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Research Recap: La Grande Illusion.

30 Sunday Oct 2016

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Before I became a film director…first and foremost, I was a fan of the movies. That remains the case. I love movies. And when I first watch a film, the “fan” in me dominates the working artist. It’s as if the kid in me rises up and orders the eager professional side of me to sit down, shut up and enjoy the ride. Sure, I notice a few things here and there that go above and beyond how I experienced a film for the first time when I popped in those ancient VHS tapes as a youngster. But I’m not one of these artists who feels that peeking behind the curtain has somehow eliminated the magic of a filmgoing experience. No. If anything, I feel like appreciate movies more now (and I definitely have more respect for the credit scroll, seeing just how many collaborators it takes to make the film, knowing how hard they worked).

But now that I’m prepping this second feature, I need to watch movies not just for fun, not just as a fan, but for inspiration and to better understand the mechanics of shotmaking, story and character that might be applicable to my own film. So I’m trying to consciously ask myself a few questions about each film I watch in preparation to make “Inside-Out, Outside-In.” We’ll see if this works for me in identifying some specifics about the way the films I research are crafted and in improving my own film.

So for each film, I force myself to answer the following questions: Why are you choosing this film as part of your research? What was your favorite shot? Why? Who was your favorite character? What did that character add to the film? What was your favorite scene? Why did it work for you? What was your favorite moment in terms of the acting? Why? What is your favorite piece of dialogue? Why?

The following answers are from the film “Le Grande Illusion” (1937), directed by Jean Renoir.

 

Why are you including this film as part of your research? I knew I had to see Renior’s “The River” since it was one of the first studio films to shoot in color in India and my film also takes place partially in India. So I saw “The River” and really enjoyed it and decided it would be worthwhile to then take a look at “La Grande Illusion.”

Favorite shot: The opening shot. We open on a shot of the record player, then tilt up to a medium of our protagonist, who starts singing along to the record as soon as he hits the frame. As he’s singing, we see (out of focus) a few guys sit down to play cards in the background and another guy passes through the frame (this part is crucial – it helps to set up the bar location even in a medium). Then, the camera pans to the right as our hero walks in that direction and becomes a wider shot of the bar accommodating about 10 French soldiers between the soldiers we see now and those we saw in the blurry background previously. Our hero has a brief conversation with the bartender, then heads back towards the record player as another soldier walks in the door. We follow the new soldier back to the record player, where our protagonist has already settled and the shot becomes a two-shot as our hero takes one step back to frame it up (we still haven’t cut). They have another brief conversation. Then the camera pans right once more to follow these guys as they leave the bar. The shot runs about 55 seconds.

Why I like it and what can be learned from it: It’s just classy when an opening shot of a film runs a minute without cutting, managing to seamlessly sneak in a shot of a record player, a medium of our hero, a wide and a two-shot all in the same continuous shot. Somehow, in a very subtle way, such a shot announces to the audience: you’re in the hands of a master who’s thought things through…and this is a film worth watching from start to finish. Buckle in. On a story level, I feel like the shot sets up our protagonist’s relationship to his group – his fellow soldiers. This fluid shot establishes him as an individual who has a voice (indeed, a voice that sings) yet he’s inextricably connected to the group of soldiers. Lt. Marechal can’t just break away from the army, any more than the actor playing him can break away from this shot. It contains him for a full minute. And by the way, there is nothing expensive whatsoever about that shot. It’s all ingenuity in the design and perhaps some good ole fashioned trial and error on the set to get the timing, blocking and focus exactly right.

Favorite character: I personally loved the Lt. Rosenthal character, played by Marcel Dalio, perhaps because I related to him most.

What does this character add to the film: Rosenthal is a former Vaudeville performer stuck in the army, who even produces a drag show in the barracks. [Side note: Certainly the most provocative scene in the film is when a young man enters dressed as a woman and the entire barracks falls completely silent as the other guys (presumably) cycle through feelings of both attraction and consternation at being attracted to a pretty boy dressed as a girl.] And that expressive element of the men captured just would not have been possible without the character of Lt. Rosenthal. His humor, his showmanship and his almost annoyingly upbeat energy opens the door to a sense of fun in spite of danger that the movie needs. It also reminds me of the “Orchestration of Character” chapter in Lajos Egri’s book about playwriting. Lt. Rosenthal balances out the traditional aristocracy of Captain Boeldieu and the salt of the Earth Lt. Marechal.

Favorite scene: Erich von Stroheim’s character bemusedly calling out the guys for previous escape attempts. I know it’s not the most profound or gripping scene in the film, but it’s a soldiers’ spin on the “honor among thieves” in the sense that every military officer prides himself on his valiant attempts at escape from the opposing side’s prison camp, something von Stroheim’s character can appreciate, even if it’s his duty to make sure these guys stay locked up.

