Joystick Films Presents.....The Puppeteer

I believe 7 or 8 make it to thext round and the champ is crowned from there. I have no idea who that's going to be. This is the first fest I was part of that I could say that.

TiJo said:
I have to agree that there are many well made films on this fest and it is very difficult to narrow it down to one. Or even 3.
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Wow, this is SO different from your other entry! It's an accomplishment unto itself to make two very entertaining films in the same four month period, especially when they are so dissimilar.

I haven't read through all 21 pages of this, so I'm sure I'm repeating, but holy **** was Darnell good. Some of the other actors weren't really that convincing, but the kid was simply great.

You have a great sense of style - the mood was excellent, and everything played to it: the photography, the audio, the score, the color grade, the pacing. It was great. Just great. Well done.
 
This was really nice, everyones going to say so, well because it is. Good Work.

I want to give you some thoughts that I didnt see.

When the kid is screwing his hand up to make things happen, you often used that old TV looking effect, this didnt really work as well as the rest of the piece was. On those parts I would have liked to see some quick cuts and more intensity from your actors. I mean how would you feel if your gun was turning on you, or your co workers and you could do nothing about it?

The edit could be better in some areas. Some of the moves in then suddenly jump to a wide or dolly/pull out, didnt quite work all the time.

The story itself felt incomplete, but it seemed thats what you were going for? A part or chapter of a larger story?

Not to detract from what was a well shot piece.
 
Thank you Will. Very cool compliments. It means a great deal.

Will Clegg said:
Wow, this is SO different from your other entry! It's an accomplishment unto itself to make two very entertaining films in the same four month period, especially when they are so dissimilar.

I haven't read through all 21 pages of this, so I'm sure I'm repeating, but holy shi* was Darnell good. Some of the other actors weren't really that convincing, but the kid was simply great.

You have a great sense of style - the mood was excellent, and everything played to it: the photography, the audio, the score, the color grade, the pacing. It was great. Just great. Well done.
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Noel, Thank you for the Awesome comments. They really mean a Lot. And helps me out tremendously.

I think in the end, this was. A lot of story to fit into 6 minutes.

I'm still working on my editing skills. I look at some other films and I really learn from them.

As far as the old tv effect, I was hoping no one would say anything NOEL. LOL.

I am very happy you liked it.
Noel Evans said:
This was really nice, everyones going to say so, well because it is. Good Work.

I want to give you some thoughts that I didnt see.

When the kid is screwing his hand up to make things happen, you often used that old TV looking effect, this didnt really work as well as the rest of the piece was. On those parts I would have liked to see some quick cuts and more intensity from your actors. I mean how would you feel if your gun was turning on you, or your co workers and you could do nothing about it?

The edit could be better in some areas. Some of the moves in then suddenly jump to a wide or dolly/pull out, didnt quite work all the time.

The story itself felt incomplete, but it seemed thats what you were going for? A part or chapter of a larger story?

Not to detract from what was a well shot piece.
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To echo my previous to post answering Noel, I superbly suck at directing actors to convey emotions and hitting the performance The way I want it done. I just don't know how to do it. This also boils down to me not doing 5 jobs on set. My AD is the best and without him I couldn't do it all, but that is only 2 people doing the job of several. Once I get a good crew I can spend a little more time focusing on performance. Of course having a good cast helps, and I run with some good people who I really want to grow with me. Anyway just had to say it.
 
Directing actors is not an easy thing to do. And I have to say that talent needs to be there. You can do all the coaching and directing you want and it will make no difference. Its hard to make a duck bark like a dog.

You have some good people in your films. And I think you could work with most of them again with no problem.

But you need to not do everything and focus more on performance. Without good acting. Its a much harder sell.



filthrich said:
To echo my previous to post answering Noel, I superbly suck at directing actors to convey emotions and hitting the performance The way I want it done. I just don't know how to do it. This also boils down to me not doing 5 jobs on set. My AD is the best and without him I couldn't do it all, but that is only 2 people doing the job of several. Once I get a good crew I can spend a little more time focusing on performance. Of course having a good cast helps, and I run with some good people who I really want to grow with me. Anyway just had to say it.
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TiJo said:
Directing actors is not an easy thing to do. And I have to say that talent needs to be there. You can do all the coaching and directing you want and it will make no difference. Its hard to make a duck bark like a dog.

You have some good people in your films. And I think you could work with most of them again with no problem.

