Random Abu Dhabi (pt1)

Last Ride in the Middle East.

I'm currently in Abu Dhabi at The Middle Eastern Film Festival as part of my tour of duty for the Last Ride festival run. Crazy and fun.

I wish I could read this newspaper article.

More 5D love...

A few people have asked if I am being paid by Canon to be spreading so much gratuitous love about the recent release of their Canon 5Dmk2. Unfortunately I'm not, but I do want to continue the love by putting up to recent examples I have come across of the camera and it's users producing outstanding work. What makes this work stand out for me is that these productions would not have existed in the same way, had the 5Dmk2 not been created.

By that I mean, the two examples below could only have been created using that particular camera. Film cameras, or the much larger HD cameras either couldn't have done the job, or would have produced a very different and perhaps more compromised end result. This is what excites me most about the 5Dmk2 (and the new 7D!, check a comparison here), it just hasn't given filmmakers a new camera, it's a camera that creates whole new opportunities to create.

The first is a commercial directed by my friend and fellow Exit director Garth Davis. He recently shot this U.S Cellular commercial using only available city light, in Wellington in New Zealand. He really wanted to shoot the whole spot 'in camera' ie no post production. He shot tests on 35mm and various HD cameras, but nothing performed as well in the low light as the 5Dmk2. To shoot the same job traditionally on 35mm or RED for example, would have meant immense lighting set-ups. Something that budget nor time would allow. The 5Dmk2 went where no other camera could. It's beautifully shot by 'Eternal Sunshine for the Spotless Mind' DOP Ellen Kuras.

The next clip is an amazing piece of embedded journalism. Photo-jounalist Danfung Dennis

spent some time with some frontline marines in Afghanistan. The opening sequence was all

shot on the 5D and it's unlike anything else I have seen from such a small one person set up.

Filmic and rich, it feels like watching a real life Full Metal Jacket.

Here is a quick extract from a longer interview with Dennis.

How did you manage to film in this situation?

You just stay quite low and focus on working the camera. … I am using a new camera called

the Cannon [EOS] 5D Mark II, shoots full HD video. I’ve custom built it so I can rig it onto a

steady cam-like device, so that when I am running it will shoot a very smooth, steady picture.

It’s a bit tricky because [the Marines are] running, you’re running, you’re wearing huge

amount of equipment, and at the same time you’re trying to stay very level and very steady.

So it took a lot of practice. I believe I am the first to be using this set up in this situation.

I think more and more docs will be filmed like this because all you need is this camera, your

own laptop and some editing skills, and you can put together your own documentary.”

I find it very hard to believe that these two very different clips, were shot on a $3000 DSLR.

And neither would have been possible a year ago.

LA LA Land

Back home after a week of 'meetings' in LA. I now have a U.S agent and a head full of possibilities (not dreams). I have never had much interest in working in the U.S and in particular LA, but now, particularly after having made my first film, the idea of working in and/or via the U.S is a really exciting and much more defined opportunity.

Made some new friends as well as a chance to meet up with some old ones, including my good friend Mike (above) who was passing through at the same time I was there so we spent the weekend cruising around. Random shots below...

Strangely beautiful and a very particular quality of light in LA. Perhaps its all that pollution that hangs thick in the air that gives the hard sunlight a permanent diffusion. Although the shots above were mainly shot near Venice and down in Orange County where the sea mist was real thick. Very cool.

I've heard some pretty bad things about L.A, ad although I found it pretty hard to access at first but I think it's a city that slowly reveals reveals itself the more time you spend digging, I barely even scratched the surface. It has definatly wet my appetite for more.

Fireworks in L.A!

New York State Of Mind (pt 2)

Top of the Rock!

MOMA guards.

Tribeca woman.

Oldschool

Kid on the Statten Island Ferry.

Another Kid (Rosebud) on the Ferry.

I want to shoot a whole film right here.

Natalie on a late night walk 'home' near Wall Street.

Like I've died and gone to heaven...

I ? NY!

New York State Of Mind (pt 1)

(As I write this I'm mid-flight between New York and LA. They have Wi-Fi on the plane! Giddy Up!)

