I'm about to DP for a friend who wrote a great short story that is going to be aimed at a cable network, in hopes of a movie or series. He's been an art director for national magazines and has a host of connections to move whatever we make into a spotlight of sorts.
I've been a full time pro photog who's shot many national ad campaigns, countless magazine photo stories and who directs, lights, shoots, edits and retouches all of it. Moving to moving film was very organic for me. I've seen many NYU student's finals and I must say my shorts done for film school were better than any of them. I make the most of limited lighting equipment and can keep it all moving forward at a fast pace, and the actors are always thankful of my directing style.
The friend is going to direct his short, but seems to be intimidated at studying any of the complexities of creating a well told story, on film. Even though I've put together the best and easiest teaching materials for him.
The crystal ball shows me that getting into this together, will bring us to the very same problem.
My name will be attached to it, and even if I use a different name, I really want it to be the best it can be.
The answer is something I read in Sidney Lumet's book (which I lent, and the title escapes me).
Film screen tests and the rehursals, you'll test the working relationships. The kinks will be obvious.
I already know my answer, bail on the project, which I fear will also test our working friendship.
I've done a few music videos, shorts and commercials, and we always have to consider; who's vision are we filming? And who's voice can bring that vision to its best fruition? What if the DP has problems... or the director... or the financiers... or the actors for that matter?
Or... after reaching this point in this reply... I think I have my solution. This is where FrameForge or other story boarding/animatic programs can help in EVERY way.
It will communicate the vision that is in one person's head, to everyone else's head. For a couple of hundred dollars, you will almost see the movie before it's shot. It'll help in maximizing our days.
The director of Butch Cassidy & the Sundance Kid, said he preferred to go in with a blueprint in his pocket, and then can take advantage of anything else that comes up.
I agree.
Hal Hansen - NYC
