Re: The Toronto International Film Festival Pt. 3

Let's see. Where did I leave off. Oh. Right. Press day. So, here's a couple videos from the Press Day - Thanks to luckyj525 for posting these.





As we completed our Press Day at the InterContinental, we noticed a group of paparazzi waiting outside the hotel. Jackson and Evan went out ahead of us. This is one of the shots:





Evan finally finished his Press commitment back at our hotel room doing a phone interview with ArtistsOnDemand. After that, we told him to get some rest. It was going to be a loooong night.

The plan was for everyone to meet up in our hotel lobby at 6:45pm before heading over to Scotiabank.


Once everyone was in the lobby (or, mostly everyone) I gathered people together for a couple photos.



In the first photo (L-R) Harrison Lees (Production Designer/Cast Member), Justin Lerner (Writer/Director/Producer), Dan Turnbull (Cast), Evan Sneider (Cast), Joe Turnbull (Cast/Production Supervisor), Me, Jeff Castelluccio (Editor/Post Producer) and Craig Wesley Divino (Mr. Sneider's Acting Coach/Cast).




In the second photo: (L-R) Cecelia Chapman (Production Assistant), June Suepunpuck (Costume Designer), Leah Cooper (Unit Photographer), Jackie Lerner (Mother of the Director) and Nicole Rivera (Production Assistant and my cousin).

And, because I know Evan will check out this blog...




And because she wasn't in the other shots...

(L-R) June Suepunpuck (Costume Designer) and Quyen Tran (Director of Photography).




Finally, the time had come. We all walked over to the Scotiabank and headed into the theater. We had sold out again (which, of course, feels really good).



For me, this was the best screening we had at the Festival. When the lights came up at the end, the audience gave us a sustained applause that continued as Justin invited the cast and key crew members up onto the stage. When Justin announced Evan, the entire audience got to their feet - and it lasted, I would guess, about two minutes.

Here is a good portion of the Q & A. (Thanks to Jaime Mosher for posting this!)



After the screening, Evan stepped out into the theatre lobby to a crowd of fans. He spent a good thirty minutes signing autographs and taking photos with people who were so happy to congratulate him on his extraordinary performance...





I think, for me personally though, the best part of the experience was that there were a number of Down Syndrome people in the audience (as well as parents of children with Down Syndrome) and Justin, Evan and I had a great opportunity to meet them and to hear their stories.

People with learning disabilities are so often undervalued in our society, or lumped together as a group that is only capable of a certain contribution to the world - Evan breaks those barriers and his performance in the film is proof positive that even those who may be viewed as "different" are capable of so much more than they are often given credit for... and it goes beyond the Special Olympics campaign.

Evan is defiant. He is strong and he is, above all, talented. An artist. So, if any of you are reading this who came out to see the film and either have Down Syndrome or any other learning disability (or maybe are a parent, relative or friend of someone like Evan), I hope that he (and the film) are able to help you in the future - to realize that anything is possible.

After the screening, we all walked back over to our hotel, where the plan was to reconvene before heading over to the after party at the Brant House.



TIFF was providing us with several Audi vehicles for the party, so I loaded Evan into one, Justin and the lovely Sarah Carter (an actress friend of ours who happened to be shooting a new Spielberg produced series in town) in another, Shannon and actor Andrew Garfield in the third and finally the members of 100 Monkeys into a stretch limo before leading the rest of our group over on foot. Funnily enough, the traffic was so thick that those of us who walked ended up getting there before the cars!

Once the cars arrived, we all made our way down the red carpet where the media had set up. Here are a couple (brief) clips I made of the interviews:







Some of you may be wondering why I am not in any interviews... or maybe not? Well. I'll explain anyway.

There are certain celebrity producers. The Wachowski's (formerly The Wachowski Brothers), Joel Silver, (the aforementioned) Harvey Weinstein, Steven Spielberg, Scott Rudin... but with the exception of Silver, Rudin and Weinstein the others were known first for their directing or writing. Rudin and Silver are known (aside from their impressive resume) for their tantrums and screaming. But you see, producing is the hidden art. Most people don't really know what it is a producer does. If you've read this site in previous posts, I tried to paint a picture of what the job is, but even in describing it, it can be... nebulous. That's partly because the dynamics of the job can change dramatically from project to project. All of this is to say that, for the most part, the only place you'll see a producer talk is on DVD Special Features. And at the Oscar podium for Best Picture, where it is the producer who accepts the statue.

Inside, the Brant House is pretty great. It's a huge venue and has an upstairs area reserved as the "VIP" section. We had an open bar all night and the staff there was great.

Couple more pics. In the first, we have (L-R) Jackson, Evan, Justin and Shannon.



In the next one (L-R) we have Jackson, June and Jason Olivier, our Executive Producer and founder of Make It So Productions.



It was such a great experience. Some of us were able to have our family there (mine, unfortunately, couldn't make it) and we even had fans there who had paid to get in (in the form of a donation to the Special Olympics).



A few of us basically closed the place out and finally, when we headed back to the hotel... well, suffice it to say that we were all extremely happy. It was a great night.

The next couple of days were all about meeting people, talking to other filmmakers and seeing movies! We did, however have one more awesome thing happen. And just in time before Evan and his mother had to leave.

During the next day, we hung out. Justin, Evan and I saw a couple of films and hung out at the TIFF Filmmaker Lounge.





That night, we figured that even though we were all wiped out, we ought to try and make an appearance at some of the parties going on around the Fest. We were going to hit The People Magazine Party, but we ended up getting lost on our way over and instead, found ourselves at the In Style party. Well. We weren't on the invite list... but as it turns out, we were supposed to be. A woman named Susie (who ran the party) was waiting outside with a group of security and staff. I didn't know her, but she was the first one to step away from the group. By this time, someone in the Press Corps had spotted Evan and so Justin and Jerad began to walk the press line with him. He signed a few more autographs and took a ton of pictures.

Meanwhile, I pounced on Susie... but in truth, I didn't have to say much. In point of fact, all I got out was "My name's Shaun O'Banion. I'm a producer on a film called 'Girlfriend,' and - " She cut me off right there. "Is he here?" she asked? For a second, I thought she might be referring to Jackson (who had caught a bad cold and wasn't with us)... "Evan?" I replied, "Yes. He's over by the media."

And that was it. She walked over with me, stamped our hands and we walked into the party past all of the security who, only moments earlier, had frozen us out.



Inside the lavishly decorated building, some of today's hottest celebs were mingling and partying. I ran into old friend (and recent Emmy winner) Aaron Paul, we saw the stunningly gorgeous Maggie Q and the cast of the new series' NIKITA. Evan talked with (and danced with) Missy Peregrym (star of the hit series ROOKIE BLUE) and we ran into Tiffany Hines (super sexy co-star on NIKITA) who also happens to be a friend of Justin's. Justin, it should be noted, knows everyone.

There were amazing deserts, jars full of candy with little bags and twisty-ties so you could take some home with you(!) and of course, all the free drinks you could handle.

Evan found some willing dance partners and the rest of us really just had fun watching Evan work the room.





Here's a shot of (L-R) Evan, Jerad, Kristina and I...





When the party was over (and believe me, we nearly closed out this one too), we all made our way back to the hotel. The next day, Evan would be leaving (which we all knew would be tough)... but we also had good news. A distributor had stepped up with an offer on the film. We were having to keep things quiet (even from the rest of the cast and crew!) but we had good reason to believe that a sale was coming.

I'll leave the closing day and post-TIFF "What's Happening Next" for another post.

Hope you enjoyed this one. Leave some comments! Ask questions! Let's get a little interaction going.

Thanks for reading.

S

Re: The Cast

I've done a post about the experience of working with Evan Sneider, so I thought I might write a bit about working with the other members of the cast of GIRLFRIEND.

When I first came on board the project, I was told that one actor was already attached... that actor was Jackson Rathbone. At the time, to be honest, the name didn't mean much to me. I hadn't seen TWILIGHT, nor any of his other work for that matter. I went out that night to rent the first film in the saga.

It didn't change my perception of him. In fact, it didn't do much for me at all, really... but then, I'm not the core audience for the film. What I knew of him after watching the film was that he was (possibly) a good looking guy. I say possibly because you can't really get a sense of him either physically or otherwise by watching the first TWILIGHT film. He comes off as a new-age Johnny Depp. A vampire Edward Scissorhands with frosted tips... still, you'd be crazy not to acknowledge that he has charisma. With maybe only two lines in the first film, I was still intrigued. Anyway, it wouldn't much matter what I thought either way. He was going to be in the film. I just hoped he could actually act. Like with Evan, I was in for a surprise.

