rushes o Order reprints if necessary 105

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(h). Training o Teach beginning actors movie technique (hitting marks, size of frame, lenses, etc.) o Train camera crew for next job up the ladder. Contingency planning o If director is disabled, finish days shooting for him or her.

Post Production (a). Additional Photography o Discuss and be aware of delivery dates for all postproduction o Photograph or approve any additional scenes, inserts, special effects or second-unit footage. (b). Grading (Colour and Density) o Grade and approve trailer for theatres and TV o Approve all optical and digital effects composites o Grade the picture o Regrade until correct (c). Quality Control o Approve final answer print o Show to director for OK o Approve interpositive (IP) “Good films are not made by accident, nor is good photography. You can have good things happen, on occasion, by accident that can be applied at that moment in a film, but your craft isn’t structured around such things,

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except in beer commercials.” – Gordon Willis, ASC

How Cinematographers Collaborate With Directors There are two sides of the story. The Cinematographer and the Director are both on the higher level of contributing ideas when it comes to decision-making, but the Directors will go with what works for them. You need to reach a joint agreement. As much as the Director suggests the colour red for an actor, it is the Cinematographer who approves or not because red might not look good on the screen.

Directors always associate with Cinematographers whose work and style he likes. Some Cinematographers hate working with Directors who knows too much about camera work. Everyone has his or her own duties to accomplish the Director’s vision. Sometimes it might have to be a compromise especially in television where time is of the essence and schedules are tight. If both of you are story driven and the shot the Director wants doesn’t work, you can ask the Director how the shot affects or enhances the story and if it does improve the story, he might try it.

Blocking The Scene When the Director is blocking the scene with actors, it is your duty as a Cinematographer to watch closely so you will be able to frame, know what lens to use, where to position the camera and the lights.

How much space is between the subject and the camera? Rehearsal is very important to the actors so they know exactly what they are supposed to do. The Director and the Cinematographer must also watch the camera movement, and check the lighting and reposition the actors away from blocking the lights. I watch every blocking with the DP and the Director so I can visualise the camera movements in 107

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my head and figure out the best way of executing it. Some blockings look very impossible to execute and the only thing I do is trust God that my instincts will guide me.

Camera Shots Camera shots demonstrate different aspects of filmsettings, characters. Camera shots are very important to bring meaning, flavour, change, or a spark to a scene. Add to a filmmaker’s interest by moving the camera closer or further depending on the lens used.

Camera shots improve your story and keep your audience interested.

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you go to set you practise it during lunch time when you do not have anything to disturb you.

Three Common Shots Described In The Diagram Above Every film has three common shots such as wide, medium, close up - picture in between.

Full Shot - some they call it a long shot frame showing the whole body of a human being. Shows lot of details in the background.

Can be used as an establishing shot.

Medium Shot - normally it’s a dialogue shot which can be used when doing a behind the shoulder shot. Shows what character will do with hand movement.

Close Up - character face, express emotions used to make viewers extra comfortable or uncomfortable about a character. You can use a zoom lens for that.

Storyboard A storyboard is a rough illustration of all the shots in your film. Its a very important part of pre-production as it will increase the value of production. Its a great idea to create one before you make the film. You make it to help you order your thoughts and to help those helping you make the film, understand what you are trying to do.

You can make one out of still photos www.celtex.com is free script writing software with storyboard.

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Height Of The Camera How you position the camera can tell a story differently High angles make someone look weak Low angles make someone look dominant Face level makes someone look normal The only time you can shoot high and low angles is when some characters are standing and while some are seated within the same scene. It also depends on the story. I worked with a Director who was very creative and he would shoot from a low angle and still get incredible results.

How Does Continuity Affect The Camera Department Someone once said, the key of the film lies on continuity. It is very important to have actions, wardrobe, lighting and props all consistent from shot to shot, scene to scene. Films are shot out of sequence which why you need to master continuity. For example if it’s a telephone conversation, you might need to remember if the first conversation was shot, right to left or left to right.

EYE LINES – should always be described from the POINT OF VIEW Most of the good things in pictures happen by accident. – John Ford

Moving The Camera Artists spend time analyzing, imagining the texture the pain, what flavour will it add to make the picture beautiful. – Leonard Cohen Steady shots are boring which is why filmmakers tend to move 110

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the camera. If you move the camera in a smooth way, audience will continue to look at the subject (use a dolly). If you use the handheld, audience are distracted by the camera as a static subject. Giving a steady but on a moving subject (use wide lens) and you will get better results. But if you use a long lens on a moving subject you get a lot of shaking in your shots. Small cameras are very light and are a challenge to control on handheld tracks.

Pulling Focus Adjusting focus during a shot is called pulling focus. It is a highly skilled and a difficult job to do. Not every camera operator can pull focus successfully or well. Use marks to help you. If you want to learn to pull focus, take a long lens and practice on moving cars. The tape measure and an HD monitor are your best friends.

I remember the day I started operating and pulling focus for myself, it was a train wreck but I had a loving boss who ended up giving me some tips and adding peaking on my viewfinder. I noticed if you start pulling on a Canon Zoom Still lens you will learn quicker and pull at a professional level so that when you get to pull on the Zeen, Cooke S4 and the Carl Zeiss it will be a walk through.

It helps you to get the right lens distance between subject and camera.