Favorite moment in the acting: This movie would be a treasured French film, rather than an international classic, without Erich von Stroheim. His humanizing performance as the German captain is not only the best in the film, but effectively empowers Renoir to depict a world in which opposing soldiers have more in common than what divides them by circumstance. To this end, I could easily have picked von Stroheim’s brilliant moments of wry humor mixed with self-confidence in the previously described scene where he reads off all these escape attempts of his captives. But instead, I will choose his touching moments at the bedside of his dying French counterpart, Captain Boeldieu.

Why that acting moment? First of all, it’s the small touches that sometimes make for a great moment. Erich von Stroheim captures all of the physical pain of his character, the war injuries, in his stiff movements towards the bed. There’s even a slight grimace of pain as he sits down next to Boeldieu, which he hides even from himself. Those details make the moment when he tenderly touches Boeldieu’s shoulder even more moving. He says his first line of dialogue here, “Forgive me,” with the simple tones of someone who means it, no extra dramatics to call attention to the weight of the statement.

What was your favorite piece of dialogue in the film: Well, I don’t speak French, full disclosure. So, I’m sure some of the subtle humor in certain moments of the dialogue was lost on me. But, just a few hours after watching it, I only clearly remember one line of dialogue. [SPOILER ALERT SPOILER ALERT] It’s the scene when, after Boeldieu is shot, he tells the German captain who shoots him, “I would have done the same.”

Why I liked that bit of dialogue: First off, it obviously stayed with me. Also, it just drives home this feeling that war is absurd, even more than tragic. If one side isn’t morally superior to the other or more just than the other, then it seems so stupid that they’re fighting in the first place. I mean, if all you learn after years of war and escape attempts and lost lives is, “The other guy is just like me,” then that seems both cruel and an undeniable step towards enlightenment.

Best Takeaway for my Own Film: That opening shot. Finding just a few cheap, fascinating shots that have that sort of variation and purpose, uninterrupted, would be pretty rad for my own film.

Feel free to let me know in the comments other aspects of a film that are worth serious thought and observation as you’re prepping your shot list.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

 

 

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Selling vs. The Work

20 Thursday Oct 2016

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I’m going to admit one of my biggest sources of frustration as an artist: the balance between creating work and promoting it.

Some artists appear to only care about creating work and delegate all responsibilities of promoting themselves and their work to others (agents, managers, publicists, publishers, distributors, etc). And I really envy those artists, even if I’m sure it’s an illusion that they are free from the responsibilities of promoting their work. After all, even if you delegate to a publicist, you still have to pay the publicist.

salesman-iooiNonetheless, very established artists do seem more free from the idea of having to “sell yourself” to get through the door. Which – in my mind – frees up their energy to focus even more on creative pursuits, sharpening their skills as artists. On the other hand, the unestablished artist must spend a fair amount of time on promotion, taking away valuable time for creating and enhancing your work. Most unestablished artists can’t afford to hire someone to shoulder these responsibilities, either. And the work is all the more difficult because promoting a known quantity is far easier than promoting a new artist, even for a skilled publicist. So the promotional aspect is not only more for the unestablished artist in terms of doing the work herself, it’s also more challenging work with fewer results. It’s easy to feel both overworked and perpetually behind. In my case, fears abound that I’ll never catch up to my more established counterparts. The flip side of that fear is the scary notion that I might be a phony for spending too much time promoting work at the expense of investing time and resources into creating better work. And the fear underlying both is the ole, “Well, perhaps they are just better artists than you are and that’s why success comes easy to them.”

So…what to do?

I’ve asked myself this question a lot and the answer seems to be the very unmagical response of, “Keep creating work and keep promoting said work to the best of your ability.”

Sometimes, I add to that, “Shame for not having financial success as an artist is not productive or even an indicator of long-term success.” Many artists who were popular in their time are now long-forgotten Emperors in New Clothes. And many unheralded artists rose significantly in their fields well into their old age or even after death. This knowledge is difficult, but freeing and brings up a challenging but pertinent silver lining. When you feel badly about yourself for not being as established as you want to be, remember the strategic benefits of your position as well. The unestablished artist may have more work and harder work to do, but at least he is free in a different way, free from the hubris that seems a byproduct of conventional success. Hubris can blind one to the truth of oneself and the culture at large. Conventional success almost certainly is isolating while struggle forces a confrontation with the self and others.

