film
De Palma’s THE BOSTON STRANGLER and more Inglorious Basterd’s Pics !
This morning story courtesy AICN via Jenna Busch and UGO Movie Blog.
It’s been quiet since THE BOSTON STRANGLERS was announced last June as a vehicle for Brian De Palma, but, according to producer Gale Anne Hurd (Terminator 2, The Abyss, Aliens, The Terminator and De Palma’s Raising Cain), it’s still in the pipeline and slated for a Spring production. The screenplay is based off the book “The Boston Stranglers: The Public Conviction of Albert DeSalvo and the True Story of Eleven Shocking Murders,” by Susan Kelly.
The Master.
It’s based on Susan Kelly’s book called The Boston Stranglers, because everything that we think we know is wrong. There was a film made right after the events called THE BOSTON STRANGLER starring Tony Curtis and Henry Fonda. And it posits that Albert DeSalvo was the Boston Strangler, but the truth is, if you scratch beneath the surface, Albert DeSalvo was never charged with the crimes. He was actually incarcerated for another series of assaults, and there was not one shred of evidence linking him to the crimes. So the film is very much (about) how did things go so wrong, that to this day we all think Albert DeSalvo was tried and convicted as the Boston Strangler?
The screenplay draft by Alan Rosen went over 160 pages starts off with DeSalvo’s first foray into the crimes as he talks his way into the homes of desperate women pretending to be a modeling scout and then dramatizes the police investigation, the intense media scrutiny, and DeSalvo’s jailhouse confession to convicted murderer George Nassar. It’s kinky and bloody and chalk full of conspiracy; standard faire for De Palma, a certified master of the genre. I personally loved The Black Dahlia and if Brian’s name is on it, I’ll be satisfied just watching the direction and visual tour de force he commands. No one, and I man, no one understands films visual language better than De Palma, cut from the cloth of Hitchcock, he is a master.
Spring of 2009 with a 2010 release date is the projection on this one.
You can read the Busch interview with Gale and for up to date news from the best De Palma site on the net, check out De Palma Ala Mod and you can talk about Brian in our own forums Here.
In other cinejunkienessism news; what’s another post without some Inglorious Basterd’s news ? And before you message me to let me know I spelled the title wrong again, it has been confirmed that Quentin Tarantino’s upcoming WWII-spaghetti western remake of Enzo Castellari’s Inglorious Bastards (which filming began this month), that QT’s “misspelled” title is official.
When the script (which you can download here) made its onto the internet (accident, I’m sure) this summer, many simply thought he was a poor speller but according to the Weinstein Co. and Universal Pictures, who confirmed the title after releasing a new synopsis for the film:
“Inglourious Basterds begins in German-occupied France, where Shoshanna Dreyfus (Mélanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris, where she forges a new identity as the owner and operator of a cinema.
Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish soldiers to engage in targeted acts of retribution. Known to their enemy as “The Basterds,” Raine’s squad joins German actress and undercover agent Bridget Von Hammersmark (Diane Kruger) on a mission to take down the leaders of The Third Reich. Fates converge under a cinema marquee, where Shosanna is poised to carry out a revenge plan of her own…”
Tarantino’s international cast includes Brad Pitt Diane Kruger, Mike Myers, Eli Roth, Cloris Leachman, Rod Taylor, Daniel Brühl (The Edukators), Samm Levine (Freaks and Geeks), Til Schweiger (King Arthur), B.J. Novak (The Office), Michael Fassbender (300), Mélanie Laurent (Days of Glory), Michael Bacall (Death Proof), Omar Doom (Death Proof), Julie Dreyfus (Kill Bill Vol. 1), August Diehl (The Counterfeiters), Richard Sammel (Casino Royale), Christian Berkel (Black Book), and more. The film reunites Tarantino with Kill Bill Vol. 1 and 2 cinematographer Bob Richardson, longtime production designer David Wasco, Oscar-nominated editor Sally Menke (Pulp Fiction), and producer Lawrence Bender.
