The Process of Directing

Let me begin by saying I've received awesome news in the past few weeks. First, my USC second semester film "One on One" has been accepted into The San Diego Black Film Festival.

You can check out more info HERE. My film also received an Award of Merit in the African American category of The Accolade Competition. 

You can check out the link HERE. I'm waiting to hear back from other competitions and festivals, but it was amazing to receive good news from these ventures. 

My third semester at USC's School of Cinematic Arts has been focused on cinematography and learning the in and outs of rental houses. I'm taking an intermediate cinematography class with Director of Photography, Linda Brown, while working at Panavision. Outside of class, I've focusing on honing my directing chops. I directed a comedy sketch for the group, Wolf Punch Comedy. 

I directed an episode of the webseries, Black Man Depressed. 

Each of these projects are in post-production. I'll have the chance to show them at the beginning of next year. For now, I'm in the production stage of a webseries I'm directing called "Sassy Batman." 

These past few gigs directing have been immensely rich. I've focused on Uta Hagen's "Six Steps", studying character and structural beats, character arcs, motivation, and the proper usage of verbs to communicate with actors. It's difficult putting these techniques into action, especially on set. When you're in the thick of shooting you're usually thinking on your feet. I've found that sitting down with your actors beforehand, and discussing the intention of their characters leads to a smoother actualization of your ideas. 

Giving them objectives for the scene, conscious and unconscious goals, plus asking them ambiguous and direct questions allows them to create a foundation for their role. The best outcome arrives when an actor formulates a new path for a character you didn't realize based on discussion. It's the intimate relationship between directors and actors which shines through these techniques, questions, discussions, and research. 

The process of directing is arduous. It is commanded by an innumerable amount of ideas, provisions, and strategies. Still, there is a large chunk completely dependent upon chemistry, luck, and physical play. During the Wolf Punch's Daisy's Enfeugo sketch, I repeatedly swooned with one my actors to help her feel "dainty." A few shots later I was jumping/high stepping with my actors right before shouting action. I wanted to ensure their pile-drive into the third character felt authentic. There's a set of guidelines towards bringing the best out of your actors, but there are instances when your instinct serves you best. 

Granted, I'm still learning. I admit this. I'm proud of it. I'm growing. Each time I'm on set working with actors I sense growth, a maturity in my direction. I couldn't ask for more. 

Freedom Comes With Preparation: Shot Lists, Floor Plans, & Storyboards

One of the things I hate to hear whenever I’m working with a Director or DP is let’s “free-flow it.” Sometimes this is a necessity if you’re going into a location where you’ve had no chance to scout or see pictures. 

In most instances, it’s the case of the Director and/or DP being lazy. The freedom to try different ideas, shots, and camerawork should stem from a complete understanding of what you need. 

It is assured you’ll hit a point on set where you don’t know the next shot without preparation. Your crew begins to question your vision of the film, scene, short film, etc…

When you prepare beforehand, you give yourself freedom to play on set. When you know the shots you absolutely need it allows you to add, cut, or combine shots after each performance. 

An understanding of your scene gives you the opportunity to play with your actors. You can focus on performance rather than worrying about if the scene will play out correct in the editing room. 

It also gives your crew the reassurance you understand your role as the Director or DP. A crew or cast that doesn’t respect you will not yield positive results. 

In this post I’m sharing a few pages from the shot list, shooting script, and floor plans I put together for a comedy sketch. The entire sketch had an ensemble cast (six actors) plus three separate scenes. It was one location, but we also had the use the same location to “create” a TV commercial to transition into the scenes afterward. 

By the end of the day, after reviewing my entire Director's Book, I had cut four shots, combined two, and added three. I wouldn't have been able to do so without prior preparation. Once I marked all each cut, integration, and addition I handed an extra copy to the producer. 

The final Director's Notebook included character analysis, character and scene beats, shot list, shooting script, and floor plans for the editor. If I'd been more diligent I would've included storyboards and possibly my version of how I'd cut the scene based on the day's work.