I don’t think it’s prudent for unestablished artists not to use social media and conventional networking to forward their career. I sometimes feel that more established artists are looking down on me for doing so, but I really try not to care anymore. I was recently told by a well-established sales agent that my art film could secure a meeting with a major distributor if I could prove we have 100,000 social media followers regularly tuned in. It may not be my favorite to build up those kinds of numbers, but if it helps me make the films I love and return capital to the brave investors who believe in them, I’ll build that online audience. And if somebody important at some prestigious institution snickers at me for it, oh well. Building a social media following is just too important to ignore, even if it’s out of my comfort zone.

That being said, at the end of the day, as artists, we must be willing to sacrifice self-promotion for the sake of the work. Just this past month, I missed almost all my self-imposed deadlines for writing blog posts right here at insideoutthefilm.com. That’s because I’ve been rewriting the film. And I had to prioritize that. I just didn’t have the energy for both and I had to choose. Rightly, I chose “the work” not promoting the work. Now, I’m shotlisting. I shotlist at least one scene every day, come hell or high water. If it’s between shotlisting and a tweet, I choose the shotlist. But that doesn’t mean I’m not going to have a presence on Twitter and Instagram and work on building that up, too.

If anyone has ideas on this subject or practical suggestions for how artists can manage the balance between selling and creative work, please leave your comments below.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

 

 

 

 

Rewrite.

22 Thursday Sep 2016

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What a difference four years can make…

Originally, as many of you know who’ve been following the development of this film, “Inside-Out, Outside-In” was supposed to be my feature film directorial debut. Instead, I got very lucky to get a different feature off the ground, Guys Reading Poems, which is currently touring the festival circuit. Now that I’m returning to a script I began writing four years ago, I see that changes are necessary. Sigh. Rewrite.

First of all, major developments in our political landscape render the original draft looking a bit outdated after only a relatively short time. For starters, the fact that gay marriage is now the law of the land will have a big impact on the gay couple in the screenplay. I’m left with the choice of updating the script or keeping it as a “period piece” that takes place….in 2012. Updating the script is smarter.

Putting the gay marriage issue aside, I also see that there are opportunities to make pragmatic adjustments to the plot. The film tackles conflicts within the media business and a few more years going through the process of making a feature film (not to mention hearing new industry gossip) empowers me to better understand a world that I now occupy as well as observe.

And then, there’s my online philosophy class. For better or worse, all this talk of existentialism and the meaning of life really got my head spinning about some of the themes in the script. I do feel that there’s symbolic content floating around the edges of the screenplay that I may skillfully make a bit more conscious with a little luck, hard work and caffeine. So I’m going to try.

My process for rewriting always includes some unspecified amount of time existing as a sponge, internalizing ideas, inspiring works of art and music (and that online philosophy class). It’s kinda like the Time Machine for Mac computers. Somewhere in the background, without being noticed, my system is working to catalogue. But one of the hardest aspects of re-writing is moving beyond an abstract phase and actually conquering the previous draft with a red pen. Basically, my soak-up-the-ether-time with this script has been going on for the last eight to eleven months. The question then becomes, how do I start squeezing that sponge into the content of the screenplay? Where to (re) start?

For some reason, I was drawn to my favorite Shakespeare play, “Romeo & Juliet.” [Yes, my pug’s name is Romeo, too]. I really just wanted to read the prologue of the play. Since it’s so good (and in the public domain), I’ll copy/paste it for you:

“Two households, both alike in dignity. (In fair Verona, where we lay our scene), From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes a pair of star-crossed lovers take their life, Whose misadventured piteous overthrows doth with their death bury their parents’ strife. The fearful passage of their death-marked love and the continuance of their parents’ rage, Which, but their children’s end, naught could remove, Is now the two hours’ traffic of our stage— The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.”

The famous balcony of Romeo and Juliet in Verona, Italy . Juliet's balcony

The famous balcony of Romeo and Juliet in Verona, Italy. Juliet’s balcony

So that got me going and I decided to write a prologue to “Inside-Out, Outside-In.” I was surprised by just how quickly I was able to get it down on paper. The first new words to “Inside-Out, Outside-In” in more than three years…and effective words, too. Maybe all the sponging worked. Satisfying.

The new prologue clearly tips its proverbial hat to “Romeo and Juliet”and I’m okay with that. If you’re writing a romantic drama, you could do worse that align yourself with the most iconic star-crossed lovers of all-time.

Who knows if I’ll be able to use it? But – as an exercise – it forced me to at least attempt to sum up the script and make it exciting for audiences on page one. It forced me to find a comparison for the film. (Now, I can be one of those Hollywood douches who says….it’s “Romeo and Juliet” meets ?????? ). It forced me to start the rewrite. Several days later, my insomnia inspired me to write an epilogue, too.