And here is another pics from the set of the newly constructed French farmhouse that will open Inglorious Bastards in a soon-to-be-classic and nail-biting fashion. The window on the far right will presumably frame and foreshadow a showdown between the female main character and the Jew Hunter
The Farmhouse from the scripts opening scene.
That’s all for today. I have some writing to do and then it’s off to work.
BlogMarks
Furl
Newsvine
Rojo
Email This to a Friend
If you like this then please subscribe to the INDEPENDENT SPOTLIGHT - BERLIN
The set design on Berlin is simply wonderful.
In the independent spotlight series, I want to showcase films with a true indie spirit. A film, made by ‘no one’, on a limited shoestring budget, the guerrilla filmmaker. Films that come to mind that fit this mold include ONCE, a small Irish Film that won this years Best Song Oscar, PRIMER, a 2004 science fiction film about the invention of time travel. Written, directed and produced by Shane Carruth, and completed with a budget of just $7000 and the last DVXFEST winner O2 (Shameless plug for Fat Monster).
BERLIN is a short film with large ambition written and directed by Norm Sanders. Norm is a sort of peer / virtual friend that I have known for years via DVXUSER. I have watched him grow as a filmmaker and have followed closely this new film from him and it is the most mature and polished film yet.
Shot on a microbudget of $4,500, with the largest expenditures being (taking over half) food & insurance (The rest went towards MUA/Hair Stylist kits, MINOR rentals, art direction costs and wardrobe) Sanders added “We got so much free, it should have been illegal!”
“You want me to what ?!”
The film tells a story, set in Nazi Germany circa WW2, of love and betrayal and features Rebecca L. Dunn, Shan Applegate and Sanders. Our story starts off with the introduction of Katherine and Edwin, a young couple who met while Katherine was touring Europe as a singer. Hitler has made the world a difficult place and Edwin, unable to wait for America’s commitment has decided to fly planes in Europe, much to the dismay of his young wife.
As which happens in war, Edwin’s plane is shot down over Nazi Germany and Katherine, hearing that there were survivors, does the only thing she knows. 10 months later, we find ourselves smack dab in the middle of the Third Reich, Berlin. Katherine is working as a singer in The Double Eagle Club as Miss Kate and Her Orchestra.
“Die Nazi, Die!”
Here is where she meets Robert (Shan Applegate) and asks him to do the unthinkable, sneak into the POW camp that holds Edwin and rescue him. As Robert reluctantly agrees, what a man will do for a woman, right ? It turns out, Katherine and Robert have a past and shared some time together. But this relationship went south long ago, still, she has no where else to turn, nor anyone to trust.
Personally, I find this to have feature potential. Although the story is simple enough, and sort of a throwback to a bygone era, I see this as a classic love story with all of the ingredients that make it so mad. Lost love, faith and hope, betrayal and lies. Our characters are interwoven by fate and the choices each makes that lead to a final resolve.
This award winning short film is loaded with Extras, Behind the Scenes, Set Design, Bloopers and trailers and has a wonderful Score by Herman Witkam. The set design, wardrobe and cinematography (beautifully shot by Steadicam Masta Flyer Dan Ayers; Righteous Kill, Bordertown, Nip/Tuck) all lend to the nice feel of this small film. It feels like Berlin, it feels like we’re there all along.
I miss some elements I was hoping to see, Edwin flying or being shot down and especially more of a sense of the Nazi presence. Easier to ask for than pull off, I would love to have seen this film stretched out a bit, giving us a bit more character, especially for Edwin. But nevertheless, I found it a moving story with a payoff I did not see coming, if even it felt as if it was missing that certain motivated ingredient. Although I get the motivation of Robert, I’m afraid that isn’t enough.
I can’t spoil it for you, because the film is worth your time, whether a film buff, an independent supporter or struggling filmmaker, I think you’ll find your time invested worth it.
Cine Rating: 
So go ahead, help a filmmaker out, you can have the DVD at the films official site for a mere $14.95.
Before and After in the selling of Berlin.
The DVD value is awesome. Slickly polished and professionally produced, it puts many mainstream Hollywood releases to shame. I had a chance to sit down with Norm Sanders and grill him on some information on the film, all for you, the struggling filmmaker.
