Additional Film Delivery Requirement

Jon Bowen would like to you to add the following to your final film submission on Dec. 9th, by 4:30pm:

Please provide three distinct screen shots that you think best visually represents your film. 

I've been told you should already have these from a color correction assignment in Cinematography. If not, please take a moment to get a few screen shots that can be used for future promotional materials. You'll put this in the digital folder you deliver to the equipment room. Please let me know if you have further questions about this addition.

If you have not taken the screener program survey, please do so RIGHT NOW:

https://www.surveymonkey.com/s/HD5WKR6

Tomorrow is my last day for office hours. After that, I am available by email or appointment. 

Don't forget to come out this Saturday for the Film Fall Showcase! The program includes films from last year as well as some gems from the archives. A nice retrospective of the film program from recent times. The films being screened include some from our very own class, so come out to support your friends! More info about the event HERE.

Though I am sure I'll see some of you before the break, I want to make sure and tell you how great it has been for me to watch you all make your films and grow as directors and humans. You've worked your asses off and I think your screening in Feb. is going to really impress people. You are a great group and it's been my pleasure to work with you this semester.  

Happy Holidays! Get some rest!

Program Survey/Course Reminders

If you have not done so already, please fill out the survey for the program committee. They need a link to a recent cut of your film as well some promotional materials for the actual program.

https://www.surveymonkey.com/s/HD5WKR6

Please take care of this asap so that the program committee has enough time to select the film order and design the program! Thanks!

Final notebooks are due at 10am, this Wednesday, in NSC 183.

REMEMBER: Please bring a copy of the final notebook grading sheet with your notebook. If you lost the copy I provided in class, please print out a new one from this link: https://drive.google.com/file/d/0B4xA2v4eFfEDcDBFUTNwZHN1dDQ/edit?usp=sharing
If you are unable to use the link, email me for a PDF version.

This Wednesday at 10am, we will be updated by the screening committees and watch the graduate students' final casting videos.

Final films are due to the equipment room by Dec. 9th.

Good luck with all of your final exams! See you soon!

Final Exam Meeting Time Changed at 10 AM !

Our meet time for the final exam day is not one hour later, but 2 hours ahead this year!

Please note the time difference and come to class with notebooks to turn in and committee work to share!

Final exam meeting: Dec. 4 at 10 am

And don't forget...

Final films are due DEC. 9
Submission of final films must follow the Equipment room specs and procedure. Failure to do so will result in a grade deduction. Don't forget to check the rubric for final films on WebCourses to remind yourselves what that grade is based on.

Final Film Delivery Specs

Video on Screener Delivery

Picture Lock Deadlines/Audience Survey

Hi All! Just to follow up on what's due next week and beyond -

EVERYONE must turn in a picture-locked cut of their video next week, November 20th. We will be using the entire class time to screen all 25 films, so please BE ON TIME.

Films must be delivered on DVD or by a video link (Vimeo, YouTube) emailed to me BEFORE class begins. Anyone not adhering to this submission format will have a letter grade deducted from their picture lock grade.

ALSO DUE: AUDIENCE SURVEY
Please bring a paper survey to be filled out by your classmates that addresses specific feedback you want on your cut. I suggest keeping your questions for feedback focused on audience reactions and outcomes, since major changes cannot be made after this due date.

Students are free to create the most fitting survey for their work, but the following is required of all audience surveys:

1. Surveys must contain 3-5 questions for feedback, one of those questions must concern actor performance.

2. All surveys must have an established scale for responses (1-5, 1-10, etc.), allowing you to gauge answers more precisely. No "yes or no" questions or scales less than 1-5. You may include a comments section, it is not required.

3. Students must provide a copy of their survey to the entire class (24) as well as the instructor and 2 graduate students. That's 27 copies - bring 28 to be safe!

PICTURE LOCK DEADLINE:
After discussing the matter with Zach, I've decided to grant the more-than-reasonable request of allowing small cut changes, should your survey feedback warrant it.

If any student needs to make a small change to their picture after turning in their initial pic lock cut, I WILL ACCEPT PICTURE LOCKED CUTS UNTIL 11:30AM, THURSDAY, NOVEMBER 21ST. Should you need to utilize this extension, please bring new cuts to my office or send links by email. I will not accept any cuts after this deadline. Any student who makes changes to their picture following this deadline will be have their final film grade penalized.

Please let me know if you have any questions or concerns. I am available anytime to view cuts and give feedback, up until the pic lock deadline. Don't hesitate to email me cuts or bring them to my office hours!

Required Film List

GROUP E: Please bring a DVD OR live VIMEO link to class next week. NO HARD DRIVES.

Here is the list of films that was required way-back-when. The idea was that you had to see all of these films either in class or on your own throughout your 3 years in film school. There used to be a test and everything, but they stopped doing it in 2005. Anyway, it's a neat reference to see where you are at in terms of film literacy:

UCF FILM DEPARTMENT

REQUIRED SCREENING LIST 2004

Film Majors are required to have completed screening these films prior to their Film B.F.A. Graduation.

8 1/2

2001: A Space Odyssey

400 Blows, The

Allures

Altered States

Annie Hall

Apocalypse Now Redux

Battle of San Pietro, The

Belle de Jour

Bicycle Thief, The

Blair Witch Project, The

Blue Velvet

Bonnie and Clyde

Breathless

Broken Blossoms

Cabinet of Dr. Caligari, The

Casablanca

Chinatown

Citizen Kane

Civil War, The

Closet Land

Cook, The Thief, His Wife, Her Lover, The

Conformist, The

Daisies

Das Boot

Daughters of the Dust

Day for Night

Dog Star Man

Dr. Strangelove

Duck Amuck

Duck Soup

Easy Rider

Eraserhead

Faces

Fantasia

Flaming Creatures

Godfather Trilogy, The

Gold Diggers of 1933

Gold Rush, The

Gone with the Wind

Graduate, The

Great Train Robbery, The

Harlan County, U.S.A.

