Best BTS footage!

K

krish

Well-known member
I recently saw a french movie called " A Very Long engagement" with audrey tatu in the lead and I must say its an exceptionally beautiful movie. The BTS footage was some of the best I have ever seen. In most BTS what you get is the director talking about the movie at length but in this case there is no talk about the story etc. Just selected scenes from the movie are taken and they show everything from Storyboard to actually shooting the scene. They even break down the trick shots (greenscreen) stuff ect. Its totally worth it.


Cheers,

-K
 
i've got amelie, delicatessen and city of lost children on dvd but somehow i didn't like this enough to pick it up. maybe i will later if it's got good extras :D
 
I shot the BTS footage, in Austin, for Linklater's "A Scanner Darkly". I can't wait to see the DVD, because they did some other stuff with the PDK estate - his daughters were sooo cool. I tried to keep the BTS footage kinda verite' and loose. There are some sit down interviews, but there's a good deal of immersion footage. Must have shot way over fifty hours or so, from preproduction all the way through the animation process. I kind of approached it more like I was making a small indie doc, as opposed to getting staid sterile footage. I hope I succeeded.

Side note - Winona Ryder told me at one point she was so glad I was one person, as although some days I had my own soundman/boom op, many days it was just me doing the one-man band, getting a wireless feed from the location sound mixer in tandem with my on-camera shotgun. There was no space to clutter up their production location with extra crew of my own. This allowed me to get many exchanges, conversations, moments, that I would normally have not gotten, like Linklater chatting away with Tarantino on the merits of digital versus film, Woody Harrelson doing the opening number from "Cabaret" to a standing ovation of PA's, and Robert Downey showing me his anagram method for memorizing his lines.

Now, I don't know that this will be the "best BTS ever", although Eric, the BTS producer, has an awesome track record. One thing I do know, is this is the exact type of film many film folks, and layman alike, will actually take the time out to watch the BTS. I am certainly looking forward to seeing it.
 
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DuctTapeFilms, that certainly sound very exciting. I have a question about shooting itself. Since I have never shot any film the question might sound very nieve (which it is).

Ok so here is the question. when they decide to shoot a specific days scene, how do they go about doing it. Do they first choose the most complex scene for the day and setup the Lights etc. for that scene and then do a reverse shoot? Also, any scene is made up of lots of shots, how do they sequence the shots?

If you can shed some light on a specific days shooting that would be cool.

Cheers,

-Krish
 
krish said:
DuctTapeFilms, that certainly sound very exciting. I have a question about shooting itself. Since I have never shot any film the question might sound very nieve (which it is).

Ok so here is the question. when they decide to shoot a specific days scene, how do they go about doing it. Do they first choose the most complex scene for the day and setup the Lights etc. for that scene and then do a reverse shoot? Also, any scene is made up of lots of shots, how do they sequence the shots?

If you can shed some light on a specific days shooting that would be cool.

Cheers,

-Krish
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They usually were setting up multiple locations at a time, so there was hardly ever any set up down time to speak of. A day would kind of be balanced, more or less, with a couple more difficult setups, and a few less complicated ones. The key is flexibility, plan B, AND plan C & D, if needed. If one location becomes available, dressed and lit, while the one that you're supposed to be shooting is not ready, you shoot the later scene first, and come back to the one that's not quite dressed or lit. As far as angles, the standard protocol is wide first, then close ups. Sometimes switching that around might be a better idea, especially if you have an actor that consistently gives their best performance on the first or second take. Again, flexibility, awareness, and especially sensitivity are key.

Certain shots may take all day, and you need to be aware of that. There was one day that was spent on more or less on one shot, except that it was filmed with about fifty one-chip DV cameras, mounted in various places in the ceiling, to simultate futuristic surveilance. The lighting, the camera mounting, angling, and monitoring demands were really about a 36 hour operation all told. Never underestimate the time a shot will take, nor get impatient, or it will show in your work. If necessary, postpone it, and do something else, but people will not work faster or better if people lose their patience on a set.

The cast and crew's expedience and accuracy on the Scanner set was directly due to the amount of patience that Linklater has. He demonstrates confidence in the people that work for him, and as a result, they give him all they've got. The axiom on his sets is "We treat stars like people, and people like stars." You'd never ever rush your actor to get their lines right, conversely you should never ever rush your gaffer, demolition expert (!), or production assistant, that is if you want the job done right. That doesn't mean tolerating slacking off, as those people tend to find themselves weeded out, what it means is you know people are working hard, that they cannot work any harder, so there is no need to slow them down by tightening screws cause it will have no effect other than a negative one. Even the 1st AD demonstrated this type of restraint, patience, and confidence with the rest of the crew, normally the position for the bulldog on the set. I got to tell you, I've never seen a crew that worked so efficiently, nor been on a set that was so wholly positive.
 