=
1. How did you get the idea for Berlin ?
BERLIN was inspired by the DVXuser SpyFest. When researching “Spies” in Wikipedia, it talked about the history of them used in wars, etc. I then started to think of WWII, and the romantic era that embodies the 1930’s - 1940’s, and wanted to have a film that would stand apart from what I felt would be many James Bond style films. As the script developed, it quickly outgrew the 6 minute festival time limit, so I withdrew it from the fest & ultimately suspended production for 6 months until the time was right to make it, which even included the beautiful fall colors for the exterior shots.
2. What was the budget ?
Roughly $4,500 for production (largest single expenditures being Catering & Craft Services - got an incredible deal/favor by “Catering By Caprice” in Portland - to feed everyone exceptionally well, and Insurance for liability and rentals. Everyone (cast & crew of 70+) made this a labor of love, and donated their time). Total budget was set for $6K, including all post production, DVD replication, posters, etc. Our Exec Producer funded the initial budget, which I’ve since supplemented with my own funds, as I wanted the final product to surpass anyone’s hopes or expectations with regards to final DVD, Posters, number of festivals to submit to (submitted to 13 so far, and doing well), etc.
3. What was the most difficult aspect of production ?
This is tough to answer, as production itself went surprisingly smooth. The stress & planning that went with pre-production, was another story, as well as post production. I did much of the casting & location scouting/negotiating, so there was more than once where we were still missing a CRITICAL location, or cast, right up until 2 days prior to shooting! This, of course, is all covered in the special features in the DVD.
Post production took longer than expected as well, especially as the person that was supposed to handle all the special features ended up not doing any of the post work on the BTS video they acquired. So I had to scramble & set up key interviews, and then add a truck load of additional work to my plate for the final DVD, with regards to editing, etc.
4. The production design of the Hall is amazing, how did you go about creating this ?
I believe you’re speaking of the Cabaret setting. Much of this was stock, as the restaurant, Hubers (Portland’s oldest establishment since about 1887), is all original or refurbished 1910 decor. From there, our Art Department simply had to redress some of it by taking away or hiding anything modern, replacing a picture of the original chef/owner with a picture of Hitler, adding Nazi flag/banners, and creating the old sign showcasing the singer & band.
The wardrobe, designed & provided by Jay Lance, also helped to further sell the entire production, especially in that room, with it all being authentic period outfits, right down to the real Nazi/SS uniforms, etc.
Finally, the stage was set up with two small risers, and some instruments & old microphone donated by a couple of local schools.
5. Would you do anything different if shooting this one again ?
Absolutely. I can’t imagine a single filmmaker that wouldn’t want do do something differently, after learning in such an experience of what could have been done better, etc.
For me, the biggest thing would come down to allowing more time for shooting, and doing more pre-production/shot planning with the DP. During the entire phase of pre-production, our DP was actively working in LA on the 2nd season of THE RICHES for FX. He flew back both weekends to shoot this on his own dime. Seriously! But since he wasn’t around prior to production, there were some growing pains here or there, or shots we’d have to combine or sacrifice, once we were both able to be on set at the same time & actually see what I wanted vs. what was possible, both in setting as well as time allowed.
6. Is there anything you were unhappy about in the final result ?
Since I was personally in the film, and I’m always my own worst critique, I could point to my own performance … but I think that’s common for most everyone.
But the ONE thing that bugs me most in the film is this ONE slow motion shot, where the character Robert looks at this German Police Officer, and a Gestapo, that eye ball him in the club. I hang on that shot for FAR too long, and it just nags the heck out of me every time I see it. I thought it was a cool shot, so that’s why I initially held it for as long as I do, but should have cut it in half of what it is, as it makes the moment bigger or more crucial than it should be. In other words, that shot/edit takes itself too seriously, and should have been off the screen much sooner.
Again, learning from the entire experience, there are all kinds of things I could nit pick at, but thankfully I can still say that even after seeing the film so many times now, it’s still a project I’m proud of, and enjoy having people watch & experience.