Early on in the process, Jackson came in to Brad Gilmore's L.A. office for *chemistry reads with a variety of actresses. It was during this process that all of my concerns related to Jackson playing "Russ" were put to rest. In the room, he was magnetic. His "Russ" was a man to be feared. He wa tortured. Dangerous. Crushed under the weight of a reality he may not want to acknowledge. In short, he was fantastic. This was only the beginning though. We would have a great many hurdles to jump through together - not the least of which was his schedule with the third TWILIGHT... which was already threatening to wreak havoc with my initial schedule for our film. Not to mention the budget.

For weeks, I tried to negotiate with the powers that be at Summit and for weeks, they held us off. They tried to tell me they had no schedule only weeks out from their start date (yeah, sure). I even generated inside sources in their office in Vancouver - hoping that I might get enough info to lock in our schedule. On our end, we were fighting several other issues. Weather in Massachusetts was going to be a huge factor. We had to shoot at a certain time to maximize the beauty of the changing season's, something which was very important to Justin, and we also had to begin at a certain time to create a window of time with which we'd be able to have the amazing Amanda Plummer in our film.

Fortunately, we had Jackson on our side. Jackson, when he signed on, had indicated that he was very interested in the behind-the-camera aspects of film-making as well. He wanted to come on as a co-producer, which meant that I'd have an ally when it came to scheduling him around his vampire adventures... in the end though, the only way to make our film work for him, was to bridge our shoot across weekends. He'd shoot all day Friday in Vancouver, then hop a red-eye to Boston, which would put him into Logan Airport around 8am. He'd brave morning traffic in the back seat of a Production Assistant's car, change into his wardrobe on the way, arrive at set to literally jump in front of camera (thanks to our crack AD staff who had the days scheduled down to the minute and really saved us several times during the shoot) and that'd be it. By Sunday evening, he'd be back on a plane and headed back to the wardrobe of "Jasper."

In short, he didn't sleep for about three weeks. His commitment to the shoot, the character and the crew literally changed the polarity of the set. When Rathbone showed up for the first "Rathbone Day" as Evan called it, everyone suddenly came alive again. We had spent several weeks with only Shannon and Evan, and to see Jackson and Shannon perform together and, in fact, Evan and Jackson... well. The movie really came together on those days.

I mentioned Amanda Plummer above. This is a woman who, above all, loves the craft of acting. When she's "in it," she is totally invested. Each take brings with it a totally organic quality.

I remember one take that was so great that it transcended what Justin had written. It just became something else. It became a living thing in Amanda and Evan's capable hands. Once we had cut, Justin ran over to Amanda and said, "That was brilliant! Can you do another one just like that?" Amanda surprised Justin and the crew when she gave her answer. "No," she said. "I can give you something else, but not that because I don't know what I did." In other words, she wasn't Amanda the actress playing the scene... like Evan, who's genius is that for him, there was no divide between "Evan Grey" and Evan Sneider during the scenes, Amanda ceased being Amanda in front of the camera. She was "Celeste." She went to great lengths to ensure that the transformation would envelope Evan as well - she even came out to Massachusetts early to spend time with Evan on her own. Doing this ensured that they didn't seem like they were "playing" mother and son, but that they had spent time off camera building a relationship for real. When the camera rolled, it wasn't capturing performance, it was capturing natural behavior... and it was beautiful.

Next, I come to Shannon Woodward. Again, being honest, she wasn't what I had pictured in the role. When she came in to read, she projected a natural strength I felt was wrong for the part. But when the scene began, it melted away. She became troubled. Weak and laid bare by the turn of events in her life. A desperate young girl forced to be an adult for the sake of her child. In other words, she became our "Candy." It's one of those Hollywood cliche's, right? An actor comes in and isn't at all what you thought you wanted... but they simply cannot be denied. He or she just becomes the only person for the role. Sometimes you even try to fight it. You say to yourself, "No. Let's keep looking," but in your mind, you keep coming back to them. Sometimes, it keeps you up at night. In the end though, there's no denying it. The part dictates what it needs just as in editorial, the film begins to tell you what should stay and what should go. It happened to us on DAKOTA SKYE, and it happened again here.

Shannon is a fantastic actress, and her work with Evan was really extraordinary to watch on set - sometimes, subtly directing Evan or providing cues from within a scene to help get him to a certain place or past a block. In many ways, Shannon's work was key to Justin and Craig Divino's work with Evan. Shannon and Evan are in virtually every scene of the film together and the tenderness, confusion and realization she brings to their scenes together are the perfect counter-point to her scenes with Jackson. Where Shannon and Jackson have this feeling of two caged animals trying to determine what to make of each other, Shannon and Evan give the feeling of two people who have come to depend on each others love - even if they can't understand how or why. By the way: Shannon has a new show on called RAISING HOPE that is supposed to be hilarious, and as of right now, you can check out the pilot for the series for free on iTunes, so go check it out!