High Noon

Hiroshima Mon Amour

His Girl Friday

La Hora De Los Hornos

Hospital

Invasion of the Body Snatchers (1956)

Jazz Singer, The

Le Jette

JFK

Last Laugh, The

Last Tango in Paris

Last Year at Marienbad

Lumiere Early Film Reel

Man With a Movie Camera, The

Marriage of Maria Braun, The

Medium Cool

Melies Early Film Reel

Meshes in the Afternoon

Metropolis

Midnight Cowboy

Nanook of the North

Network

New York Stories

Night and Fog

Night of the Living Dead (1968)

O Lucky Man!

Passion of Joan of Arc, The

Persona

Pillow Book, The

Player, The

Playtime

Potemkin

Psycho

Pulp Fiction

Purple Rose of Cairo, The

Raise the Red Lantern

Rashomon

Rear Window

Red Desert

Reservoir Dogs

Seventh Seal, The

Sex, lies, and videotape

She’s Gotta Have It

Stagecoach

Star Wars

Stranger Than Paradise

Streetcar Named Desire, A

Sunrise

Sunset Boulevard

Sweet Sweetback’s Baadassss Song

Trip to the Moon, A

Triumph of the Will

Un Chien Andalou

Warhol Shorts (Eat, Sleep, Empire State, etc.)

Wavelength

Wind from the East

Window Water Baby Moving

Wizard of Oz, The

WR: Mysteries of the organism

Zelig

Zorn’s Lemma

Film Screener Specs

I know it's a month away, but here are links to instructions on how to submit your final film to Bowen. I'm sharing this with you now so you can get an idea of where sound levels should be and how much time you should set aside for final export and turn-in. Since this is how D1s were submitted last year, I'm hoping(?) you are all familiar with this process.

When we get closer to final film turn-in (DEC. 2nd), I will repost this info.

Instructional Outlines/workflow for final film turn-in

Instructional Videos for final film turn-in

Halloween Week for Directing 2!

I hope Group E, cast and crew, had a successful weekend of shooting! Best of luck to anyone still shooting tonight!

THIS WEEK we will hear from the productions that went out this past weekend. Directors, please try to be in class to tell us how your shoot went!

We will also be screening dailies or cuts from Group C!

GROUP C - Please remember to send a vimeo link of your video to me before class OR bring a playble DVD to class. Sadly, I am still without a laptop, so if anyone could volunteer theirs for the screenings, I would greatly appreciate it. If not, I can work something out with the Equipment Room.

Tim and I are canceling the casting activity we had planned this week, so class will end early.

On that note, I'd like to remind everyone that attendance is part of your grade in this course. I have been taking attendance and keeping track of late arrivals all semester, and some of you are taking a lot of days off from class. Your grade suffers because of this, and your classmates suffer from the absence of your intellectual contribution. We are in the stage of Post when people need to hear from you. If you expect feedback on your own work from your classmates, you are responsible for returning the favor to them by being in class for screenings.

That being said, I know you are all worn out. Take care of yourselves and each other. D2 productions are almost over! Enjoy your week!

D2 Screener Committees (Yes, It's That Time!)

This week, it was great to see some of Group A's footage! I'm pumped to see your films coming together, and most importantly, the performances were excellent.

Good luck to Christine, Matt, John, Tu, Nathaniel S., and everyone else working on their sets this weekend!

To those of you working every week on a shoot: remember to SLEEP, drink water, and don't just eat carbs!! You can't do your best work if your brain/body are suffering. :)

------------------------------------------------------------------------------------------------------------------------------
This week we also discussed the D2 Screener, which will be on February 7, 2014!

As a class, you unanimously agreed to elect Lacie Ratliff and Chelsea Holler to co-produce the D2 Screener. As co-producers, their job is to act as liaisons between committee leaders, myself, and Jon Bowen. They are also in charge of coordinating any necessary meetings with committee leaders and keeping all committees on schedule.

Lacie and Chelsea have also talked about taking on food donations and extra partnerships that will boost attendance and raise the event's profile.

Below are the committees. All students may participate in other committees as they wish, but must prioritize the duties of their assigned committee FIRST.

All committees will need to agree on a leader to represent them. This person must coordinate/officiate all of their own committee's meetings as well as attend meetings between other committee leaders.

I will provide opportunities for in-class committee meetings as time allows. I will also be providing each group with a specific list of tasks and deadlines, as soon as possible.

D2 SCREENER COMMITTEES:

Bumper Production/Post:
Sean Osorio
Matt Crews
Justin Lance
Christine Penxa*
Jessica Keller

Event Promotion/Poster Design:
Nick Inman
Marcos Oliva-Huaman*
Jacob Sadowsky
Mike Mangione
Nathaniel Stephenson

Screener Curation/Program Info:
Nathan Graves
Jason Jack Underwood*
Kade Dalton
Steven Simone
Caitlin Trost

Event Set-Up:
Justin Ward*
Colton Kruse
Nick Izvernari
Kai Ettrick
Hayden Greiwe

Event Take-Down:
Josh Stone*
John Marello
Tu Do

*Committee leaders

If anyone would like to pitch an idea for the screener bumpers, please be prepared to do so next class meeting!

Course Updates: Week 8

We had a great session last week with Marco and the actors from Truthful Acting Studios. Many of you have expressed the value of these sessions, and I've made sure to pass on the thanks to them. I am also going to do whatever I can to recommend further collaboration with Truthful, hopefully to ensure future courses on directing are a valuable experience for students.

Good luck to Nathan, Jason, Justin Lance, Nick Izvernari and everyone working on their sets this weekend! Let's hope this streak of (mostly) good productions continues!

Happy rehearsals and locking down last minute details to Group D!

Group E - I look forward to seeing more completed notebooks from you all! Don't forget, I won't approve your equipment check-out unless all forms are fully filled out! Keep me posted if anything has changed on your productions, for better or worse.

