The Directors & Editors Guild of NZ extends its condolences to the family and loved ones of director and cinematographer John Day, who passed away on 7 January 2015 while travelling in India.
John was an industry stalwart who had a hand in some of New Zealand’s seminal films. He later enjoyed a highly successful career as a commercials director before going on to direct his own feature The Returning, which saw festival success internationally.
In later years, John turned his hand to television, with credits on shows including Intrepid Journeys.
John’s funeral will be held at 2pm, Monday 19 January at the Grey Lynn Library Hall, 474 Great North Road, Auckland.
CHARACTER BASED IMPROVISATION WORKSHOP with ROB MARCHAND
The Directors & Editors Guild of NZ (DEGNZ) invites applications from proven writer/directors or director and writer teams, and their actors, to attend the Robert Marchand Character-based Improvisation Workshop from 20 – 24 March 2015 (five days).
Rob is an award-winning film director with over 25 years experience who is hailed as Australia’s foremost expert in this process, as used by British Director Mike Leigh. Rob runs his acclaimed workshops in Europe, the U.K. Australia and now in New Zealand.
“Whether you are planning to create work from scratch or you just want to expand your skills in exploring and creating character, using improvisation and generally working closer with your actors in the realisation of your work, this is an invaluable workshop. I highly recommend it.”
– Kate Woods, Director, Looking for Alibrandi
This workshop requires real commitment from teams. The benefits to participating directors, writers and actors are immense:
Directors
• improving communication between actor and director
• providing a new approach to script development—investigate backstory, look
at characters independently of script, build life around the character, create
the whole psychology of character before you start your film
• finessing Performance
• demonstrating how improvisations can really deliver results
• adding detail to scripted material
• exploring the unexpected
• auditions & casting
Writers
• provides an extra dimension to script development
• demonstrates how character detail can be added to the script
• reveals how bringing the character to life in non-scripted scenes throws up
new possibilities for further writing
• illustrates how to create an entire film through on-going collaboration
between filmmakers and actors.
Actors:
• re-affirmation of the actor as artist
• ownership of character
• adding depth and complexity to performances
• accessing spontaneity
• improving communication with the director
• new perspective on texts
• assisting with preparation for auditions
Directors can apply with or without a script, but all must have:
• proven talent in directing drama
• a strong feature project or a strong idea to explore
• strong ideas for casting and bring actors who are willing to explore character
fully
• be available for the full five days (including actors)
NB: This workshop will be most beneficial for those with stories based in a 21st century contemporary, urban world.
To apply, please provide:
• Names, contact details and CVs for all planned participants – director,
writer/s, actors
• 1 – 5 page synopsis of your film/idea
• Examples of director’s previous dramatic work
• A maximum one page letter stating why you wish to participate in this
workshop
Please send your application electronically to admin@deganz.co.nz or by post to Directors & Editors Guild of NZ, Attn: RM Workshop, PO Box 47-294, Ponsonby, Auckland. Applications close 5PM, 4 February 2015.
The four successful candidates (four directors with teams) will be selected by a panel of experienced industry practitioners, with an announcement to be made by end February 2015. Fees would apply to those accepted, and those travelling would need to pay their own costs.
What: Robert Marchand Character-based Improvisation Workshop
Where: Auckland, venue tbc
When: Friday 20th – 24th March 2015 (5 days)
Cost: DEGNZ member director – $60 (including team), DEGNZ non-member
director – $150 (including team).
Application Deadline: 5PM, 4 February 2015
This initiative is brought to you with the financial assistance of the New Zealand Film Commission, and with the support of Script to Screen.
Last weekend independent filmmaker Jason Stutter of Tongan Ninja, Predicament and Careful With That… entranced 10 budding drama directors with his practical approach to directing film. Jason is a proponent of the Steven Spielberg-style, and covered the master shot method he uses to get fast, efficient and effective wide shots that deliver coverage with little need for relighting.
On Day One, Jason spoke at length on his method, reveal tips that work for him to get connection between actors. To illustrate some of his points, he engaged participants in improvisation, and gave his thoughts on rehearsing and how to deal with exposition.
Experienced actors Nicola Kawana and Steven Papps joined the class in the afternoon, when Jason ran through his blocking technique and how he moves actors to final performance using a scene from a highly acclaimed TV drama.
On Day Two, Jason introduced further techniques he uses with actors to develop connection, before moving on to visual effects, technical considerations and the importance of Art Department, Costume, Makeup and other tools that build character.
Having just returned from the American Film market where he pitched his film in post production and his next planned feature, Jason gave everyone the benefit of his market wisdom and knowledge, particularly on the US film making scene.
