Ger Leonard

Although very different in theme and narrative and "genre" you should check out TONY TAKITANI which employs some similar aesthetic techniques, an interesting article about which is here. http://chiaroscurocoalition.wordpress.com/2009/05/05/tony-takitani-and-the-japanese-art-of-understatement/ What I found fascinating about CONFESSIONS was this combination of the meditative "still lifes" with an almost operatic revenge narrative. The aesthetics are not just a formal style imposed on the narrative but integral to the meaning itself. The form and the function are inseparable. Japanese art.

Ok the Oscars would consign these "foreign" films to "foreign language" and they are excluded from other awards incl cinematography but I think they deserve a mention. The cinematography in these 3 films (and the films themselves) for example are to my mind far more impressive than that of some the extraordinarily overrated an overhyped nominees for best film and best cinematography at this years Oscars. Best cinematography should be best cinematography in any language. OF GODS AND MEN http://www.imdb.com/title/tt1588337/ CONFESSIONS http://www.imdb.com/title/tt1590089/ DOGTOOTH http://www.imdb.com/title/tt1379182/

I watched this extraordinary Japanese film last night which has to my mind some of the most glorious cinematography I have ever seen Trailer here http://kokuhaku-shimasu.jp/index.html A huge box office hit in Japan, it was chosen as Japan's entry for the Oscars. This is J Horror that goes far beyond the now tired tropes of The Ring/Grudge films Imagine Elephant crossed with Oldboy/Lady Vengance, Battle Royal and Tony Takitani. I am currently reading Lionel Shriver's We Need to Talk About Kevin, the film adaptation of which by Lynne Ramsey is to be released later this year. Watching Confessions I couldn't help but wonder if/how Ramsey's film will compare. If anyone has any tech info on Confessions I would love to read it. If get the opportunity to watch this film on big screen, take it.

I hope you will permit me post on your forum what I have posted on my blog http://fivedayshelter.blogspot.com This relates to my first feature film FIVE DAY SHELTER Five Day Shelter premiered at the Belfast film Festival and screened in competition at the Rome International Film Festival. It is screening on Thursday 11th November in The Cork Film Festival. http://www.imdb.com/title/tt1604672/ As the credited writer and director of FIVE DAY SHELTER I wish to clarify that I was removed from the post-production of this film. The edit, sound design, ADR, music, pick-ups and the final (anti) climatic scene of the film were done without my involvement and against my wishes. I strongly considered removing my name from this film but I only retained my screen credits on the condition that I retain my integrity and tell the truth of my involvement or lack thereof and my feelings about this film. The disparity between this film and the film it could and should have been had I, and the DoP Tim Fleming and my composer Peter Broderick, been permitted to complete the process, is vast and untold. It recalls the classic sketch in Morecombe and Wise where Eric says to Andre Previn " I am playing all the right notes but not necessarily in the right order." In this case the joke is far from funny, and notes have been removed and/or replaced in a parody of composition. Had I been permitted to complete the film I do not claim it would be some sort of masterpiece, far from it, but it would have retained it's integrity, the courage of it's convictions and had the unity or style and of purpose, of form and function that is integral to the success or otherwise of any film, things that are painfully absent from this "take" of the film. It is never all about the story but rather how the story is told, and that is true for the film itself and how it became that film. There is a film I spent over five years working towards. We brought together a wonderfully talented and committed cast and crew who all believed in and were excited by what we were trying to achieve. It was a tremendous privilege to work with them. The film created in post does not reflect those of us who believed in this film throughout the production and kept faith in what we were working towards. Instead it is a misinterpretation of our work. As a well known director once put it "The director is the immune system of the film." The immune system was removed, and I could not save our film. Our film only exists in the hearts and minds of those of us that believed and kept faith, and it exists too in an abridged form on my hard drive but that can never be seen in public. Those that have seen and heard this film and the "official" one cannot fail to recognise the chasm of care and consideration that divides the two. I never abandoned the film, nor ever sought anything but every possible means to move this film forward together. I was removed and the film was compromised. The Five Day Shelter that audience's will see is cowered and fearful, impotent and illegitimate, without courage, without integrity, without hope or character. It need not have been this way, had faith been shown in the process and fear and weakness not taken hold. I am all too aware of the risks in stating this reality but unlike "my" film I will retain my courage, integrity and character. I greatly admire Simon Perry and what he has achieved during his tenure at the IFB, what happened to Five Day Shelter is not symptomatic but rather a deeply regrettable anomaly born of circumstances particular to this film production and those involved in its completion. "My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water." Robert Bresson. "Ever try, ever fail - no matter - try again, fail again, fail better." - Samuel Beckett.

