We continue our chat with David Allen Cluck, known for his work as a 1st AD on Monster and the Artist . David was kind enough to share some of his free time from working on Mechanic: Resurrection to discuss (over some food) his experience as a 1st AD and other aspects of the Film Industry. In the first part, we concentrated on working as a First Assistant Director. In this second part we overview David’s career, discuss film producing, the changing landscape of the film industry and the ‘problem’ with passion. Continue reading
One of my teachers once told us: “the First Assistant Director always ‘gets the girls’. Some people cannot resist the charm of a person who appears in control.” So, do you want to be a 1st AD? Recently, David Allen Cluck, known for his work as a 1st AD on Monster and the Artist informed me: “I do not know who did this study, but did you know that the average lifespan of a 1st AD is 56 years old? It’s definitely a stressful job.” So, do you still want to be a 1st AD?
David was kind enough to share some of his free time from working on Mechanic: Resurrection, currently shooting in Thailand, to discuss (over some food) his experience as a 1st AD and other aspects of the Film Industry. I made him talk a lot (so that I could eat more) and will have to split his contribution over a couple of posts. In this first part, we concentrate on working as a First Assistant Director. Continue reading
I am currently not making a film. No, not yet. It is not that I do not want to. It is not like I do not know how. I am working on it, daily. In fact, ‘I have various projects at various stages of development’, pages and pages of notes and scripts, schedules and budget estimates, considerations for crowdsourcing and marketing strategies, and more. You have discussed your ideas with friends and family to the point that a simple mention of the projects will likely make their eyes roll and induce them to switch their brain off. Suddenly you gaze at the calendar and realise how long ago it was that you first announced that you were going to make a film. Why is that film still not made?
Meet Elliot Grove (see more here). How could a young Amish Canadian teenager grow to become an Independent Film producer and founder of the Raindance Film Festival (see more here) and Film School (see more here)? Continue reading
Can you work for free? — No.
We are an independent film production. We might be able to offer minimum wage, at a max. It’s a great project, it will look good on your reel. — awkward silence.
What would you reply?
Two questions come to mind:
- What is an Independent Film?
- Why is the the scenario above sadly familiar?
Why do we tell stories? All humans seem to tell stories throughout their lives. Gossiping, reporting and structured storytelling all appear to address the same needs and impulses. From the campfire tales, to paintings, writing, theatre, music and films, we tell stories. Are we doing so to better understand each other? Or do we tell stories to rationalise our feelings? Media corporations invest vast amounts of time, energy and resources to entertain and convince us. When we share a story, do we seek affirmation? Are we trying to heal ourselves? Do we search the immortality of our ideas? Continue reading
Writing can be a ‘funny’ and frustrating activity. On one hand, there are days when we can sit and write a scene without having to think that hard. The scene feels right. It has the right rhythm, the right evolution and it reveals the subtext through subtle and captivating actions and descriptions. It does what it was intended to do. Not only does it promises to capture the audience, it also guides and entertains the reader. Other times we struggle. We know what the scene is supposed to accomplish. We understand its intent. But, the writing is not delivering on the promise. It feels dry and obvious; subtext on a white page.
First of all, what is subtext? Continue reading
When discussing filmmaking and visual style we often think of the Director’s vision, we celebrate the Cinematographer’s sensibility but we have a tendency to forget the Production Designer. Many might even be confused as to the differences between a Production Designer and an Art Director. After all, even the Academy of Motion Pictures used to celebrate Production Designers with the Best Art Direction award until 2012. Continue reading
David Lynch needed a bigger church. The 10th Lucca Film Festival (click for more) invited Lynch to receive a Lifetime Achievement Award As Guest Of Honor and showcase a selection of his art, paintings, lithographs, music and films. Lynch also presented his views on meditation at the San Micheletto Chruch. Sadly, only a few ‘souls’ were able to attend, as hundreds of people from various parts of Italy (myself included) were left outside the rather small building. Yesterday, Lucca’s San Francesco’s Church opened its doors to film students and film enthusiasts seeking inspiration and guidance from the Master. It was a bigger church, but it was not big enough to accommodate all the ‘followers’ seeking wisdoms in his words. The doors were closed shut on the angry faces of the ‘fans’ shouting their discontentment across the reverberating hall. They understood that the organisers seemed to have underestimated the Lynch factor.
Below, you can find a transcription of most of his words. Lynch answered questions about his art, his approach, inspirations and methods. He did so with great tranquility and positivity. I have taken the liberty of inserting a few videos I felt related to the topics being discussed. There is a profound love for ideas and a real enjoyment for translating them into art. There is a comforting sense of tranquillity and control. “All you need is an idea.” Continue reading
There are many examples of actors successfully crossing into directing. From Charlie Chaplin to Clint Eastwood passing by Ron Howard and George Clooney, actors have transitioned onto the other side of the camera, and done so with an advantage. If empathy is an important aspect of being a filmmaker, who can understand a task better than the ones having felt the complexities, challenges and possibilities of doing said task first hand? It is important for a director to understand where your actors come from, how did they inform their craft? what “schools” or “methods” influenced their development? Continue reading
A few tips on directing actors stolen from here and there throughout the years: