Wednesday, 9 December 2009
The process starts with themes and agendas/goals, mentalities, expressions, costume ideas, transition feelings, set thoughts—I make lists. At the same time I start work on dialogue in an everything-goes, brainstorm-type way—the brainstorm may start with a place or topic. They start to inform each other—the list turns synthesis with segments of dialogue and I start to pull out scripts and revisit ideas of theme and structure. I start to focus in on the parts that when reread inspire new rants and tangents that shape some sort of an excitement to create workflow. I think about music. Eventually I’ll have a collection of scripts and I start to figure out how they connect and begin to pull characters out and define them more. I melt down numerous characters, lists, or ideas into one character or set ideas or separate themes and goals into places and costumes or sections of multiple character tension. At this point I start to have momentum and the conceptual aspects of the piece solidify and it becomes easier to write because the sections of vision now have pile. All the while I’m considering people I know who inspire me and who I respect greatly, and what or who can do you or that or them and how who can do what in what situation, and combinations of ideas, people, sets, characters start to inspire the quality of scene ideas—how does this person clash with that character or set to play what—it’s like organizing a setting to yield a quality behind the camera that informs the script, directing, set, costume, makeup, and general vibe of the shoot that night and then I go for it with a couple shots—I then build out the story—but I allow my self loopholes and extra shots and free space—I change the meaning of shots by shooting other shots. I fix a failed shot by changing what the shot was about while adding to plot or slicing into new content. The shoots are very active and the directing style is very kinetic and even when we stick to the script in a strict sense the room still becomes very collaborative and people take ownership of their characters and perform outside-of-themselves rather than act. Usually—I mean some people like to perform, others like to act, and some just want to be themselves but louder in a chosen style or imposed accent, accents being less geographic and more collected and sculpted to describe word delivery. And then once with the footage I reevaluate everything as supplies. And then I dive into EditEffect and sound as content and resculpt the whole situation—more than half the script gets cut out and many moments of people giving a burst of inspiration, improv, or add-ons get cut in. - Ryan Trecartin
"The Pota was a ceremony in which several rude dummies of tules were put up on poles. It appears likely that songs of malevolence and perhaps other expressions of hatred were directed toward the figures. The images represented foes of the village: murderers, successful war leaders in past affrays, or shamans believed to have caused sickness and death. Care was taken to invite the towns to which these individuals belonged; but as no identification was given the image, and no names mentioned at the time, this method of revenge could contribute little but moral satisfaction to the preformers. The guests might suspect that it was their townsman who was meant, but as no insult was tendered, none could be resented; until later, when care would be taken that the visitors learned that it was their kinsman whom they had helped to revile. The whole procedure is characteristically Californian."- Kroeber
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