It is measured in feet. A good focus puller always comes with his / her own focus gear and focus rings and monitor to save the day.

Frame Rate Is a reproduction of movement (speed of movement). It is like a little shutter in your eye recording one picture to 24 pictures per second. If you slow it down or speed it up, you can change time. Each 111

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successive picture is a frame. Is the rate at which your camera records still images. Normally we shoot at 24fps (frames per second). If you slow that down, it becomes fast and if you pass that, it becomes slow.

Slow Motion Used to give audience an understanding of a certain piece of action, it highlights the importance and detail of that action. These are special moments in the story to surprise the audience.

Shutter Speed Is the length of time a camera shutter is open to expose light into the camera sensor. Is the speed of which the camera takes each single photograph. Slow shutter speeds allow more light into the camera sensor and cause anything moving to be blurry Fast – anything moving will be sharp 30FPS – SHUTTER 1/60 25 FPS – SHUTTER 1/50 500 FPS – SHUTTER 1000

Iris / Aperture The lens is your eye F STOP Lenses have different f-stops Shooting with a lens with a lower f-stop – dark situation F 1.8 the image gets lighter because the hole is larger and more light can enter.

ISO

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Measures the sensitivity of the image sensor. The same principles apply as in photography – the lower the number the less sensitive your camera is to light and the finer the grain. Higher ISO settings are generally used in darker situations to get faster shutter speeds. If you want faster shutter speeds, you’ll have to increase your ISO (“turn up the volume”), at the cost of bringing out noise.

Depth Of Field How much is in focus in front and behind. That foreground in front of the subject adds flavour to the scene.

Natural Density Filter It is grey It does not change colour It locks down the amount of light that’s there You can still get a good exposure without using an ND FILTER. Using it, allows you to have more control on the F STOP and SHUTTER SPEED.

POLARISER FILTER It cuts the glare and reflection It helps you to see colour clearly It enhances the cloud

Framing And Composition Its a story telling tool Stills photographers and painters choose where they want to be in the frame, depending where in the world they are.

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Framing Your Shot It depends on the story. When I was shooting church and weddings, I was told to keep the subject in the middle and in film it doesn’t work like that. It can either be frame right to left ot left to right of camera giving an actor looking room. Try put major objects in the frame 1/3 up; 1/3 down or 1/3 across. Framing the horizon in the middle of the frame is not satisfactory.

Lenses Lenses are the camera’s eyes through which you see the world. It is not recommended that you choose a lens before you know your story.

Every lens has a character - just like light. Film and DSLR cameras come with no lens. The smaller the number, the wider it is. The secret of the lens is its ability to open the Iris. Lenses read in inches and feet.

If you were to buy yourself a lens, you should consider the following; • • • • • • •

What does it see How well can it see How far or wide it can see How much light it needs to see Image quality Single F-stop better How fast or slow is it

Two Common Lenses There are two types of lens you will find in this industry: the Prime lens and Zoom lens.

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#Prime Lens This is the most common lens that most use. It is a lens with one focal length. It opens to a very wide aperture. They are smaller, lighter and better quality.

These are fast lenses that have one or two rings on them - mostly the focus ring and the iris ring. Most of these lens come with a lowest F-stop like 1.2 or 2.8

#Zoom Lens This is the biggest and longest lens you can find on the market. Zoom lens have a range of focal lengths. They are slow and heavy. These lens come with three rings: zoom, iris and focus ring. They come with a low bridge support. They can see from 70 to 200mm, 24 to 105mm, 20 to 300mm or 45 to 250mm. You can shoot both wide and longer focal length without switching lenses. Their lowest F-stop can be 2,8 or 4. Nowadays it comes with a separate gadget called a MICRO FORCE. This is electronically controlled by the DP to zoom in and out.

Zoom out - wide lens Zoom in - long lens Long lens – compresses features on face Wide lens- expands features on the face

Care And Handling Of Lenses It might take you a day or two to learn how to clean and handle a lens properly. Lenses are very fragile and if you drop a lens, it will cost you a fortune and will ruin shooting and put the set on hold until they 115

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find a replacement. Some focus pullers have marked lens with a pen or marker because they are lazy. If your HOD sees you doing that, you will get fired because you have no respect for your gear.

Changing The Lens Changing the lens is critical process done by the focus puller and the camera assistant. You have to be careful you do not leave the camera sensor exposed. There is a certain way you hand the lens to the next person and how you hold it. When passing lenses make sure you are doing it in a way the focus puller or operator is expecting. When you pass a lens to someone, that person must shout, I got it then you can let it go.

Resetting Lenses Reset lenses to infinity and wide open when stored in the lens case.

Before doing lens changes, note the aperture and focus setting and set the next lens to that stop and position. Blow all dust off the lens before wiping with a cloth. Never clean a lens with a dry tissue.

White Balance White balance it is where you choose to place colour white in your frame and colour changes as you shift. If you do white balance outside and you move inside where there is candle light, it feels warmer.

Daylight will make the interior look warmer. If you do white balance on candlelight and take the camera outside into daylight, the camera sees blue.

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White Balance Specifics The world you look at outside is lit by sun and has a certain colour temperature. The world indoors is lit by house lighting bulbs and has is a different colour temperature. White balance is a tool for determining what the correct color temperature is for the reproduction of film.