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Great answer. Thanks for the info. What i would'nt do to be part of a setup like that. I guess you have to keep trying. I think as you said it 'patient is a virtue" and you can do with lots of it especially with a creative bunch.

Thanks again. BTW, how would i go about finding out shooting happing in say NY/NJ area so that i can attend a few days of shooting more as a spectator.
not sure if you can answer that but i thought i would ask anyway.

I am sure you got the gig as a BTS person because you know certain people as well as have lots of experience which i don't.

Would appreciate any help.

Cheers,

-krish
 
krish said:
Great answer. Thanks for the info. What i would'nt do to be part of a setup like that. I guess you have to keep trying. I think as you said it 'patient is a virtue" and you can do with lots of it especially with a creative bunch.

Thanks again. BTW, how would i go about finding out shooting happing in say NY/NJ area so that i can attend a few days of shooting more as a spectator.
not sure if you can answer that but i thought i would ask anyway.

I am sure you got the gig as a BTS person because you know certain people as well as have lots of experience which i don't.

Would appreciate any help.

Cheers,

-krish
Click to expand...

No one will ever let you on a set as a spectator, in general. There's just not enough space, and many a time, there's insurance considerations.

That said, there are any number of paid/unpaid PA (production assistant) jobs/internships to be had in NYC. Basically grunt stuff. As a PA, you will probably be too wrapped up in whatever you're doing to get much of a vibe for the rest of the set, as you may be in an office, or labeling tapes/drives, or being the person who doesn't let someone pass this imaginary fence.

Conversely, you may want to be an extra actor for a few days (or these days, be on a reality show). This was my introduction to film sets years ago, and you do get to see how a set works generally better than the PA who is wrapped up in what they are doing. And, hey, my big bald head took up NBC, in a miniseries, for all of three seconds, as a "photog" snapping pictures. I also rode a horse into the sunset in a western (MY EYES, MY EYES - why didn't they have sunglasses back then?!?). I flipped burgers in a diner from the fifties. I would almost recommend Extra Acting more than PA work for finding out whether this is an environment in which you would like to work. You have a lot more time to kill, and if you're lucky, you can spend it watching how movies are made. You can always get a PA job/internship afterward.

The number one skill that people need to have on a film set is the ability to be 100% silent. Supressing coughs, holding that sneeze, losing the giggles, not opening that squeeky door, even stopping chewing those loud peanuts after "Action" is yelled out (ahem, actually before - at "Quiet On The Set") is a must have skill. We're talking pindrop quiet, put your two-year old daughter down quiet. The only sound one should be able to hear is the actors. When you hear "Cut", it should almost be like someone just turned the mute button off. Unless something is on fire (ahem, that's not SUPPOSED to be on fire) it can wait until cut, that is unless it's actually impeding the take, and even then, it can usually wait until cut. Get that skill down, and you'll be suprised how many sets you get asked to work on.

If you make it through being a PA a few times, or one of a longer duration, try your hand at being a grip at least once, probably on something non-union. It's backbreaking work, but it gives you a better sense at the techincal requirements of a set, be it laying dolly track, getting power to the set, or learning what the hell a "Hollywood Box" is. After that, you may want to try your hand at being an assistant in any number of departments, that is, after you've either gained some experience working with a camera, or audio recording on your own, or had a couple classes. Here is where you likely may want to spend a weekend or two making your own short.

As for how I came to do what I do, I found, after being on sets for years, and writing five feature length screenplays, etc., etc., that while I may enjoy narrative filmmaking, I enjoy making documentaries more, and I have a certain skillset/personality that makes that more my pace. I enjoy the challenge of only having one chance to get a shot right, the way I work, there are no "take twos". I am thrilled by the chase of fleeting moments, and having the mobility to see these truths. My personality allows people to feel comfortable, to be themselves as best they can be with a camera in their face. I guess the only way to describe that skill, is do people feel like they can trust you with stuff? Do people tell you things they say they haven't told anyone else? Are you a good listener (meaning ACTIVE listening, not thinking of what you're going to say in response)? Can you give a reassuring smile and/or understanding look to your subject? Then you may find a comfortable home in documentary filmmaking. Perhaps the easiest way to test/hone this skill is to shoot say, a couple hundred weddings. You will find that there is no Hollywood producer more demanding than a bride on her wedding day.
 
