Talk...

It's good to talk. Or talk is cheap? Nonetheless, the pre-production stage is fraught with conversation. Talk of one project, talk of another and so on. There are three projects I am currently pursuing, projects where I am in charge plus another which I have begun to collaborate on. Four projects of the year. Plus the one project in post-production, 'Amigos Amigos', which as a documentary has been very challenging to piece together. This has been a week of talk and the next week will be filled with more of the same. Talk. Discussion and bringing together of many people. Let us see how it all turns out...

A Pre-Production Week

It has been a busy week. Rushing about and talking with a lot of potential partners on my latest film venture. Unlike Jay and Kay Save the World, I want to expand the scope of this new film. I do not know exactly what will happen, but I am looking for external sources of funding. More importantly, I am putting together a complete plan from these initial stages right through to the distribution technique. That is the big thing, distribution. But the plan is coming together, slowly...

Pre-Production

Hello, I'm back...in this blog I am going to tell you all about what a make-up artist has to do whilst in pre-production for a project.

When I have landed a job, and once the director has sent me a copy of the script, I print of the script and read through it, taking notes on any part in which I think they might need any special make-up requirements. The second step I take, is I arrange a meeting with the director and discuss any ideas he might have regarding any hair/make-up/wig requirements; as well as talking about my own ideas, which I have noted down next to the part on the script.

After the meeting; if there are any special products needed, I tend to go to Charles.H.Fox which is on Tavistock street in covent garden and buy the products needed for the shoot (always remember to keep the receipt to give to the director or producer so they will be able to reinburse you of the spenditure)

It is always easier for yourself if the director can send you any pics of the cast, that way you can create a face chart of the design according to the cast member/ character.

The last and final step...production, personally I always prefer to try and get to the location at least 15mins before my own personal call time, since I like to take my time setting up.

Running around Town

As you may have seen on this blog, I am doing a hell of a lot of pre-production. That means running around, doing crazy things and basically acting like a headless chicken. Meeting up with people a lot of the time involves a great deal of co-ordination and a lot of patience while waiting for the tube.

But I have to admit, I have never felt this sociable in ages...

Oh, and of course, I never forget my vlogging...

What the? El D is not happy...

What? This Pre-Production malarkey is getting to me. I am spending more time on London Transport than is deemed reasonable!

Damned city being so big! What next, another meet-up...oh yes, there is.

Well, I get to see a lot of London this way!

Pre 4: Rewrite the Script

My joy at all film making comes from the script writing. Getting at the script and hacking out a piece of flesh worthy of shooting upon. The script is the most important part a film. The storyboard is the guide, but the script is the blueprint. It is what launches a film and without a script then there is nothing to bother the film maker, actors or crew with.

A good script allows not only the film maker to visualise, but also inspires the musicians, the players on screen and the guys behind the camera.

Rewrites are important. The first draft is often an excited rendition of my mind's eye. So the rewrite is the clear crystal look at the script. Is it as good as I first thought (50-50 chance), how are the spelling and grammar of the script (my weak point), how cluttered is the dialogue (another fault of mine).

Once the rewrite is done, the script gets leaner, more punchy. When I first write something, the sheer telling of a story becomes important. But on the rewrites, it is the visualisation of the story that becomes the key. Telling the story not through words but through images. And that is why the rewrite is so important.

And yes, even a short film such as Jay and Kay save the World is rewritten. Especially in a short film, where every second counts, rewrites are essential in order to keep the audience transfixed on what I am trying to tell them. In a short film, you only get one shot at the audience...

Knuckle Down

One thing that is important in the pre-production stage is to knuckle down and get to it. So today, despite the thralls of nights kicking in, I am off to Tooting.

(But I will be half an hour late...)

Pre 3: Storyboards

Oh yes, there is more than just the script. There are also the funky little stick men that I use to represent what I want on the screen. The script is a blueprint, the storyboards are a guide. Often the storyboards are changed last minute on the day, but they are essential to the workings of a good shoot...

And here is an example from my inner most workings:

Pre 2: Cast...

Meeting with the cst is important too. Well, a good director loves their cast. A bad one treats them like crap. Guess what type of director I am...

So later on today I will be meeting with half of the cast of CWP and I am organising another meet-up later on this week for the other half...

Working with 'Da Crew'

Yesterday's blog from Debra reveals a little of how many people are involved, even on a short film production.

Interestingly, I have worked with Debra for longer than any other person with regards to films. We started working together when I was just beginning to make films in 2004 and since then she has worked on almost every major production I have done, including the very first Caution Wet Paint which subsequently garnered my first taste of the film festival pie.