Now, it’s just a matter of the 93 pages in between.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

 

Lost Youth Revisited via Don Bachardy Nude Portraits

22 Friday Feb 2013

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In 2003, I took a month-long stint as a nude sitter for legendary portrait artist Don Bachardy. He captured the mash-up of my youthful confidence and a burgeoning sexuality still defining itself in the midst of its aesthetic peak. I took the job seriously despite my woeful ignorance of Don’s importance in the art world at the time. But something about the manner of the man, even more than the evidence of his accomplishments hanging all around, jolted an instinct that my earnest cooperation might aid in the creation of something memorable.

Just yesterday, with ten years of aging and life experience under my belt, I arrived once more at Don’s studio inside his idyllic Santa Monica home. The task was to select one of Don’s paintings as a set piece my upcoming film, “Inside-Out, Outside-In,” since the plot of the film includes my character’s history as a nude model in youth. Don generously agreed to the inclusion of one of his real life paintings after a nerve-racking phone call pitch. In preparation for my arrival, Don had laid out fourteen paintings in a square formation on an oversize table with two paintings he clearly favored filling up the center of the square. As I looked at them, I couldn’t help but wonder if my small contribution as a model in his collection of portraits might outlast any and all of my own creative accomplishments in a lifetime. It’s an exhilarating but humbling realization.

Artist Don Bachardy

Artist Don Bachardy

Back in 2003, Don was in his late 60s, I believe. His stamina and work ethic really stunned me, especially considering the physical strain of his job. We worked eight hour days, with Don creating four paintings a session. A quick ten minute break occurred in between each painting. During the breaks, Don brought out some water and we’d make small talk, although it was small talked charged with the difference in our wardrobe. Some nuggets of information about his process were forthcoming during these breaks. At the time, Don believed in working quickly, creating something, then moving on to the next painting. From our short conversations, it seemed to me that the present moment was of cardinal importance to him and he trusted it more than the desire to perfect or alter something after the fact.

In our case, the nature of the artist and his subject seemed fortuitous. Indeed, Don relentlessly provoked and captured the erotic experiment of a somewhat dangerous young man. I didn’t take the job for the money, although I was well-compensated. Two years after a significant, five-month love affair, I had lost all sense that my sexuality was important, sacred, meaningful. I was uber-resistant to the hookup scene so powerfully seductive in Los Angeles but  when I saw the ad for nude sitters, I sensed an opportunity to explore a powerful latent sexuality that I had no clue how to harness or express. Don sensed this as well, but was either too smart or too kind to acknowledge my motives.

As a novice sitter, Don told me to simply and naturally find a pose, then hold it for two hours or so. I took his direction literally. Once you’ve sat completely still for hours, you realize how often we move our bodies to relieve slight discomfort or just to change things up. When forced to stay frozen, the areas of your body that bear weight tire, then rebel at the increasing physical pain experienced. But, seeing Don’s seventy-something muscles moving the entire time I was sitting was more than motivation enough to “hold the pose” at all costs. So I tolerated some major discomfort without moving, sometimes softly crying as a result of the effort. Sometimes the tears weren’t about the strain on my body.

I remembered those tears when looking at Don’s work. He had included them on some of the faces of the Hunter from so long ago.

My fashion designer friend Shpetim Zero and Don chimed in on which one would be best for the film. It came down to a debate between which pieces interested us the most versus which were most likely to be displayed by the character in the movie. I was torn and unsure, undoubtedly distracted by the sense memory of my life ten years ago. Finally, Don offered to frame and loan me five of the paintings, which was the best result possible, stemming from my indecision or his enthusiasm or both.

Before I left the house, I gave Don a hug and thanked him for the generous loan of his work. But the quality of the hug communicated – hopefully to both of us – that I was thanking him for more than a huge favor in 2013…I was thanking him for valuing my sexuality and erotic sensibility at the moment I needed it most.

Don Bachardy in youth

Don Bachardy in youth

 

 

 

 

 

 

 

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Indie Filmmakers to Google Fiber: THANK YOU!

26 Thursday Jul 2012

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Never have I been so jealous of Kansas City.  The genius geeks over at Google decided (presumably for a great reason) to choose Kansas City as the launching pad to test its new Google Fiber technology. According to their site, the technology will allow users to download content from Google Fiber TV channels, Netflix and other sources.  And Google claims that viewers will be able to see HDTV quality over the Internet seamlessly and at rates up to 100 times faster than normal broadband.  It will also include a 1 TB drive that allows you to record up to eight programs simultaneously, in addition to being able to choose from HD channels online like a DVR player.