NEXT WEEK:
Group A will be screening work! Everyone in Group A is required to show something as part of your grade. This can be a rough cut of your film or a longer scene. If you are not that far along, cut together all the dailies from a major scene in your film.

DELIVERY OF FOOTAGE:
The preferred delivery method is a private vimeo link that I can pull up in class. This wastes less materials and takes less time. If you upload to vimeo, please proof-watch your upload and email me the link and password by 9am on Wednesday. If you wish to bring a DVD to class, you may do so. DVDs will be due at class time, Noon.

No footage will be accepted late. "But it's just burning now! I'll have it in a few more minutes" - nope, I won't accept it.

As a class we will be providing feedback, so attendance is important for everyone (aside from being part of your grade)! The opportunity to give and receive feedback is one of the most valuable resources you have as a film student, so take it seriously and support your classmates' work.

For the next month, class time will be devoted to production updates and footage screenings. Though there will be no formal lectures or assignments, attendance is still required and recorded. Screening footage will be required for each group, as noted on the calendar. All group screenings are part of your overall grade.

Next Week: Directing Workshop Continued...

Next week we will continue to work with actors from Truthful Acting Studios, but this time you will be the ones directing the actors!

Here is the neutral scene we will be working with. Please come prepared with several workable scenarios for the scene that you'd like to direct. Keep in mind that the best scenarios are ones which specify the actors' relationship to one another in the scene.  

Also due next week is Group D's production notebooks. GROUP D: you must have every required form completely filled out and signed in order to be approved to rent equipment.

Group A: Heads up! Week after next, we will be screening your dailies or rough cuts!

October 2 - Workshop with Actors, pt. 1!

Tomorrow we begin a two week workshop with Marco and Robb of Truthful Acting studios!

Class will be meeting on the UCF Main campus soundstage, at our usual time. This week, they will go through some directing exercises with actors from their studio. Next week, those of you who would like to step up to the plate, can prepare a blank scene to direct.

Before we begin our work with actors, we will be hearing from Group A about their shoots this past weekend! So Group A, come prepared to dish about your production.

Group C, a reminder that your production notebooks are due tomorrow! All paperwork MUST be signed to be approved for shooting!!

See you tomorrow!

URGENT: VOLUNTEER DEAL MEMO

This form - VOLUNTEER DEAL MEMO has just come down from UCF legal and is now a production requirement for all sets. I'm sorry to throw more paperwork at you, but this covers everyone on your set under UCF's worker's compensation policy. We have been required to have all film students in production use these forms. Even Capstone just got these to add to their paperwork. 

EVERYONE MUST HAVE THE VOLUNTEER DEAL MEMO SIGNED BY ALL VOLUNTEERS (UNPAID) ON YOUR SET - THIS MEANS CREW AND CAST. This does not substitute for your crew and cast deal memos, but is an additional document. 

The form is long, but you need to fill in everything. Accidents happen and these forms will help you and your team if someone gets hurts. 

GROUP A & B: Bring copies to your rehearsals and shoots and fill them out there. 

12 Tips for Working with Non-Pro Teens

12 Tips For Working with Non-Professional Teen Actors

Found the above article today and thought it would be useful for those of you working with teens and especially non-actor teens in your cast. As I prepare my lecture on directing non-actors, I'm finding a lot of the advice is the same as working with professionals. I also think the advice in this article about working with teens could easily translate to working with adults and children.

! Added bonus: Scroll to the bottom of the article for a few good exercises you could try on your sets or in rehearsals to warm up your actors.

See you all tomorrow! Group B, hope you got those notebooks ready for me! : )

Week 5 Recap / Production Book Requirement Changes

Happy Friday!

I hope everyone enjoyed class this week and got a lot out of Tim's lecture, our in-class activity, and John's visit. Below, I have transcribed some of the tips and ideas he touched on in class.

BUT FIRST - A CHANGE TO THE PRODUCTION NOTEBOOK REQUIREMENTS!
It has come to my attention that though you are required to provide proof of your professional cast member in your notebooks, I neglected to write it out as part of the actual notebook requirements. It is stated in the Vow of Chastity but nowhere else. I apologize for this lapse!

From this point forward, make sure to include a headshot and resume (or just resume) of your professional cast member in your notebooks. This can be placed in the section with your cast deal memos. Groups C, D & E will be required to have this element in their notebooks in order to be approved for shooting. Group A & B get a little slack since it's such short notice.

Please email me with questions or concerns. Below are John Goshorn's notes:

BOOK TO GET:

Directing Actors: Creating Memorable Performances for Film and Television by Judith Weston

-Be aware of the emotional strains that go along with directing actors. For those of you directing dramatic performances, be prepared to “go there” with your actors. Think about how you would treat the living, breathing character, if they were in the setting you created and responding to the obstacles you’ve put before them. Working in this way gives your actors the trust and security to let their guard down and give you truthful, affecting performances. Working in this way will also create a bond between you and your actors - this bond can sometimes lead to personal drama on set or down the road - just be aware of this context. 

-Remember that, unlike the other aspects of the film, there is no backup for the director. You alone are responsible for the performances of the actors. John says this (and I second it!) so that you remember that it’s okay to trust your crew to make sure the lighting, camera, sound, etc. is good - but you must make directing the actors your first priority. 

-Some practical production tips to help you get better takes:

1. Consider shooting in sequence, if the option is available to you. It will help your actors maintain their momentum and save time getting into the moment. 
2. Get as close to the action as possible, preferably right next to the camera. As the director, you are the one watching performance, so you must be there to catch every detail! This also helps you stay in the moment with your actors. 
3. Do a HH master shot early on, in addition to your planned coverage. A HH master can often be a safety net in the editing room. Some actors may become tired as you work through your coverage set ups. The HH allows your DP to move in and follow, as certain moments require. It also gives the actors to freedom to do the entire scene and move around as they wish. 
4. Give yourself 30 seconds of pre-roll and 30 seconds of post-roll, if time allows. You can catch so much magic before and after the lines or action. If needed, give your actor something to do in that 30 seconds - like what would the character being doing right before the scene kicks in? What would they be doing right after?
5. Indulge your actors when possible. If you can prevent conflict or tension through diplomatic use of this idea, then do so! Even if every idea the actor gives you on set is crap, find a scene somewhere in your day to let them try it out. 

