Tip #61: Don't forget to document the process

By Dan Parkes (Director)
When we began work on Ambleton Delight we soon realised it was ambitious enough to warrant some form of documentation (...a feature film with a named actor, dozens of locations and speaking roles, from pre-to-post in 9 months and on less than £6000...?). However the busy rigors of preparation and organisation meant we did not follow through on it, something we later regretted. We did have a couple of handycams on set at different times and Itsuka Yamasaki (Producer) and Andre Marshall (camera assistant) did film some behind-the-scenes when they had a a rare opportunity. This material can be seen in some of the 7 part Making of series now on YouTube (Part One starts here).

Above: Producer/writer Itsuka Yamasaki
films the actors in make-up.

We previously mentioned about having a dedicated stills photographer for at least one of the days, if not all. But also not to be overlooked is to have someone to officially document your behind-the-scenes process on video. Having a film that is about how you made the film is something that is not only going to be of sentimental value; for publicity having an official Making Of that can also later accompany the film on DVD is an essential part of any marketing strategy.

Often film students are crying out for an opportunity to work on a film set for experience. If you do not feel confident enough giving them an actual position in the crew then it is well worth thinking about having them film you making it. Make sure they are aware of what you expect -for example possibly interviewing key members of cast and crew on the day when appropriate.

Tips for organising a Making Of:

• Don't forget to ensure cast and crew contracts include information on also appearing in the Making of, so it is part of their contract
• Have somebody separate from cast and crew organise it (such as a film student)
• Keep them in the loop on the production as much as possible
• Give them a list of not-to-be-missed scenes to film
• Give them a list of cast and crew to interview, with some possible questions if need be
• Ensure they do not interfere with main filming
  
• Make sure they also follow any legal or health and safety guidelines (such as waivers etc)
• Let them know what you expect as a final product (e.g. a 20 minute Making Of documentary) and also your expectations regarding the quality.

Tip #60: Continuity is critical

By Daniel Parkes (Director)

Not long ago film sets had a "continuity girl". This term has been replaced with the more politically correct "script supervisor" a job that entails more than just continuity. But that should not undermine the importance of continuity. Since most films are shot out of sequence and on different days, maintaining the consistency of characters, wardrobe and props over the duration of the film is an unenviable but critical task. However, failure to do so can cause an audience to be distracted from the story.

The fact that it is important is seen in that almost every film ever made has some at least some minor continuity issues. The most common are:

Common Continuity issues

• different head positions (especially when filming reversals)
• changes in hair position (especially women e.g. -behind the ear or not)
• hats/clothing (buttoned or unbuttoned, collars up or down?)
• food (if an eating scene how much food is on the plate at different stages of the scene)
• cigarettes (length of)
• weather/lighting (bright day, dark day)

With the popularity of such film websites as IMDB, it has now become a popular pastime to spot continuity errors in films (check the goofs section on most IMDB entries). Apparently, one of the earliest continuity errors appears in Charlie Chaplin's The Property Man (1914) when his hat momentarily disappears when he steps into a room.


Five Famous Continuity Errors

1. The Wizard of Oz. Dorothy’s hair noticeably changes length when she first encounters the Scarecrow. Her ruby-red shoes shoes inexplicably become black when she and the Scarecrow fight with the apple tree.
2. The Godfather. When Sonny and his car are shot up at the toll booth the shattered windshield is shown undamaged in the next shot.
3. Pretty Woman. When Julia Roberts’ character is eating breakfast, she goes back and forth between eating a pancake and a bagel.
4. Return of the Jedi. When Lando says to Han Solo, “Go on you pirate,” his whole outfit changes. Not only does it change colour but the strap and rank changes sides.
5. Harry Potter and the Sorcerer’s Stone. When Harry is sorted into Gryffindor he sits down on the right side of the table, and a few moments later he is magically sitting on the left side of the table next to Hermione.

The solution to avoid continuity errors in the pre-digital age, was to have not only a person dedicated to taking lots of notes, but also use a Polariod camera to catalogue a visual record. With now even the average mobile phone taking high resolution images, photographs can play a major role in helping prevent possible issues.

Preventative measures:

• Keep actors aware of their own continuity
• Shoot a master shot that becomes the template for all close ups
• Have a script supervisor who pays close attention to details
• Make notes in the script to remind you and the team of potential issues
  
• Take digital photographs of the cast and set at all times

When you discover continuity issues and errors during post-production, an editor's trick is to cover these by cutting to wide shots or cutaways that distract the viewer from noticing.