There are bunch of other actors in the film who turn in wonderful and varied performances and who, many of them having little or no acting experience before, are stand-outs. Seth Chatfield, Dan Turnbull, Joe Turnbull, Darren MacDonald, Harrison Lees, Carole Helman and of course young Nate Krawshuk all leave strong impressions in the world of the film. They are each a testament to Justin's ability to work with non-professionals and to create and craft strong and memorable characters.

For those of you who had a chance to see the film in Toronto, I'm sure you'd agree. This film doesn't work if you don't care about the people in it. From the smallest part to the biggest, they need to make you feel something. They are your connection as the audience and your eyes into the world. If you don't get "Candy" and her decisions, or why "Evan" feels the way he does for her... or why "Russ" seems so completely crushed by the things he's seen or the scenarios he suspects, it all falls apart.

Post Toronto, the general consensus seems to be that the film is strong. In fact, only yesterday, we announced that we have been picked up for distribution by indie label Hannover House, to whom we are all so thankful for recognizing the potential in the film.

If the film works at all, it is all down to collaboration - to the cast and crew and to Justin's vision... I cannot wait until you can see the film for yourself.

S

(Toronto Blog coming soon!)


*Chemistry Reads: This is the process in which actors are paired together in the audition process to see if they have chemistry on screen.

RE: OUR TIFF DESCRIPTION

A really nice description of our film by Jane Schoettle, who is a big supporter of ours at TIFF:

Justin Lerner’s first feature film skilfully sets a traditional theme – a relationship between two people that seem an unlikely match – within unconventional circumstances. The result is Girlfriend, a gentle yet complex exploration of the nature of love.

Evan (Evan Sneider) is a young man with Down Syndrome who lives with his mother Celeste (played by the ever-commanding Amanda Plummer) in a working-class town hard hit by the recession. Evan holds down a job and has a circle of neighbourhood friends. Although he is completely self-sufficient, he and Celeste enjoy a close relationship with shared evenings in front of their favourite television shows.

Then, unexpectedly, Evan comes into a large amount of money and, rather than do anything for himself, he decides to use his new wealth to pursue Candy (Shannon Woodward), a local girl that he’s been in love with since high school. Since then, Candy has made some bad decisions. She is now a single parent with huge debts, who cannot shake the attentions of her volatile ex-boyfriend, Russ (Jackson Rathbone of the Twilight films). Knowing full well that money always complicates things, Candy nevertheless accepts Evan’s offer of financial help, leading to an intricate tangle of emotions, expectations and secrets between Candy, Evan and Russ.

In his first feature film role, Evan Sneider is pitch-perfect as a young man in pursuit of his heart’s desire and as the moral centre of the story. Evan’s pureness of intent only serves to highlight the mercurial, self-interested and often cruel motives of Russ, played with a fiery, danger-ridden intensity by Rathbone. This is not lost on Candy, who knows she doesn’t deserve Russ’s abuse, yet doesn’t feel worthy of Evan’s unfettered compassion.

Making excellent use of its pastoral setting as counterpoint to volatile human emotions, Girlfriend gathers power as it unfolds, leaving the viewer with a thump to the heart that will linger long after the lights come up.

Re: Two Left Feet and Getting An Education...

Many of you now know (by following me on Twitter, (@shaun_obanion) that I have become quite close with Evan Sneider, the star of our film and as we head to the Toronto International Film Fest this week, I thought I'd do a blog about Mr. Sneider and my experience with him on the film. Here it goes.

PS: It's a long one.

There were many questions during Prep on GIRLFRIEND. How long would our schedule be? (pretty short by feature film standards). Would there be rehearsals? (yes, but very informal). Would our DP even be available for the first few days of the shoot? (after a difficult negotiation with another production, thankfully, yes). Would anyone from Summit return our calls? (a very emphatic no). What the hell do you do when you lose your First AD three days before a Location Scout that everyone's flying in for? (...get lucky and find a better one, who also happens to be an old friend.)... I mean... there were a lot of questions... though nothing new for an indie film.