I hope these tips work for some of you! See you next week!

On Set Direction Tips by Tim Ritter

Here is Tim's presentation from today's class:

Directing Actors

Next week, I will follow this up with additional info about set procedure and tips for directing non-actors!

Notes from Marco and Robb's Visit / Week 4 Updates

A few reminders:

-Production notebooks are due next week for Group A only! Please get in touch with me ASAP if you have questions or concerns about the notebook or your production!

-The following link is a location agreement that can be used in your notebooks! Thanks, Lacie, for providing this to the class!
Location Agreement Form

-NEXT WEEK: Read the rehearsal reading, found in Changing Directions AND please bring a current copy of your script to class next week. We will be doing an activity that requires everyone to have a physical copy of their script to work with.




NOTES ON REHEARSAL - From guest speakers Marco and Robb of Truthful Acting Studios:

CALLBACKS:

-Give actors a side from your script OR two contrasting sides from the script

-take out action and scene descriptions

-do not send the entire script, but give them the context of their side

-Improv: choose scenarios and “as if”s that are close to your project

-If you can’t decided who they should read for, give them two roles to prepare

-Callbacks are a time to push them, test them, see if they are someone you want to work with - not just someone who is right for the character.

REHEARSALS:

• “open mode,” a discovery period - this is a time to play and be open to suggestions
• There is no such thing as too much rehearsal, but actors can get stuck in a rut of doing lines and movements the same way over and over again. If this happens:
• open it back up to play mode
• (esp. for dramatic scenes) get them to push passed the target performance and get as over-the-top as they can (think soap opera acting). Then bring them back  down.
• DON’T FOGET TO PLAY! 

-The Process:

1. After they are cast - send them the full script IMMEDIATELY - give them at least a week with it.
2. Tell them to come the first rehearsal off-book
3. WORKING READ - actors sit down and read through the script together a few times. 
1. Do not direct/do no let them act! - this is about the actors really talking and really listening to each other. 
2. Do not let them look down at their scripts unless it’s their turn to speak and need a reference. 
3. The goal is make sure they aren’t thinking about what or how to say their lines, they are just listening to one another and talking. They should be becoming familiar with their scene partner and connecting with them.
4. LINE REHEARSAL - lines should be instinct, not memory recall for the actors. This activity will help strengthen that.
1. Have actors toss a ball back and forth, as fast as they can
2. While tossing the ball, actors should go through their lines as fast as they can
1. No emotion, just flat, inhuman line readings, as fast as they can
2. Make it hard! Focusing on the ball should consume all of their mental energy. Add extra balls or difficulty if it’s too easy for them
3. The goal is to help them exercise their line recall, so that is instinctual on set - they never have to think about what their lines are, they can be present in the moment.
4. Do this exercise at the beginning of rehearsals and on-set, as an actors’ warm up
5. The stress on the ball toss, imitates the physiological stress of a film set, where a nervous actor can easily forget their lines. So this exercise is also a way to condition them to handle on-set stress better.
5. After lots of working reads - give the actors to opportunity to stand, if they wish
1. Do not rush the rehearsal process! Go slow
6. Remember that rehearsal is an open-mode process, but principle photography is a closed-mode process. DO NOT LEAVE ANY REHEARSAL TO BE DONE ON-SET. WORK IT OUT AHEAD OF TIME.

ON SET:

-Actors = emotional athletes

-Remember that good actors must be very vulnerable and sensitive to their surroundings in order to perform well. Find tactful ways to give constructive feedback!

-negative feedback will shut an actor down

-build trust on set, reassure them that you know what you are doing (even if you have to fake it!) - tell them you will make them look good!

-Always give some kind of feedback - never say nothing to them! even if it’s just “we got what we need, let’s move on.”

-If time, do a play take - have fun with the scene

WORKING WITH CHILDREN:

• Schedule lots of time for on-set prep and things to go wrong!!
• Take rehearsals in smaller chunks, don’t over work them
• Have parent of guardian at all rehearsals AND on set
• Keep it fun for them! Acting should be fun for all actors, but especially children
• Use theater games in rehearsal and for on-set warm ups. There are tons of books out there with game ideas.

STUNTS:

-Rehearse A LOT - if possible, get a stunt coordinator!!

-Establish very clear safety boundaries

-STORYBOARD EVERYTHING!

Character Descriptions Homework

I just wanted to quickly clarify what is due this Wednesday, in terms of character descriptions.

What is due:
A typed copy of the character descriptions for each major speaking role (this should be 4 or less for most of you) in the project.

Character descriptions are different from character breakdowns - they are short, concise descriptions to be used to in your casting call notices. The reading on casting discusses some do's and don't's for these descriptions, but the best way to see what they look like is to do some research!

Check out posts on casting call sites to get an idea of what generally goes into these descriptions. I've linked some of these kinds of sites on the right-hand side of the blog. Bear in mind that not every casting notice you see is written well or effectively. You'll see plenty of examples of what not to do! It'll take some critical comparison between what you've read and what you see to make that call for yourself. Try to sample a large group of casting notices to get a better feel for the best kinds of descriptions (i.e. don't just copy the first one you find!).