This was my first trip to New York. I cant believe it's taken me so long to get there. What an amazing city. I've been to some great 'cities', Berlin, Rome, Tokyo, London, Paris and I live in what I think is one of the great cities, Melbourne, but New York seriously takes the cake. In some ways it was so familiar because you see so much of it in film, TV and popular culture as a whole, but on the other hand it was so much more intense and awesome than I ever thought it might have been.

My wife Natalie and daughter Rosebud flew over from Australia to join me for the week and it was such a great time. We walked and walked taking it all in. . Met up with friends, old and new. So many images and experiences to sift through.

Whenever I travel to a knew place, it's like from that moment on I see my own POV in everyday life with a slightly wider lens, New York has done that to a tremendous degree, it's almost like a fisheye! I have only just left and I can't wait to go back.

Also whenever I'm in knew places I like to totally geek out and hunt down locations that have been used in films that I love. It was Degrassi Street last week in Toronto, but in New York you could spend months just finding film locations. They are everywhere! So I decided to head out to Brooklyn to find a place that my brother went to last year.

My bro and I where obsessed with the film Saturday Night Fever when we where kids. So I went to find not only the street(s) from the opening credit sequence and in particular the Pizza place that John Travolta gets two slices from. "Gimme Two."

(UPDATE 'NO LONGER AVAILABLE, DUE TO COPYRIGHT CLAIM'...? What a load of baloney.

Lenny's Pizza still exists and is still serving Pizza. I don't think it's changed much in 30 years. I had the Vodka Tomato Sauce (yep Vodka!) and Cheese and a slice of margarita. It was really great Pizza!

It's a really cool area, with the overhead train line so iconic in so many films. Really broad accent out here too. "Yoo whann-a Cwup o' Cwoffee?"

They have this framed photo hung at the counter of John visiting the shop, but who is that other guy next to him? You can see the owners have taken pictures from a TV screen to show the scenes where Lenny's is used.

As novel and geeky as it might be, I really love going and finding film locations. I guess I see them as sacred in some way. Alot of thought and consideration goes into choosing a location, and most of the time when you see a great location in reality, you can see why a director has chosen it, it might has great depth, how the lens they used has changed or distorted the reality, or a distinguishing feature that gives it a sense of place (like the overhead Railway in Saturday Night Fever, it's a great piece of production design just sitting there waiting to add value. It's one part of the production process I enjoy the most.

If your as tragic as me, there is a great website here that lists a heap of great films, their locations and how to find them.

(A special hello to my friend Keri D Light, who I met by surprise in a bar last night, which is always where I seem to run into her...! She has just moved to NY and has head full of dreams and inspiration. All the best Keri! I'm so jealous!)

Toronto

Just had a great week in Toronto. It's a cool city to visit and the festival itself is amazing, well organised, friendly and very passionate about cinema.

Last Ride screened three times to packed theaters (with the first screening Sold Out). For me it was great to screen the film to an audience that had no preconceptions of it as an 'Aussie film', and could just view it as 'A FILM'. The response was fantastic, and I had great feedback and conversations from punters directly after each screening.

I haven't discussed 'reviews' on this blog and I have generally avoided reading them, but it's been interesting reading some of the very positive international critiques coming off the Toronto screenings. Here are three that have been sent to me Movie Line, Twitch and Row Three.

Also some video clips of the Sunday Q & A. It's dark but the audio is clear...

The whole experience was great as I continued to learn more about this crazy yet amazing industry. I'm sure I have said this before, but I have learnt more about film making since I actually finished making the film...

On a totally geeky front with the help from my new friend Elisa and old friends Jane and Nick we tracked down a very important Toronto street from my childhood!

My Directors Commentary on the Directors Commentary.

I had a great time last night recording the commentary for the DVD with two close and very dear friends. Greig Fraser (DOP) and Jack Hutchings (Editor). It was great Greig could be there as he is now based in LA. Just by chance he flew in yesterday and was able to make it. One of those great spontaneous meetings. If we had planned it for months, it wouldn't have happened this way. Very cool.

I hope we gave good commentary. It was more like a conversation than a shot by shot commentary. We watched the film with the sound down and I realized towards the end that we probably only had 15 minutes of film left and we hadn't really discussed the things I thought we would. But it was a good experience, and I hope the people who take the time to listen when its released will get something out of it. I did lay awake last night going over all the things I could have, should have, would like to have said if we did it again...

