The busy film student: two film reviews tonight!

S as I said yesterday, I bought the ticket well a head and went tonight to the cinemateque screening of Deat at a Funeral, the new movie from Frank Oz. Wnen I told a friend of mine I was going, she said: "well, it's kind of British film, isn't it?". So when I was waiting for the movie to begin I felt my expectations were not too high. I was afraid it will be shallow, with stupid humor and long noses pink people. But after one and a half hours of loud laughs, I'm very happy to say this was a very funny film. Don't expect big issues, or too complex relationships. It's all very obvious, very clear. All is said, and acted. I loved the acting. The funny parts were mainly of the reactions of the characters, and less of the actions (which were very predictible at times). I was trying to think of the script while I was watching, but it's very hard to do on first watch. I guess all I can say the characters served well the situations.

The other film, Waitress, which I saw last night, was delicious. I had a craving for pies after that, but in Tel Aviv in the area of the cinemateque the pies are not worth trying. The movie was funny at times, the art was charming, very girly. I didn't like tha use of the diners' owner character, it was too predictible. Almost a fairy tale ending that didn't fit the story. The characters were not so interesting, I must say. I guess I would keep this script in the oven for a few more hours. But the look of the film, the mood and the textures were inspiring.

Both films have good endings. I guess our world is so depressing we really must imagine it different.

December is my last month on the cinemateque. I'm not sure I'll continue my membership with them. Of course it's cheap and I cover the cost after one month. But also because I watch the movies there I stopped going to the other cinemas, so many of the new films I don't watch. I don't know, I guess I'll have to think about it a little bit more.

My script went nowhere in the last few days, cos I was working on excersises, scenes etc. It's like warming up an old car before you start driving. I feel like writing a feature, but I don't really have a big story yet. Or a long small one.

Learning scriptwriting by watching films

I know it's not the way to learn the craft of scriptwriting. After all, a made film is rarely like its script. And I found out that the best way to learn scriptwriting is from small to big: first make the scene, then the sequence, then the feature. Well it might not work for all the same way, it depands what your weakness is.

but Waitress is showing tonight at the Tel Aviv Cinematheque, and I can't wait to see it. I wanted for a long time, but waited until it came to the cinemateque so I don't have to pay a ticket. I'm a poor student, you know. Also tomorrow I go to see Death at a Funeral, I already bought the ticket. It's hard at the cinemateque to get the tickets on the same day, if it's a new film.

So...Tomorrow night I hope to post again, with short reviews on both films. Until them, I'll read another chapter in Cowgill's book for short film scriptwriting.

My script sucks, i'm getting suicidal

I had the scriptwriting class today with my favorite teacher. She was very good, as always. we talked about subtext and we started to talk about estrangement. She also gave us back our exercises, the scenes we had to write with a dramatic event that makes things go bad. She told me that mine lacked the dramatic event, and also because the will of the character was not very clear, the result of the scene (and its peak) weren't really there.

Those are such basic elements of scriptwriting, I felt immediately very bad. I wanted to die. I felt that with all my love to scriptwriting I suck. It's all just a waste of time. Also, because she gave us the papers in the beginning of class, I was just too sad during the one and a half hours of it. It was raining outside, and i thought that maybe after all the cliche is correct and weather does reflect the inner state of the hero. Hero, I didn't really feel heroic then.

During class things became clearer. We analyzed 2 scenes that apparently had no clear subtext. But then during the analysis it was pretty clear. the mother who tells her son that dad went for a long trip: the son was one force, trying to understand where his father was. The mother was the force against him, trying to hide the truth by lying, not coping with the situation.

After class I asked my teacher if I could fix my scene and give it to her again next week. She said yes, and we talked a bit more about my scene. She said it wasn't a dramatic scene, but a scene that gives a situation, characters and moods. She said it was beautiful and interesting, but not correct for this specific assignment. I will fix it and post here the two versions.

So our next exercise is about estrangement. Anything really, the teacher didn't give us specific guidelines. I don't have an idea yet, but I really love this exercise. actually, I do have one scene I'm working on now, that might suit. It's about a girl and a barboy and lots of cream. It's about hope and despair, and it's about loneliness. I'm going to write now.

Which grad school to choose?

I know i should be working on my script now. I started to write the second draft and it feels good, some things happen, things get clearer. This situation opens itself to me.

But all I can think of is grad school. I really want to start next year and not to have a gap year between my BA and the MFA. Thing is, I want to do my MFA in the US, and at a good university. So it comes to not which grad school to choose, but which grad school will choose me. It's frustrating, since I never had any problem getting into any program. I'm know how to present myself I guess. Interviews are candies for me.

I read yesterday a post about how to get into UCLA. I didn't save the link, too bad cos it was an interesting discussion. No special tips, but the guy who did get in had 3 LORs from a producer who bought his script, an agent, and I think a famous scriptwriter or something. Now, how can I compete with that, living in Tel Aviv and with no connection to known Hollywood producers etc?

Besides, do I really want to be there, at UCLA? I'm not sure. I really want to get to NYU, I know it should be more in my direction and style. But also NYU enrollment rate is around 3%, which means 97% I don't get it. They opened now the program in Singapore now, but I'm not so sure I want to live there for 2-3 years. Actually, I'm quite sure I don't.

