Nathan Milford

Once again:

To answer some of the responses:

 

I am the writer/director of this film. I had explained to the producers my "vision" for this film.

 

I explained in detail how I planned to shoot it, the form and the function.

 

I cited films and photographs as reference for style.

 

I shared detailed notes on how I planned to shoot the film with all the key crew and cast.

 

I was important to me that everyone would know the sort of film we were making, in the hope that we would all be working towards the same goals.

 

Everyone recognized it as a personal film with a distinct authorial voice. What had excited people to get involved in this film was both the screenplay and how I planned to shoot it.

 

I accept that the film is flawed, some of the material is not what I had hoped, but nonetheless everything scheduled for production was shot.

 

It is my first feature and naturally a steep learning curve. The atmosphere on set was very good. The ensemble of actors were extremely dedicated and trusted me. The crew in the main were very supportive.

 

It should have been very clear to everyone involved from the rushes the kind of film we were making. As mentioned above I had been clear with producers, funders, during pre-production and right through the production, what I hoped to achieve, No one could have been under any illusion as to the kind of film we were making.

 

My proposed new cut makes many changes from the rejected first cut screened to the funders. I do not believe I am being overly precious and attached to particular shots.

 

I had dropped a number of scenes and shots which I felt were not working for the film overall. What I cannot accept is shots, scenes and sequences being dropped, truncated, reordered etc in a manner that damages the film. I have screened both cuts to many trusted friends and colleagues, who share my belief. Unfortunately, my opinions (backed up by these screenings) have been disregarded, whilst the producers opinions (supposedly backed up by their screenings to their friends and colleagues) has been forced upon me.

 

My producers have disingenuously "accepted my decision to have nothing further to do with the film". As I explained in previous posts, they cannot accept a decision I never made. I have not resigned from the film.

 

The main funder will now watch the producers cut. They suggest watching this and my cut if such a cut exists. Unfortunately since I have been excluded from the process, I have not been allowed to make such a cut.

 

It is extremely difficult to find an editor as things currently stand.

 

Editors are understandably wary of getting involved in an unresolved dispute.

 

My hope is that the funders and or the producers will clear the way to enable me to find an editor and work on a new cut.

 

My hope is that I will be able to work towards a new cut, and can show this to the funders.

 

I can only do this, however, if I am given explicit clearance to do so.

Our director friend elaborates:

Firstly, I appreciate Nathan acting as a proxy for me so that I can retain my anonymity.

 

To answer some of your responses:

 

Budget: approx 1.4m

 

Funders: public bodies (therefore not commercial imperative)

 

Film type: personal drama. “arthouse”, with possible “crossover” potential.

 

These 3 facts are significant in that usually when a director loses control over edit it is due to producers fearful that the director is taking the film in a direction away from genre expectations and thereby, as they see it, limiting it’s potential audience and the return for commercial investors.

 

My contract is unfortunately all too standard in these parts, and weighed heavily in the producers favour. Legally, at least in the written contract, I do not appear to have a leg to stand on. Ethically and by way of verbal agreements, I am in a stronger position but whether these count for much is another matter.

 

Some 6 weeks ago a first cut was shown to the main funders. The expressed their disappointment with it, and suggested strongly that I re-visit and re-work the material.

 

We were due to have 5-6 weeks more editing time following said screening. I should state here that the producers and the editor had all signed off on that cut and proclaimed confidence in it (while recognizing it as a work in progress), prior to that screening.

 

Since that day, I have been all but excluded from the editing process. It was agreed that I take a 2 week break during which time the editor would work on a new cut. Those 2 weeks extended to 4. Although initially it was stated that he would naturally work on this new cut with my notes in mind, I became concerned when I was told to let him work away “undisturbed” by me, and the producers refused to confirm that I would be given any further editing time.

 

I am horrified by this new cut which robs the film of it’s heart, of any character or charm, interest or intrigue and is ungainly and unengaging. It no longer is the film I’m worked so hard to make, and I know is in the material given the opportunity to re-edit it. I remained calm and expressed my concerns.

 

The editor was then given a 2 week break. I was refused again the opportunity to work on the edit myself, instead it was agreed that the producers and I discuss a way forward. I screened both cuts to trusted friends and colleagues, unafraid to speak their minds. All agreed with my serious misgivings about the direction they were taking the film. I put into detailed notes my issues with this new cut and wrote out my proposed new cut.

 

Despite my requests, my producers and I have had no meetings and no real discussions over these 2 weeks. My notes have been disregarded as categorically not the way forward and my suggestions are deemed not productive. They insist on proceeding with this bastardized new cut as the new template. I have asked for meetings, insisting that I cannot in good conscience proceed with a cut so far removed from everything I believe in and worked so hard to achieve. I am not being overly precious here, this is truly death by a thousand cuts.