DSLR white balance set to 2500k, 10 000k the numbers depends on your choice. On film cameras, you can set it on 5600k for day scenes and 3200k for interior night scenes and 4300k for exterior night.

Location Location has a very important role in relation to the film. For you to tell a complex story, you need an outstanding location. It is the same thing when you are recording music. If you add a guitar, keyboard and drums to the song, it becomes a better mix of music due to the higher number of instruments playing the melody.

Location is very important and dependent on the story that you want to tell. You need to understand how light will affect you at that location and what colour the location is where your film is set.

Directors and DOP’s often fail to master locations because they may have not taken advantage of the unit department in charge of location. As a filmmaker, you have to be happy with the location where you will be shooting. During your spare time as you sit and relax, you must reflect on the set and location from where you will be shooting. It will help you to tell a story in a better way.

Backgrounds

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A background is what makes your image stands out.

Choosing the backgrounzd is very important as it adds flavour to the frame.

Always remove everything in the frame that is unnecessary Compose the background When planning the shot, always check your contrast

WORKING WITH LIGHTS Light In Film I like simplicity. I like using natural sources. I like images to look natural - as though somebody sitting in a room by a lamp is being lit by that lamp. – Roger Deakins For you to capture great images you need to understand lighting.

Light is not just used to see, but also to shape the film. You use light to give the film a character or mood. 3-point lighting is a means to describe how you light something. 3-point lighting is not a rule how you master light, but it helps you to understand the basic lighting.

Components Of 3-Point Lighting 3-point lighting has: - Key light as the main light falling on the subject.

- Fill - Back light.

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where you create everything using light. Looking at the reflections in peoples’ eyes is one way you can find out where lights have been placed; and knowing what sort of reflectors or diffusion was used is a good way of learning lighting. There are many lights used in film and you will discover that every light has its own purpose/ character.

Soft And Hard Light Hard light comes from a single point It emphases the texture and shape Soft light makes skin looks very smooth Lights are hot, so you can bounce the light off a wall or poly board but be careful and make sure you do not burn the paper or reflector or wall.

Moving your lights around the subject is the best way to experiment.

Makes the canvas you drawing on Low light – the DOP has to find light If you do not have light, you cannot shoot a film. In extreme cases, you might as well bounce the reflectors to make that scene work.

Night scene – its very interesting to create your scene with light Everything starts in the dark - then you start to create the mood and shape your scene based on your lighting.

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on set to capture the best of it. It is something you cannot avoid - it has to be real. If the sound is bad, the audience may not like that film.

For the best sound, you need a disciplined soundman that has an ear for music and various sound tempos.

I got a phone call one morning asking me if I did sound and I said yes. They called me in for an interview. After I showed them some of my previous work, they decided they wanted to work with me.

They told me they were shooting 20 Afrikaans movies, which were 45 mins to one hour. I told the producer that I didn’t understand a single word of Afrikaans and they told me sound has nothing to do with language – ‘We love your work, that’s what is important.’ I ended up shooting eight out of 20 movies and what helped pull me through were the rehearsals. The only challenge I faced was mixing and swinging at the same time all by myself. It was a good experience and now I love it.

It was a huge shift for me to move from church sound to film sound.

I thought it was all the same: sound is sound.

On set, you cannot allow other foreign sounds like birds chirping, airplanes, or unrelated music in the background to intrude on the film audio. This is unacceptable. If you get an opportunity to working with a Director who will give you authority to cut the scene as soon you hear foreign sounds and distractions, it will give you an opportunity to understand the dynamics of sound better.

You need to have a good ear to listen and master voices. The most important tool of a soundman is a pair of headphones. You need to invest in proper headphones that will give you clean sound without interference. Just like a DJ who uses very expensive headphones.

Always record ambience or buzz track on every location.

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help the editor to maintain the same ambience for that particular scene. Sound is not just about putting a boom microphone on someone’s head. It looks simple from afar but it is difficult.

You must know the types of microphones and when to use a lapel, a directional or an omni-directional microphone. The boom is very heavy once you open it fully. Its five metres long and to hold a five metre boom for a 5-minute scene is hard work - you will feel the muscles. The sound team goes crazy when the Director and Cinematographer want to shoot a wide on a 16 or 10mm lens.

An experienced boom swinger asks for an edge from the Camera Operator so they don’t dip the boom in the frame. The script is not only read by the Director and actors, but by everyone involved in contributing to that picture. As a Boom Swinger, you must know where special sound is emphasized and how to follow dialogue when the actors speak.

Today everyone wants to be a sound recordist and they do not want to operate the boom. One man said to me, for me to teach you how to mix, you must boom swing for me for 5 years. As a soundman you never take advantage of ADR and always give your best.

To be a good soundman, do not master audio levels alone; let your ear guide you. Recording bits confuse many people. Common recording bits you will come across are 12, 16, and 24 bits. You will have to tell all of them and see which one gives you better quality.

The art of working with the camera operator is a science in itself.

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profile work.

As a sound recordist, your job is to record dialogue and general sound of the location, which we call ambience. There are times when you will be asked to record voice-overs and you must be careful of overlaps so the editors have room to cut.