If you are continuing to struggle with what goes into your character descriptions, check out this article, which has some examples at the bottom under "Character BIOS."
"How to Write a Casting Call"

In general, your character descriptions should follow the basic format of:

Character Name, Gender, Age range or looks like  -
A brief description of some facts about the character that are essential to what you'll be looking for in the casting call. Give a brief (one sentence) description of the character's context in the story (if needed). Physical description - only if it's crucial to the story. Character attitude - helpful, but keep in mind that most actors will feel they can "play depressed, upbeat, etc," so it might cast a wider net, which means more work on your end, narrowing down the potentials choices. List any special skills that might be essential or preferred. List any special production requirements of the role, such as stunts, nudity, special makeup, etc.

If you haven't written your descriptions yet, try to reflect on what you saw last Saturday and how you might be able to target those actors with specific talents.

Your actual casting call notices must include information about actor compensation, shoot dates, and a further description of the project itself. HOWEVER, for your homework, I am just looking to see that you have the character descriptions worked out. Just turn in the character descriptions, with your name, the project name, and Producer, DP names, if you have them.

As always, email me with questions!

See you Wednesday!

Casting Notes!

For those who missed class yesterday or have already misplaced the handout :)  - here is a copy of what I covered in Wednesdays class.

Unfortunately, I had to blaze through this material at the end of class and could not spend as much time on it as I wanted to. At the casting session tomorrow, be sure to make note of any questions you have about the casting process. I'd like to spend some time talking about it next week.

Email or stop by my office with questions or concerns! Stay tuned for a post/email with the full info on the Casting Call tomorrow. In the meantime, here are some links to the info:

Page on Operations Portal

Facebook Event Page

Below is my notes about casting from class. For additional info, check out Jesse Wolfe's slides on the topic here: Wolfe on Casting

CASTING HANDOUT

September 4, 2013 - Casting Strategies and Procedures

Changing Direction pg. 75-99

BEFORE THE CASTING CALL 

1. Understand what you need/want
•  Your vision v. Collaboration - be open to happy surprises!
1. -what’s essential to the role?
2. -what’s essential for your director-actor relationship?
•  CHARACTER DESCRIPTIONS (Homework)
1.  Specific facts > descriptive prose
2.  Beware broad age categories
2. Understand the stakes - no time to recast!
• Consider casting backups/ have a plan B
3. Casting Resources
• Casting agencies/Talent agencies
• Casting Call websites

 AT THE CASTING CALL

1. Casting Mindset
• Unnatural process - empathize with actors
• Hyper-awareness 
1. Details about each actor
2. Sensitivity about your own behavior 
2.  Reading Headshots
•  Picture v. Reality
• Union member? Training? (Meisner, Strasberg)
• Special Skills (these can indicate special instincts)
• Look up/talk to people they’ve worked - training, references > experience, credits
3. What to Observe (as much as possible!!)
• Body language, eye contact
• Choices they make about the cold reading
•  Do they seem present? In the moment? ADJUSTMENTS:
1. What new choices did they make? Is it different? Counterpoint?
2. Did they listen? 
3. If you are interested in them, try to adjust them!

• Ask revealing questions - ex. What was the last film that you really enjoyed working on? why?
• What questions do they ask?

 CALL BACKS

1. Give actors the scripts ahead of time (see what they bring to your script!)
2. Introduce them, set a comfortable environment
3. Group actors to read scenes togethe
•  Do they have chemistry?
• Give chairs, what actions do they choose?
4. Schedule to minimize wait time
5. Camera test? 

DON’T LOOK FOR: “They’re perfect.”

DO LOOK FOR: “They have the skills, resources, craft to collaborate.”

CASTING CHILDREN

1. Creativity/Are they having fun? (acting games > readings, sometimes)
2. Response to authority
3. Attention span! 
4. Cast the parents

MONOLOGUES vs. COLD READINGS

Monologues	Cold Readings
Mostly theatre	Mostly film
Presence, projection	Choices made
Height of capability	Adjustable
Not adjustable (in theory)	How do they work with others?

UCF GENERAL CASTING CALL

UCF Center for Emerging Media
500 W. Livingston St.
Orlando, FL 32801
Map!

The event starts at 10am, but you should come a little earlier if possible.

Here is the schedule:
10am-1pm - 5 minute auditions in forum 1 & 2

1pm-2pm - Lunch

2pm-5pm - 5 minute auditions in forum 1 & 2

5pm-5:30pm - Director-actor Q & A session - debriefing

5:30pm-? - Director-actor meet and greet

All D2 students are required to attend for a minimum of 3 hours to receive full credit.

Bring materials to take notes, business cards, info about your productions. And if you have the opportunity, log on to the Casting Directory and see who is listed.

Parking is across the street from CEM, in the Bob Carr parking lot.

See you all there! I'm looking forward to a great event!

Final Shooting Schedule

Below is the final shooting schedule! A big thanks to all those who helped work this out!

My next post will be the Casting handout from yesterday as well as some additional links. Also keep an eye out for a post with all the info on the General Casting Call this Saturday.

Next week: Character Descriptions are due!

ALSO - email me and remind of any new project titles!

Group A: 9/26-10/2

Colton Kruse - We Are All Heroes  

Nicolas Inman - Hanging On 

Lacie Ratliff - Repressed 

Kade Dalton - The Audition

Group B: 10/3-10/9

Steven Simone - Untitled 2 

Sean Osorio - Meet Danielle

Marcos Olivia-Huaman - The Lion's Den 

Jessica Keller - The Georgia Study

Chelsie Holler - Arnold’s World 

Group C: 10/10-10/16

Michael Mangione - Proxies Allowed 

Nathan Graves - Free Water 

Jason Underwood - Tongues

Justin Lance - Culture of Fear

Nick Izvernari - Stuck 

Group D: 10/17-10/23

Christine Penxa - The Confines 

Matthew Crews - Priorities

John Marello - We Shall All Be Healed

Tu Do - Juliet

Nathaniel Stephenson - Sugar Baby

Group E: 10/24-10/30

Caitlin Trost - Christmas Fucking Dinner 

Justin Ward - Untitled

Jacob Sadowsky - Blackbox 

Kai Ettrick - Crook’d Clockwork

Josh Stone - Short Video #2

Hayden Greiwe - Some Tick of Some Kind

Shooting Schedule: First Pass

Ok, I've spent a lot of time moving people around and trying to work through everyone's scheduling conflicts. As you'll see, I have been unable to completely solve the puzzle. Someone must move out of Group C and someone must move into Group A.

