Week 7 Lenny and Sneaker Spastic - Expectations

Reflecting on both the lecture and the readings, an attempt of drawing conclusions and critical analysis of this learning material was implemented while shooting the Lenny exercise. This week’s lecture started off with Son of Santa. While Paul ran through basic steps of shot construction, effects (fade ins/outs), tracking (using dolly) and the placement of the object, raised awareness of how to do this the best way as possible in Lenny and Sneaker Spastic. Left placement of the object in the frame worked for the eye visually without forcing it. After this, running through the six P’s gave the opportunity to rethink how to think laterally on how to direct and cast film. I think this as a basic rule works for the projects and for Film-TV1 as its vital role (the six P's), play trough all the aspects of film production.

In our projects, security comes first, and the risk management plan is put together consistently, as new things and comes up that the group and I get aware off. Then the shots can begin, together with sound, props and production design. I think it was a good thing of Paul to put in 'how to think' into the lecture; manage your attitudes, be a better person and be a better filmmaker. In between these lines I remember Arbiger’s article on developing a crew. And like Clown Train, the chose of location would put me more into the actual atmosphere of the homeless man and Leon in Sneaker Spastic. When casting, I saw clearly what I wanted out of the actors but that only worked if I put myself into their shoes.

Later, in the lecture we looked deeply into producing, pre production, personnel, priorities, planning, paperwork, production design and practicalities. I think here, this is where the face of Film-TV 1 takes place and I feel this is where the course is coming together. We all know (or should know and are crazy if we don’t) how important a good and well organized pre-production we should have for the main project. What I have experienced over this week is the three stages roles and responsibilities of collaboration that was mentioned:

-Pre equality of collaboration and learn everything about every facet of pre-production. Also, think about our specialty and not be set in concrete.

-The shoot – military hierarchy and the post –equality of collaboration.

-Always analyze pre-production and the production rather than post, and be equally on top of it.

Also, as a last main point, having broad knowledge in the arts is what we individually should know about and as a group as a whole but at the same time this is a crucial aspect for the director.

After looking through the reading material, what was it in Arbiger’s article, that could be reflected upon in the Lenny exercise in terms of developing a crew? Looking beyond the technical aspects of shot construction and more in depth of the practical, is how I will analyse how the Lenny exercise went.