Training Before you get to film, there are many avenues were you could exercise your skill. Go into broadcasting, Television, start your own company, join an existing media house, or shoot weddings. If your overall vision is film, do not stay there too long - make a show reel and watch a lot of films. To learn to use the camera you do not need an expensive one. Some form of training recommended for an aspiring camera operator, is a special form of training for big cameras. Very few schools will teach you camera operating but seldom on a Red Epic, Arri Alexa or Sony F55. These are film cameras and they shoot on 2K and some higher. Most schools teach you on HDV cameras such as PD150, PD170, and Z7 etc. These HDV cameras still do a great job in the industry. Most photojournalists who are into wildlife, work with these cameras.

Why these cameras?

The primary reason is that they are manageable, easy to carry and run around with it. These cameras have their own advantages and disadvantages over digital cameras.

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card. Someone can easily format them. That’s why it is advisable on big sets to save raw footage on three different external hard drives after each and every scene.

Disadvantages There are also high-speed cameras such as the Phantom or the Cine Flex. You have to be highly knowledgeable and well skilled before you can shoot on them. To train for such a camera you need one or two weeks. When you start working with these cameras, you specialize because they are very expensive to hire as well. They are normally used when you want to capture special moments like big cats bringing down their prey and shoot at 3000 frames per second (fps). Such training is offered by Media Film Services www.mediafilmservice. com and Visual Impact www.visuals.tv You are always a student, never a master. You have to keep moving forward. – Roger Deakins.

Contrast is what makes photography interesting. – Conrad Hall.

Every cinematographer I worked with had his own way of solving problems. – Conrad Hall.`

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6 EDITING Editing is the last process in the writing process of a film.An editor is the third person who writes the film. An editor has to capture and put the story together by correcting mistakes done during production. Editing is postproduction that includes everything that has happened on set. I began editing on the Adobe Premier 1,5 back in early 2000. That software was great in those days and today only a few still have it and now people enjoy working with updated versions.

Editing is not about showing us the character who is delivering the dialogue; it is about storytelling in a chronological order. It is a discipline that might only suit certain people because it is a combination of artistic and digital skills. It is storytelling for people who are creative and who can tell a story using images and audio.

It needs patience because you view material over again repeatedly.

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Astute producers always require their editors to start editing from the first day of shooting. Provide them with enough paper work such as camera reports, continuity and sound reports.

Telling A Story It depends what the story is and how you want to tell it. It can be a documentary, drama or a feature. Storytelling in wildlife and documentaries is scripted and sometimes the script is written after editing but this is extremely rare as most editors require and prefer a script to work from. The script is very important where the timing of their footage and music in a scene is concerned.

‘I like to edit my sentences as I write them. I rearrange a sentence many times before moving on to the next one. For me, that editing process feels like a form of play, like a puzzle that needs solving, and it’s one of the most satisfying parts of writing.’

- Karen Thompson Walker

Telling A Narrative Your content is the key point. What is the nature of your content?

Content changes all the time as it evolves with the current trends and genres.

Everyone from the Writer, Director, and the DOP adds flavour to the script / story to make it exciting. When all that is brought in for editing, it is up to the editors to polish it and package it together into the final product that the audience will see – although there is continuous input from the Director and/or Producer as to how the final story is put across. After what has been done on set, we do replacements; voice a character, loss of character lines and change the way the script affects the ending.

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Ending It depends on the producer Its a perception of what they think the audience will prefer That’s why sometimes they make three endings

Software For Beginners Windows Movie Maker, iMedia, iMovie Basically, it is not about fancy software, its about storytelling and what shots to use and what the next shot is about Transition has no effect on the narrative Editing is cutting and pasting - that’s 90% of editing – but an editor must also know how to tell a story or the scenes that are cut and pasted together will not flow smoothly and the film will be unpleasant to watch.

Do I want the scene here or there?

Am I going to cut to a close up now or later?

Do I start with a medium shot?

Am I going to use that shot or not?

Opening Scenes Opening scene is what makes the story. Its like the foundation of a building. Directors have invested so much time to make magic with the opening shot.

There are reasons why you choose a shot based on the emotions of the scene: What is the nature of the scene?

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Where is the drama?

Why a wide, a close up, or medium?

You are asking yourself questions all the time Why this particular dialogue?

What is the point?

What are you telling the audience?

Difficult Thing To Do In Editing That’s the thing about making a movie: You never finish editing. They just take it away from you. – Abel Ferrara When you’re in the editing room, the dangerous thing is that it becomes like telling a joke again and again and again. Eventually, the joke starts to not be funny. So you have to be careful that you’re not throwing the baby out with the bath water. – Ridley Scott

Cutting And Pasting Are shots cut in a satisfactory way and placed to fit each other in the right sequence?

Getting Into The Industry If I can have the opportunity to go into an editing room, its like the golden ticket for me. All I want is to learn about everything else in the filmmaking process. – Nikki Reed If you’re not prepared, and you’re not passionate, and you don’t push yourself to a level of human exhaustion on every level, mentally and physically and creatively... I’ve seen directors who approach it casually,

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and they do somehow maintain better hours... but I could never be that guy. I am up and editing all night. – Drew Barrymore • • •

• • •

•

• • •

Be computer literate Learn your computer inside out A computer is your tool just like a Cinematographer must know his camera: How to use it properly and how to compose and expose correctly and know how to tell a story better through the camera.