 

They then disingenuously accepted my decision to have nothing further to do with the film and have refused to answer my emails and phonecalls.

 

They cannot surely accept a decision I never made. I have not resigned from the film nor do I wish to. I wish to honour the commitment I made to myself and everyone involved who believed in the film, to make the best film I can with integrity.

 

I believe in this film and I know there are others who have shared and continue to share that belief. I believe it is better to have a film that could be loved by some (however few or many they may be), than a film that noone could possibly love only at best tolerate.

 

I am asking to be allowed to work towards a new cut, something which I have not been allowed to do since the screening of first cut to the main funders, now over 6 weeks ago.

 

Ultimately the funders must sign off on that final cut. I believe it only fair and proper that as the writer and director of this film, that should be given the opportunity to work on and show them a new cut I believe in..

 

I would appreciate any advice, as I am feeling outgunned and outnumbered. It is hard to remain strong and keep your faith when things get this cold.

I just received the following in a PM from a forum member.

Since the member contacted me under their own name I can confirm they are not a nut or a troll. This person has a significant amount of posts here and is in good standing in the community, so I can vouch. I am posting this as his/her proxy.

I also recognize this person is a director (in this particular circumstance) and this ordinarily might not be the appropriate forum for this discussion but I am posting it here for two reasons, 1) I have moderator perms in General Discussion so if this thread goes weird I can curtail it and 2) I'm sure there are similar situations that cinematographers face and their input may be valuable as well.

So, lets discuss the post and not descend into a meta-discussion about the posting an anonymous post for someone, or that it is in the wrong forum and help this person out :)

Hi Nathan,

 

I understand your rule of using your real name as username. However, a situation has arisen for which I need advice but I need to do so anonymously.

 

I have written and directed my first feature. Post production has been taken out of my hands, the producers even claiming disingenuously that they "have accepted my decision to have nothing further do do with the film". The reality is that I have been excluded from the editing process for the last 6 weeks, and they are proceeding with a cut that I have expressed serious reservations with. Any attempt to contact them is ignored.

 

I have contacted the main funding body, and I hope to hear from them soon. I have also contacted the directors guild and screenwriters guild who say they will support me.

 

I will not go in to the complex details of all this here but suffice to say I am deeply concerned.

 

I would like to ask for advice in forums but please understand my need to do so anonymously. If my producers etc were to hear that I have been publicly denouncing their behavior it could likely further damage any hope I have of winning back control of my film.

 

I'm sure there are a few members that might have encountered similar difficulties and whose advice I would appreciate hearing.

What do you guys think?

I encourage the person involved to send updates through me, as well as to describe the situation a bit more. We have no way of knowing that production may not be justified in reducing your participation. What are the stakes, what level of production, how much money is involved, what type of film etc...

I might be able to attend. Could bring my XTR :)

BTW, Happy Birthday Annie, assuming the forum is accurate.

Which always makes me wonder... what's the difference between being porn actress and a prostitute? It's the samething... but somehow if you do it on camera, it's not illegal.

Not 100% sure, but I believe the difference is they are paid as performers where prostitutes are paid for sex.

Thin line, I'm sure, but probably enough to protect them from too much litigation... performers can be argued to be a component in a piece art, and they can claim the nastiest hardcore porn as art. Just as I've seen art films where there was penetration...

How about String Theory?

How bout M-Theory.

There is a flaw with this argument. People that only believe what they "see/hear/prove/diprove" are basing their BELIEFS on facts, not on faith. So those people don't need to use faith to believe what they believe, so they aren't exercising any faith at all.

I'm as atheist as the next guy but, one could argue that people who base all of their beliefs on facts put a lot of faith in their sensorium perceiving factual data (let putting your faith in what a scientist says).

Being topical (in the off-topic forum): I've never had two camera systems/film stocks/lenses perceive the facts of a scene precisely the same.

Huzzah for Descartes, screwing with your head since the 17th century.

Thanks Tim! The feeling is mutual.

On to real camera porn, check out this safe for work link: Camera Porn

As a guy who used to repair cameras and as a guy with a wall full of various SLRs, Rangefinders and S8 cameras in my darkroom... I'm way into camera porn. :)

Sweet, soft luscious black leatherette with a hot bayonet mount, I love my Hasselblad.

True, it's a different union. Many years ago, I worked with a key grip who wore a tee shirt bearing the logo of the "International Brotherhood of Pornographic Workers Local #69". ;-)

I'm surprised I haven't seen that on DeezTees or BustedTees.

How about WORST camera for porn ?

I'd say that NHK 8K camera.

HD is a bit too much detail already :)

There is no point in trying to pick a fight, David. This isn't that type of forum. :)

You obviously want this thread to end, you jumped on my threat to do so and now you're trying to goad me in to it.

If you don't like the subject matter of the thread, pick another to contribute to.