Tip #59: Getting extras (background actors)

By Itsuka Yamasaki (Producer/writer)

An extra is someone who appears in a film in a nonspeaking or nonperforming capacity normally in the background and hence also known as background actors or background performers, background artists or simply background.The easiest and proper way to find extras is to approach an agency. There are many around that specialise in sourcing background artists. However for most indie films you won't have a budget for this and you will need to find extras yourself. Here are some ideas for finding them inexpensively -or possibly even for free.

1. Production team/cast/crew members.

2. Family and friends.

3. Interested organisations/drama groups
What we mean here are organisations that have an interest in films in general or the theme of your film, maybe a local theatre group or a community group. For example, in Ambleton Delight we had a village council scene with 12 male councillors. Producer Sinéad approached a local drama group and we could find enough men perfect for the scene. You could also approach model agencies as some models are interested in moving into films as well.

Above: Some of the councillor extras in Ambleton Delight
came from a local drama group.

4. Schools/Colleges/University.
Film students are probably ideal but they don't have to be. I did my degree (nothing to do with films) in New Zealand and while I was there Edward Zwick was filming Last Samurai; We would find ads in our canteen for young lads (of any nationality) who could play soldiers. Thought it was a great idea.

A word of caution....

Although your budget may be limited, you would want to make sure that the extras are right for the scene. Recently I saw an indie film that had a cinema release. There was a press conference scene in the film and the extras playing the reporters were more like grandads in a tweed jacket, mums who had been shopping, and students - nothing like reporters! It's important to find the "right" group of people as well as to dress them appropriately.

What you want to watch out for is that a lot of people who have never been in a film tend to look directly at the camera. Plus unlike professional actors they are not "continuity-aware", so you need to pay extra attention to their continuity too.


Another very important thing to remember is that you need to have everyone sign a waiver, even if they are your friends or family. OK, you probably won't need it but having a habit to take care of the legal side is very important and can save you possible heartache in the future....

Do you want to be an extra? Here are some links to check:
www.nasaa.org.uk/site/home/
www.bectu.org.uk/get-involved/background-artistes
www.universalextras.co.uk
www.extras.co.uk

Tip #58: Give actors what they need

(Interview with 'Ambleton Delight' cast member Andrew Elias)

Following on from our interview with leading actor Jos Lawton, we have asked supporting actor Andrew Elias, who provided a memorable performance as Town Clerk Colin Wilkinson along side the Mayor played by Brian Capron, regarding practical ways of making life easier for an actor on a low budget film.

What do you need from a director prior to filming?
I really appreciate being able to sit down with the director to discuss my character. It sounds obvious, but it’s amazing how many directors send supporting actors a character description, and then expect them to turn up on set and ‘act’ without any further character discussion, whilst focusing entirely on the leads. Every director works differently, but being able to sit down (even just for five minutes) and chat about the character is essential. It helps the actor know what the director’s expectations of both the actor and the character are. It also means that there doesn’t need to be any ‘what is my motivation?’ questions on set during filming, which can be infuriating to a director trying to stick to a tight schedule.


What do you need from a director on set?
I like to feel that my contribution to the production, no matter how small, is integral to telling the story and fulfilling the director’s vision. A great director is one that makes an actor feel important no matter how small the part. Contrary to popular belief, most actors are insecure about their abilities, so a bit of praise after a shot is also really helpful. I personally liked to be pushed to my limits as an actor. I worked with a director years ago who was making me repeat the same scene over and over, and the rest of the cast said to him ‘Give him a break’, to which he replied: ‘I will only push Andrew as far as I think he can take it, and he’s got a little way to go yet’. How right he was.


What do you need from a director afterwards?
Evaluation is always helpful, especially in a social setting (a pub!) away from set, where you can both relax and discuss informally how the scenes went.

What should they not do?
Break down in tears, smash things up or hit people. Seriously...it happens, and it doesn’t inspire confidence! A pet hate of mine is when directors say ‘do it like this’ and do a specific action, or ‘say it like this’ and adopt a strange accent/intonation. Not only does this make a mockery of the casting process, it is also incredibly soul destroying for an actor and has nothing to do with building character. As I’ve already said, I do liked to be pushed, but there’s a big difference to being stretched as an actor and being asked to do an impersonation of the director.

What can filmmakers/producers do to make your job easier?
Detailed call sheets and frequent correspondence are incredibly helpful. This helps concrete the feeling of ‘belonging’ rather than just ‘passing through’.