Learn how to use Microsoft Word, and know how to use the internet. Google helps as well.

Learn the short cut keys.

In editing, there is limited time. There are many short cut command keys on the keyboard and you have to learn them Once you are in the edit suite, you do not have time to go back to your tutorials to check how ABC is done while the Director is watching or waiting for his work.

Take as much as you can and prepare yourself.

Be able to type words without looking at the keyboard just by looking at the screen.

Be on top of your computer skills, so that even if you close your eyes, you know what keys to press.

Assistant Editor Brings in the footage or helps with titling and looks for archive footage or cutaways to fill out the edit if needed. They also help with music search if necessary.

Know your typing and language very well and you might get a job as a Titler; then you can build from there.

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Getting The Script Always story Is it something to which I can add value?

Engage with the script Sometimes if its a Director or Producer I have worked with before, I’m always glad to work with them again because I know and respect them and their work is good.

But if I do not know you, I might have to read your script many times before I consider working with you.

Choosing The Shots The film is made in the editing room. The shooting of the film is about shopping, almost. It’s like going to get all the ingredients together, and you’ve got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not. – Philip Seymour Hoffman When a cameraman gets a best shot with no best performance, the editor might not use it and settle for best performance.

What Does The Audience Want?

To be able to identify a character and see themselves in that character.

Footage Brought In From The DIT Do not just take what the Director or continuity person printed; take everything. You need to know why Take 2 didn’t work for them to print Take 3. Now and again, go back to your footage to find

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something missing that might have skipped the Director during production.

I do not touch the drives unless there are two or three more backup drives in case I drop it or something. Always make copies before you do anything. Be responsible.

Must have a contract that you sign to agree you have received the footage Always be clear to your client, producer or director on what you can and what you cannot do (your job description) – Catherine Mayburg

Before Editing I work closely with the DIT If I do not have an assistant will have to go through all the footage then I can rename all the clips accordingly to slate information I drop all those clips in the bins I create and subfolders I write a draft of the scenes depending on the script and what the next scene have, that’s when I decide whether I must open this scene with a close up or medium etc. – Catherine Mayburg

Replacing Audio I sync and replace audio first before I start cutting When editing on a Mac there is a software that syncs for you but I prefer to sync manually When I line up my clips, I will line up all the audio for that scene.

Sometimes you find a scene with seven audio clips where they were using a boom and radio mics all recorded separately Then will suggest which audio can work for this particular moment either boom or lapel. – Catherine Mayburg

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Continuity If characters are in the same story line, I do not worry much about it, only when I am forced to do something I do not like doing that is making magic by correcting a lot of mistakes that are impossible to fix. – Catherine Mayburg

Editing For Television And Film It is all cutting and paste and the time you spend on each. – Catherine Mayburg

Credit List The credit list must be written in a way that people can read. Especially myself I love to see my name there.

So it is not editor’s fault if the credit list is very tiny.

In Television, they decide what they want, and how fast or slow the credit should move - even the font size and typeface as well. In film production, it is the producer and director who decide on such details.

In feature films, you might be able to read the credits on the big screen

Working With The Director When you work with the Director, you are expected to know your story. In the olden days, film was shot on film reels, but nowadays we are fortunate that we do not work with film anymore. This makes it easy to make many edits of the same clip then show the Director all my different clips.

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If his vision is clear there will not be a problem with anything, everyone will understand it and execute it well.

Montage Series of shots that can be used as establishing shots

Conclusion There is nothing more fun than editing footage you shot yourself.

As you are shooting in your mind first, you know already where to cut. But within the business of the industry you can only function in one department. Its quite easy for someone in the field already who understands camera work and storytelling to move into the edit suite and vice versa.

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Producing is similar to pulling together a machine but the parts of that machine are human beings, and human beings change shape, they can be hard or soft. Producers are the key business minded people in a film whilst the director is the artist who is thinking how he is going to paint a picture and make it exciting. The producer is thinking how he is going to sell it; he is one who takes all responsibility for the production; whereas the director takes responsibility of the look of the story.

For a producer, preparation means hiring a good team and making sure the resources needed are available on time. No matter what budget you’re working with, there are always financial pressures, and you may not be able to deliver what is on everyone’s wish list.

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-is part of the producer’s prerogative. You put elements together where there will be magic coming out. The producers mandate is to put together locations and actors against the budget that is available, so creating a favorable environment where all the players can do their optimum best.

A producer finds content, ideas and concepts that are saleable to cinema and television. The producer sells the film. A good prominent director is also a selling point. Directors have a following as well as actors.

Some people will watch any film or anything directed by Steven Spielberg, whether it is good or bad because of the reputation that Mr Spielberg has. In Long Walk To Freedom, if they had used a prominent South African actor, the movie was not going to screen at the White House - the film was going to stay in South Africa. So they used a prominent foreign actor to play Mandela and the film went global.