Still time. production put back til feb 2009. DP on board, doing investigations..

I rang The Production Depot in wicklow, ireland, myself and 7,500k euro pw is the quote i got for a basic 35mm package. I asked for the lowest price package. I wasn't smoking at the time and to the best of my knowledge neither were they. With a DOP on board we may be able to get price down a bit but that's the quote i received. Even if we managed to get the 35mm package price down to within budget, we still have to deal with stock, processing, shipping etc.. Many Uk and Irish films on roughly similar budget to ours have gone down s16mmm route. Some may have chosen s16 for aesthetic reasons but most I would imagine for budgetary ones. Some of these look pretty good. Of course s16 lends itself to a rough and ready, gritty look. I put up 2 screengrabs earlier to suggest the style I'm after. Key visual references for my film include: Lynne Ramsey's Ratcather and Gasman, The Bill Douglas Trilogy, Terrence Davies, K Kieslowski, Coppola's The Converstaion, Bela Tarr, Gus Van Sant. You can tell from this list what i DONT want.. Shaky handheld camerawork and fast cuts, often but certainly not always a style associated with s16. Some s16mm Films UK This is England, My Summer of Love, Vera Drake, 28 days later, London to Brighton, The History Boys, Dead Man's Shoes, Wonderland Ireland Adam & Paul, Intermission American films: Mean Creek, The Station Agent, Junebug, The Ballad of Jack and Rose, Half Nelson, .. European: L'Enfant, The Counterfeiters, .... Central and South American The Motorcycle Diaries, Japon, .... I've not given up on 35mm (thats why i started this topic) and as always advice welcome.

Our budget may not go as high as 1.6m euro but 1.4 +m certainly. Even so your point about proportion is well made. Appreciate what you say about the workprint and workflow, could be place to start finding the money needed. Thanks for the advice. I'll run this by my producers and when in place our DOP.

Cheers Stephen.. thanks for that.

I came to seek advice, not to argue. All our figures point to s16mm. As the director i am very interested in exploring the possibilites of shooting 35mm, be it 4-pref, 3-pref, 2-pref. I was not questioning your knowledge, and i apologize if appeared so. I started this topic to find out if there were 35mm options on our budget. You can understand the frustration when the figures my producers have for 35mm means its impossible, while at same time i'm being informed here that it is in fact more than possible. Before i started this topic we had budgeted for s16. While searching here i came across some info on 3-pref and 2-pref. I posted the topic to figure out if it was viable. I do trust my producers, and i have no reason to doubt you. Please believe me when i say this. I wish to offend no one. All I was seeking in last post was information to persuade my producers that 35mm is indeed possible as you and others here have said it is. Of course i believe you when you say that on a similar budget 35mm is possible in the US. Our budget model is tied in with commitments to irish and some UK spend. Perhaps this is why at least so far we haven't found a route to make 35mm possible. I really would be delighted to find a way to shoot 35mm in Ireland. I am not a producer nor am i a cameraman, just a director with some questions. Thanks.

Hampus, another person claiming that for 25k we could "easily" afford to shoot 35mm for 6 weeks. Prices for 35mm stock are around Euro 500 for 1000 feet can, we would need around 50 cans for this feature. If the 2 - perf stock usage is 50% of normal usage this will leave us with Euro 25,000 for stock price, doubling what we have in our budget. There are also other cost implications, the S16 film stock weighs less than a third of what 35mm stock weight. This will triple the daily shipping cost to the lab. And as said in last post a basic 35mm package is 7,500 euro pw from The Production Depot, ireland. A 2-pref can be more expensive. We can get a s16 package for around 1k pw. From the figures i'm getting here in ireland, the word "easily" doesn't fit with 35mm for a 6 week shoot. Love to have someone prove me and the producers wrong. What do you know that we don't? Please don't just say its easy, provide details of how. Surely the prices are not so much higher in IRE/UK. BTW we need to source equipment from IRE/UK. One of producers has told me to disregard some of this "easy" talk as bravado ignoring the bottom line. These producers have made a number of features before, and should have firm grasp of realities. The are also good guys, whom i trust. I don't want to pester them with throwaway 2nd hand comments like "its easy", which are meaningless without facts and figures.