I've listed as much crew info as I have, but perhaps you all can provide more information and help solve this schedule. You have the organization and camaraderie that most BFA classes could only dream of, so if anyone can solve this, it's you!

Please email me over today and the weekend and let me know any ideas you have, any conflicts that arise from this schedule. Complaints will be easiest for me to address if they are accompanied by a suggestion! :) The sooner we can lock the schedule, the better for everyone's productions.

THIS IS NOT THE FINAL SCHEDULE! LET'S WORK IT OUT:

Group A: 9/26-10/2

Colton Kruse - We Are All Heroes - prod. Caitlin, dp. Nathan 

Nicolas Inman - Hanging On 

Lacy Ratliff - Repressed - shares a lot of crew with Jessica

Kade Dalton - The Audition 

Group B: 10/3-10/9

Steven Simone - Untitled 2 - dp. Justin Lance

Sean Osorio - Meet Danielle

Marcos Olivia-Huaman - Untitled 

Jessica Keller - The Georgia Study

Josh Stone - Short Video #2

Group C: 10/10-10/16

Michael Mangione - Proxies Allowed 

Chelsie Holler - Arnold’s World - dp. Jason Underwood 

Nathan Graves - Free Water - dp. Colton

Kai Ettrick - Crook’d Clockwork

Justin Lance - Culture of Fear, prod. Cesar Rosario, dp. Tu Do

Nick Izvernari - Stuck - dp. Jessica, editing other D2s

Group D: 10/17-10/23

Christine Penxa - The Confines dp. Justin Lance

Matthew Crews - Priorities

John Marello - We Shall All Be Healed

Tu Do - Juliet

Nathaniel Stephenson - Sugar Baby- dp. Jessica

Group E: 10/24-10/30

Caitlin Trost - Christmas Fucking Dinner - prod. Matt dp. Jessica

Justin Ward - Untitled, dp. Justin Lance

Jacob Sadowsky - Blackbox 

Jason Underwood - Tongues

Hayden Greiwe - Some Tick of Some Kind

Week 2: Recap

Thanks for a great class yesterday! I hope everyone enjoyed the table readings, and I definitely enjoyed spending some individual time with you talking about your films. You all are making a great group of work this semester!

I have created a new page on the blog for housing all the reading assignments. You'll notice the tab above called "Readings." That is where you can find this week's homework, which is a reading on casting from Changing Directions.
Changing Directions pp. 75-99

The PDF for this reading is rather large, so the google doc link above won't have a preview and may warn you not to download it. I cross my heart this is not a virus and your computer will be fine if you download it. If you are still having trouble accessing the file, let me know. I'm gonna work on compressing it so it's easier to get to.

FOLLOW BY EMAIL - I have also added a follow by email tool on the right-hand side of the blog. This is an easy way to stay informed by receiving an email every time I make a blog post. Thank you, Caitlin, for the idea!

NEW OFFICE HOURS - I have changed my office hours (to have more!). They are:

Mondays, 10am-Noon
Tuesdays, 10am-Noon
Thursdays, 10am-Noon

Make note of the change but remember I will meet with any of you, any time you'd like (providing I am free, of course!).

STAY TUNED - I'm going to try and post a draft of the shooting schedule this week. Nothing will be set in stone, and I'll be looking to you all to work together to find the right compromises to get everyone's schedule adequate for their project. I'll send an email too, when I post the schedule draft.

If you are going to the game today, have fun! Otherwise, have a great holiday weekend. Remember to take a moment to think about all the hard labor this country was built on!

See you next time!

Class Tomorrow and Scheduling

DON'T FORGET - We are doing table readings tomorrow, so bring copies of your script for each speaking role + one for the person reading the action. You'll be casting your scripts with your classmates and we will see how many we can get through in the first hour and a half.

ALSO - we (me & Yesi & Tim) will be meeting individually with you to discuss your scripts. I've scheduled everyone with a meeting during class time. Six of you need to work out alternative meeting times with me. You have received an email already if you are one of those six! Get back to me asap!

It's going to be tough for me to give you all a definitive shooting schedule tomorrow. 
The fact is that you all want to shoot in the same two weeks and there isn't much I can do to fairly decide who gets the dates and who doesn't. Even if I based it on who turned in scripts on time with no issues, we have too many people vying for the same spots. We will talk more about it tomorrow. I have no doubt that you all are a tight-knit group who care about each others' production, so we can come up with some compromises.

If you want to shoot in group C or D and can function without UCF equipment, let me know during our meeting - that will make a huge difference!

See you all tomorrow!
Kate

Acting Methods Review

Thanks for a great class this week! I am excited to finally be meeting.

As I mentioned last Wednesday, due to the limited amount of weeks we have before everyone is in full production-mode, we will not really be covering acting methods in this course. My assumption is that a lot of you were exposed to various acting methods in the course Directing for Film.

If you did not get that information or just want to refresh your memory about the various methods, check out this excellent document from Jesse Wolfe. He does a great job of explaining the most commonly studied methods.

It is very important to understand the training your actors have had, in order to provide them with the best information they need to deliver a great performance.

Jesse Wolfe - Acting Methods Overview

Before class next, I'll be posting something and/or sending an email out about individual meetings. I'd like to iron out a schedule before class, so no one is stuck hanging around for longer than they need to.

Enjoying your scripts so far! Talk to you soon!

Course Syllabus, Graduate Students, WebCourses@UCF

Greetings! A final course update before we meet this coming Wednesday:

Syllabus

I have uploaded the course syllabus to the blog and sent a google doc link to you all in an email. Please let me know if you are having trouble viewing the syllabus and I'll send you a PDF. 

