Filmmaking


16
Feb 12

Robert Rodriguez: Rebel Without a Crew

Since I’ve been writing these book reviews as a way of sharing my own film-making self-education. The first thing to mention is what kind of audience I think Rebel without a Crew is appropriate for. In some ways Rodriguez’ book is most appropriate for those of us who want to make movies. However it is so entertaining and the El Mariachi stories are so cool that I think any indy film buff will like this book.

Everyone’s heard of a bucket list, how about a cold beer list. After reading this book and watching 10 minute film school, I’d put Robert Rodriguez on any top 10 list of people I’d like drink a beer with. He is funny as hell and tells a great story.

As the title suggests, this is not a book about making Hollywood movies. Rodriquez made El Mariachi with his buddies, a borrowed 16mm camera, some cash he got from selling his body to science and a script he thought of as something to practice on. If Neil Young is the godfather of grunge, Rodriguez is the Patron Saint of indy films. The problem is our idea of an indy film is still a millions of dollars affair. His idea of being a true one-man-band is really worth some thought before your re-finance your house to make your first film.

“The creative person with limitless imagination and no money can make a better film then the talentless mogul with a limitless checkbook every time.”

In the film Inception the story turns on the concept that a single idea can be really powerful, that it can change someone’s life. Rodriguez had one of those singular life-changing ideas. He wanted to write a script. Someone told him that everyone has two bad movies in them, so the advice offered was write two scripts and throw them in the trash. Then write a script to shop around. Rodriguez didn’t think he would have the discipline to write something knowing it was going in the trash. So his singular life-changing idea, write a script and make a movie from that script. That way he would get practice at both. To sweeten the idea he figured he could make it on the cheap then sell it to the Mexican film market for just enough to cover the costs of making it and one more practice movie. You guessed it, he didn’t make a movie for the trash, he made El Mariachi.

Not only did he make El Mariachi, he kept a diary of the whole wild ride. That’s the meat of Rebel Without a Crew. It’s fully worth reading the story, it’s not only highly entertaining it will motivate you to make your film.

Rodriguez really is a rebel. Just like David Mamet, who says Hollywood producers have no souls, Rodriguez doesn’t have much patience for capital “P” producers. He is so convinced that breaking the rules is the first step to creativity that he urges you not only to break all the Hollywood rules but to break his rules too.

“question everything because it can all be rethought and improved… in the end the only techniques worth knowing are the ones you invent your self.”

Here is the original 10 Minute Film School:

As if Robert hasn’t taught you enough about filmmaking here is 10 Minute Cooking School, as I said this is a guy you want to have a beer with.

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15
Feb 12

My Fog Video On Guardian UK Site

Back in the days when I worked for newspapers the Guardian in London would have been at the very top of the list of publications I wanted to work with, right up there with the New York Times. So, I was hugely honored when I received an email from Victoria Prior of Uttercontent.com telling me she had nominated Summer in San Francisco for their best travel videos page and it was live on the Guardian’s website. There are some great videos there, take a look. Victoria told me she watches the video when she misses our beautiful city. I’ve heard that from a few different people now, it’s so satisfying to know that I created something people connect with.

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1
Feb 12

Recommended Reading: David Mamet’s On Directing Film

I stumbled upon David Mamet’s now twenty-year-old book On Directing Film while looking for something else on Amazon, Jeff Bezos should be happy. Whatever algorithm is working behind the scenes spit out  just what I was after.

I bought the book because I like Mammet’s writing for films like House of Games, The Spanish PrisonerWag the Dog, Ronin and State and Main. Like Aaron Sorkin’s double speed writing you can really tell a Mamet script by the halting cadence.

On Directing Film comes from a series of lectures Mammet gave at Columbia University after directing House of Games. The format is a transcript of Mamet’s lecture with his student’s responses to his questions.

There will be two moments to give you pause reading this book, one in the beginning when you pull out a dictionary to understand what Mammet means by uninflected a word he uses again and again. Another when you wonder if the book should be titled, On Writing for Film. Mamet does have a Pulitzer.

Mamet’s key point is that a movie is a story told in cuts. It should be created by juxtaposing uninflected images which tell the story. By uninflected he means something like unrelated. This is essentially Eisenstein’s theory of montage. Show the audience a series of images that move the story forward; tell the story in the simplest way without narration. There is an entire chapter on this here: David Mamet’s Glengarry Glen Ross: text and performance 

For a moment I wondered if this book was really about directing or if it was about writing drama. Really it’s a book about preparing. I think Mamet is very right when he says that being unprepared on set will not cause you to be creative, at the best you can copy something that you know works or do something interesting that may not be right for the story. He says that directing is all done before the cameras and crew show up.

