by Julia Courtenay
Foley—the addition of sound effects in post-production—is probably one of the most under-appreciated arts in film production.
The sound effects designed by Foley Artists are often as mundane as footsteps, keyboards, kettles etc. but they can stretch to the gory sounds of tearing flesh and crunching bones, to the sound of alien life forms and futuristic technology.
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By Kryshan Randel
For most of the year, no film came close to the best that television had to offer. Brilliantly conceived shows such as THE HANDMAID’S TALE, LEGION and parts of TWIN PEAKS: THE RETURN outdid anything on the big screen, especially in the script department, and it seemed like television was the new cinema. But then fall arrived, along with the majority of this list, and great films made a swift comeback. As usual, my preferred taste for dark comedies and thrillers/horror films is apparent, but my documentary favourites (except for HONDROS) are safe for everyone. Here are my top films of 2017.
By Julia Courtenay
Part of the job of the Assistant Directors is setting Background (the non-speaking performers who create the atmosphere, a.k.a. “extras”). Background is as essential to the scene as any other element. A badly set background can be distracting and suck the life out of the scene. Done well, the Background enriches and creates a sense of authenticity.
Last week, we talked about how to start working as a Background Performer. This time, let’s look at what Background means for ADs!
Setting Background is as much an art form as lighting or dressing a set. But you often only have a few minutes to put the Background in place, so you need to be prepared.
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By Christopher McKittrick
Budget is always an issue for film students, so finding ways to stretch your limited funds on your student films is just as important of a skill as basic camera techniques. It’s not just about finding money to spend—it’s also about spending the money you do have wisely.
One way to learn how to effectively manage a low-budget film project is to take a look at how an amateur-turned-professional filmmaker put those skills into practice. Filmmaker Oren Peli may be the only person in film history who can claim that he shot a blockbuster movie—2007’s Paranormal Activity—entirely in his own house for a fraction of what a Hollywood production spends on catering.
The resulting film was so effectively made that, although DreamWorks initially hired Peli to remake the film with a larger budget, a successful test screening of the original version proved that remaking the film wasn’t necessary. The final release is largely Peli’s original film with some re-edits and a reshot ending.
When released in theatres in 2009, Paranormal Activity grossed nearly $200 million worldwide against a production budget of just $15,000, making it one of the most profitable movies ever released.
Click here to learn more about InFocus Film School’s Film Production Program!
by Ryan Uytdewilligen
Even if you don’t see Wonderstruck, you have to admit the film’s trailer alone just might be the most jarring piece of cinema we’ve seen all year.
With a blend of colour and black and white, we are immediately introduced to a boy searching for his father, then ZAP! A shaky blur that can only be explained as an electric shock leaves the boy deaf. What follows is the most haunting cover of David Bowie’s Space Oddity—a choir of kids lead the way until Bowie himself takes over to lift the hairs on the back of our necks.
A lot of the accompanying images in the trailer cannot be explained but they are beautiful and certainly watchable as the years 1927 and 1977 blur together into some wild fantasy world. This is the latest film from acclaimed auteur director Todd Haynes and this year’s closing film at the Vancouver International Film Festival.
by Ryan Uytdewilligen
Arguably the more subtle creative side of the film industry, indie films just aren’t often seen because of distribution problems or simply lack of funding. You beg and plead to raise money that many times just doesn’t follow through. You set out on arduous journeys to find crew members who are willing to work for credit and real functioning locations that are willing to give up their space. Production can be a nightmare and trying to get the film viewed is often worse
Luckily, the indie movement in the last few decades has showcased a large percentage of these works through festivals that realize the difficulties of the process and the changing methods of the industry. While you may be scratching your head and wondering how you’re going to bring your little indie opus to life, a good start is attending VIFF’s in depth session series Totally Indie Day.
by Henry Kulick
Film adaptations aren’t easy, but they do accelerate a major step in the creative process—crafting a completely unique story.
With a written work to rely on, the outlines of the screenplay already exist, but only with some much-needed tweaking can it become ready for film. Sometimes this means something as simple as altering of the main character’s interaction with another, or it can mean the removal of entire portions of the narrative.
More than anything, when moving from page to screen, a screenwriter must be aware of thoughts and actions—specifically, how they impact the viewer. Because what a book can achieve by slipping into the mind of a character and allowing the reader to hear every thought, a movie can only do by showing what the character does and believing the viewer will understand why.
From young adult novels to detective noirs, understanding the mind of our character is absolutely necessary for empathizing and experiencing the story along with them. So how can that written understanding effectively translate to film?
Click here to learn more about InFocus Film School’s Film Production Program!
by Ryan Uytdewilligen
When you marvel at the scope of the latest popcorn movie, a few occasional questions such as “how did they ever do that?” might arise. That’s most likely what the filmmakers wanted you to think.
But few moviegoers actually consider or investigate the nitty-gritty reality of how much goes into creating a scene, whether it’s faking weather conditions or carving realistic worlds with the hands of cinema’s finest set builders.
The answer is a lot: a lot of money and a heck of a lot of material to make it so. If a scene requires rain, water is often pumped through rain towers to create that illusion. Structures large and small are often constructed for one day of shooting and then the materials tossed away like it was never so.
Then there’s the world you can’t see on screen: the endless parade of trailers and trucks filled with makeup and scripts to the pop up restaurants that feed the army of hungry crew. It takes a village and then some to make a movie.
by Henry Kulick
After its over 30-year mark on the world of storytelling, IT is no stranger to most of us. Whether it was the original Stephen King novel, the 1990 miniseries, or the newest iteration, the 2017 film adaptation, IT is a pulse-pounding story about facing our greatest fears, no matter how terrifying that may be. And that we could always use a little help from our friends.
But for the first time, under the directorial eye of Andy Muschietti, IT breaks out of the horror genre to become something more—a dark fantasy that may be the best Stephen King adaptation to date.