Thanks Bruce, that could prove very useful. I'll contact Anders. A basic 35mm package is 7,500 euro pw from The Production Depot, ireland. A 2-pref can be more expensive. So that works out for 6 weeks as 45k. Our camera budget is currently 25k. A 20k shortfall and that doesnt take into consideration stock and processing v s16. Big ask but if dont ask wont receive. Not giving up on 35mm yet, as winter could be quiet, they wont want their cameras lying idle etc..

They are experienced producers, and I have no reason to doubt their integrity and their figures. Those figures seem standard, but as i said lets hope we can negotiate a better deal. You are very confident that even on a 25k euro budget for a 6 week shoot we would "easily" be able to secure a decent 35mm camera package. I hope the producers have over-estimated the costs and you are proved right. Love to hear what others think and know from experience. Also is there a substantial difference in rental prices between 4-pref, 3-pref and 2-pref camera packages? Again appreciate all posts.

You say for 25k we should easily be able to put together a high end 35mm package for a six week shoot...... ok, easily said but how, who, where? I'm based in Ireland and the figures i've given are accurate, but when DP on board we might be able to negotiate something better. "Easily" you say... I'd really be delighted to learn that that's true. Please explain..

cheers stephen, The film is for theatrical release. 2:35:1 presents limitations and possibilities, which kinda go hand in hand. Right now i'm watching Silent Light again on filmfour. Yeah, getting a DP on board asap is key to all this. Sean Bobbitt might also be worth considering re hunger and also his s16 work on Wonderland, along with a number of Irish options. Its better i don't mention names. Good to hear about your steadicam work. Best G

Spoken to my producer who says a full 35mm camera package will cost around 10k a week and that our camera budget is 25k... for a 6 weeks shoot. Ok 2-pref uses have the stock of 4-pref but 35mm is 3 to 4 times more expensive than S16 My producers are doing some homework and the mathematics but anyone here know how much a 2-pref camera package would cost ? Again i'm a director so excuse my lack of tech knowledge.. I reckon we can boast the camera budget to 50k (i would say that), but for between 25k to 50k, is shooting 2-pref possible ?

Ive watched all of leone's films many times before John. And i agree staging the scenes in this format is challenging and i have to consider if it works for this film, the locations etc,, let alone the budget.. But I wouldn't agree that leone is the only director to use this format the way it should be. His way worked wonderfully for his films, but there are other directors and other films that worked in their way. Take just these 6 very different directors and films for eg.(not 2-pref but 2:35:1) Dario Argenta "Suspiria" Cristian Mungiu "4 months. 3weeks, 2 days" David Fincher "Seven" Carlos Reygadas "Silent Light" Sam Peckinpah "Pat Garrett & Billy the Kid" Robert Altman "The Long Goodbye" But no doubt shooting 2:35:1 needs to be right for the film. I know 2-pref best suits this format but I it is meant to be possible to go 1:85:1 However i think in doing so you may negate the benefits of 2-pref 35mm over super16mm. Therefore shoot 2-pref if want 2:35:1, otherwise stick with super16mm? (on budget) Am i correct in this assumption?

anyone know the budget on Hunger? the workflow? i know Dragon DI wales did the DI and Sean Bobbitt shot it (also shot winterbottom's Wonderland on super16mm in 1999) 2-pref seems to the new old kid on the block.. it had its glory days with leone, argenta, lucas et al, but Hunger testifies to its potential today.. I'm getting mildly excited by possibility of shooting 35mm on our budget but these days super16mm is pretty good too.. Will investigate it further, if possible love to try..