For a lot of indies, the biggest question is often: where is the money going to come from? We didn't have that problem. The Anderson's of Wayne/Lauren Film Co., had already secured the full budget, so everyone was basically waiting on Justin and our excellent casting director Brad Gilmore to cast the film, Justin and I to crew the film and for me to create the initial schedule and early budget drafts... but the one thing that was nagging at me was how we were going to pull this thing off. For me, there were a whole different set of questions in addition to the normal ones I'd be asking (and getting asked) on a shoot.

I had never really been around a person with Down Syndrome before, much less had to count on one to convincingly do what we were going to ask him to do, not to mention all of the possible technical issues:

If you've never done any acting, well, it's not as easy as it looks - believe me, I ended up in the film when an actor could no longer accommodate our schedule.

Actors, particularly film actors, have to be aware of so many things. Not only things like motivation and character, but knowing that (for example) we're shooting Scene 25 which is an interior, where the character comes into a room. 25 follows 24 in the script (logically) only, due to the availability of locations, or other shooting necessity, we shot 24 (the Exterior scene where our hero arrives at the building and enters) maybe, three weeks earlier and now we're shooting the room he walks into... so the actor has to approximate what head-space he or she (as the character) was in three weeks ago when we shot the entrance. By the way, I fortunately only had one scene and limited dialogue, so I didn't have to be too concerned.

Things like blocking. Matching... knowing that he picks up the cup of coffee on a specific line so that in the coverage(I) he does it at the same time for every take and every shot. Remembering where to stand at a given moment. When to move, so that the focus puller(II) [ours was Alex Cason, and she is, quite simply, a badass] knows the distance the actor will be from the lens. Then, maybe the other actor moves. He or she takes something down from a shelf. In the other shot, did he use his left hand even though he's right handed so that he wouldn't flag(III) the other actors light?

Take Down Syndrome out of the equation and it's a lot to think about for anyone... now an army of film personnel and actors were going to be dependent on an actor doing his first film in the lead role, not only being aware of these technical things, but of his performance at the same time!

Early on, Justin (the Director) and I had many conversations about this. Justin, it should be stated, never doubted for even a second that Evan could pull it off. Well. If he did, he never let on. He had written the piece with Evan in mind (he'd even named the character after him) and had worked with him before on his excellent short film THE REPLACEMENT CHILD ( )... but, as a Producer, I still had to wonder... would we be able to keep our schedule? Could Evan Sneider actually do all that would be asked of him?

I was about to get an education.

Evan isn't you're typical guy. He's extremely high functioning. In fact, what I came to discover is that Evan, like many people, really likes to break down barriers. He likes to play with people's perception of him, and above all, he's re-defining what you and I might call "special." What actually makes Evan special is his ability to be un-special. Don't get me wrong, he's a very special person... but he has this disarming quality that just makes you deal with him as though he didn't have Down's.

Evan's brilliance is in his ability to overcome his "handicap." Above all, Evan is... just a guy. He's smart. Funny. Sweet. Kind. Curious. Emotional. Whimsical. And sometimes devious. He knows what he wants and he'll do what he needs to do to get it. In other words, he's pretty much just like you, me or anyone you know.

What I had to learn was to get over my bias. To forget whatever I thought I knew about Down's; Forget what I saw in RAIN MAN or some Farrelly Brothers' movie and just come to deal with Evan as a man... which, ultimately, is what he deserves.

Evan's been performing in the theater for years. He has a nearly photographic memory and he is the most feeling individuals I've ever met. He exists on purely emotional terms. He's both Method(IV) and Sense Memory(V) at the same time. He doesn't play the character, he becomes the character. It's really amazing to watch unfold in front of your eyes and believe me, it translates on screen. Evan is, without a doubt, the beating heart of the film.

These are all things I had to figure out. When we started, my own misconceptions about people with Down Syndrome led me to feel "off" when dealing with him... and since I was often the guy who often had to deliver news about changes being made on set, we didn't get along that well in the beginning. In fact, I told his mother at one point that I just didn't know how to communicate with Evan... I told her I felt as though I had "two left feet."

Evan, for his part, never changed. He knows exactly who he is and, unlike myself and most people I know, he never seemed to be wracked with doubt. He displays a high level of confidence, not only in what he's doing, but in the manner in which he does it. Maybe it's from his stage training. He'd often be heard telling Justin, "I know the drill."