More importantly, my previous preparation allowed me to put down my notebook and focus on the actors since I had everything planned out in my head, but I could always reference myself when I was unsure. 

A good director and/or DP realizes freedom comes with preparation. Remember this on your next shoot. 

Summertime Grind: Success is Hard Work

August 26th is the official kickoff date for the beginning of the semester at USC's School of Cinematic Arts. I haven't been lulling away my summer though. Every day represents a new opportunity, so I'd like to share a few of my summer projects before the school year begins.

During the summer I learned about a film competition known as Looking At Democracy. The competition focused on finding creative media pieces which strengthened American democracy. I decided to submit my documentary, Portrait of the Storm: Tuscaloosa, AL, to the competition. I won the title of Emerging Artist in the competition.

This came with a $5000 dollar prize. You can also watch the submission by follow this LINK.

  

During the jury decisions of Looking At Democracy I came across another competition called The New York Television Festival A&E Unscripted Development Pipeline. Filmmakers pitched their reality television show to A&E Television Network for a chance to be produced. I pitched following the lives of black greeks on their prospective campuses. The title simple, The Black Greek. A month later I was chosen as one of twenty-five semi-finalist. You can check out the video I made during undergrad that was the inspiration.

Semi-finalists will also participate in the NYTVF pitch as an Official Artist in the 2013 New York Television Festival this upcoming October. So I'll be in New York a year after choosing to attend USC instead of NYU for my graduate film studies. If my pitch goes becomes top 5 I'll receive 20k to make the pilot. 

I also participated in writing competitions over the summer, though decisions haven't been made for most. I sent in a short script to Slamdance's Writing Competition. The first critique sent back to me was well received. This is a competition I'm not expecting to win, but I need to participate in. Writing is a crucial piece of my development as an artist. The best way to hone this craft is writing as much as possible, then allowing your work to be read.

First Critique Sent from Slamdance

I sent in a feature treatment, lookbook, and short script to Break Media's Prototype Competition. Eight chosen filmmakers will receive 20k to make a 5 - 10 minute short film based on their treatment/short script. One filmmaker will be given a deal to make their short into a feature. It's a long shot, but I'm more than willing to give it a chance!

Finally, I was a semi-finalist for a smaller writing competition sponsored by Dreaming Tree Productions. If I had won I would've received a 1k budget, use of a Red Epic Package, 1 Ton Grip and Lighting Equipment, and free editing and color grading of the film. This would've been an amazing win, but I wasn't chosen. Still, the feedback and collaboration with the production company left me with a very polished short comedy script I'll shoot in the future. 

The majority of the post has been geared towards non-production work, but I have been on the ground running. I decided to take the summer off and focus on honing my cinematography skills. This brought a large amount of pressure off my shoulders to direct anything in a small amount of time, freed me to work more on writing, and made me available to work on colleagues' projects. 

Working as DP and Steadicam Operator on set. 

Lighting the scene for a Kickstarter Video

I worked as The Director of Photography on a sets over the summer, and finally got the chance to steadicam operate again. These are a few of the many endeavors I dived into over the summer. I'm finishing my internship with Spiritclips, Hallmark's film production branch and I'll start with Panavision in early September. I'm working towards a dream, and I'll do whatever it takes to succeed.

The Casino and The Film Industry

Casino (1995)

Casinos have been a fixture within the film industry since the gilded age of Hollywood. The glamor and glits emanating from these manufacturers of dreams and decadence can be found in some of Hollywood's best movies.

Casino Royale (2006)

The world of the casino is a compilation of the cosmopolitan; ordinary people, gangsters and spies, winners and losers, dealers and punters. Nobody is out of place. This may support the reason why the film industry retains a fascination with the ideals of the casino. It is the junction between riches, bankruptcy, and self-determinism. Any man can walk into its throngs and depart rich. It is  symbolic of a dollar and a dream. Ultimately, the casino has the propensity to pry away both.