Thanks for that. I had no idea hunger was shot on 2-pref. http://www.wfml.co.uk/news-items/DRAGON%20...AT%20CANNES.pdf I have not seen Hunger yet but this is very encouraging news. the producers are finalizing the budget today for submission, and they're squeezing every penny to make super16mm work, so for 2-pref to be possible the extra expense will need to be minimal. (i think 3-pref will be beyond our scope) Do you have to shoot 2:35:1 on 2-pref ? I know 2-pref naturally suits this but I had been planning a standard 1:85:1.

cheers stephen.. 2-pref techniscope is best used as widescreen, sergio leone, american graffetti, THX 1138 http://www.abelcine.com/articles/index.php...t&task=view http://en.wikipedia.org/wiki/Techniscope Seems to have quite a few drawbacks but worth investigating. Rather be in reach of 3-pref. PS when last we spoke i was looking for a belgian DOP, that is no longer the case and now looking for irish.. we've already made a shortlist but we'll keep you in mind.

thx for your 2 cents.. ive since read that it?s rare that a lab would have a 3-perf projector, and the best way to see 3-perf dailies is on a location projector, which from what i understand is difficult to find. 2-pref do seem harder to come by, even though techniscope's been around since 60s http://en.wikipedia.org/wiki/Techniscope I've found lots of info online about 3-pref and 2-pref, but would love to hear some first hand experiences. How much more expensive than shooting super 16 are they? Seems most TV series shoot 3-pref.. I would love to be able to shoot 35mm, as this film tells its story through images, and has minimal dialogue with about 50/50 ext/int and will be shot this winter with overcast skies, although in saying that The Station Agent, Romper Stomper, Japon, and This is England all worked well on s16mm. To give some sense of style here are 2 screen grabs. From francis ford coppola's The Converstaion From Lynne Ramsey's Gasman

i have read here that shooting 35mm 3-pref will save 25%, and 2-pref 50% on stock and processing over 4-pref. Is this accurate? Or is it false economy? Currently we have budgeted for super16mm, as we are roughly 100,000 euro short of shooting standard 35mm. Our budget is approx 1.6m. I had quite happily resigned myself to shooting 16mm. There have been a number of fine looking films shoot on 16mm eg. The Station Agent, Vera Drake, This is England, Japon etc But upon hearing about 2-pref and 3-pref, I wondered was it still possible to shoot 35mm albeit on 2-pref or 3-pref. Has anyone any experience shooting 2-pref or 3-pref? Why did you choose it? Why is it that so few films take this route? Or perhaps they do but i am unaware of it ? The film will go through a D. I. We will be using The Post Republic in Berlin http://www.post-republic.de Is it reasonable to consider 3-pref or even 2-pref 35mm over super16mm? Cost comparison? Quality comparison? Potential issues, obstacles? Format? What about the cost of blow-up for projection? I am the director and do not claim to be an expert on these technical areas. We currently do not have a DOP, but are in process of shortlisting. Advice appreciated.

Actors like to feel that your ideas are intelligent, insightful and imaginative, AND they have the freedom and permission to explore the implications/possibilities of your direction to inhabit the role/ make the character their own. That you know the script and the characters BUT that more important is that you are intrigued by them (and the actors), and want to know more, discover them. Knowing that you don't/can't know everything. As you say they need to feel safe, supported and encouraged. ( Although there are many examples of wonderful performances where this wasn't the case. ) Just as important as knowing what and when to say to an actor is knowing when to say almost nothing. There is not one correct way to work with actors. A director like an actor shouldn't get "locked in" to one way. Having flexibility so as not to crack. Bit off the point but i like this quote: "The best actors are children and dogs because they are not acting at all." Helen Mirren. But of course that doesn't mean you should treat actors like children or dogs! ;)

Having re- read all the posts.. i can see that i have been a little too defensive. We have found ourselves in a combative dialogue. There is much to reflect on. The words of Rudyard Kiplings' IF .. require a examination of self. While i do not agree with all you have said I can see that there is aspects of your argument that shows a weakness in my position and potential difficulties. I am not saying that i should therefore better defend my position but rather question myself and my thoughts and actions still further.. A director should try to see all sides, yet not be confounded by their multiplicity. This film is deeply important to me. I have spent the last 4+ years working on it. While i feel your tone has not always been helpful.. this dialogue should not serve to entrench a defensive position, but instead liberate further exploration and examination. As Anthony Mingella was fond of saying to his actors "I don't know, let's try."