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[SIZE=+0]DuctTapeFilms, thanks again for such detailed response. I really appreciate your time and am sure that I have come across somebody who knows what they are talking about.[/SIZE]
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[SIZE=+0]Ok so i understand that it will be foolish for somebody to invite me to a shooting where i am just a onlooker. Again great insight about the differences between an Extra v/s. a PA. As you said it make lot more sense to be an extra actor rather then get busy with just specific chores as a PA. But I will take your suggestion and try both.[/SIZE]
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[SIZE=+0]Talking about making movies, what do you think about jumping right in with shorts (using MiniDV. HD etc. not film) and learn the tricks of lighting and audio and in general making movies? I know the task will be uphill and probably the first 5 or 6 shorts that i make will be all crop but i will still be learning.[/SIZE]
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[SIZE=+0]Also, isnt is true that its really the story that makes a film good or bad. In other words you may have a technically average film (because of lack of experience) but great story and the film will still work.[/SIZE]
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[SIZE=+0]ofcourse it would still help a lot to get real experience no doubt along with our own self-taught' learning.[/SIZE]
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[SIZE=+0]talking about your screenplays, what were the movies and can you share a bit about the stories or the general ideas.[/SIZE]
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[SIZE=+0]Sorry, looks like I am jumping around so many different topics but hopefully you can answer them all. [/SIZE]
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[SIZE=+0]Looking forward to you response.[/SIZE]
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[SIZE=+0]Cheers,[/SIZE]
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[SIZE=+0]-Krish[/SIZE]
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The best, most exhaustive behind the scenes I've seen is for the latest Special Edition of Aliens. Just incredibly thorough, and for a great film you'd actually want to know more about.
 
The BTS from my film will be top notch. I have footage of my lead actress (16 yr old) using the LCD of the camera to pop a zit in her nose. Good times.

As for BTS already out, I'm a big fan of Michael Mann BTS - Collateral and Heat specifically. Fight Club. Hell, I'm up for anything. I hear people say all the time that DVD Extras are a waste. I cant disagree more. That's why I buy DVDs and have about 400 of them. Addicted to BTS. Oh. Peter Pan (live action a couple years ago) has alot of good BTS.

-GageFX
 
Krish,

While it may be the way many people are getting their starts right now, picking up a camera, without anything (or much) in the way of background knowledge or technique, nor experiences to draw upon, to me that is kind of like picking up a cello which you've never played one day, and expecting to sit in with the London Philharmonic the next day. Be patient with yourself, and you can reap the rewards of learning from the mistakes of others. My question to you is this: do you really want to spend your own precious time & hard earned money, not to mention the time of others, making something unwatchable?

I would suggest getting your feet wet on someone else's project first. If it's the camera that you're really wanting to learn, just rent one for the weekend (like a DVX100, or even the HVX200 - download and read the manual cover to cover first, you'll be glad you did), and go around and shoot some MOS (without sound) B-Roll footage, cityscapes, time lapses, something that you could use/sell as stock footage. That way, you're learning on your own time, at your own pace, and perhaps you'll have stuff you could even integrate into your own shorts once you get to that point.

Story does carry the day in many films, although character-driven films, whereby story takes a backseat to character development, along with other non-traditional story methods, can stand just as well on their own. I would not agree that it is story by which you judge a film. You just have to see one Peter Greenaway film ("Drowning By Numbers" comes to mind) to know that there are many other, equally viable, ways to make a movie that are not dependent on story as a delivery vehicle. As for crap technique, yes, there are many ways to compensate for that, but do you really want to have to compensate?

As for my screenplays, all of them were drawn directly from my own experiences -
1) being a busboy in an upscale Italian restuarant in suburbia in the eighties
2) living in Teheran, Iran as a child, and escaping the revolution
3) The family turmoil brought on by my alchoholic uncle
4) A difficult breakup with my then girlfriend of seven years
5) Being a semi-successful touring musician (or at least being in the band with one), and the crap around that

I never was the kind of writer that could invent worlds that were believable, other than my own. I tried a few times, but always scrapped 'em because my own life came out much more real. If you have the gift of invention of believable worlds, by all means use it, because it is a rare gift. When you get around to writing a screenplay there is only one word to remember - honesty. If you can write truth, even if it's truth about, "a galaxy far, far away", it will ring truer with your audience, or those who may read your screenplays. Feature screenplays are daunting undertakings, so make sure you are in love with your topic, characters, and outline before you start, or you'll be pissed and bored by page 18. Also, pace yourself. If you can write three pages a day, you'll have a ninety minute feature in 30 days. It's a marathon, not a sprint....