What Makes A Good Producer A good producer must have the following attributes: • • • • • • • • •

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Confidence A good researcher Someone able to hold that picture in their head Understanding of how the industry works Understanding when to panic and not A good negotiator Function of milestones Understanding finance and how to use it wisely Someone who can push/ hustle. It is not like being a

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• • • •

Doctor with your certificate where you just have to go out and practise your trade. As a producer you keep hustling Excellent communication skills Knowledge and awareness of health and safety issues Willing to work long hours Good leadership

Different Kinds Of Producers Co-Producer Two companies or two people involved The Producer The producer’s job is to make sure they have the right people in place such as the right director Associate Producer Is a fixer or organiser Its a term that does not really mean anything. It means anything you want it to be Line Producer Working on operations. They make sure the schedule works, budget works, everybody gets to set on time. They run the production team and they negotiate crew salaries as well

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Executive Producer Organises finances The terms shifts a lot when it comes to television and feature films They never use their own money; they find money elsewhere.

How Do You Find Stories/ Ideas In Which To Invest Money?

• Intuition • A story speaks to you • If you bring a story that does not speak to the market, it is a battle to sell it, so a good Producer will not take it • Understanding society’s demands and desires • How is the idea going to talk to people

What Does An Investor Need To Put Money In • • • • •

You must be a person of your word i.e. you must have integrity Reliable Good reputation A person who can get the job done, who can deliver Input from distributors that the script has a chance of earning their money back.

• Take risks.

• Build relationships and earn trust as you work with investors time to time.

• It is not that easy if it is your first time / first film unless you can convince them.

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Finding The Team When a script is finalized, the next step is to select team members and actors to make the script transform into a blockbuster movie.

You must consider the following: Talent Taste Does their work speak to you and what is so special about it?

The producer has to be happy in finding the key crew such as Director, DOP, editor and writer If you get a good DOP, he will come with his focus puller and camera assistant - people he is comfortable to work with - the same with the soundman and his boom swinger.

Film Distributors In the film industry, Television is peculiar in that it does not have distributors, whereas in the movie industry there are distributors. For example in the US they have Warner Brother, Paramount Pictures etc There are no distributors in Television because we do not own the intellectual property when it comes to broadcasting.

Most Television work is commissioned by the broadcaster Sometimes distributors come to you for a feature film they want made

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specifications for a certain show. If I get a script that addresses what the broadcaster wants, I take it. – Harriet Gavshon

Meeting The Budget In any business endeavour, there is a budget to cover input costs and financial projection on the return on investment. The nature of the film industry is that you are never allocated the complete budget. You always have to work with what you have to bring out the best. You have to make certain compromises such as negotiating with big stars and renowned actors, locations, props and everything else that affects your work. From a budget perspective, it is actually cheaper to go into overtime than to rebook the location for another day.

You need an excellent experienced line producer who is very disciplined. Everything should be planned and budgeted before the shoot commences. You cannot change decisions on set once you have started shooting. You have to work within the prescribed schedule.

If you encounter some mishap you need to do damage control. There must be a contingency fund, which can be 10%. Always have a contingency somewhere.

Post Production It is also your duty as a Producer to watch each piece of work and often. In Television, there is not enough time for people to perfect their work but for a film, the producer can watch the film 50 times with the editor and director and make changes as many times as he wants or feels the need to.

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Mistakes Producers Make A common mistake producer’s make, is repetitiveness. They do the same thing over and over. It is advisable to diversify. Not knowing what is happening now, tomorrow and six months down the line can be detrimental to a Producer’s career.

Another mistake Producers make is hiring the wrong crew. Hire your cast based on their suitability in filling a role. Some Producers make the mistake of allocating money to some departments and forgetting others. Sometimes they may even forget to prioritize extras. Producers suffer from stress as a result of making promises they cannot keep.

Lack of experience.

Producers Workshops The best Producers are the ones who are also conversant with the technical aspects of film production. This is someone who has been in production and who understands how things work on set. It is advisable for aspiring Producers to go on a technical course so they can understand the fundamentals of film production from a technical perspective. If you make a movie, you need to ask yourself where is it going, how will the audience react; and will they resonate with it? Do I have the cash; where do I go from here? To be a good Producer you must know all departments of filmmaking. You need to be a good businessman and know how to talk, write, sell and direct. You have a lot of talking to do.

Most independent filmmakers can produce a great product but do not know how to sell it or who to sell it to. Being commissioned by a broadcaster is another matter. Making a movie and finding a market for it, is yet another business. Writers and Producers make a difference. Raising funds for independent filmmakers is very 139

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challenging. That’s what makes independent filmmakers who they are: they are constantly on the lookout for funds and fighting for the chance to show their art. The rest are working for the broadcaster.

Producing requires commitment and an intense focus on bringing a story to life. By immersing students in the creative and technical demands of producing for film and television, aspiring Producers acquire both the theoretical and practical knowledge they need to find success in the industry.

People confuse talent and skill. Everybody has talent. People attend film school in their early 20s and they want to be Directors, Producers and DOP’s; but they do not know WHY. There are people with skill but not talent. Talent means that when you do something, it comes easily and naturally. Skill is hard to achieve and then only through hard work. To achieve anything is very difficult. Once you’ve got the skill to match the talent, you are ready to go. Master the formula that is TALENT + SKILL = SUCCESS. Believe in yourself, in your heart. There is no future and there is no past, not today either. There is only NOW. Film schools are not teaching enough. They are not producing Producers and Writers. No one is teaching them how to schedule a movie properly. Producers are the ones that produce movies or make the film industry. Producing means many things. Real Producers raise funds. Producers are entrepreneurs of the film industry and they create new work. They bring new taste to Television. Producers are always ahead of schedule. They have to know whether people want Spider Man, Superman, Batman or Green Lantern.