But you need to not do everything and focus more on performance. Without good acting. Its a much harder sell.
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Very well said. And I will work on my directing skills that is 100% for certain. I think it starts with having actual rehersals and table reads beforehand. I can really speak to my actors and it makes them feel like they are a part of something larger.

But I agree that if I have to cast the right people to begin with. Most of my actors have been with me from the begining. The puppeteer was shot using only one person I have worked with before and I will continue to work with him in the future. the cast of hangman were all of my regulars.

There is sooooo much I need to work on and directing actors is one of them.

After this fest and all the comments and critiques I have gotten I know I will get better. Don't know If I will make a "better" movie but it will be more solid in more areas. if that makes sense.
 
filthrich said:
Very well said. And I will work on my directing skills that is 100% for certain. I think it starts with having actual rehersals and table reads beforehand. I can really speak to my actors and it makes them feel like they are a part of something larger.

There is sooooo much I need to work on and directing actors is one of them.
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It's funny: I learned some of the best ways of talking to and motivating actors from an improv theater director. We were working on a project that got never got produced, and went through a coupe of rehearsals. Most useful thing that i saw him do was to take the script and go through it line by line with the actors and for every single line, look for the subtext.

Now this helps with writing as well, but from an acting perspective it forced the actors to look at their motivations for what they're saying. In each conversation, we're all trying to get something from each other, and everything we say is in fortherance from that. It's a slight manipulation and it occurs in a real conversation. Once your actors are able to read the subtext of a scene, where it's only just a line like:

MARY: Good morning Todd.
TODD: Mary.

Your actors will be able tio imbue something so simple with a sense of character and layers of meaning that will change the entire scene. Mary understands her motivations, knows where she's been. Let's say she's secretly in love with Todd, and she's been out drinking the night before. She may be a little hungover and a little flirtatious with her line. And let's say Todd secretly hates Mary, think's she;s a slut. Completely changes his interaction with her and the delivery becomes real. Even if Todd is only there for that one line.

The actors know what their characters are thinking, and through rehearsals, which is more than just knowing lines, they are able to take these characters onto themselves, and imbue strong characteristics onto the scene. They can build the world around themselves and allow us to peek in when you finally call for "ACTION!"

Hope this helps.
 
Puck that is just amazing advice. I never even thought of approaching the script, let alone each line in that way.

one of my problems is that I don't look deep enough into what is beneath the surface of any film. I just look at movies and think "that was good" or "that was bad" instead of thinking about why it was either.

If I am going to direct films I need to dig deeper and anaylze what is beyond the lines and get into the pyche of each character. Since I write the scripts, It should start there and then I need to convey to the actors how to get to that place in an effective manner.

When I look at some of the acting in your films and a few others in this fest I can tell that time was spent getting all of those subtle nuances right.

Now I can't wait until my next project.

Thanks much for that. It does help a GREAT deal.

puckthemad said:
It's funny: I learned some of the best ways of talking to and motivating actors from an improv theater director. We were working on a project that got never got produced, and went through a coupe of rehearsals. Most useful thing that i saw him do was to take the script and go through it line by line with the actors and for every single line, look for the subtext.

Now this helps with writing as well, but from an acting perspective it forced the actors to look at their motivations for what they're saying. In each conversation, we're all trying to get something from each other, and everything we say is in fortherance from that. It's a slight manipulation and it occurs in a real conversation. Once your actors are able to read the subtext of a scene, where it's only just a line like:

MARY: Good morning Todd.
TODD: Mary.

Your actors will be able tio imbue something so simple with a sense of character and layers of meaning that will change the entire scene. Mary understands her motivations, knows where she's been. Let's say she's secretly in love with Todd, and she's been out drinking the night before. She may be a little hungover and a little flirtatious with her line. And let's say Todd secretly hates Mary, think's she;s a slut. Completely changes his interaction with her and the delivery becomes real. Even if Todd is only there for that one line.

The actors know what their characters are thinking, and through rehearsals, which is more than just knowing lines, they are able to take these characters onto themselves, and imbue strong characteristics onto the scene. They can build the world around themselves and allow us to peek in when you finally call for "ACTION!"

Hope this helps.
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Glad you can find it useful. I try to approach my scripts that way as well but only after its written. This is for the editing stage: you have to get it on paper first ortherwise you'll never get anywhere. Table readings are especially good for this since you can hear the line out loud coming from someone elses mouth.