The film industry shares a similar structure. People flock to this profession with deluded fantasies of fame, fortune, and recognition. Often, they are unapologetically thrust into the reality of our predicament as filmmakers. Nothing is guaranteed. Everything you've strove towards can be taken away in mere moments.

Many popular casino movie feed into this notion. The American Dream and its ultimate downfall. The original Ocean's Eleven and its 2001 remake by Steven Soderbergh cast a lighter play on this theme.  More brutal films such as Casino (1995) by Martin Scorsese which included some overtly violent scenes represent the darker side.

21 (2008)

James Bond films also tend to heavily dable in the juxtaposition between the lavish stylings of casino, and its underbelly. None more so than 2006's Casino Royale. Several enthralling casino movies are based on true life. Casino, mentioned above, is based on casino games all over the world.

Owning Mahowny (2003)

Real characters and events in the early days of the Las Vegas casinos and 21 (2008), a movie that received mixed acclaim when it was first released telling the true story of a group of students from MIT who used card counting to win small fortunes.

It has some particularly memorable casino scenes especially those depicting their card counting techniques. Owning Mahowny (2003) is another gambling movie based on fact. It tells the true story of a bank manager who embezzled the bank’s money to bankroll his gambling activities at Atlantic City.


What has Hollywood and its portrayal of casinos given to us? A mixture of hope and despair, trial and tribulation. It is a game of winners and losers, much like the film industry itself.

USC School of Cinematic Arts - 2nd Semester

It has nearly been two months since my last post. It has been an unbelievably stressful time as a graduate student at USC's School of Cinematic Arts.

Currently, I'm working on my second semester graduate film project, Magic.

Actor, Tristan Bailey, plays the lead role of Austin Gray

The second graduate semester at USC's School of Cinematic Arts is considered the hardest semester you'll face during your tenure as a student. It is known as the dreaded, 508 semester. In my follow-up post, I'll go in-depth on the first year graduate student experience at USC's Film School.

I'd like to say another big thanks you to everyone who helped me out so much during the Dr. Pepper Tuition Scholarship Competition. I received such an amazing amount of support.  I also entered a competition to be a part of this year's Oscars recently. I went to the second round, but was not chosen. Still, we ended up making a great mini-commercial explaining why I love cinematography. 

I'm going to try my best to consistently post on Que The Lights from this point forward. I believe a good amount of filmmakers would be interested in learning about my ongoing experience at USC's Film School, especially for those who want to apply sooner than later. 

Dr.Pepper and The National Championship

The Dr. Pepper Tuition Throw Competition is finished! I am thankful to say I came in 3rd place and won a $7500 scholarship! It's definitely not $100,000, but I will never allow myself to be ungrateful whenever I receive help. 

I placed fourth in fourth in overall voting. Everyone signed up and voted for me were an invaluable help. I wouldn't have made it to the next step without all of you. 

Dr. Pepper contacted me after the voting competition to inform me I received a $2500 scholarship and an all expense paid trip this year's National Championship between Alabama and Notre Dame. Upon arriving, we competed in the tuition throw. I came in 3rd place, and Dr. Pepper decided to double our scholarships as well! 

As a student and filmmaker, I've learned creativity and monetary gain are synonymous in the struggle towards relevance. We yearn for artistic expression, but find ourselves hampered by the need to survive. We laugh about the characterization of the starving artist, neatly categorized under creative expression vs. realistic living, but it bears truth. 

I understand money is a necessity. More importantly, I realize it is an important, yet secondary piece in the expanding path towards my long-term goals as a filmmaker. This is a step, and I'm already searching for the next ladder to climb. 

If you haven't seen my Dr. Pepper video yet, here it is!