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8 FILM SCHOOL Filmmaking is not a profession but its a skill.

– Unknown I didn’t go to film school, so lm still learning by seeing in public.

– Jonathan Demine

If you can imagine it in your head, you can execute it.

– Lameck Mabonga Education cannot give you a talent – it can only refine one you already have. If you do not have what it takes to become a good filmmaker, I can assure you that no film school will be able to help you, even if they taught filmmaking as a practical profession, which they most certainly do not. Ninety five percent of professors and lecturers teach you from a textbook. They do not always teach you what they know in a practical way.

Filmmakers who are in the industry, who have experience and have mastered the art of filmmaking personally, write most film books I have read. These lecturers are not filmmakers. When they graduate with Degrees and PhD’s from University, they apply for a position to lecture at the same university without experiencing the industry.

If you want to attend film school my advice would be for you to look for a school that gives you a hands on training for three to six months; or a school run by people who have retired from the film industry or still work in it.

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These people are highly qualified to lecture you, as they possess the requisite experience. Your attendance of film school is dependent on what you want to achieve in your career. One of my favourite filmmakers of all time is Quentin Tarantino who made the movie Django Unchained. He once said, “I didn’t go to film school, I went to films”. I suppose he watched over a million films, which is probably more than anyone else on earth. People may wonder where he learnt making movies, the answer is easy, he learnt by making them. A typical example is our parents. They received very little education and during their time, there were no computers or internet that they could refer to. Most parents do not hold PhD’s but they are undoubtedly the best advisors we can ever have. All they could do was value knowledge and wisdom as a daily life routine. So it is imperative to listen to people who are experienced and knowledgeable and hear their views about film school.

I don’t come from a film background. I haven’t learned anything about films or film-making. But I have a thirst to know everything about my profession. I want to learn about cinematography, about editing, about music recordings, about post-production. So when people in the know talk, I willingly listen. – Priyanka Chopra The best film school I attended was my journey writing this book. I did not only get exposure but understanding how all departments work and function. – Lameck Mabonga You learn to submit your assignments on time They teach discipline and order School is only 40% Its a place to access resources like cameras and books for free.

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spend 4 years learning the basics. – Bonginhlanhla Ncube You learn skill and make friends. – Jonathan Pienaar Talent is not found at a film school or performing school We go to school to add skills. – Wandile Molebatse Film schools are very good. There are there for you to take something out of them There are many students going to films schools but they not filmmakers or driven - that’s why only a few make it.

There are too many graduates, and the industry is exploding at a rapid rate. The good ones find work and some of those good ones are dropouts. – Darrell Roodt This is a great business so get training. You need to take honest advise from training expects. – Jamie Bartlett

9 BEST ADVICE Dropped out of school I had a thirst for knowledge for film I absorbed everything and I didn’t feel I needed school for that All I wanted was practical I think its a place of networking. – Angus Gibson This is the same advice I gave to my son who also wanted to venture into filmmaking. Broadens the mind - Watch a lot of films to understand the history of cinema. – Angus Gibson 143

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I guess my one word of advice would be – work with other writers.

Fight hard for your work.

But talk while you are listening.

The best idea wins.

Always, but always be listening to for the better idea. – Paul Rowlston Find your passion If you want to shoot, go and load until when you are good enough and working very fast, people will notice you quickly. – Natalie Haarhoff Do not ever forget to be yourself Try to be yourself. Never act all over, all the times if you not on set be yourself Believe in yourself. – Siyabonga Radebe On the creative side, look at art and visuals all the time. – Cathrine Mayburg People are lucky now to get into the film industry because its now easier than before. Because its so easy and they are many people doing it so you really have to be so good.

Everyone wants to be a writer and a director but is it very difficult to be a good one. – Darrell Roodt Make as many films as you can Never try to direct or dop on day one Learn the craft from bottom up If you wanna direct, DOP or edit live your life to the full because that experience will help you to tell stories, help you collaborate and enjoy it. – Michael Swan

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When you are on set, be onset and be the character; and when you go home leave the character on set Leave the emotions onset. – Wandile Molebatse Just do it You cannot call yourself a producer if you haven’t produced anything Television industry is growing and there is need of lots of content Create something Knock doors To achieve anything it is very difficult. But once you got the skill that match the talent, you are ready to go. – Harriet Gavshon If you do not get a shot in three takes, you never get it Be a director who knows everything from technical to post production Research the big production companies that are doing well on television and cinema and find out why they are successful Find a way of learning from them. – Bonginhlanhla Ncube

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STORYTELLING IN AFRICA

Working hard is very important. You’re not going to get anywhere without working extremely hard. – George Lucas I was always a filmmaker before I was anything else. If I was always anything, I was a storyteller, and it never really made much of a difference to me what medium I worked in. – Nicholas Meyer There are many plays written that have never been performed, and awesome paintings that have never been hung on a wall. There are numerous songs written that have never been sung in public. It is the nature of things. We must have courage and a great resolve not 145

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to lose faith in our own stories, as these same stories are what people are longing to hear.

The skill of articulating stories is getting better. Storytelling is what we Africans are born to do in order to make sense out of life and culture.