PLEASE NOTE: The syllabus for this course is not the Vow of Chastity or the course schedule! Those documents were distributed ahead of time to allow as much time for planning film scripts and shooting schedules as possible. Please take the time to look over the syllabus for grade breakdowns and course policy. We will be reviewing this document in class this week!

Graduate Students!

I am happy to announce that our class will be joined by graduate film students Yesi Lima and Tim Ritter. They are in the process of casting their own feature films and will be available as casting mentors for you and your projects. They have been through everything you are going through this semester and are excellent resources for advice on all stages of production. Yesi and Tim will also help us run the UCF General Casting Call.

We are very lucky to have these graduates as resources for our class, so get to know them if you don't already!

WebCourses@UCF

There will be a WebCourses section for this course, as means of keeping track of grades and assignment rubrics ONLY. WebCourses will become available starting Aug. 19th and you will be able to see all the assignments, their grade weight, and grading rubrics (coming soon!).

All outside of class communication will remain via email and the course blog, not WebCourses.

You are all responsible for keeping track of your grades on WebCourses and reporting any problems to me as soon as they arise. If you have not used the new WebCourses system, please take some time in the next week to familiarize yourself.

That's all for now! Everyone have great first week back, and I'll see you Wednesday!!

Vow Clarifications, More Course Updates

After talking to some of you about your scripts and proposals, I have addressed some aspects of the Vow of Chastity that are unclear or unsaid. The document has been updated, but here is what I added:

1. Script length and film length have consequences tied to them are not negotiable. If your script is too long, you lose points on your script grade (10% of overall grade). If your film is too long, you lose points on the final film grade (20% of overall grade) + forfeit your film's spot at the D2 screener.

For this reason, if your script or film are over the page/time limit, you will NOT be penalized for breaking the Vow of Chastity (which is also part of your final film grade). This is to prevent double-punishment for something that already has pretty severe consequences built-in.

WHAT THIS MEANS: You do not need to write a proposal for a script that is longer than 5 pages. Just be aware of the consequences of a long script and/or film.

2. Some vows in the Vow of Chastity document cover multiple production elements under one general heading. For this reason, writing a proposal does not mean, "I plan to break this vow in as many ways as is applicable to this vow." It means you are breaking the vow to use one, specific production element.

For example, if you plan to use ariel photography AND a crane shot, that will require TWO proposals, one for each element of "elaborate camera setups" you want to utilize. Even though these two techniques are listed under one vow, they require one proposal each.

Another example, if you need two additional actors, this also will require TWO proposals, one for each character explaining why they are necessary.


SOME TIP FOR WRITING YOUR PROPOSALS:
Including information about additional crew that you will be taking on is a great way to get your proposal approved. The best way to assure me that you personally won't be worrying about the extra flourishes of your production is to clue me in to the extra crew members you will be using.

For example, in a proposal for the use of atmosphere actors, I will be looking to see that you will be hiring a 2nd AD to be in charge of the atmosphere, as well as crew to cover the extra catering & craft service, wardrobe, etc. I'll want know that your location can support atmosphere and how you'll be casting them.

If you are unsure your proposal will be accepted - be on the safe side and send it to me before the first day of class. I'll let you know what is needed (if anything).


ADDITIONAL COURSE UPDATES:
- The "Production Books" tab has been added to the blog. This is to give you all a heads-up on what will be required in your production notebooks. I will explain these requirements more fully during the semester.

- I have created a section on Webcourses2 for this class, so you can keep up-to-date with your grades. It will become available to you Aug.19th and will include a comprehensive breakdown of what you'll be graded on this semester.

-Speaking of grades, I am in the process of changing my original plan for grade breakdowns. You'll be happy to know this no longer includes a final exam and distributes the weight of assignments more evenly. Stay tuned for the full grade break down in the course syllabus (coming soon)!

That's all for now! Thanks for being patient with me while I get all these materials online and organized for you!

Course Schedule/Google Calendar

Hi Everyone!

I recently invited you all to view the google calendar I have created for this course. It includes all of the deadlines and assignments as well as a few details about what we will be doing in class. You can also find a version of the calendar embedded on this blog.

If you have a gmail account that you'd like me to share the calendar with, please let me know!
We will also be using google drive to store production and assignment documents in the future.

Below is a text version of the course schedule. This schedule is subject to change, pending the schedules of the actors that will be coming in. I anticipate that all due dates for assignments and productions will remain the same.

There will be 5 groups with 6 films each. Each group with have their own due dates and production schedule. Please look this over and get an idea of what group works best for your film. Try to have a top 3. Not everyone will get their first pick.

ALSO PLEASE NOTE: attending the casting call on Saturday, Sept. 7th is mandatory. Please make sure your personal schedule is clear!

Details about each assignment are coming soon!

CURRENT D2 COURSE SCHEDULE:

Key:

* - graded or grade impacting

[ ] - indicates what is due that day

bold - a guest speaker or visiting actors

Aug. 21 - [Scripts due*] Review syllabus, Sign vow and acknowledgment contract*, guest speaker: Jesse Wolfe, Short response #1*, After-class screening: The Five Obstructions

Aug. 28 - Table readings, Individual meetings*, HW: Changing Directions, pp. 75-99, revise scripts

Sept. 4 - Casting lecture, Improv script workshop, guest speaker: Jon Bowen, HW: Write character descriptions

SEPT. 7 - UCF GENERAL CASTING CALL - REQUIRED ATTENDANCE*

Sept. 11 - [Character descriptions due*] Production paperwork review, Directing workshop, HW: Changing Directions, pp. 101-137

SEPT. 14 - UCF MEET & GREET - Attendance is extra credit!