What should actors do/not do to make filmmakers' job easier?
Where do we start? Well, Spencer Tracy famously said that to be a good actor you merely have to learn lines and not bump into the furniture! Patience, flexibility and a good sense of humour go along way on a film set. It’s also very important to know where you, as a performer, stand in the ‘pecking order’ on set. For example, the Star can make Big suggestions, a Supporting Actor can make Small suggestions, but an Extra should keep schtum! Patrick Tucker’s Secrets of Screen Acting outlines basic, accepted, screen acting etiquette and is an essential read for actors wishing to avoid any faux pas on set.

For more, check out Andrew Elias' insightful acting blog: http://andrewelias.blogspot.com/

Tip #57: Film day-for-night

(By Dan Parkes, Director)

As mentioned in the previous post, night shoots are never easy, so it is sometimes more practical to film day-for-night. By means of camera settings and filters and then some post-production colour correction you can take a shot filmed during the day and turn it into night. In Ambleton Delight all of the exterior night shots of the restaurant and Chris' house were done this way. But remember that day-for-night does not always work. Depending on the scene sometimes sunlight can be too strong, building or street lights are not turned on and it can become a post-production headache.

Tips:

• Underexpose the image, and then add different filters such as graduated filters to change both the quality and sharpness of the image
• Use ND filters so you can shoot at or near wide open as you would actually at night
• An overcast day is generally better -less shadows. If strong sunlight attempt to turn this into moonlight by underexposing.
• At night colour has less contrast and is more subdued, as it is lit by moonlight. White balance on a yellow or orange card to force a blue tint.
• Blue gels on lights can also help sell the effect (especially when filming night interiors).
• Day for Night effects can be added in post in compositing programmes such as Adobe After Effects (check Andrew Kramer's tutorial on this here: http://www.videocopilot.net/tutorials/day_to_night_conversion/)

Tip #56: Surviving night shoots

By Dan Parkes (Director)

Even for those who consider themselves 'night owls', filming at night is never easy and poses numerous challenges. But before we look at surviving night shoots, let's establish two key reasons for doing so, which are:


1. Filming an exterior night scene at night
2. Filming interiors at night due to cast/location availability

The first, also described as 'night-for-night' is likely the most obvious reason. The rain scene in Ambleton Delight was filmed this way. It is good to note that our eyes see night in a very different way from how a camera does as our eyes naturally adjust to the low light levels while most cameras struggle to compensate. The two key mistakes filmmakers can make is to either force the camera to see more light (using a wide open aperture or a gain increase) or by overlighting the scene with too many lights. Both will make the camera see more, but the result will not look authentic, either being overlit or too grainy.

Tips:

• Only illuminate key objects or areas - for example using practicals from logical sources (i.e. real lights within the scene, such as streetlamps)
• Use reflectors and white cards to reflect light
• Use natural elements such as snow if filming during winter, or rain (or by wetting the ground) to create natural reflection and illumination
• Use natural light -shoot during dusk or twilight -although remember this lasts for less than an hour!
• If possible do some test filming beforehand at the hours and location you intend to film

Overall night filming survival tips:

• Preparation/planning -treat it as a normal day with a 'lunch' scheduled
  
• Have a well thought out schedule that wastes no time...dead time at night is demoralising and can cause people to go to sleep
• Make sure actors are scheduled only where necessary (it is good to schedule scenes with the most actors first so that some can go home earlier and only those who are required stay for the whole night)
• Food and drink are important -liquids such as water and coffee can help keep you awake
• Consecutive night shoots can for many be easier than one-off shoots, as you can get your body into a pattern
• Prepare the day before by getting more sleep (like travelling overseas try to adjust to the time zone before you arrive)
• 4am - 5am is the most difficult hour both mentally and physically -schedule easier scenes to be filmed at this time or have this as the 'lunch' break.

Tip #55: Prepare for the prima donna actor

By Dan Parkes (Director)

If you are a filmmaker chances are, at some point, you will come across a "prima donna" actor. Although a small minority of the acting community, due to their personality the probability of encountering them is in fact higher. For a low budget filmmaker it can be severely detrimental. All three of the Ambleton Delight production team shed literal tears during its production due to the behaviour of prima donnas in various forms (not any of the main cast I hasten to add!) and in the last three years I have personally had to handle three such actors.