Lenovo Seize The Night - Bronze

First, I'd like to say thank you to everyone who supports the site and the work I've done as a filmmaker. The amount of people who helped me during the Lenovo contest was absolutely overwhelming. Frankly, I've been in numerous view based competitions and it's hard to sustain your film's presence without annoying your virtual community base. There is only so many times you can tweet, post, or message a person with your film before they just don't respond.

Still, the backing I received from Alabama alumni, friends, acquaintances, and film fanatics was astounding. It's amazing feeling when you know people who've seen your work enthusiastically support simply because they believe in you. That's true gratification.

We ended up receiving some great features on other sites as well!

The F-Stoppers feature was huge! Without their support we wouldn't have even placed.

Filmmaking.net also took out the time to feature us on a more educational note. 

Of course I had to mention the competition as a part of my guest post series on The Nu Black

The biggest push definitely came from twitter though. Well known tech master Thomas Clifford was a huge help along with many current undergraduate University of Alabama students. It was a huge effort and I'm happy people willingly supported. 

Unfortunately, we came in 3rd place at the end of the competition. Third place stills nets us a substantial prize, but nothing compares to the $15,000 the first place winners Critical Mass received. I still count this a blessing nonetheless. I was given the privilege to direct a great commercial/film for a well-known company, and work with some of the best film production students in the South. If you haven't seen the Lenovo video check it out now. 

Being a graduate student at USC's film program has not been easy. At this point I'm positive our schedule is set up chaotically to test our endurance as filmmakers and individuals in general. It hasn't been easy, but I've learned you have to sacrifice (especially sleep) to achieve. This will not change! 

Be on the lookout for more updates on films I've worked on soon. Till then be sure to follow us on twitter @QueTheLights! 

Journey of a Student Filmmaker Part 3: The Wait

For the past few months I've been writing personal essays for the website, The Nu Black. Theses essays have been known as Journey of a Student Filmmaker. Each of these posts display an intimate self-examination of my growth as a filmmaker preparing for the biggest shift in my life.

On August 10th, I'll move to California permanently. I'll have an entire semester before I begin graduate school at USC, so the majority of my free time will be spent finding freelance jobs and hopefully working part-time at Funny or Die. The wait has been excruciating, and this passage of time was my main theme within the essay.

There is nothing worse than the anticipation of good things to come. When your hard work has brought on the summation of your aspirations in a fiery swath of acceptance you begin to wonder, “What’s next?” I believe this is the encompassing problem of individuals who believe in the relentless nature of achievement. Every moment feels wasted if it is not afforded to dream you aspire towards.

I believe this is why I find myself supremely frustrated by the fact I have to wait until the upcoming Spring before I can begin my graduate studies at USC for their cinematic arts program. I’ll be moving to California in August, but I’ll have a few months before I begin. It feels harrowing. I consider the beginning of my graduate studies, rather than the final move to California, as the next progression of my livelihood. I doubt this feeling of ascension to a new culmination with my life will emerge until I leave from my graduate studies three years from now.

Still, the wait produces another feeling within me. A concoction of emptiness that can only be filled with a mission, a goal I must attain. This is the reason I decided to stay in Tuscaloosa and work as Director of Photography on a feature film being produced down here. It is the reason why mid-through that project I took off time to work as Director of Photography for one of my film professors on another project. It is the reason I climbed into my colleagues SUV and spent four days shooting a music video in Atlanta. It’s the reason why I sent my name into a competition that is now allowing me a three thousand dollar budget to shoot a short video for their campaign.

I crave the sustenance of work. I need the dark crevices of fulfillment. If my mind finds itself with idle time, he grows worrisome. It’s a symptom of success and the insecurity of success. You tell yourself you’ve done well, only to realize in the grand scheme, your mediocre ideals of achievement pale in comparison to the real embodiment of fulfillment you seek. No one cares about your journey until it resonates with their own life. When your work becomes the enjoyment of another individual, then it truly begins to matter.