Mamet shows his students how to see a film in manageable units. The largest unit is the film, the smallest is the shot and the unit of most interest to the director is the scene. Each scene should be a tiny drama of its own where the protagonist has a goal to achieve (or not). Then we are to break the scene down into beats and shots. For Mamet preparing this road map from shot to beat to scene to film is directing.

To better understand this, think of a scene. For example, the scene is “flee from a crime”. The protagonist’s goal is: get away. The beats are: a) get to the car, quickly b) start the car, c) drive away, unnoticed. At this point the shots start to fall into place: Running from a distance, tight shot of feet showing speed, looking over his shoulder, getting to the car, working the key in the lock, starting the car, hands on wheels, foot on pedal, eyes in mirror, tires spinning, car moving through the lot, turning onto the road, disappearing into traffic.

Mamet explains it much more convincingly then I could here, read the book. What you will learn is that this concept of looking at each scenes as a drama told in beats and shots provides a check-sum. An opportunity to see the story very close up (shot by shot) or to pull back to the beats or scenes and make sure that everything contributes to the through-line.

 

 

 

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4
Dec 11

Red Studios Hollywood

Red Studios Hollywood, the historic Ren Mar lot was home to productions including I Love Lucy, The Jack Benny Show, I Spy, Hogan’s Heroes and The Dick Van Dyke Show.

I’m off to Red Studios in Hollywood for three days. I’ll get to work with the Epic and Scarlet and I’m sure there will be other really interesting stuff going on.

Red Epic

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6
Sep 11

Meet Velcro and Zero.

This might be the cutest thing you’ve ever seen: Here is Mr. Fox Takes A Nap:

Introducing the adorable Zero and rambunctious Velcro: I had the great fortune to be the first photographer to work with two brand new talents in the industry. Zero, a beautiful Arctic Fox and Velcro the wide-eyed Ring-Tailed Lemur. I’ve been working on an Animal Portrait portfolio for years, I just had the amazing opportunity to photograph an 18-foot Reticulated Python named Lemondrop for California Academy of Sciences. I love making portraits of animals so I’m actively looking for new subjects and clients who share my interest.

The Fantastic Mr. Zero

Velcro the ring-tailed lemur

I found out on Facebook that Bowwow Productions were here in town working with my friends Jennifer Bullock and Tom Hood, they were doing a shoot with a big adorable St. Barnard, but they were traveling with two fresh young faces who had never been in a real shoot before. It was an opportunity for me not only to photograph two of the cutest animals, but to meet and work with Stephanie and  Judy from Bowwow. I’m so happy it worked out, it was great fun for everyone and I’m very happy with these new additions to my collection of animal portraits. Check out Winokur Photography to see more photos of Zero and Velcro.

Zero is an Arctic Fox - Vulpes lagopus

There is something about a studio-portrait of an animal that I find endlessly fascinating. The thing is, and this is true for much of my work, by removing every element except the subject and the relationship between the viewer and the subject, we create an image that allows us to believe in a personal connecting with the sitter. An introduction if you will. Photographs of these animals in the wild can certainly be beautiful and fascinating, but by photographing them in a neutral setting we have the opportunity to focus on their eyes, expression and body language. These are character studies just like the portraits of people I make.

I knew it would be huge fun to have a fox and a lemur in my studio, so I recruited my brother, Stephan, to shoot some video while we worked. I edited his footage and put together this 2 minute video showing us working with Stephanie and Judy of Bowwow Productions:

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4
Aug 11

Producing Small Pleasures

Small Stuff:

“Enjoy the simple things.” It’s a cliché. The kind of unwanted advice you get when you’re fighting with the big things. However once you realize that something small gives you a tickle of pleasure, like a warm welcome home from your cat or dog, it can be amazingly satisfying to pay that little moment an undue amount of attention. This concept grew into the film project I’m debuting here. No spoilers, but this is the first in a series of shorts called Life’s Small Pleasures. It’s about one of the little things we enjoy in our home. Please take 2 minutes to watch, we had a great time making this and learned a lot on the way. If you like it I hope you’ll share this link with your friends.