Originally an operatic term, prima donna literally means "first lady" in Italian and designates the leading female singer. In modern times it has also become widely used to describe a vain or "temperamental person; a person who takes adulation and privileged treatment as a right and reacts with petulance to criticism or inconvenience." (Random House Dictionary, 2010)


Several actors have openly said they perform because they 'crave attention' which in itself is not an issue (a camera shy camera actor is a different problem!), unless it leads to egotistical behaviour. In the case of the three prima donna actors I had to deal with they were, somewhat surprisingly, all male; two were in their seventies and the other middle-aged. The causes for their behaviour, although quite different, have one common thread: money and unjustified allegations of ill-treatment. Two were aging actors who to be honest had not "made it" but relied on unknown bit-parts in TV shows or films to boost their egos; the middle-aged actor on a similar path (an unknown actor yet complaining for receiving 'only' £250 an hour).
So how to handle such an actor? You might think the answer is not to cast them in the first place. However, while warnings and references may help, any actor has the potential for this behaviour (the two aging actors mentioned previously were incredibly 'nice' to us and then seemingly 'snapped' over perceived ill-treatment). And unlike the workplace environment where a prima donna can be reassigned, you will most likely not have that option, especially if footage has already been shot. This 'cannot be done without' factor can also be one of the principle causes for their behaviour; they think they can get away with it.

So here are 10 factors to think about:

1. Treat all actors as special, have faith in them, make them feel wanted and secure, allow them creative space and value their hard work and input.
2. Pay your cast as well as you possibly can.
3. Make sure you are not the prima donna! If you are a dictatorial director who lacks respect for cast and crew then you will only make matters worse.
4. Prepare for it. It does happen and it could potentially ruin your film. Have contingency plans. It is always dangerous to be relying on one actor alone.
5. Make sure actor's contracts and agent negotiations are comprehensive and signed, so there is no potential for confusion that can lead to unnecessary issues.
6. Have a balanced approach. Make sure you are not being walked over or conversely making unreasonably demands. If required, be assertive and stick up for yourself and the team.
7. Try to understand their point-of-view or motives. They may well have a good reason for complaint that should be addressed.
8. Make room for it -the moment may pass. It could be just a phase and everything may be fine the next day. The actor could possibly be suffering from mental health issues.
9. Find compromises. If you can calm them down by finding some middle ground then do it rather than needlessly fanning the flames if you also feel wronged.
10. If the behaviour has got to the point of being detrimental to the project, make a final decision that is best for the film. That could simply mean recasting.

Tip #54 Becoming a successful actor

(An interview with actor Jos Lawton)

In part two of an interview with Jos Lawton, who won a Best Actor award (International Filmmaker Festival, 2009) for his role as John Miller in Ambleton Delight, we explore reasons for becoming an actor and some general acting tips.

What advice would you offer those thinking about becoming an actor?
First of all, decide if you want to do it just as a hobby, or professionally. Think about why you want to be an actor. What motivates you and excites you about acting? If you want to do it professionally, you have to really, REALLY want it more than anything else. Consider how much of a priority it is in your life – if you think it might get in the way of your social life, other work commitments, drinking habits etc, then I advise you to pursue another career, and enjoy acting as a hobby.


What if you want it to be more than just a hobby?
If you think that acting could very possibly be the most exciting, challenging and rewarding job you could ever have, then throw yourself in with total conviction. Invest in yourself and get training at a drama school. Here in Brighton we are lucky to have an excellent school called the Academy of Creative Training where I trained for 2 years (as did several other Ambleton Delight cast members). In addition to drama school, immerse yourself in movies and theatre, plays and scripts, and books about actors and acting.

What about those interested in screen work?
It’s essential to familiarise yourself with film and screen techniques, as drama school training will usually only provide an introduction to this, rather than go into serious detail. After completing my training, I was aware that I needed more experience in this area, and there were several resources that I found particularly helpful: First was Patrick Tucker’s book ‘The Secrets of Screen Acting’ which is a veritable goldmine of practical advice and techniques, as is Michael Caine’s book ‘Acting in Film’. Also, the workshop run by the director Andrew Higgs, called ‘The Alchemy of Screen Acting’ – again, this comprises really useful and practical advice, and you will get great quality showreel footage from it too. I landed the role in Ambleton Delight just over a year after finishing drama school, and I feel strongly that I would have been much less prepared for the demands of a lead role in a feature film without those resources.

Any general acting tips?

• Be spontaneous, open and flexible.
• Trust your instincts.
• Be fearless.
• React truthfully.

What should actors not do?

• Waste time or drop your concentration on set or in rehearsals.
• Dwell on negativity, whether due to lack of work, or dissatisfaction with the acting work you are doing.
• Be late for work. Ever!
• And don't forget to remember why you love being an actor and above all ENJOY IT!

Tip #53 Creating a character -an actor's perspective

An interview with Jos Lawton (actor)

In a two part special we interview lead actor Jos Lawton, who won a Best Actor award (International Filmmaker Festival, 2009) for his role as John Miller in Ambleton Delight. In part one we focus on creating characters and using production difficulties to your advantage.