This could be a never-ending hole. Maybe my greatest fear is the inconsolable fact I could work relentlessly towards my goals and never reach them. Others have worked just as hard as me and never achieved. Am I more entitled than the next? Am I willing to admit some avenues of success are dependent upon the luck of the draw?

These are the questions which run through my brain rampantly. Without a goal set to work towards, I am unable to cancel out the whispers of self-doubt. So I find myself creating goals of small stature I can periodically conquer as I wait for the final goal. In the back of my head I realize graduate school is still only a hurdle. It will be a long journey, but a small gesture in the workings of my ultimate destination. I believe I find myself pondering what is the ultimate destination. This is only exacerbated when you work yourself to the point you can reach a plateau you still haven’t truly defined.

Photograph of my family used in the recent More Than XY Exhibition

I am a filmmaker with a plethora of self-doubts. It is not a good combination, but I’ll toil ahead regardless. That is the plight of waiting for your next step in life, you begin to question if it will guide you to the next one.

___

You can read the Part 1: An Introduction and Part 2: The Adjustment on The Nu Black as well.

Superstar

Mission accomplished once again everyone. 

"Gifted Johnson"-Photo courtesy of Sumerlin Photography

I recently finished working as Director of Photography on the music video for R&B artist, Gifted. The guy is an eccentric fuse of positive energy, catchy lyrics, and superb beats. Gifted's songs emanate experience. He has a lengthy songwriting credits, the most notable being Ne-Yo, Jagged Edge, and Bei Maejor. Point being, he understands how to make a hit.

Gifted has performed on staged with Miguel, Brian McKnight, and Marques Houston so his experience within the music industry is extensive and rich with stories of high-profile meetings and hobnobbing with the famous. He has been around the block. After writing and performing for those who have gained notoriety, he wants to build a cult of personality all his own.

The song is called, Superstar. Produced by Bei Maejor, the song retains a flirtatious, and upbeat spirit. It sounds like a song you would constantly turn up when you're listening to the radio. This is where the music video comes in.

Friend and colleague, Micah Russell, pitched the idea. He wanted a music video with influences from a notable amount of current artists including:

Kanye West

Miguel

Fitz and The Tantrums

Usher

Micah's treatment (a write-up of a creative idea for a music video) revealed an interest in mixing various eye-catching colors during performances of the song within a studio (Miguel, Fitz and The Tantrums, and Kanye) while interlacing narrative style imagery from outside locations and clubs (Usher). It became my job to create an atmosphere worthy of each of these scenes.

The first thing I began working on was lighting plans (a floor plan detailing the movement of talent and where lights will be placed to illuminate them) for the entire music video.

These lighting plans encompassed the entirety of the shoot for each day. I set up floor plans for various scenes such as within a club or studio style lighting.

Photo courtesy of Sumerlin Photography

The experience was amazing. Now that my job is done, I'm looking forward to seeing what the editor brings together. Until then, check out this Behind The Scenes video highlighting me as well as my director and other individuals who made the project come together.

Casino Royale

I considered Que The Lights a heavily visual site. It is a conglomeration of my videography and photography work with a dash of insightful writing for good measure. My reasoning for leaning heavily on visuals is defined in my mission statement. Que The Lights embodies an online portfolio of my dedication to the craft I am currently building into a career. This serves as my ultimate maxim and principal code of conduct. Que The Lights will always consist of original work I played a significant role producing, most importantly films, videos, and photography. 

Still, on occasion I allow my personality to dominate a post by focusing primarily on a non-visual subject. I’ve done this with The Prince of Persia as well as Red Tails. I’ve also tackled issues such as why I have such a passion for success and the misconceptions of earning a degree. This should be ample forewarning the direction and tone I’ll be taking in this article. Don’t worry, I plan to keep the topic of discussion on film. 

