Blog 9 - Advisory Prep 3

"A good film is when the price of the dinner, the theatre admission and the babysitter were worth it." - Alfred Hitchcock

1.) State whether or not you currently have a mentor, and what the status of your interview is with that person (I have completed the interview, I have scheduled the interview, I have not scheduled the interview, etc).

A: Currently, I have changed my mentor. As of right now, Toby Wilkins is busy working on a professional project in Hollywood and is having trouble scheduling me in, so I found it better to switch mentors to get the best out of my senior project experience. My new mentor is Marc Estrada, a UC Berkeley film graduate who has worked on a numerous amount of Hollywood sets as well as his own independent projects. As for the status of my mentorship interview, I completed it on October 21st, 2015 over a recorded Skype call, because of the fact that Mr. Estrada is currently located in the Bay Area and could not make it down for a face-to-face interview.

2.) At this point, your research is probably guiding your studies toward more specific areas within your topic.  Name the area or two you find most promising and explain your reasons.

A: At this point in my research, I am still very much interested in the idea of psychocinematics (the psychological aspect of filmmaking techniques to convey emotion to audiences). I feel that my interest in this field of study could potentially help better myself as a upcoming filmmaker. By understanding and knowing what goes into a very emotionally moving film, I could create a style and replicate those techniques to create the content that could elicit the feelings I would like.

3.) What kinds of sources do you think will help you in the next month to gain more research depth?  Where will you go to get them?

A: Currently, I have a list of resources for filmmaking books regarding psychocinematics that could potentially aid in my research. However, I feel that in order to get the best information, I will need to interview direct sources and people who have actually had experience on set. In addition, I found a numerous amounts of film school tutorial videos that deal with all aspects of film production from screenwriting, to lighting techniques; the whole nine yards.

4.) Write down a possible EQ.  Please don't worry about wording other than ensuring that it provides the option for multiple correct answers.  At this point, the senior team is most interested in understanding your thought process.

A: What can a filmmaker do in order maximize the affective domain of the audiences’ viewership experience?

Blog 8 - Independent Component 1 Proposal

Brian Puspos creates content much like the type we want to make. He creates short films and tells stories through the art of cinematography and dance.

1.)  Describe in detail what you plan to do for your 30 hours.

A: For my independent component #1, I plan on teaming up with Yuji Karuhaka and creating a musical-style short film. I would manage all the production aspect of the project (cinematography, editing, and directing) while Yuji would manage the choreography of the numbers as well as play the lead role. The two of us, as of right now, would like to keep the video in the range of 5-10 minutes and contain 3 dance numbers. Both Yuji and I would team up to formulate the screenplay and execute the project on set. While Yuji would be spending his 30 hours choreographing, mapping routines, and practicing in the studio, my 30 hours would be spent screenwriting, directing, filming, and then finally the task of editing. I feel cinematography  would be a real challenge that I could learn from, since I myself would have to choreograph camera movements in order to capture the best possible angle for the talent in frame.

As for story, me and Yuji have drafted a general concept idea that we would just need to formulate into a full-blown script once approved by the senior team.

(Note: Not to be confused with a dance-concept video, this short film will be complete with a plot and story, rather than just a video that just shows dance numbers in a fixed, static position on a tripod.)

2.)  Discuss how or what you will do to meet the expectation of showing 30 hours of evidence.

A: To meet the 30 hours of evidence, I plan to update my progress through my senior project hour log that is located on my blog. In addition, since the process of filmmaking is very extensive, I can update the senior team with working scripts, location scouting reports, footage dallies, and rough cuts if necessary. I plan on meeting the expectation of 30 hours with ease, knowing that in the past, my average project work time is about 45+ hours.

3.)  Explain how what you will be doing will help you explore your topic in more depth.

A: By creating this short film, I believe it could help me explore the shooting styles and genres of both musicals and silent. In today’s modern film era, musicals are looked at as a way for an actor to show off the talents they don’t really obtain when it comes to performing on stage, hence the quick cuts. What I want to do is put a modern twist on a classic-style musical that could carry a strong narrative and portray the true talent that is on screen, rather than just constant cuts to fabricate the reality that someone can dance. I want to show the raw talent that comes from creating and performing a dance routine. By doing so, I’ll be able to analyze and apply what makes a classic musical so much better than a modern musical. (i.e Singin’ in the Rain Vs. Step-Up 3D)

For the silent genre aspect, I plan to tell this story with little-to-no dialogue. I want to learn to successfully communicate to an audience without the use of spoken words. I want the narrative to be carried out through actions and emotion.  In addition to not including dialogue,I believe this could help me explore the world of directing actors to portray the correct and convincing actions that could sell audiences on what is occurring on-screen. (It’s easy to relay a specific way to say something, but it’s very different to relay a certain way an actor/actress should move and react on set.)

Also, I’d be able to fully explore the category of post-production music and sound design a bit deeper since I would have to be able to mix the music during post-production that the dancers would be using.

4.)  Update your Senior Project Hours log.

A: As for my senior project hours log, I have already designated a section for the independent component hours to be recorded on.

Blog 7 - Second Interview Preparation

This is a profile  picture of Toby Wilkins that is currently on display on his IMDb page.

1.) Who is your mentor and where do they work? If their workplace does not reflect their expertise, what makes them an expert?

A: My mentor's name is Toby Wilkins. He is a British film director that has, in the past few years, made his large American debut. Currently, I am unaware of his current standings regarding occupational whereabouts since I have not yet been informed if he has signed on with any particular studios for any specific film projects. However, in the past, he has worked for studios like Sony Pictures, Crackle, and MTV on numerous amounts of “big-name” productions such as Teen Wolf, The Grudge 3, and Chosen. In addition, Mr. Wilkins has participated in a numerous amounts of independent film festivals, such as the Sundance Festival. Toby has also received a plethora of recognition for his outstanding achievements in the world of cinema, being commended with many awards, specifically for his horror films. Splinter, a film released back in 2008, was the horror movie that made a large impact for Mr. Wilkins’ career and helped boost his popularity, helping him land the other large titles I previously mentioned.

To visit his IMDb page, please visit the link below:
Toby Wilkins (IMDb Profile)

This is the film that Mr. Wilkins was highly commended on for his skills in horror filmmaking.

2.) What five questions will you ask them about their background?

A:

• What aspect of being a filmmaker do you enjoy the most when working on a project?

• Did you intentionally chose to follow the filmmaker career path you took, or did you ever want to pursue another field of work?

• How did the success of Splinter help better you as a filmmaker and shape your style and technique that you execute today?

• What genres have you personally worked with over the course of your career? Based on those, which would you say would be the most difficult to convey a specific emotion to your audience? Why?

• Over the course of your career, which film project have you worked on where you felt you learned the most?  What did you take away (learn) from that experience?

Additional Questions:

• Ever since your beginnings of filmmaking, which aspect of film do you feel you’ve improved the most on? (Ex: screenwriting, directing, acting, cinematography, editing, etc.)

• What do you feel is the most important aspect of film when trying to induce emotion into a general audience?

• Being a horror director, what do you feel is the most effective way to build tension?

• To you, what’s more important in a good film: cinematography, story, acting, or editing?

• Having worked in both the realms of mainstream Hollywood and independent film work, what are the differences you’ve noticed the most when creating a cinema piece of the two different styles?

Blog 6 - Advisory Prep

"Filmmaking is the chance to live many lifetimes." - Robert Altman

1.) What has worked well for you concerning senior project this year?  What has made it a positive experience for you?

A: Over the past couple of months that I have been working on this senior project, I feel as though it has been going exceptionally well. I’ve been able to conduct very good and meaningful research through the use of my newly found resources that I was able to discover.  In addition, I love my senior topic. I feel as though this love I have really helps my drive to better myself as a filmmaker trying to make an impactful film on audiences. Because of the fact that I am thoroughly interested, I believe that I could take this information past my senior project and apply this into all my personal work and potentially my professional work one day. This project is really helping me invest in my career and I really enjoy that aspect.

2.) What are you finding difficult concerning senior project?  How can you adapt to make that portion work better for you?  How might the senior team help?

A: To be completely honest, I haven’t ran into anything that I could deem as difficult, regarding the senior project. So far I have thoroughly enjoyed my time conducting research and learning about film, because it gives me the excuse to delve deeper into the craft and analyze things about moviemaking that I normally wouldn’t have time to do. However, now that this project takes up a large portion of my working time, I can now make room for it and be assessed on something I love to do. As of right now, I think that the work portion is a good amount to manage. I think if I change my schedule around a little more regarding extra-curricular activities, I could fit more time in for research and project work. I  believe that I am currently doing alright and do not need the assistance of the senior team at the moment. However, if a situation does arise, I will not hesitate to contact and inform the teachers in order to see how I may go about the issue at hand.

Blog 5 - Interview 1 Reflection

For the audio file for my interview please visit the site below:

Interview #1 (Professor Louis Fossum)

For a transcribed version of this interview please visit the site below:

Transcription of Interview #1

"Filmmaking is always sort of building a mosaic of this arc of what the character is going through." - Matthew Fox

1.) What is the most important thing I learned from the interview?  Is there anything I would do differently for other interviews?

A: I believe the most important thing I’ve learned from my interview is the fact that their is a largely noticeable difference between a “technical” director and “emotional” director. Most directors of today’s modern film era typically only care about the aspect of visuals on screen: the special effects, cinematography, and “cool camera tricks.” These directors were brought up through their skills to be technicians on set: cameramen, editors, cinematographers, etc. However, to fully grasp the concept of being a phenomenal filmmaker, one must make use of what they have in order to pull the characters from the script and from their actors in order to convey the raw emotion that the person on screen is feeling. “Emotional” directors make great usage of all the technicalities in order to convey the way audience should feel in relation to what the characters are going through on screen. Although, explosions and cars may be “cool”, it is up to a true director to give the audience what they long for, a relationship with the character.

