Jenna Whitney

I saw The Knowing in a regular movie theater on 2nd Avenue in Manhattan and I had no idea it was shot on the RED until I read an article later.:ph34r:

duplicate post sorry, it already posted.

Maybe check out The Film Director's Intuition by Judith Weston and take an acting class. Just my 2 cents... Trained actors will know their own motivation for each line, beat and objective in the scene and should not have to ask the director for his/her motivation. I have some acting training and I think if a director was dictating each line, it isn't the collaboration anyone is looking for. It could maybe smash the performance down to the ground and there might not be any organic moments, or the actor could loose trust in the director's overall vision and do his/her own thing, from an actor's perspective, it would be too overbearing. I've heard the advice that anyone interested in filmmaking should take an acting course, and I would have to agree!

I would chip in to say, renting a space within a soundstage or theater (black box stage, rehearsal room or stage) would be the most professional. Also my acting teacher, and he was very good, trained by a student of Meisner himself, rented a room in a church in Manhattan, and that worked totally fine, auditions were held there as well. If you really look I'm sure you could find low rates in any city, or try to barter for a lower cost or a freebie with a theater owner who might need something from you.

That is such good advice and so eloquently put. Thank you! Going to hang that up on my wall.

Maybe add 2 high school sweethearts who reunite...amongst the action. B)

You lost $5k? That is horrible to hear, pursue a dispute.

Personally I'd stay in school regardless, period. A state school even will give you access to equipment, and the price of a year's tuition could be the same cost to rent equipment for one week, more or less. Everyone finds their own path, I guess, I met briefly in my neighborhood a renowned director who directs A-list cast in probably every movie he makes, who dropped out of Harvard.

DEEP FOCUS Like deep space, deep focus involves staging an event on film such that significant elements occupy widely separated planes in the image. Unlike deep space, deep focus requires that elements at very different depths of the image both be in focus. In these two shots from Touch of Evil (Orson Welles, 1958) Besieged (L'Assedio, Bernardo Bertolucci,1998) all of the different planes of the image are given equal importance through deep focus, not only to the characters (like the man peeking at the window in the first image), but also to the spaces (Shanduray's basement room in the second). While deep focus may be used occasionally, some auteurs use it consistently for they believe it achieves a truer representation of space. Directors like Jean Renoir, Orson Welles, Hou Hsao-Hsien, or Abbas Kiarostami all use deep focus as an essential part of their signature style. -This is from a Yale cinematography course by the way http://classes.yale....ematography.htm

Can you tell us more about what you're looking for or your budget?

I always wondered why Brooks in Venice isn't accredited. The school looks fantastic, but is this an issue to even think about?:blink:

kickstarter.com and indiegogo.com! Hang out with rich people who will like you for your integrity and craft. I have yet to learn why some films raise the funds they are looking for and why some just flop, what or how to write a proposal on there.

I can't say I totally agree that everything has been done. ;) I like Conrad Hall's quote, "Billions of people have seen and been influenced by movies in the short history of this industry."

How long does it run for?

KEH and B&H both have good reputations.

http://vimeo.com/8746947 http://vimeo.com/31700903

Is this at all similar to lens flares in Punch-Drunk Love?

How much water is actually used? Say like the scene in The Assasination of Jesse James by the Coward Robert Ford with Brad Pitt and his brother in the barn. :lol:

How come movies in car scenes don't often have the rear view mirror? It's in One Hour Photo though.

hahah That’s a great list for FX contacts. In one of my projects, the actress needs green eyes, it’s a sci-fi piece. Could these be used? (On another unrelated note, I saw something on a news clip that these guys in prison illegally tatooed the whites of their eyes. Very Scary and it looked like Halloween, these guys loved their eyes though. They literally dyed their eyes permanently)

I recorded several interviews on HD cameras, (commercial directors and directors of photography), I would be happy to send anyone interested a free copy, I'm curious to know what you think. It's a great resource on HD technology, and the choice of camera involved.

Would anyone like a copy of a CD on HD cameras? It is a compilation of interviews on HD technology, but it's not exclusively the RED camera, and some of the cinematographers and directors do shoot both on film and HD format. I'm very curious to hear opinions about the interviews, and can send a free copy, it's a great resource on HD technology. If anyone's interested feel free to send me a message.

Justin, I hope you don’t continue to say you have no luck, money or connections. That might be the case now but all these things can be found.

Wow you were a Super 8 film tester for Kodak as a teen? That is unbelievably interesting. I used to make clay animation films as a kid :rolleyes: especially for high school projects, I guess most were writing papers or going out and socializing and I was in my room making movies. Glad it happened that way. I've met filmmakers who still shoot in Super 8. I wonder where you can get the film stock.

Shot by Shot and Cinematic Motion by Steven D. Katz, Michael Wiese Productions has excellent books Cinematic Storytelling by Jennifer Van Sijll