As a filmmaker, I have a strong belief the pathway towards making your film successful is understanding how another film found success. Recently, I’ve been routinely watching at least two older movies a week considered commercial and/or critical successes. Last week I watched Children of Men and American Psycho, two film justly deserving praise. Yesterday, I finished watching Casino Royale. I’ve seen it numerous times, but I’ve never viewed it while asking the question, “Why does this work?”

    

Granted, James Bond is an international icon. A massive chunk of pop culture bridging generational gaps with sustained relevancy. James Bond will alway be popular. Unfortunately, around 2002 with the release of Die Another Day the Bond Franchise found itself still on top, yet severely criticized for it’s over the top and almost cartoonish depiction of the Bond world. 

This is where Martin Campbell and Daniel Craig stepped in. In 2006, Casino Royale appeared in theaters adeptly rejected the well-known formula attributed to Bond. Bond was no longer an overly-sexual, omnipotently competent, and overly-confident caricature. Instead, we were introduced to a Bond quite wet under the ears. He is just receiving his double-0 status. As an audience, we are given a skilled, yet inexperienced. Bond. Flawed and overly emotional, we watch him make mistakes as well as earn his distinction as a bearer of the double-O status. It was a more realistic interpretation of Bond. 

Christopher Nolan began this trend of hyper-realism with Batman Begins, creating a world where our superheroes could possibly exist in the reality we live. Martin Campbell’s James Bond followed suit. 

These are points numerous outlets have made, but I believe many overlooked another reason Casino Royale was a success. Just as James Bond is a staple of pop culture, the casino is also an entity considered vital within American culture if not international culture. Thousands of people flock to the Atlantis Resort, The Clermont Club, and Bellagio. Even more enjoy online casinos if travel is not an option. The casino is a powerful icon and well-known symbol of luck and wealth throughout the world. 

Unfortunately, does not always see the most romantic depictions. The Ocean’s Eleven series takes the portrayal of casinos to a ridiculous level. Movies such as The Hangover leave audiences with an impression the casino will offer any visitor an over the top outlandish adventure. In my opinion, Casino Royale brings the casino a gritty atmosphere, while allowing the entity an air of regality not seen often in current films. 

Overall, Casino Royale is a classic. I consider it a film that will age well. Six years later and its aesthetic still fits our current culture. If you haven’t seen this film you’re missing out.

If you haven't seen the movie, you can watch the trailer here. 

New York, New York

New York, New York!

I made it back from The Big Apple last Thursday and I can honestly say it was one of the best experiences I've had in a very long time. I've lived in a few places: Mississippi, Alabama, Washington D.C., and Los Angeles. I've also been able to leave out of country to Belize as well as France for The Cannes Film Festival.

Still, my trip to New York went beyond my expectations. I can honestly say I loved it, even for the small amount of time I was out there. As I stated in my last post, New York University asked me to come out for an interview for their graduate film program. They told me a phone or skype interview would suffice if I couldn't make the trip, but I wanted them to understand how serious I am about this opportunity.

I ended up speaking to the faculty and administrators that helped me raise the money to go to Hollywood for the CampusMovieFest finale. They once again helped me gain the amount necessary for my plane ticket and hotel. Everything was set!

The interview was very interesting. I spoke with the Dean of the program and two current professors. They didn't focus on the technical stills I have. Instead, they focused on my ability to create a story, my background as a African-American from the south, and what kind of stories I wanted to craft. They even put me on the spot, and made me come with an impromptu scene for a feature length film based on my experiences in New York. Overall, the interview wasn't a grill session. They were genuinely interested in my character, the person who I am.

After the interview, I had a day and a half to scour the city and figure out whether I could see myself living there. In this case, I decided against bringing my cameras with me. It would've been an extra bag on the flight, and I didn't want to stand out as a tourist. The last part was negated as I furiously took snapshots with my Iphone to cover my experience.

I'm not going to inundate you with a thousand pictures, but I actually sifted through them and found a few I really like.

To check out the rest of photos check out my FLICKR. Also, be sure to follow me on twitter @QueTheLights