- nathan

I believe the echos and 'gotchas' from the religion/morals meta-conversation are rippling away as the more responsible members of the forum quit participating in the hijack of the thread and move to the off-topic section of the site.

I'd also like to point out that these pages are index-able and search-able by Google and other search engines and as we use (hopefully) real names and foster real reputations here, it would be good to remember that possible employers may search your name and find it deep in a flame war. Regardless of the context or side of the issue you fall on, I'm sure you don't want to bee seen as argumentative by any director/studio/producer/school who Googles for your work.... forever.

We've had several good posts and I think this thread can be saved :)

Move it along... nothing to see here...

Good call Matthew.

Take it to the Off-topic forum.

I was really hoping we could move beyond moral and philosophical abstractions and talk about porn's relevancy to our industry and tools (and vica versa).

Next mention of morality or god gets this thread shut down.

I think you both got your beliefs in regarding ID and Evolution.

Let's talk about cameras in porn :)

I know, as a fact, more than a few guys on this forum have made some extra scratch gaffing or shooting the odd skin flick.

Anyone have any good stories?

I seem to remember David Mullen getting dragged (unwittingly) on to a porn set by a guy who wanted him to try the catering... something about 'doing the DP after lunch!'

- nathan

I wont speak for my fellow moderators, but I believe this is an interesting and informative thread.

Some people have decided to launch a few ad hominem attacks, but nothing racist and nothing beyond baseless 'school yard' jabs.

I'll close it if it gets nasty.

I don't believe this thread should be shut down, but could we get away from those silly attacks and steer our way towards having a friendlier discussion?

If you don't agree with the content or subject of the thread, post your views without getting personal or ignore it.

- nathan

Interesting link I found on Digg from Style that made me think of this thread, called What If Your Wife Were A Porn Star?

Being a porn star is what Sky wants. She makes good money, she doesn't get bossed around by a suit, and she has time to attend college (majoring in women's studies). He isn't going to stand in her way. "I want her to be happy. And it's a turn-on, in a way. On the downside, though, there are guys having sex with your wife."

Christopher,

I just moved this to a different forum. This isn't really fodder for the General Discussion forum.

Good luck crewing up and at your shoot in general.

- nathan

I would use Naphta or Alcohol.

Acetone will frag your paintjob.

On older cameras the door was attached the hinge.

You need to send it in to Abel (or whoever) to have it modified to accept the NiMH clip-ons.

They need to crack open the shell of the camera and disengage (from the inside of the shell) the bar that holds the battery door on. Then they have to remove the bar from the hinge and modify the door, add springs to it, then put it all back together with the bar fitted and set correctly so batteries will be snug when engaged.

It's a simple thing that takes quite a bit of effort to achieve. You'd think you could just go at it with a dremel.. you'd be wrong.

- nathan (Former, factory trained mind you, Aaton repair tech)

I'm fairly certain David Mullen used them in Shadowboxer, search for his production diary on the film.. or he'll likely pop up and answer directly.

Physically impossible.

Rent Aaton mount lenses or ARRI Bayo lenses and adapt them to Aaton mount or swap the camera mount... those are your only options.

Assuming the XTRplus in question is a tri-phase XTRplus (meaning it goes to 75fps):

The XTRprod has interchangeable viewing screens, the XTRplus does not.

The XTRprod has Aatonite (aka Arriglow, Panaglow), the XTRplus does not.

The XTRprod can accept magazined programed from A-E, the XTRplus only A-C.

The XTRprod has a more elaborate side display than the XTRplus.

For all intents and purposes they are mechanically the same thing and will produce the same results. They load the same, take the same lenses and accessories. etc..

Older versions of the XTRplus or plain XTR will only reach 60 and 54fps respectivly and require 16v batteries to get to higher speed.

Just got home after seeing it... what a fantastic movie!

My wife cried... but then again she's a sentimental dork... and the humor was spot on (my wife looked at my incredulously several times as if to say "did she just say that" before bursting out laughing).

The projection was atrocious.. The throw seemed off, the focus softish (the first minute or so of the movie was WAY out of focus until the whole theater erupted into chants of "FOCUS!") and the image bleeding off of the screen. The print was also thoroughly scratched.. rarely did a scene escape a running line.

Beyond that though, Eric, your work was very beautiful Very balanced and consistent. I love the lightly-handled operation, very well pulled off in the scene with Juno pulled off the road in her van (among other places), subtle nudges. I love good operating, and I also love watching a nice focus pull.

The crowd responded exceptionally well and I didn't overhear anything but the most positive of statements and reviews.

The movie will very much become a classic with my family and I can't wait until the DVD comes out.

Congratulations Eric!

I'm going to see a shown of it tonight in NYC.

I'm very excited!

Evan, why can't you get your head around someone majoring in Klingon in college? ;)

My German professor in college was a good friend of the linguist who created/adapted Klingon. He said it was a variation of Sanskrit with harder fricatives.