7. What’s next on the pipeline ?
As BERLIN makes the festival circuit and continues to pick up “Official Screenings”, and awards and/or “Official Nominations”, I have two features of VERY different story lines/genres that I’d like to see made, both of which can very easily be done for $500K or less, with exceptional production value. So it’ll be a matter of finding the backing for those to be able to move forward …. hopefully the success of BERLIN will have a hand in that.
In the meantime, to stay active, I’ve got a short (or two) that I’m working on for the current DVXuser TwilightFest, due at the end of October.
8. What advice would you give to aspiring filmmakers ?
If you’re like me, and you’re going to produce your own work as well (the only way to guarantee that what you direct will ever be finished), then I would give the following tips, which is also in a way Sales 101 (being good at sales, I believe, is CRUCIAL to being an effective Producer):
If you don’t ask, the answer is already “No”. (NEVER assume someone wouldn’t be interested in your project, but when you DO approach them, be confident & articulate of what you’re trying to accomplish).
Leave no stone unturned. (Sometimes the coolest opportunities come out of the most unexpected avenues, so network, network, network).
Stick with it, and never give up. (It’s hard enough to START a project, but then to actually see it through - many drop out … don’t be one of them).
If you think you can’t, you’re right (a quote from the guy who started Ford Motor Company, and it’s true), so believe you CAN, and don’t let anyone tell you differently.
Mistakes are good, IF YOU LEARN FROM THEM! Make each project better than the last, or in my opinion, you’re wasting yours & everyone else’s time.
And be sure to check out the productoin journal here !
CAST
KATHERINE - Rebecca L. Dunn
ROBERT - Shan Applegate
EDWIN - Norm Sanders
GERMAN SS OFFICER - Joe Rosanek
GERMAN SOLDIER #1 - Reid Phillips
GERMAN SOLDIER #2 - Aaron Truman
GERMAN WAITRESS - Teresa Decher
CABARET PROPRIETOR - Paul Kisser
ANGRY WIFE - Megan Powers
CABARET PATRON - Joe Grigsby
OLDER KATHERINE - TBD
OLDER ROBERT - TBD
EXTRAS
Orchestra Member - James Donaldson
Orchestra Member - Tim Oakley
Orchestra Member - Alex ____
Orchestra Member - David ______
Orchestra Member - Brady Patterson
Orchestra Member - Clayton Peirce
Cabaret Bartender - Keith Korter
German Civilian - Andrea Krecklow
German Civilian - Garrett ______
German Civilian - Flossy McShane
German Civilian - Lauren Green
German Civilian - Karen Grosskreutz
German Civilian - Donna Rapp
German Civilian- Desiree Mariscal
German Civilian - Ted Grigsby
German Civilian- Tiffany Cook
German Civilian - Sam Kimpton
German Guard - Mack _____
German Gastapo - Matt Dotson
German Police Officer - David Smith
CREW
Norm Sanders ……………… Writer / Editor / Producer / Director
Rebecca L. Dunn ………….. Writer / Co-Producer
Dan Ayers ………………….. Director of Photography
Herman Witkam ………….. Composer, Sound Editing & Mix, German Translator
Bree Dennis ……………….. 1st Assistant Director
Susan Funk ……………….. Production Supervisor
Amanda Russell ………….. Script Supervisor
Ryan E. Walters ………….. 1st Assistant Camera - A Cam
Isaak Lane Koval ………… B Camera Operator
Brad Reeb ………………… 1st Assistant Camera - B Cam
Adam Resare …………….. 2nd Assistant Camera (A/B Cams)
Jerry Turner ………………. Digital Input Technician
Matt Semchee ……………. Key Gaffer
Fro Waters ………………… Key Grip
Peter Hermes …………….. Swing Gaffer/Grip
James Eubank ……………. Art Director, Graphic Artist, Carpenter
Oakley Design Studios ….. Prop Fabricator
Tim Oakley ………………… Prop Master, Graphic Artist, Carpenter
John Kirkley ……………….. Set Dresser, Carpenter
Valerie Powers …………….. Prop Fabricator
Tavia Onstad ……………… Art Department Assistant/Runner
Ken Kupelian ………………. Sound Mixer
A.J. Brooks …………………. Boom Operator
Erik Griekspoor ……………. Sound Designer, Foley Artist, Sound Editing & Mix
Jay Lance ………………….. Historical Consultant, Wardrobe, Props