There is a huge difference between good dialog and dialog that's too on the nose. Good dialog flows from one point to the other, a subtle dance of extractign information and demanding a response and furthering plot at the same time. And it is full of character. ON THE NOSE dialog just states what needs to be said. Period. It's usually a mouthful. Build the scene and listen to what the character is saying, and then listen to what he;s really trying to SAY. add subtleties and innuendo that is relevent to the character. Some people are storytellers and some people are jokers, but they all want something from each other.

When you do the table read, put the script down and listen. If you hear something off, or wrong, or something you like, make a note. Ask them to stop, make the note then continue. Do not read off your script. You only see the lines and get wrapped up in how cool this is, so you only hear it in your head becasue you're reading it.
 
I really appreciate the advice puck. I will utilize these practices for sure on my next film. This fest has really given me all the tools to do better on my next one. I can't thank you enough for looking out with the poster, the screen shoat and the comments. :beer: thanks.

puckthemad said:
Glad you can find it useful. I try to approach my scripts that way as well but only after its written. This is for the editing stage: you have to get it on paper first ortherwise you'll never get anywhere. Table readings are especially good for this since you can hear the line out loud coming from someone elses mouth.

There is a huge difference between good dialog and dialog that's too on the nose. Good dialog flows from one point to the other, a subtle dance of extractign information and demanding a response and furthering plot at the same time. And it is full of character. ON THE NOSE dialog just states what needs to be said. Period. It's usually a mouthful. Build the scene and listen to what the character is saying, and then listen to what he;s really trying to SAY. add subtleties and innuendo that is relevent to the character. Some people are storytellers and some people are jokers, but they all want something from each other.

When you do the table read, put the script down and listen. If you hear something off, or wrong, or something you like, make a note. Ask them to stop, make the note then continue. Do not read off your script. You only see the lines and get wrapped up in how cool this is, so you only hear it in your head becasue you're reading it.
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filthrich said:
I really appreciate the advice puck. I will utilize these practices for sure on my next film. This fest has really given me all the tools to do better on my next one. I can't thank you enough for looking out with the poster, the screen shoat and the comments. :beer: thanks.
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Glad to be of service. It all goes towards becoming a better filmmaker, right? You're already pretty decent :grin: so now it's time to ramp it up and get the FULL effect of everything falling into place. No actor is going to bail on you after you show them this piece, so you should be able to gather a good variety of actors. Just remember to keep them diverse in looks, ages, and races as well and you'll have a great looking movie.

Now time to crew up for the next one...
 
No doubt. You aint too bad yourself.:Drogar-Evil(DBG):

puckthemad said:
Glad to be of service. It all goes towards becoming a better filmmaker, right? You're already pretty decent :grin: so now it's time to ramp it up and get the FULL effect of everything falling into place. No actor is going to bail on you after you show them this piece, so you should be able to gather a good variety of actors. Just remember to keep them diverse in looks, ages, and races as well and you'll have a great looking movie.

Now time to crew up for the next one...
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This has been hell of a fest!! I have learned so much. The great films here really inspired me to get better and the comments simply can not be ignored.
 
Man, if you weren't so far away, I'd help you out and act in one of your films. As an actor, I agree with what Puck was saying about the motivations. They are very, very important, because the character needs to know where he's coming from and where he or she wants to go. When they don't know that, acting can come off as reading or you might have 2 actors in a dialogue scene and it doesn't mesh right. Sometimes as Directors when we're on the set we think something looks fine and works until we get in the editing room and realize it didn't work as well as we thought. So, paying attention to details of somebody's acting performance can be key. And sometimes it's good to get a couple of shots of the actor saying a line exactly the way you intended it and then giving them one take to play around with it.
 
Marlon Ladd said:
Man, if you weren't so far away, I'd help you out and act in one of your films. As an actor, I agree with what Puck was saying about the motivations. They are very, very important, because the character needs to know where he's coming from and where he or she wants to go. When they don't know that, acting can come off as reading or you might have 2 actors in a dialogue scene and it doesn't mesh right. Sometimes as Directors when we're on the set we think something looks fine and works until we get in the editing room and realize it didn't work as well as we thought. So, paying attention to details of somebody's acting performance can be key. And sometimes it's good to get a couple of shots of the actor saying a line exactly the way you intended it and then giving them one take to play around with it.
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Thanks Marlon I totally agree. I would love to have onboard for the next one. But you demanding a first class flight, 5 star hotel accomodations, and $3000 a night call girls, is just not in the budget......this time.:beer:
 
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