How dare say that I " haven't even taken the time to read through and discuss the script with your actors which means you haven't even CONSIDERED he'll be able to play this guy or given him a chance to to explore the character and allowed for the slightest possibility his interpretation of this character could not only work BUT might actually be FAR BETTER than what you imagined the character to be in your mind." Your language is deeply insulting. I cast all the actors only after in depth analysis and discussion. I would not have cast any actor without having confidence in them and what they can bring to the role. Likewise they would not have committed to this film without their having confidence in me. I do not have the time right now to go into details in my defense of all the accusations you lay at me and anyway it is clear that you have judged and condemned me already. I am thankful that those that I have been working with on this film seek to build, and not destroy. You do not know me, nor give me any benefit of doubt. I have tried to build common ground, but had it pulled from under me. On this forum I openly and honestly shared some of my doubts, yet you deemed it your duty to see this a weakness and go in for the kill. I'm sure you will again seek to read in to everything i have said further evidence for the prosecution. Language is indeed paramount. There is risk involved of misinterpretation and misrepresentation. Although I teach english myself, this is one of the primary reasons why i became a writer and director of the primarily visual medium of film. I do not share your arrogance and self belief, I do not claim to have the answers for everything. I do not have some platonic ideal of either a character, actor, or direction which I wish to force on anyone including myself. What i believe in is being open and honest, being non -judgmental and generous, listening and learning. You may again deem these mere "sound-bytes", and that of course is your prerogative. I'll leave this dialogue with some inspirational words from Rudyard Kipling: IF.. F you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you, But make allowance for their doubting too; If you can wait and not be tired by waiting, Or being lied about, don't deal in lies, Or being hated, don't give way to hating, And yet don't look too good, nor talk too wise: If you can dream - and not make dreams your master; If you can think - and not make thoughts your aim; If you can meet with Triumph and Disaster And treat those two impostors just the same; If you can bear to hear the truth you've spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build 'em up with worn-out tools: If you can make one heap of all your winnings And risk it on one turn of pitch-and-toss, And lose, and start again at your beginnings And never breathe a word about your loss; If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the Will which says to them: 'Hold on!' If you can talk with crowds and keep your virtue, ' Or walk with Kings - nor lose the common touch, if neither foes nor loving friends can hurt you, If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds' worth of distance run, Yours is the Earth and everything that's in it, And - which is more - you'll be a Man, my son!

I am not claiming to be an expert, just that I am not a complete idiot. I have studied and continue to learn and hopefully will never stop learning, questioning, challenging, reassessing.... there shouldn't be a full stop As has been mentioned by David Mullen in this topic "whatever gets you there" David goes on to quote a well known example: "If you have to tell an actor to play the scene as if they need to go take a piss but can't (as Marlon Brando was directed by Kazan for a scene in "On The Waterfront") versus a more intellectual discussion, well, if it works, why not?" Brian Drysdale in this topic says "David Lean used an instruction to Omar Sharif in "Dr Zhivago", when his character was watching a crowd being massacred in the street, about having sex and trying not to climax." Of course these are "quick fixes".. imaginative adjustments in order to capture something on film. All the other work you mention has to be done. Preparation is in depth script analysis Judith Weston is a widely admired teacher who told me in one of her workshops to play the scene "as if" the other actor were holding a gun. Yet there was nothing in the text to backup this possibility. http://www.judithweston.com/endorsements.shtml To dismiss it as "tripe" and "just actors workshop Bullshit" seems harsh. I am sure you have heard of "opposites" , playing it "wrong".. this can and has worked.. I know you are a vastly experienced director. You are entitled to your opinions. There are other vastly experienced director's however who believe that occasionally these adjustments work on film, where you are capturing moments. They can serve to loosen up an actor (or even a director) that is blocked or locked into a line reading. Perhaps my previous post seemed to imply to you that this would be my primary means of getting a performance. If so i want to assure you that that was not nor is my intention. You seem to have a very strong reaction to the word "encourage". There is always that risk with language. I think there is nothing wrong with a director wanting to encourage an actor. HOW the director does this is what is important. It is in the discussions on the script, the character, backstory etc that the preparations to enable the actor to "have permission" to be in the moment will occur. There is much of what you say that i agree with and i feel we may be at cross purposes. I appreciate the strength of your convictions. I will continue to encourage ..