The afternoon was spent working with talented actors Steven Lovatt, Jeff Szusterman and Rene Lyons as Jason worked through blocking, coverage further techniques on how to get the best performance.
For the directors attending, the benefits were immense:
“This was a very valuable experience and I learnt a lot. I felt very free to question and participate in the workshop. Jason is a great communicator and can pass on the experience he has has to people in a warm and non-threatening way.”
Day Two ended with a discussion over drinks as the participants questioned Jason and the actors, seeking to draw out as much wisdom as possible. Our first, and highly successful, Directors Toolkit!
This event was made possible through the financial support of the New Zealand Film Commission.
A group of about 40 wider industry people attended the ’’Opening the Creative Channels of Communication’’ panel discussion held at the Horse + Trap pub Mt Eden on the 19th of November.
A collaborative event between the Directors and Editors Guild and NZCS, supported with financial assistance from The Film Commission, the widely experienced panel of actor/writer/director Fiona Samuel, editor Peter Roberts and NZCS member cinematographer/director Simon Raby was mediated by producer Christina Milligan.
The informal discussion started with Christina asking Fiona at what stage in the process did she start talking to an editor and DoP. Fiona said that usually it was after the money was in place, but some prior discussions may have happened. She described the process of choosing her DoP and editor as similar to casting her actors and carried the same importance for her. Asked as a writer whether she would involve an editor or DoP in that early part she said that she hadn’t in the past as there was a degree of ‘’working in your pyjamas’’ or ‘’nakedness’’ at that stage, but felt it was something that she would do if there was good reason. Both Peter and Simon felt any early involvement in a project was good for them as it could only help the thought and preparation processes. But of course it started with reading a script.
When asked as editor and DoP what criteria they used for deciding on whether to get on board with a project, both were adamant that making an emotional connection with the story was paramount, and then determining that there was common ground with the director in regard to the tone and style of the project. Simon spoke of visualizing and pacing a story while reading the script. Peter also mentioned getting an early feel for the edit pace of a project through the script. Having a common emotional connection with a story was an underlying theme for all three throughout the discussion. Fiona spoke of the importance to her of spending prep time on location with the DoP, and how it was there that she was able to actually start getting a feeling for how scenes could be staged, with the DoP’s input.
Simon described this time as when the 3D space was considered for it’s realization into a 2D word and the ‘’architecture’’ and look of a project could start to be felt. Also how important it was to use that time to nut out the physical and logistical problems that may arise on location and talk about these with the director regardless of whether the director had a strong technical understanding or not. This time and communication seemed invaluable to both Fiona and Simon. Peter said he very rarely if ever visited locations and that in fact by doing so could prejudice him with preconceived ideas about geography.
Simon and Peter admitted that traditionally there wasn’t a lot of communication between DoP and editor and when there was it usually started with technical discussions re codec’s and slating, etc. But both thought additional communication could only benefit a project. Peter also talked of the editor’s job now becoming bigger with the sheer volume of material that can eventuate with digital capture and the need for all that material to be viewed and organized. To this point Fiona mentioned that she was happy to forgo watching rushes as she was usually ‘’buggered’’ and would only do so if she thought she had a problem. However, all thought that crew screenings of rushes was a good idea and helped with the feeling of inclusion for everyone.
In the edit suite Fiona was always happy to see a new perspective on a scene or listen to what the editor may have to say. When asked about potential difficulties in the edit suite Peter described tricks he has for making directors feel a contrary view point was actually theirs all along. Simon and Peter also felt editing as you go was good for the editor/DoP relationship and very helpful when it came to filling in holes. Plus Simon mentioned it helped fine tune coverage and keep him focused on the ‘’beats’’ of the script he is always looking for.
Peter and Simon both spoke of the role of DIT becoming the ‘’new lab’’ and how although traditionally a camera department job it could easily move into a post job with Peter suggesting it could be done by an assistant editor and thereby giving him an additional set of eyes.
When asked about what made a happy set both Fiona and Simon thought that a crew focused on the story and task at hand made for a good time. Simon mentioned the need for departments to gel and work together and not be insular. Fiona said laughs and light relief were always welcome and important too.
Fiona, Peter and Simon all spoke of their commitment to filmmaking–even with tight budget constraints there was always a desire to give and do the best job possible. Fiona spoke genuinely of the great generosity of creative people and it was obvious to all that a big part of that generosity is making time to communicate. It’s a vital part of the process in our industry and must be nurtured and encouraged.
The panel wrapped up after about an hour or so for a general chat and drink to culminate a really worthwhile event.
Thanks to all who organized and participated!