On screenplay writing in general - do be aware that this is a far more difficult task than actually writing a novel, and many times, it pays far less. Also, when you're done writing a novel, you have a novel. When you're done with a screenplay, you still have to make a movie, or sell it to someone who may or may not make it into a movie. A few screenwriters I know are actually writing both these days, as it turns it into a more valuable property, kind of a more bang for your buck kind of thing. Not to mention, having a novel, even if it's your own, can make writing the screenplay easier, since a complete reference is there. Two completely different mediums, I know, but anything to see your vision through, right? Something to keep in mind....
 
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DuctTapeFilms, First of all let me say that I am blown away by your honesty and thought process kudos to you. Now a days you come across so many people online who are full of it and even before achieving anything they think too big of themselves.

Ok so talking about Camera, I do have a dvx100b that i bought about 6 months ago. I have taken some footage (about 10hr worth) but nothing that is worth writing home about. I did learn a lot though and am learning every day even though i dont like my progress rate. That brings me to your point of patience. i guess its very important to lean the fundamentals and very often we tend to rush through them without paying much attention. I think it was barry who once mentioned that you need to spend at least 1 year with dvx100b before you can truly say that you have mastered it. So on that front i would continue to explore.

I am quite integrated by your backgroud as well as your screen plays. I sort of have a similar back ground as I migrated to US about 10 years ago as a student and have tons of memories growing up back home that i would love to incorporate into my stores.

I totally agree with your analogy about trying to conduct an orchestra without mastering the instruments. Having said that i will be trying to get as much hands on experience as possible and will venture into my shorts/features some time next year.

I think besides learning the camera, i am going to start working on small story ideas and will plan it throughly before venturing into making a short.

BTW, if you happen to shoot a film do let me know and i would be happy to help out in any capacity at the same time learn a few things.

Until Later,

cheers,

-Krish
 
krish said:
DuctTapeFilms, First of all let me say that I am blown away by your honesty and thought process kudos to you. Now a days you come across so many people online who are full of it and even before achieving anything they think too big of themselves.

Ok so talking about Camera, I do have a dvx100b that i bought about 6 months ago. I have taken some footage (about 10hr worth) but nothing that is worth writing home about. I did learn a lot though and am learning every day even though i dont like my progress rate. That brings me to your point of patience. i guess its very important to lean the fundamentals and very often we tend to rush through them without paying much attention. I think it was barry who once mentioned that you need to spend at least 1 year with dvx100b before you can truly say that you have mastered it. So on that front i would continue to explore.

I am quite integrated by your backgroud as well as your screen plays. I sort of have a similar back ground as I migrated to US about 10 years ago as a student and have tons of memories growing up back home that i would love to incorporate into my stores.

I totally agree with your analogy about trying to conduct an orchestra without mastering the instruments. Having said that i will be trying to get as much hands on experience as possible and will venture into my shorts/features some time next year.

I think besides learning the camera, i am going to start working on small story ideas and will plan it throughly before venturing into making a short.

BTW, if you happen to shoot a film do let me know and i would be happy to help out in any capacity at the same time learn a few things.

Until Later,

cheers,

-Krish
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Too bad you don't live in Austin. You could have been an extra on a Tarantino film....

http://austin.craigslist.org/tfr/197156222.html

Although, I'm sure you could find ten other equally great experiences in NYC after doing a little research on Craiglist.org, Mandy.com, etc.

Since you own a DVX, go out a least a four times a month for the next six months, spending at least four hours a time, burning at least one hour of tape, on ANYTHING you can find. In NYC, just as in Austin here, you can never be short on subjects. Even if it's just setting up the same shot over and over and over again for a six month long (albeit imperfect) timelapse. You will be shocked at how much you will have improved by the end of that time.

Screenwriting - keep EVERYTHING. Don't be tempted to throw something in the trash one day, because it may be exactly what you need the next. Also, don't let non-screenwriters read your screenplay until you're done, and by done, I mean, FINAL (3rd, 4th, or 5th, etc.) DRAFT. They generally won't "get it", even at the final draft. When you do show it to other screenwriters, be sure to say what draft you are on, so they can know how to give you constructive input accordingly. Also, learn to recognize the difference between constructive input (how to change something to make it better, and what needs changing) & harsh, baseless, and generally unuseful criticism (that sucks - ie Simon Cowell). Thank both people just the same for taking the time to read your screenplay....
 
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