It’s official. The difference between your computer and your television no longer exists.

Not only does Google Fiber TV sound amazing for the end users (enjoy your head start, Kansas City), it’s even more amazing for today’s crop of rising indie filmmakers. Why? Well, think about this. Traditional Hollywood’s biggest asset has been their huge financial and structural advantage when it comes to the distribution network of theaters, cable channels and sales outlets around the world. How could I – the little guy – get my product next to their product at a multiplex?  How could I – the little guy – negotiate for my project to be on a cable channel when big Hollywood has such a huge competitive advantage? How could I convince stores – and even Netflix – that carry dvd’s to choose my products over the dvd’s of traditional Hollywood?  The old answer was, “I couldn’t.”  The new answer is, “It doesn’t matter.” This huge structural advantage that traditional Hollywood built up? If Google Fiber TV lives up to its billing, that structural advantage of traditional Hollywood just collapsed.

Once Google Fiber takes over (and it will…or, at minimum, something like it), my web show “Dumbass Filmmakers!” will appear in its full HDTV glory at anyone’s fingertip. It will be as easy to find with a Google search as Tom Cruise’s latest film.  And when the audience plays it on their device, it will appear to them on their big screen tv at home, as programming.  Not Internet television programming.  But programming, period. Finally, consuming independent film product will be JUST AS EASY for the audience as consuming Studio-made fare.  So thank you, Google Fiber, for leveling the playing field.

That doesn’t mean that Google Fiber will suddenly introduce a whole new generation of indie filmmakers (although I think it’s possible).  Obviously, big traditional Hollywood still has its second biggest weapon – its ability to generate and use star talent – to draw bigger audiences and more interest to their products. The average consumer of entertainment will be much more drawn to click and watch something they know rather than something they don’t know. However, indie filmmakers have a golden opportunity to take advantage of social media and lower production costs to put themselves in contention. And as the porn industry has shown with its online juggernaut, niche content plays really well online and consumers don’t expect pristine production quality from every product they consume. Indie filmmakers have a much easier time serving niche audiences because they have more freedom to explore subject matter with their lower budgets and, let’s be frank, they are often more authentic as human beings. And that’s a weakness for traditional Hollywood going forward.  You see, they’re used to making “generalist” fare, stuff you can feel comfortable watching with your girlfriend, cousin Joe, grandma and your nephew. So the content has to be general and accessible enough for all to enjoy (or at least not go screaming out of the theater). But success online is much more likely to come from niche fare.  You search online to figure out how to fix a specific problem or join a group online of people with similar interests. You don’t need cousin Joe to like what you’re watching.  After all, you’re watching from the privacy of your own home.  So I predict that filmmakers with a unique appeal to a niche or niches will be very nicely served by Google Fiber and the collapse of computers vs. television into one big computer-television.

So as for Big Traditional Hollywood, this indie filmmakers says,”It’s On.”

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Still on track….

01 Sunday Jul 2012

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So today I was officially asked, “Are you still writing the feature blog?”  The answer, “YES.”  

My other project – a webseries (which at 68 minutes may as well have been a feature) – premieres in just under two weeks.  So, I’m going a bit nuts finishing that project.  But everything I learned on the webseries will be rolled into the feature…and, soon enough, this blog again.  But in the meantime, I just can’t cheat my current project.  Please stay patient with me and I’ll be back soon! 🙂

In the meantime, here’s the trailer for the series…

 

Balancing projects

29 Tuesday May 2012

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A brief word on balancing projects.  Sometimes you can’t.

For the last several weeks, I’ve been working overtime to prep my first directorial effort – a webseries called “Dumbass Filmmakers!” – for release.  We’re still not finished with the post-audio, the score, the color correction and, of course, the marketing.  It’s been more all-consuming than I anticipated.  And even though I sometimes feel a tremendous amount of guilt at not moving forward every day with the feature….wait….THAT IS RIDICULOUS.  Earth to brain….re-wire!

Sometimes, prioritizing means making a decision that you have no time for something.  Right now, during the thick of this process, I really have no time for the feature.  But that will change within a few weeks.  Just tonight, I finally got the drive delivered to our colorist, also serving as our online editor to close this thing out.  And everything I’m learning directing the webseries applies – in one way or another – to the feature.

So, while I feel terribly guilty to have skipped checking in with you these past two weeks, it was not due to laziness. And that excuse will have to do for my own inner critic as well.

And yes, here is a shameless plug of our teaser trailer for the show.  The 90-second trailer is coming in a few weeks, another project on the near-term horizon. For now, this will have to do! 🙂

Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).