Upcoming Guests and Questions you would like us to ask them (5 replies and 4 comments)
Below is a list of upcoming guests. If you have questions you'd like us to work into the conversation, please post them below. Please note that the conversation is free form so we might not always be able to add them in.
Jason Hall, Screenwriter
Dave Diliberto, Post Supervisor
Skip Lievsay, Sound Editor
In the actors' interviews I'd be interested to hear about what their working relationship with the cinematographer is like, rehearsal and blocking and the particular "dance" they do with the camera operator and focus puller and so on. It might also be interesting to get into how a performance for film is edited, which is a topic seldom discussed.
In the Clayton Townsend episode Roger asked what he thought the future of CGI was and that's something I'd be interested to hear Josh Brolin talk about as well since he played a CG character through performance capture in the Marvel movies. What was his experience like and where does he think that technology might go vis-a-vis acting?
Thank you for this Frank!
I am definitely looking forward to the Ed Solomon podcast and would like to know if he has ever been able to sell a script that did not adhere to the classic 3-act arc-of-development structure (state theme, introduce characters, set task, bad guys appear, all hope is lost, fight-back, victory - or resolution - epilogue)?
Another Q for Ed Solomon - I wrote a script last year which, after about one thousand rewrites managed to get approval for filming this year - and that went bust thanks to C19! Some screen test showed that the main baddy had to be recast with a younger actor and that means yet another rewrite - but such is life!
Before writing, I tried the usual screenwriting programmes and found them all over-complex and cumbersome and went back to using Adobe InDesign (which is the standard layout programme for newspapers) and set up my own template for the so-called 'Hollywood Standard' which I find super-easy and fast to use.
Admittedly it is what I am used to after working 12 years in publishing, but other than driving me nuts, are there any advantages to programmes like Final Draft? Any recommendations?
The advantage to working in Final Draft is that is the software the production normally uses so you can pass the script back and forth easily. And when you change the script, the pagination is kept and the format of changes being marked with astericks is maintained. It is the standard in the industry.
At what point did the idea of using long tracking shots come into the production? Was it always planned or did it present itself when the location was found? Or was the location first and that meant long tracking shots could be possible?
Great question and was on our list! Can't wait to find out the answer!
For Rob Hardy but also for Roger or James. How do you educate yourself about new technology and the craft of cinematography? Do you use the internet or is it just learning by doing?
From what I know, Rob Hardy's working methods and aesthetic philosophy of cinematography are very different from Roger's. Hardy will use several different digital camera sensors within a single feature film as he believes each one gives a specific look, he similarly uses a wide array of different lenses and will embrace optical artifacts, etc. It would be interesting to hear the two of them discuss their different approaches and why each works for them.