As an actor, how do you go about creating a particular character?
I read the script again and again - the text can give you so much information about your character. Also, I like to create a back story and some history for the character, thinking about the life they have experienced before we see them in the film.


How did you go about creating the character of John Miller in the film?
With Ambleton Delight, I was already provided with some back story for John Miller and I just expanded on that. I also listened carefully to Dan’s direction regarding John in order to make him outwardly calmer and less demonstrative than I had originally done so in the first audition, and to focus more on his internal state.


Did Ambleton Delight present any particular challenges as an actor?
One personal challenge I faced was injuring my leg a week before the start of the shoot. It was very painful and I found it difficult to walk or even stand without the use of a crutch. The team was very understanding, and luckily, the first scenes I shot involved being seated (the council scenes), but there was a shot of me walking outside the council building. Obviously I couldn’t use the walking stick I had been using and tried to walk as normally as possible. If you look carefully, you can see I’ve got a slight limp in that scene...


And how about the weekend night shoots? Those must have been difficult....
Using the ‘down-time’ in the restaurant and kitchen meant we would work from approx 10pm-6am at the weekends. I’d often find it hard to get much sleep after the first night’s filming, so by the second night it could be quite gruelling! In fact, this was in some ways a blessing for me as my character John Miller becomes more unravelled as the story develops. Michael Caine is fond of advocating the idea ‘always use the difficulty’, meaning any situation in life that's negative, there is something positive you can do with it. So having no sleep for a couple of days and being frazzled when trying to deliver my lines for take after take at 4am was actually really useful in portraying an edgy and paranoid John Miller!

Look out for part two with some general acting tips coming soon...

Tip #52 Directing basics - Blocking, eye-lines and takes

By Dan Parkes (Director)

We have previously mentioned the importance of the director having a vision and being able to communicate this effectively (depending on his style of directing). But we must also not overlook some basic tools that all directors should use:

1. Blocking and shot selection
While 'blocking' is originally a theatre term this is equally important for film, as it involves not only the positioning of the actors within the frame but also the movement of the camera. This often first occurs during rehearsals when the director works with the actors to establish how they might stand or interact with each other. However this becomes far more critical on set, as the contraints of the location and props etc may dramatically affect the feasible logistics of the blocking. Not only that, but it will also be necessary for camera positions, lighting and focusing to know where each actor will stand, and in some cases these positions may be marked on the floor (hence the need for actors to 'hit their marks').

Along with blocking is shot selection using different lenses (wide, medium and close up). A 'master shot' will often include all of the blocking as decided from one camera position, then allowing for filming of medium and close-ups later. Once the master has been shot the blocking cannot substantially change -otherwise it will affect the conintuity.

2. Eye-lines /180 degree rule.
Once the blocking has been decided and a master shot is about to filmed it is important to consider the actor's eyelines and future camera positions so as to not "cross the line". This is also known as the 180 degree rule. It can sound more complex than it really is, but is all about spacial relationships and continuity, so as not to confuse the viewer. Ulimately it means that the camera positions consistantly remain on one-side of the action (similar to a theatre audience). It is as if the scene has an imaginery axis, and if the camera was to suddenly pass over that axis it would disorientate the viewer. The end result should be that the actors have the same left/right relationship to each other.

Take a look at this practical example from a scene in the 'Ambleton Delight' and notice how the camera stays on only one side of the invisible line between the two characters:

A master shot of both John and Chris (28mm wide lens)

A medium shot of John (50mm lens)

A reverse medium shot of Chris (50mm lens)

Of course these above 'rules' are made to be broken if a conscious decision to do so, but if done accidentally will cause confusion and look amatuerish. In the case of crossing the line there are ways and means of getting the camera over the line if required, such as cutting to an image that is not spacially related to the action.

3. Takes
Stanley Kubrick apparantly holds the record for the most takes of a scene with 125 for the scene were Shelley Duvall climbs the stairs in The Shining.

But while it can the mark of a perfectionist, a common trap any director can fall into is filming several takes out of 'habit'. In reality it is important to reflect on the purpose of another take, which should ultimately be due to improve on the previous one (or filming one for 'safety' if there was a possible issue). Before filming another a take a director can ask himself: What can I do to improve? What isn't working? Should we change the dialogue, the blocking? How about trying it faster or slower to provide pacing options in the edit? How about changing camera positions or framing?

Note: It is also good for the director to reassure the actors the reason for another take -especially if it not due to an issue with their performance which they may assume if no reason is given and thus be waiting for direction. Too many takes without clear differences will only exasperate the cast and crew and waste valuable production time.