As a director, it is great to find people you get along with in a creative sense. It is also good to have people that think on the same wavelength as yourself. Having a good crew is essential to this. A good crew can read my mind, allow at me to shout at them and cover up for my mistakes. The crew are the silent sweethearts of the set. They do not appear on the screen, they do not get the inches of press dedicated to them, yet they are essential to the production of any film, big or small.

At the moment I am in the pre-production stage of the new Caution Wet Paint short. That means, meeting up with a lot of people. While I meet up with the cast and have regular chats with my El Maestro, I also meet up with the crew.

The crew know what their job is, but they are there to see the script, go over the storyboard and essentially familiarise themselves with what to do. Most things happen on the day, but a clued up crew knows exactly what to do and gets on with the job.

Expect to see more from both sides of the camera on this blog in the next few months...

'Pre' 1: The Script

A couple of weeks ago I was talking about the Post-Production process, but as Writer/Director/Producer, let me, Charles Michel Duke start at the beginning. Pre-Production.

The shoot will happen in March. That is, the shoot for Jay and Kay Save the World. And before anything starts, I have to solidify the script. Now, the problem between writing t and sitting on the script is that it changes. Not fundamentally, but it is the little changes. Already I have changed the words last night, and it will probably be tinkered with before I set it into production. But without the script itself, there is nothing...

Pre Production, Step 5?

Choreography.

Pre Production, Step 4

Crew.

Along with a great cast, it is essential to get a great crew. For me, I keep my crew down to a minimal number, just because of the time and money - both of which generally lack on a CWP set. However, there are advantages to running a tight ship. Quick and lean are the main ones, but also building a sense of purpose. After all, I only one director, and the smaller the set, the easier the buildup...

Pre Production, Step 3

Dates.

Not the Saudi variety, not the 'stroll by the Thames' variety but the physical writing down in a diary and hoping that on the alloted day, it will not rain/snow/hail, the wind is fairly calm and the light levels stay fairly constant.

In other words, you are trying to second guess the British Climate.

Organising a shoot requires subtlety, threats and outright blackmail. Once you have made your actors cry, the day is set-up and the cameras are ready to roll. Just make sure that when the actors are blackmailed, the evidence is actually on hand to be produced...

Pre Production, Step 2

Talk.

Talk is cheap, but it is essential to getting the script away from the computer and onto a firmer footing. Talking to friends and family, talking to backers, talking to other professionals.

But when it comes to CWP, I talk to four people in particular. First to La P, she is always the first person that sees the work hot off the press. Very closely, it is El M. If he likes it, then it is OK. Finally, J and K get to have a sneak peak. They grumble and moan but I usually ignore them as that means it will be just fine.

As a director it is important at all times to be EVIL to your actors.

Now, here is an emergency Vlogsup Vid.

Pre Production, Step 1

The Script.

Often overlooked by many film makers, without a story, there is no way you are going to film anything.

Film has a particular format in the way it is written. This is anal in the extreme, but it does help in one way. Roughly one page of script in this format is equal to one minute of screen time. Really, this formula is about the nearest that filming gets to a constant.

But the plot, simple or complex, funny or serious, genre, event or character driven, there has to be some semblance of a plot. A beginning, middle and an end (though not necessarily told in that order) and some development in the characters we (the audience) are meant to have an interest in or a message conveyed to us.

And so here comes CWP. What is the message I am trying to convey?

Pre Production

There is a reason why things have been very quiet on the CWP Front recently. That magical phrase, 'pre-production'. Yes, that is the terminology for procrastination heaven. Pre-production can mean anything. Scripts, re-writes, twiddling of thumbs. Mostly, it is organising. Film is fast, filming is slow. Especially the preparatrory work, where most of the budget goes on consultation. Or in my case, as I work with no budget, 'discussion time'.

There will be a new 'made-for-festival' short coming out next year, and it will probably be shot in January. I, as El D. will also be making another short film, a more serious one with a tone of gravitas attached to it. Like last year, two films, one wacky the other sober. It kind of reflects my own duality (or multiplicity) that I like to do two completely different projects, on an emotional level. It balances my internal ying and yang. More importantly, I do it as I feel like it. The crazy antics of CWP is liberating, while the sadistic nature of the bulk of my work allows me to explore a lot of personal demons.

Will be keeping you all informed, El D!

Organised?

Yes, yes I am...well, mostly...a lot of behind the scenes activity...happening...sssh...