I feel that for future interviews I would change a couple of questions in relative to who I interview next in order to fit their position of expertise in the industry. I felt that I was prepared for this interview, and rather enjoyed discussing something I am so passionate about so that I may better myself.

This is a picture of Louis Fossum, Professor of Cinematic Arts at Cal Poly Pomona, from his IMDb page.

2.) Did I get additional resources and contacts?  What is the most useful?  Why?

A: I was able to get a resource for further exploration for my craft of filmmaking. The book is called “The Total Filmmaker” by Jerry Lewis and was published in 1971. He also gave me two contacts for people within the industry: Nate Thomas and Linda Basesti. Nate Thomas is an old friend of Professor Fossum that is currently the head of the Film/TV department at Cal State Northridge. In the past, Professor Fossum sent some of his students that wanted to study filmmaking to Nate, in order to receive the proper training to become phenomenal storytellers through film. Linda Basesti is the director of the actors and actresses in the drama department at Cal Poly Pomona. She, as of today, still receives job offers to act on professional Film/TV sets. Fossum said that she’d be a good asset since she can attest what it feels like to be on the actresses’ side of the camera.

I believe that the most useful resource that was given to me was the book by Jerry Lewis. Prof. Fossum explained in the interview how this book really focuses on the art of directing and how to pull a performance from the actor in an efficient and meaningful way. He even stated that some of the highly acclaimed directors, such as Steven Spielberg, consider this to be the “filmmakers’ bible”. I feel that with this book, I could learn a lot on how to self-improve as a upcoming novice movie maker that could one day professionally carry out the task of turning fiction into reality on a silver screen.

This is the book that Professor Fossum recommended I read.

3.) What makes my interviewee qualified to help me?

A: Professor Fossum has had a long lived film/TV career as an actor in the industry. He hung up his “tap shoes” as a performer and retired into the field of academia where he currently teaches cinematic arts courses at Cal Poly Pomona. In addition, he had priorly provided me with understanding knowledge of techniques used in classic films during two of courses I was able to participate in as a student for two different quarters.

Blog 4 - House Advisory Prep 1

"If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on." - Alfred Hitchcock

1.) Write a short explanation of what you are hoping to accomplish through your senior project topic. 

• A: Over the course of the senior project, I hope to grow as an upcoming filmmaker. Having the opportunity to explore the film industry before being completely engrossed into the field of work is a really good way for me to understand how the job works. In addition, I feel that by being introduced to the art at an earlier age I can help familiarize myself with more difficult techniques and styles. Currently, my focus of my senior project is on the combination of cinematic arts and psychology, also known as psychocinematics. For me personally being an amateur filmmaker, I always wondered how I could properly set up my short films in a way where the audience reacts the way they do when they watch a good Hollywood film. I started to ask myself questions like: “How could I set up a scene where my audience would actually be scared?”, “Why do people cry when watching certain films?”, and “What defines a sad or funny movie?”. I realized that if I wanted to become a successful filmmaker, I would need to learn the art of exploiting certain techniques through editing, cinematography, and screenwriting in order to influence viewers into feeling specific emotions. I felt that by studying this aspect of filmmaking would positively affect the way I execute my films on screen and carefully choose the right and wrong things to do in order to achieve the correct emotion I want.

Blog 3 - First Interview Preparation

"I wanted to do another movie that could make us laugh and cry and feel good about the world. I wanted to do something else that could make us smile. This is a time when we need to smile more and Hollywood movies are supposed to do that for people in difficult times." - Steven Spielberg

1.  Who do you plan to interview?  Why?

• A: The person I plan on talking to for my first interview is Louis Fossum. Also known as Jason Kincaid, Mr. Fossum was an actor on the set of many movies and TV shows such as All my Children and My Brother’s Keeper. After retiring from his work in Hollywood, Mr. Fossum resorted to teaching a film class at Cal Poly Pomona. Last year, I had the privilege of talking two of his film classes in which I was able to learn so much about the craft of filmmaking. Taking his classes really changed my perspective on how I watch and create movies. In addition, his class structure and lessons are what helped me decide what I want to do for my potential essential question and is the reason he is the viable person to interview.

2.  Five questions will be assigned to all seniors to ask.  What additional questions do you plan to ask?  Ask open-ended questions.

• A: Being on set, what do you feel is the most important value to have to be a thorough filmmaker?

• What do you feel would be the most noticeable mistake when watching a film? Why? (Cinematography, story, acting, music, editing, etc.)

• In order to successfully engage an audience, what do you believe is the most important aspect in a film? Why? (Cinematography, story, acting, music, editing, etc.)

• Having studied movies very closely over the many years you’ve been involved in film, which do you believe are the most effective genres when engaging and involving the audience?

• Does the general ambience of a theater affect the viewership experience when watching a movie? (Opposed to watching it at home on a TV, computer, or any other device?)