Paul Sutfin ………………… Wardrobe Assistant
Rose Barclay ……………… Key Hair Stylist & FX Artist
Miranda Sutton …………… Hair Stylist
Stephanie June Johnson .. Key Makeup Artist
Tarah Shuler ……………… Makeup Artist
Kristina Quevedo ………… Production Assistant
Tyler _________ …………… Production Assistant
Denise Gibbs ……………… Extras Coordinator
Steve Armenakis …………. VFX Artist
Jeremy Tuttle …………….. Graphic Design Artist (Poster, Promotional)
Hans de Koomen ………… German Translator
Amy Asivido ………………. Lyrics/Song Writer
Juliana Tobon ……………. Onset Still Photographer
Kevin Hayes ……………… Behind The Scenes Videographer
Krysta Kelley ……………… Catering
Darcy Robertson …………. Craft Services
SPECIAL THANKS/VENDORS
Huber’s (Cabaret Set/Location)
City of Vancouver, WA (Officer’s Row Set/Location)
Vancouver National Historic Reserve Trust (Officer’s Row Set/Location)
Charlotte Swartwood (Officer’s Row Set/Location)
Monte’s Pump (Old German Barn Set/Location)
Gear Head Grip (Electrical/lighting & Grip)
235 Studios / Ryan E. Walters (Camera Package)
Koval Productions (Camera Packag)
Bryan Edwards / 7th Trumpet Productions (Camera Equipment/Monitors)
Nelson Entertainment (Sound Equipment)
Roosevelt High School (Orchestra Instruments/Props)
Wally’s Music (Orchestra Instruments/Props)
Cromwell’s (Tuxedos for Orchestra Members)
Portland Roasting Coffee (Craft Services)
Peter Corvallis Productions (Stage Risers/Park Bench)
DYNAMIC RANGE AND LIGHTING FOR FILM
The new vision3 stock.
What if I told you you could get a crisper, poppier, higher contrast, more film like image out of your camera, spend less that $40, and save hours in post at the same time?
Keep reading.
The digital age has allowed for countless people who would otherwise be unable, to have the means of making their own films for a fraction of what it cost not 20 years ago. It has also allowed for them to become fat and lazy filmmakers, who have become dependant on the technology, and have abandoned the old, “obsolete,” techniques in favor of ‘easier’ ways of doing things.
The biggest crutch kids entering filmmaking cling to is their LCD monitor. The sales reps at Best Buy trick them into thinking that what they see on the screen is what they get, and the Spielbergs-to-be run off under the impression that they have everything that they need to make a great picture.
The problem is that the LCD on your camera isn’t calibrated. At all. And let’s say you have a big fancy external monitor, calibrated and leant to you by Roger Deakins for the weekend; well, that’s great, but the problem remains that you still aren’t seeing what you get. If you use that monitor as your only guide, you won’t be able to take full advantage of your camera’s dynamic range, and end up with a picture that was not lit for film, but lit for TV. So, unless you’re shooting for Monday afternoon Telemundo, read on.
First, the technical background;
Your LCD, under perfect circumstances (which you’ll never have) can resolve about 6 stops of latitude. That’s six f-stop levels between the darkest area where you can perceive detail, and the brightest area that you can perceive detail. Your camera, however, has greater range. How much? well, the majority of digital cameras have between 8 - 9 stops, Vision2 has near 10, Vision3 more than that, and Kodak Tmax400 has well over 14 stops of latitude.
That difference between what you can’t quite see on the screen, and what your camera is still picking up, can encompass a lot of screen space and detail. Leaving it under lit, only to find that there were details or problems you missed later on is taking a big chance. It also robs you of true “contrast.” Contrast shouldn’t be something you add to a shot in post with an effect slider. Doing that only cuts your dynamic range more, increases artifacting and visible noise, and leaves you with a messy picture that any 6 year old with a handycam can make. As a cinematographer, your frame is your canvas. You can’t go cutting portions out or leaving chunks of it to chance.
