Job Interview Answers
The creative filmmaking process is an organic one. Most changes a director or cinematographer makes mid-stream are acceptable. How do you determine which are unacceptable Additions or changes that affect the scenery budget in a big way demand immediate attention and analysis. Having a strategy already in place regarding the inevitability of these requests helps the speed of decision-making. Experience helps determine early on which sets will most likely receive additional work hero sets will probably require this kind of attention, some sets are important for storytelling but not critical, and other sets are dispensable. As a result, the original set list is continuously modified throughout production, as well as corresponding budget items. Your job as budget watchdog requires your active participation. Input from the construction coordinator or mechanical effects supervisor is helpful, but the final decision is in the hands of the designer or UPM once your financial caveat is...
The networking process that unfolds before getting a job interview provides the foundation for a solid career. Networking style varies among people. Those strategies used by highly successful people in any given industry are worth analyzing for obvious reasons. Catherine Hardwicke, director (Lords
Preparing for an actual theatrical performance. It is here that the actor should include acting methods and techniques to get ready for the actual scene. Also, the actor who is screen testing should realize that the actress who is in the scene with him is there to help him, and he should be available to any suggestions or instincts that the actress may have. This will go a long way toward displaying any kind of chemistry that the actor may have with that actress. Many times, the actress doing the screen test with the auditioners will be playing a major storyline with whoever receives the role. However, it is important to remember that this is still your job interview, and that you need to come in with strong, playable choices to display who you are as an actor.
If you're a newbie or the casting director doesn't know you, and the part is a nonspeaking role, sometimes, your audition may be a taped interview with the casting director. Longtime Los Angeles casting director Susie Kittleson advises actors to beware of a little chat like this. This isn't a casual interview it's actually an audition. While she's asking questions and getting to know you, she'll also be checking you out to see if you've got the right stuff. Just like at a job interview, you'll want to be relaxed and show that you have something valuable to bring to the job. If you've never gone through one of these mini auditions, you can anticipate the situation by holding mock interviews with a friend or your spouse. Allow them to ask very hard questions about your career and your abilities. Get yourself ready.
It is the everything tool pliers, knife, screwdriver. Beefier than a Swiss army knife and much more useful. Alligator clips. We are forever trying to attach things to other things on movie sets. I recommend a small collection of clipping things, from clothespins to small 'gator clips to one or two big ones. Gloves. You never know when heavy lifting or hot lights are going to become part of your job description.
Because I studied music, if I had to give myself a job description, I would probably still describe myself as a musician. The music continues to be really important to me in the way that I make films. I think I realize now that I am informed musically about structure. With something like Time Code, for example, it's really a piece of music, but it just happens to be a film. It's
Not that this happens all the time, but it's certainly not uncommon. You may be asked to haul heavy pieces of equipment that are almost bigger than you are, deliver scripts to unfamiliar and poorly lit neighborhoods after dark, spend an entire day detailing your boss' car or pull an all-nighter working with a crazed writer who has to churn out vital script changes for the next morning's shoot-all tasks you never imagined would be part of your job description.
When not shooting, you can walk around with a cardboard cutout of the aspect ratio you will be shooting in (television 16-mm video format, or 35-mm format), viewing the world through this restricted frame. I made one for Kazan and he used it during the filming of The Visitors (1972). Better still is a director's viewfinder, in which you can change the focal length. They are expensive, but if you can manage somehow to acquire one it is an invaluable tool for visualization. It is comforting to have a director of photography who has a great eye, but the DP's main function is to light, a huge job in itself. Choosing the frame comes under the director's job description, and it goes to the heart of what a film director is so start seeing.
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