In prep for the session, my buddy Jolyon put me onto this great podcast about the 'Art of Commentaries' at Hollywood Salloon. It's nearly 3 hours long! But these guys go into great detail and play sections of really interesting and great DVD commentaries, as well as some really terrible ones (Arnold Schwarzenegger "... and here I am... erm, riding a horse...") . The Podcast is really comprehensive, entertaining and well worth the time.

The Extras

I have had my head down finishing a batch of commercials and working on all the bits and pieces for the release of the Last Ride DVD (released November). Strange that it is still in cinemas around the place but we are working on the DVD. I always thought this kind of thing happend much later, but the lead time is very long for production and distribution.

It's going to be a really sweet 'Filmmakers Edition' package. 2 discs, featuring amongst many things, a great 50 minute behind the scenes docco made by my friends Jono and Tim, deleted scenes, my short films Cracker Bag and The Desert, oh yeah and the film!

Also in the pack will be a 50 page book which I'm almost finished designing (see front cover above) with photographs, a great conversation between screenwriter Mac Gudgeon and novelist Denise Young and some ramblings by me.

I'm off to the Toronto Film Festival next week, where Last Ride will have it's international premiere! Very excited to say the least.

The revolution will be televised.

I recently bought a Canon 5D mkII. For those that know even a little bit about this camera and it's abilities, it will come as no surprise that I am totally blown away by it's potential and what it promises filmmakers looking for cheap and totally accessible technology.

I love film. I have shot most of my projects over the last 8 years on 35mm, regardless of budget, I have always found a way to make it work, because I love the look and the feel of film and nothing has ever come close to replacing it aesthetically or creatively. I'll hang on to using it for as long as my white knuckle grip can can hold. But five minutes with 5DmkII, I was so impressed with it that I knew there and then that I have probably shot my last film, on film.

Regardless of it's (current) technical restrictions of file format and shooting at 30 fps etc. For me the real value of this new technology is in the immediacy and the intimacy it provides with an actor or character.

The image it produces is incredibly beautiful, almost painterly in the right conditions. In low light it excels like nothing else I've seen, it leaves film and every other HD video format I have played with (mainly RED, HDV and GENESIS) for dead. It has changed the game, and this is only it's first incarnation. Who knows where this will take us in the next couple of years.

Below is the very first footage I shot with the camera. It's my 2 year old Rosebud early one morning. There was very little light in the room, I was amazed MkII could see anything at all. It's rough and ready, but with this footage a whole new approach to making films became excitingly possible.

There is no way I could of captured Rosie at such ease if I had a bigger camera and or other 'crew' with me. This footage stands up on a HD monitor, or 'the big screen' no problems.

It excites me for so many reasons. Without a doubt, with the proliferation of low cost, high end image making tools like this, the kinds of films we make and the way we make them will change forever and for for the better.

I've been doing alot of tests with the 5D. The other night we went out and did some side by side tests with the RED, similar lenses, lighting etc. It's surprising how close they came up, and again in low light the 5D just soaked up anything resembling light and used it to produce a startling and rich picture, totally blowing the RED away. I might post some of the tests up here a little later, if anyone is interested.

But in the mean time, there is a really great RED vs 5D vs LUMIX comparison here.

Last Ride Soundtrack in stores August 10

When I was fifteen years old I found a discarded cassette tape on a train station bench.

It was black and scratched, like it had been stepped on, and all there was to identify it, was a hand scrawled ‘SPK’ on the label. At home I slipped the tape into my walkman and my head was filled with the rhythmic buzzing and electric screams of nightmares. I liked it. It took me some place else, even though I had no idea where that place was.

The moment after seeing the film Candy I walked into a record store and bought the soundtrack. I love that film and how the soundtrack played an essential role in telling the story of those desperate souls coming together and then apart again. The music took me to another place, but this time I felt I had been there before.

Some of the first ideas I had for Last Ride were music. For years I collected tracks and made compilations to inspire or possibly use in the film. I had planned to use pieces of music, rather than have music composed. I really resisted it. But towards the end of editing the film, I realised the film wanted and needed an original soundtrack.