“But Joe!” you whine, “If I can’t easily see everything on my preview monitor, how could I predict how to light for it?”
Now we get to why the article is entitled “lighting for film.”
Though there are a number of tools that help in determining proper lighting and exposure, the one we are going to cover today is the classic: the Light meter. When we shoot film, there is no accurate preview. If you’re lucky enough to have a video tap, it still suffers from the same problems of all LCD’s as listed above. So, you need to break out the ol’ light meter, and do things the old fashioned way.
In short, a light meter is a tool that measures the amount of light falling on an element of your scene. You can find them on ebay. I’ve seen Sekonic studio meters go for $40, and it does the job.
HOW TO ADD CONTRAST WITH A LIGHT METER:
Contrast in a shot can be set using the principle of lighting ratios. A ratio is determined by finding the intensity or brightness of your key light (in a unit of measure known as a footcandle), and then finding the intensity of your fill light. To do so, you turn on ONLY the light you’re trying to measure, and then take a light reading from your subject. When you have the two values, you add the key light value to the fill light value, then divide the sum by the fill light value.
Para exemplo: if you have a key light of 800 foot candles, and a fill of 200 footcandles, then your equation would be (800+200) / 200. which reduces to 5 /1, which makes your lighting ratio 5:1. That’s right. I just used math in the real world. Call Ripley’s.
Now, the higher your lighting ratio, the more contrast is in your scene. A ratio of 2:1 is relatively low contrast, and would be used for comedies, or sitcoms. A ratio of 8:1 is high contrast, and would be in use for horrors or noirs.
Okay, so let’s say you’re shooting a drama. You’ve decided you want a 5:1 light ratio. Cool. How does dynamic range come into play?
LIGHTING FOR DYNAMIC RANGE:
So, you have a scene. Your ratio is 5:1, and your key light is 800 foot candles, and you’re shooting with your HVX which has 8 stops of latitude, and coincidentally, a broken LCD (cause you tried a flip hack and voided the hell out of your warranty).
Well, if you set exposure with your light meter, and the key light on your subject was at 800 footcandles, that makes 800 your peg. What’s a peg? Consider a peg the middle of your dynamic range. When you take a meter reading, and the meter gives you the f-stop to set your camera to, that’s the middle of your range. If you have 8 stops of dynamic range, that means you have 4 stops above (brighter) the peg, and 4 stops under (darker).
Stops of light are measurable exponentially, in that every stop of light is twice as much as the one under it.
Knowing that, we can take our peg, 800, and measure 4 stops up; 1600, 3200, 6400, 12,800. So, we know that anything in our frame that meters over 12,800 foot candles will blow out, and we won’t be able to see it.
On the other side, if we measure down, (400, 200, 100, 50) we find that objects metering below 50 foot candles will not show up in our frame.
Great. We did all that math, and now our heads hurt. Now What?
If you light every element within your frame so that at least 50 footcandles of light fall on it, and no more than 12,800 footcandles fall on it, then everything in the frame will be visible. More over, if you include some elements in your frame that are lit at the bottom of your dynamic range, and some that are lit at the top, along with a subject metered in the middle, you are taking full advantage of your medium. This is called being a cinematographer.
THE BEAUTY PART:
You now know enough so that
you can make your frame as contrasty as you want
you know exactly the most and least amount of light to put on any object in the frame.
By following these steps, you keep everything in your frame within your dynamic range and take full advantage of your camera, while at the same time avoiding flat and low contrast pictures, and avoid losing all your range by correcting in post.
Perhaps the biggest benefit will be training yourself to use the industry standard method of exposing a picture. Heaven willing, you’ll get on a big shoot with a budget some day, and you don’t want to be the laughingstock on set because you spent half an hour trying to find the flipout LCD on an Arri. I see a lot of kids come in, representing themselves as ‘pros’, but lacking the skillset that’s required to make a living in feature films. Don’t be a casualty of the comforts offered by digital technology, and learn the skills now.