 

 

For me making new work isn’t just a small pleasure. It’s where my energy and happiness come from. As a result I’m always looking for my next project. Life’s Small Pleasures came to me one day while I was watching the structure of broadcast commercials. Isn’t that a great way of saying I was “working” when I was really watching TV? From that moment I started figuring out how to execute it. Like most photographers I’m always pushing myself creatively and technically. Lately that means exploring motion and learning the tools and techniques of that media.

This short film was a personal project. I was the producer, director, editor and chief instigator but I didn’t do it alone.

Film-making requires a team. We keep our crew small, tight and nimble. For this project I had help from the start from my friends at Artist Untied. Artist Representative Samantha Sommatino and I talked about the idea and she suggested stylists I could work with. Then CEO and Creative Director Jon Lucca got involved, he provided invaluable support. Artist Untied put Ken Baldwin on the project, he not only worked on props and wardrobe but he took the lead on casting. Renee Rael provided hair and makeup styling.  I brought in my usual crew including Mike Blumenfeld (gaffer / assistant) and Chrysta Giffen (retoucher / colorist). This is partly because I love working with them and also because I want my motion production to run hand in hand with my still productions. I want my crew to be as comfortable changing production hats as I am.

The shoot:

By the time we had the video production moving forward and knew what location and talent would be required it was clear that we would be well-served to combine a still lifestyle project with the film production. This is what clients are requesting so why not do the same for ourselves. What we didn’t do was try to shoot still and video at the same time. Each art-form has its own creative and technical needs. By breaking the shoot into two distinct days we allowed each its own physical and mental space. Though camera and lighting tools are merging in ways that allow still and motion to come from the same teams and the same equipment each has a different kind of storytelling and directing needs.

We only had one day for the motion project and one for the lifestyle shoot, everyone worked exceptionally hard the results speak for their professionalism and talent.

Creating a film and body of images out of a single stream-lined production exemplifies what I love to do for clients. We are already working on the next “Small Pleasure”

Stay tuned.

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28
Feb 11

FPS Festival Brooklyn March 4 and 5

If you are looking for something to do in New York this weekend, check out FPS fest in Brooklyn. My Summer In San Francisco film will be screened there. There will also be talks on transitioning from still to motion.

If you make it, you’ll have to let me know about the event. I’m staying on the Left Coast this weekend.

Here is the project that was accepted into the festival:

-Michael

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30
Sep 10

Foundry Studio Motion Logo

The Foundry has become my name for the studio space I live and work in. The space used to be the plan room of the Pelton Water Wheel foundry. I like to call it The Foundry because it reminds me that something real and physical used to be manufactured here.

Since I’ve been assigning myself motion projects, a logo for my production company seemed like a good experimental piece. I saw the sun moving though type in a store window and came up with the idea of a time-lapse logo using a Magic Lantern to project type onto a screen. The Magic Lantern comes from the 17th century. It was used by magicians to project scary images, later artists used a similar device as they began to understand perspective. My magic lantern was created combining antique and modern parts. For a lamp I have an Arri 300 Fresnel for a lens I have a brass Petzval Barrel lens probably from the 1840s. To make things more fun the Petzval lens is mounted on a Meade Coronado motorized tripod head which is programed with the Time Is Motion software. Using this setup I can control the speed and rotation of the lens.

The finished pieces is only a couple seconds, take a look here:

The Foundry Studio Motion Logo from Michael Winokur on Vimeo.

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23
Sep 10

Sarah’s Practice

Sarah’s Practice from Michael Winokur on Vimeo.

I believe in life-long education. I’m not going back to school. I taught myself most of what I know about photography by trial and error, with the guidance of mentors, through self-assigned projects. I’m currently doing the same with motion. I hope you’ll enjoy Sarah’s Practice, a short film about my friend Sarah Barnard, a yoga instructor here in S.F. I have three other projects in various phases of production, stay tuned.

Huge thanks to Sarah Barnard for all her time and help.

-Michael

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21
Jul 10

Bridalveil Falls home movie – the hdDSLR is the new bolex

Bridalveil Falls Yosemite from Michael Winokur on Vimeo.

I’m teaching myself about motion step by step. In the near future I expect to have motion work that applies to my still portrait photography. In the meantime I’ve been enjoying playing with the movie mode on my Panasonic GF-1. It’s The 2010 version of the Bolex home movie.

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