Paul Charlier composed the music for Candy and was the only person I had a strong desire to work with. When he sent me his bio and music reel I was surprised to see in his dark past he was in a band called SPK! There was more than one reason why I had been drawn to work with Paul.

From the time Paul saw a cut of the film, to where we were sitting in the mix, was just over four weeks. This is an amazing feat from any musician considering the sheer amount of work that is required. Especially, as Paul and I had never met and therefore, we hadn’t had all those thousands of conversations that you usually have with regular collaborators, in order to develop our own language and atheistic.

I encouraged Paul to find ways of making the music sound ‘broken’ and incomplete, to leave the hum of guitar amps and organic imperfections that come with the writing and recording process. The work then was to find perfection in the imperfection.

Paul’s music brought a new and different life to the film. The music is like the film’s breath, or the blood pumping through it’s heart, or the sound of that heart breaking. The sound of all those things that you don’t know what they sound like until you hear them. A huge thanks Paul.

Three books that inspire me no end.

Herzog On Herzog

Werner Herzog is more than a filmmaker to me. He's more like a father. And this book is full of all the fatherly advice (about filmmaking and life, of which the two for him are forever intertwined) and sage like wisdom you could ever expect, need or want. Just looking at the cover gets me excited.

Minghella on Minghella

I'm not a huge fan of all of his films. But I'm a huge fan of this book. It's one of the most educational and down to earth documents of a filmmakers approach and process. It kills me that someone can communicate ideas and experiences with such apparent ease and simplicity.

The chapter on his experience of making his firsty American studio film is one of the most soberingly honest accounts of Hollywood I've ever read.

Are you serious? Depending on where you live, you can buy this 1 cent?

Notes On The Cinematographer

Robert Bresson's pocket sized book of cinematic meditations is full of film secrets and revelation. When in doubt a simple flick to a random page can focus, inspire, and suggest a fresh approach to the job at hand.

No other book has given me so much. When on set I keep it in my pocket and consult it regularly. It's of and about a particular cinematic sensibility but I highly recommend it to any filmmaker.

"My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water." - Robert Bresson

Speaking of screen testing kids...

A friend linked to this on Facebook. Amazing!

Makes me want to watch ET again. Would that be one of the 1500?

The First and Last Photo of Tom Russell. And one other...

THE PHOTO ON THE LEFT is the first photo I took of Tom at his screen test in Adelaide in May 08. We had seen quite a few kids around the country but the moment Tom walked into the room I knew there was something different about him. He gave an 'OK' screen test, but it was who he was on either side of the test that really stood out for me. He was and still is just such a regular kid. But through the lens something else happens. He takes on a different life, like there is something going on behind his eyes, like he has seen a lot of things.

THE PHOTO ON THE RIGHT was taken on the last day of shooting about 3 months after the first one. I'm still amazed at how different Tom looks. So much more hard and steely eyed. There is a fair bit of hair and make-up going on in that shot but essentially it's the character Chook well and truly on his way...

I have cast alot of kids and worked closely with the same casting director, Fiona Dann for many years. But there is still no hard and fast rules on how to do it well. I think I even googled "How to cast children in feature films" at one stage during pre, just to see if there was any help out there but I didn't find anything useful. In the end it comes down to a gut feeling.

However, a few of the things we took into consideration with Tom were...

1. Even though he had no film experience, he had recently been in the Adelaide production of Les Miserables, so he new what it meant to go through a production process, work hard and late etc.

2. Tom's parents are very grounded and supportive. When you cast kids you also cast their parents, and we were very lucky with Kate and Wally C.

3. Tom is the youngest of 4 kids. He has three older sisters, ranging in age from 16 to 26. So he spends alot of time with, and is very comfortable around people older than him. This was really important, as he essentially spent seven weeks on the road without a bunch of adults and no other kids.

4. He is a really, really regular and normal kid, who is confident both on and off camera. Even though he really wants to be an actor / performer, he doesn't seem to place any real pressure on himself to do so.

The shot above is of Tom a few weeks ago. His head is shaved because has just finished his second feature film playing a kid who has leukemia. I saw him and his folks when we over in Adelaide for a screening and they all came back to watch At The Movies in the hotel room afterwards.

Tom was pretty excited to see himself on TV, but I think he was much more excited about being up late so he could watch Family Guy once At The Movies was over.