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Things I’ve Learned As A Moviemaker
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| Neal Fredericks on set |
Whenever I DP a film, I try to bring something different to the table that separates it from my previous work. Why do the same thing twice? Sometimes it is drastic (The Blair Witch Project) and sometimes it is subtle (Dreamers). For me, the choices are based on the story of each particular film and the director's vision.
On Independent Film
My definition of a real independent film is one primarily financed by the moviemaker with no distribution in place. The origins of The Blair Witch Project fit into this definition perfectly. Once the film was accepted to Sundance, those lines become very blurred. Many people want to use The Blair Witch Project as a model to how they can make a film, but I don't think that is possible. I also don't think that's a very smart decision. Every film is different and follows its own path. No two films have the same life cycle.
On Film vs. Digital
For me as a cinematographer, I think there are more exciting things happening today with film stocks and film cameras. For me, video is a great learning tool, but not my favorite medium for storytelling. With video you are essentially stuck with one look. Kodak and Fuji now both have faster speed film stocks that allow you to shoot under almost any lighting conditions and still capture the superior resolution of film. And Aaton has introduced a Super 16mm camera called an A-Minima that is the size of a mini-DV camera. Film allows me to utilize the craft of cinematography.
On the Lifespan of Film
You can learn the basics of lighting and composition from video but I would advise aspiring cinematographers to start shooting film as soon as possible. Film is going to be around for a very long time.
On the Director-Cinematographer Collaboration
Seek out directors who care about the look of a film and who aspire to the same goals you have. I believe the director/DP relationship is the foundation of any film.
On the Importance of People Skills
Work just as hard on your people skills as your technical skills. As the DP you are not only responsible for the look of the picture, you are also in constant communication with almost every member of the crew. I get along well with people and I am sure that characteristic helps me get jobs.
On the Philosophy of Lighting
My philosophy on how to light a particular scene first comes from the screenplay. What is the director trying to say with this scene? What kind on emotional sense is the director trying to convey to the audience?
On Preference for Independents
Directors with original visions who want to tell personal stories keep me in independent filmmaking-along with the fact that I am usually allowed the creative freedom to experiment visually as a Director of Photography.
For more information on Neal's work,
please visit his Website at:
http://www.reelmind.com/camopdp
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It’s Official—Pre-production Begins
“I never ask people for permission to make a film. Instead, I present them with the fact that I’m making a film. If they’re wise, they’ll get in on it early.”
—Francis Ford Coppola
Last week our unit production manager for Rufus Rex officially started work and I paid UPS an astounding amount of money to deliver a letter to the Republic of Georgia officially inviting our lead actress to the United States. We’re also officially in pre-production on the grassroots (my preferred term, since I dislike “microbudget”—no art should be defined by its budget) movie Rufus Rex, which my 15-year-old son, Nick, and I wrote together last winter.
Posted 07.8.08 | Grassroots Moviemaker | No comments yet...
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