As the shoot went on, my friendship with Evan grew and my understanding of him deepened. As that happened, my desire for what the film could or would do out in the world changed. I hoped (and hope) the audiences perception of what Down Syndrome is would change - as Evan had changed my perception. What I learned was that Down Syndrome is really just a term; A way for the rest of us to deal with that missing chromosome. A way to classify something... but that's all. It can only define the affected person if he or she lets it. And Evan refuses to let it define him. It absolutely does not define him. Just like you and anyone else you know, Evan is unique. A true original. To compare him to anyone else who has Down Syndrome would be like telling you that

you are like everyone else... and you aren't, are you?

I soon realized that what I wanted, by the end of the film, was for the audience to see 'Evan Grey,' the character he plays in the film, not as a man who has Down Syndrome, but as a man.

If even one person leaves the theater thinking that way, then I'll be happy. I know it's a tall order, but not out of the realm of possibility. It, of course, doesn't determine the success of the film for me, but it would be a great bonus.

It should also be mentioned that Justin, who cared for and nurtured this film beginning with some notes scribbled on a few scraps of paper a little over a year ago, would never tell you how he wished for the film to be received. Justin Lerner does not make "message" movies. The film is purely subjective. It isn't meant to educate you. It's art. It's storytelling. And I agree. It is. But I still have that wish in my heart - for Evan.

I should also mention that the credit for Evan's choices and abilities cannot be given to Evan alone. His mother has instilled in him a lot of ideas... He was taught that there are no limits to what he can do, and throughout his life, whenever someone placed a wall in their way, she and Evan would simply find a way over or around it.

Here's an example: when the Massachusetts School Board told them that Evan would have to ride the short bus and attend school with other "special needs" kids, they fought... and they won. Evan didn't go to school in classes with other Down's kids. He went to regular classes. Just like everyone else. And why shouldn't he have? As it turns out, that would prove a fortuitous decision... Evan met Justin in High School.

There were a couple more people who brought Evan to this point as an actor... When we were almost ready to shoot, Evan began rehearsing with Amanda Plummer. She came out early to spend time with him and to build a history together. They walked around town. They did their Wardrobe fittings together. The ate together. By the time they got to set, Amanda had really become like a second mother to Evan... and their scenes together are really lovely. Amanda, as many of you know, is an artist in the truest sense of the word. She's a total professional and is just lovely in the film. Justin's handling of the scenes between Evan and Amanda (aided by the stunning photography of Quyen Tran and the skillful editing of Jeff Castelluccio) create some really beautiful moments on screen.

Another ally in Evan's cinematic journey: A fantastic young New York actor named Craig Divino. Divino had also worked carefully with Evan to make sure that he understood all of the emotional beats in the story. He designed breathing exercises and physical movements to loosen Evan up before a scene and had taken time out of pursuing his own career to be present and available on set whenever Evan needed him. Evan also asked a lot of questions. He and Justin had many conversations about his character. He also wanted to understand the other characters in the film. He wanted to know about their choices and how what they did would affect his character.

So, after working with Justin, Craig and Amanda, Evan came to set and was one of the most professional actors I've ever had the pleasure to work with. He was obsessive about referring to the script. He knew it front to back and back to front. He understood where he had been and where he was going. He felt the emotions of a scene.

There was a day on set where he literally had the cast, crew and background in tears. It was a hugely triumphant moment and at the end, everyone broke into applause. He blew us away, time and again. Now, I don't want to completely sugar coat things and say that there were no issues... no tough moments, but by and large, things were very smooth and working with Evan was really, really wonderful. Justin and I had dinner recently with our Casting Director Brad Gilmore and we talked about how we'd like to work with Evan again. That says a lot about the experience. He was, and is, nothing short of extraordinary.

I can't wait for you to see him.

S

(I) Refers to shooting a scene from a variety of angles and distances so you will have the raw material necessary to edit the scene together into an interesting visual and emotional experience for the audience. Each of the shots, or individual angles, requires a different setup.

(II) In cinematography, a focus puller or first assistant camera (1st AC) is a member of a film crew's camera department who is responsible for keeping the camera properly focused during each shot so that the Camera Operator is able to focus on the Camera movement.

(III) Blocking a light with ones body or using a Grip tool designed to block the light.

(IV) An acting technique introduced by Stanislavsky in which the actor recalls emotions or reactions from his or her own life and uses them to identify with the character being portrayed. This allows the actor to experience emotion in the moment, as the character would.

(V) Sense memory is reliving sensations that were experienced through the five senses.

BLOG ABOUT WORKING WITH THE OTHER MEMBERS OF THE CAST COMING SOON.