Sept. 18 - [Group A notebooks due*, everyone should have DP and Producer by now] Rehearsal review, Result-based direction lecture, Short response #2*, screen: FFF submissions, HW: Digital Filmmaking, pp. 95-109

Sept. 25 - [Group A pickup (9/26), Group B notebooks due*] Set procedure lecture, screen: Michael Caine on Acting for Film, Short response #3*

Oct. 2 - [Group A return*, Group B pickup (10/3), Group C notebooks due*] Group A de-briefing, Class exercise: blank scenes

Oct. 9 - [Group B return*, Group C pickup (10/10), Group D notebooks due*]

Group B de-briefing, screen: FFF submissions

Oct. 16 - [Group C return*, Group D pickup (10/17), Group E notebooks due*] 

Group C de-briefing, Group A screens*

Oct. 23 - [Group D return*, Group E pickup (10/24)] 

Group D de-briefing, Group B screens*

Oct. 30 - [Group E return*] 

Group E de-briefing, Group C screens*

Nov. 6 -  Group D screens*, TBD

Nov. 13 - Group E screens*, discuss final and what’s due

Nov. 20 - [Picture Lock films due*, Audience survey*] screen films

Nov. 27 - No Class - Thanksgiving Holiday 

Dec. 4 - [Final films due*, Production Notebooks due*] 

D2 Vow of Chastity

Everyone will receive a copy of this document of the first day of class. Please review its contents:

D2 VOW OF CHASTITY

Fall 2013

Students of the Fall 2013 UCF Directing 2 course must sign the following agreement in order to be greenlit for production. Failure to adhere to this vow will result in grade penalization and exclusion from the D2 screener.

Exceptions to any of these limitations should be requested in the format explained at the end of this document. Please read the entire document before signing or asking questions.

1. The Script

●   No more than 5 pages in industrial script format. (Failure to adhere to the page count will result in a loss of script points and DOES NOT count as breaking a vow. No proposal needed for longer scripts)

●   Directors do not have to write their scripts. Adaptations are encouraged!

●   No more than 2 principle (lead) acting roles, no more than 2 featured (supporting) roles. (that's 4 speaking roles total - a proposal must be submitted PER additional speaking role.)

●   All lead roles must be played by human actors (for example, no puppets or objects as characters).

●   The use of atmosphere (extras, crowd scenes) is prohibited.

●   The use of child actors in a lead role is prohibited. If children are used, SAG guidelines must be followed.

●   The use of animals is prohibited.

●   No more than 3 locations total (inserts and establishing shots not included)

●   All films must be set here and now, on location (no period pieces, artificial sets, or locations outside Central Florida)

●   No stunts, elaborate special effects, or elaborate setups. This includes but is not limited to:

●   Fire

●   Explosions

●   High falls

●   Car chases

●   Mechanical (not in post) Gun play

●   Water (unless SAG guidelines are followed)

●   Green screen

●   Animation

●   3D technology

●   All costumes, makeup, props, and set design should appear natural to the setting. (i.e. no zombies or time traveling Marie Antoinettes) Labor intensive costuming, makeup, prop preparation, and set design is prohibited. The Instructor reserves the right to determine what is too elaborate.

2. Production

●   Films must have a total running time under 5 minutes, with 30 seconds for credits. Credit time must be used for text over black only, not as 30 extra seconds of film time. Films that exceed this requirement will lose a letter grade for every 5 seconds it runs over.

●   All images must be shot digitally. This means the following media are prohibited for use in this project:

●   Video tape or mixed video media

●   Film stocks of any kind

●   Found footage

●   The use of high end camera equipment, such as the RED, is prohibited. Exceptions to this rule will be addressed on a case by case basis. The instructor reserves the right to all final decisions regarding the use of camera technology in this course.

●   Elaborate shots or camera setups are prohibited. This includes extensive dollying, crane shots, underwater photography, car mounts, and aerial photography. The instructor reserves the right to determine a set up too elaborate upon reviewing the production notebook.

●   Directors may not shoot or produce their own images. All projects must have a Director (person receiving the grade on the film), a Director of Photography, and a Producer.

●   All films must have a minimum of one, professionally trained actor in a leading role. They must be hired through the casting process. Students must provide verification of their training, in the form of a resume, included in the production notebook.

●   Students must shoot coverage for each scene.

●   Productions must follow all SAG guidelines for work hours, turn around times for cast and crew, and working conditions on set.

●   Sound must be recorded on location.

●   Students will sign up for Wednesday through Monday shooting schedules. This means no production may shoot longer than their allotted 5 consecutive days. All principal photography must be completed during these assigned shoot dates. (Sign ups coming soon!!)

3. Post

●   Students will be required to picture lock by November 20th. This is to ensure time for post sound and color correction.

●   No reshoots will be permitted. Insert shots will be considered, if needed.

●   All students are required to screen two cuts of their film in class, before the final due date.

●   Students are required to provide copies of their final film to all actors with large speaking roles. Failure to provide copies of your film to your actors (or make the film accessible to them online) will result in a letter grade off your final film grade.

4. Breaking a Vow

Some of the guidelines stated above are not negotiable.

However, some circumstances or production ideas may break these vows while still remaining faithful to the aims of this course.

Anyone wishing to break a vow without being penalized must submit a proposal of intent along with their scripts on the first day of class.

Proposals of intent must, in one page, clearly state the rule you wish to be excluded from upholding, along with a detailed explanation of how your production warrants the exception. 

The instructor reserves the right to deny any proposal for any reason. That being said, I will do my best to give you a clear explanation for any decision to deny a proposal.

Students must write a proposal for each vow they seek to break. No student may submit more than 2 proposals. To reiterate, you may break two vows total, and must submit a proposal for each vow broken.

5. Signature

PLEASE FILL OUT THE FOLLOWING AND SIGN

The signature below acknowledges that I have read the above D2 Vow of Chastity and fully understand its contents as well as the penalties I will receive for not adhering to these guidelines.

I pledge to uphold these vows in the creation of my Directing 2 short film at UCF, for Fall 2013.

Signature                                Date

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