Money must not limit us There is always a beginning Once you write, do not stop. – Catherine Mayburg We still have a long way to go Scripts are not enticing. – Angus Gibson Government haven’t put much money to the stories we tell Money has to come from somewhere so that the writers can seat in a coffee shop or lock down themselves in a room and write. – Jamie Bartlett I think sometimes yes we lack the skill even though the world is hungry to hear the stories we tell. I think the story room has been a good thing in SA. But I think that TV in SA (and film, at least the local stuff ) is still in the hands of producers who are NOT storytellers.

I think our producers are (AT BEST) technicians and (AT WORST) business people looking to make a dime.

I do not think that story tellers and people with SOMETHING TO SAY have any power in the business And I think we do not respect writers (Even though we often say we do) In the USA it is a golden age of TV because the WRITERS are creating and controlling the good TV shows.

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producers who do not think in terms of story – or even have very much to say.

So, some stuff is better, but for the most part our films and TV suffer from bad story told badly. – Paul Rowlston We just need money Every country/ continent goes through a golden age There is a lot of talent in Africa, the only problem is that we trying to survive that’s why there is that one ingredient missing For someone to rise and achieve a certain goal or potential which he has in him, he needs different elements around him such as a good environment, people who will encourage him such as friends and family that will push him forward, luck and opportunity. – Fidel Namisi Quality of performance so we just need to mix cultures. – Wandile Molebatsi Africans must make movies for Africans We will not survive if we try to make films for Americans When Hollywood was playing with cameras and angles and inventing the art of cinema while we Africans we were still fighting for liberation.

There is no budget in Africa that can match Hollywood budget for a film To play safe make your film with a low budget. Your profit will be high.

Movies are made for a profit You shoot a movie at a zero budget and take it to cinema and make a million out of it. – Bongihlahla Ncube Great talent Great stories Unless the audience here in Africa wants to see those stories it is difficult to make those stories Cultural presents You cannot make those stories for yourself. – Michael Swan 147

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The stories we tell must define who we are and where we come from It is about everyday stories, people and lifestyles. How you take them and give them power.

We cannot make movies with a crazy budget because we still struggling with the basics such as living expenses.

Tell a story that will have value to everybody not science fiction.

We watch television not because there is something interesting but what is happening out there.

You cannot be interested in film and television production and do not watch TV. You have to know what is happening out there, what are people consuming more and more, what is changing. You have no choice.

Filmmaking is about storytelling National Geographic is very advanced story telling They tell a story that makes you feel They take the human elements of those animals and put them on the screen There is a narrative story that has a beginning, middle and end If you can find the angle and use it to craft a story, you will have found a mark and people will not be able to take their eyes off The changes, the shifts are smart way of storytelling.

We need market, banks and private institutions to come through to fund a film.

With soccer people can travel over 500 kms just to go watch a match but with film is the other way round, you have to take the film to people.

Make that product accessible and conveniently without stress. – Adze Ugah Lots of talent in Africa But no cash We have all resources that the world needs like stones but we do not see the return on those things You cannot tell an African story in an American way 148

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There is lot of undiscovered story in Africa The world is coming to Africa to explore to shoot movies here We need to package our work in an amazing way it can be movies, music etc We need money to give out our best as well. – Siyabonga Radebe We have the best crew in the world here in South Africa. We are in the process of telling good stories and writing has improved We lack research, not putting enough effort, lack of working with real filmmakers who will mentor us.

I believe if you haven’t done a commercial you must not direct a film.

Because if you cannot tell a story in 30 seconds how are you going to tell a story in 90 minutes?

We haven’t mastered the layers of filmmaking . We got entry level, which is radio and television promos, series, doccie, drama and higher level which is film and commercials which is also higher than film. There are very few people doing commercials and everyone is fighting to direct a feature of which it’s the other way round. In America people who make films are the ones who make commercials because people fail to recognize the basic and simple things are the ones that make a film. – Mq Ngubane Storytelling started in Africa by the fireplace We got civilised the moment we got the fire. As we sat next to the fire we began to tell stories about yesterday, today and tomorrow We all grew around storytellers Our grandmothers used to tell us great stories around the fire each and every night They can summarise a story and make you see it Musicians are also storytellers. They write a story song that people relate to and touch them Instinct Skill also comes in, how to control actors, how to bring great 149

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performances out of them, how light works. – Rolie Nikiwe It’s not dynamic Better films are made with more money We need to break through the cultural backgrounds In South Africa films are not part of our culture that’s why our films don’t last 3 weeks in cinema and people they opt to drive 300 kilometers for a soccer match that going to cinema to watch a local film. – Darrell Roodt Filmmaking is only interesting when you realize the power of the frame and storytelling. – Natalie Haarhoff

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If you have reached this point congratulation you are now a filmmaker I hope this book has been, helpful, informative and inspirational.

Constant study and commitment to craft will allow you to grow as a visual storyteller. Apply what you have learned here and from the examples of others to your personal work as a filmmaker. Continue your journey with passion, patience, and consistency but above all is time and money invested; you will end up being a filmmaker.

Today’s tools may be different, but the concepts remain the same.

For more information about special discounts for bulk purchases please contact us on Call; +27 71 935 8720 Email; info@diaryofafilmmaker.com Website; www.diaryofafilmmaker.com

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