I was considering the UK, Goldsmith college and the London Film School. I guess those two are an option. I mean, London is better than LA. Sanity, you know. But, above is a picture of an UCLA student. Obviously not a bad reason to try and get there, but lets hope the atmosphere in New York will be the same.

And now...my script....

(next time I'll write about casting through facebook...it's a blast...)

Reading scripts and feeling like a real film student

I started to read today the script of Being John Malkovich. This will be the second script of Charlie Kaufman that I read, after Eternal Sunshine of the Spotless Mind. I love the way Charlie Kaufman writes, and I don't at all talk about the way the films come out. I talk about his actual writing, just the way each word means so much.

I know that in screenwriting it has to work that way, because of the way words work on the mind. You want people to have a certain picture in their head, so you must work very carefully with the words you use. I think this is a very strong issue when you write in a language that is not your mother tongue. Like when I write in English. I must feel the word, have all the conotations of it. Each word is a living instrument that helps me create a clear coherent picture.

I always think of it when using the verb "walk". Almost never does a characters simply "walk". It plods, it strolls, it wanders. It only walks away. My teacher, Esti Namdar, and of cours thousands of other scriptwriting teachers and guids, always emphasise the importance of the script's mood and feel. The textures. Sometimes those appear in the details (the way characters look and talk, for example two kids wearing school uniform) and sometimes in the large picture (the weather, time of day, location, for example a new futuristic school building made out of glass).

I hope reading the script will not disturb me in developin my own script - I have some problems and I hope to sort it out soon. But getting to know my characters and their world is a real adventure, and I enjoy it a lot. Soon they'll start talking to me, I hope...

The best of scriptwriting studies

I've decided to put all my efforts in scriptwriting. I've always enjoyed this part the most, who am I kidding. Directing is great, but until it happens...and happens the right way...I feel scriptwriting fits better to my character. I hate when things come out less than perfect, for once. I want my vision to be clear.

I don't say I've given up directing, but I just think that at this point writing great scripts can satisfy me much more than sweating trying to make a film. I don't really enjoy short films. It's films made for filmmakers, and this is not what I aim.

So I'm writing now. I want to start my MFA in scriptwriting next year.

Tomorrow I have the scriptwriting class with my favorite teacher Ester Namdar. i need to write a scene that contains a dramatic turn point and a following a deterioration. i almost finished it, and I will translate it into English and post it here. I know this blog has still very small amount of readers, but I hope to get some feedback on it.

Don't expect any help if you're a film student

I don't mean to sound so desperate. I'm a student, everybody knows it's a hard job. Especially film studies, it's many hours, you can never do enough. You always feel stupid, you should have seen many movies you haven't, shoot more excersises, make more shorts. You must know more actors, you must understand yourself better, the films you want to make. You need to read more, you must read more, you can't write all the scripts yourself. You must save money for your next production. Who will pay the gas? the food for the crew?

You must be a good student. Attend classes, write the papers. You must be creative, connect to yourself. You must, you just have to, go to museums and galleries. You must know artists. You have to be able to make your own storyboard, who can make it better than you?

I have one year left. I have a short exercise to make with the painting of Van Eyck, The Marriage of Arnolfini. So many ideas. So little equipment. I want to paint more. I want to study music. I dl some classic music today and I enjoy writing to it. I'm confused. My last year at film school, I've never felt so stupid before.

The return of the filmmaker

That was a very short summer. So many exams and paper works, i stopped watching films for some time. I forgot i wanted to make them, as well. Also this blog was too far from me. But that's all gone now, a new school year just started last week and I'm planning on shooting my short.

I've decided the script needed more work, so i'm reading the book "Writing the Short Film". It's a brilliant book with good exercises (not that I'm doing them, I'm a passive reader now). i found the torrent online so I didn't even have to loan it from the library (I would never buy it, as my bank account is a big minus for months now).

We have a couple of new students this year, came from the jerusalem film school Sam Spiegel. They think Tel aviv university will be better for them. I doubt it.

Something is wrong with my ear, i don't hear anything on my right ear. It started after swimming. It's weird, I have a weird echo for days now. Sound is a powerful device.

When artists try to make a sale

Motorola took Michel Gondry to make an arty commercial for their cell phone. The result is a half coocked short, with nice sounds and some nice visuals, but the overall feeling that we've seen this one for many times before. Try to sell technolgy for technology loaded people, and you get zero. Zero fun, zero excitement, but probably good sells. I actually love the web site of this movie more than the movie itself.

Hairspray is fun and i don't want to analyze it

Why should I analyze such a cool film? A film that made me smile from the very first second to the last (ok, besides the too-long march sequence with the slow song)?
I loved it, I enjoyed it, this could be my new dirty-dancing-like obsession. i want to watch it again, I want to be friends with the cool guy and the sexy girl, (or is it the sexy guy and the cool girl). I want to download the soundtrack (in a sec) and maybe i'll even print a tshirt. I guess i miss that kind of fun in my life right now.

I met Michal today. She studies with me. I told her i need a kick in my ass or else my summer film is a phata morgana. She did what had to be done (god i have no idea what but it worked). I'll start with the script again. look for a producer. Talk to a camera man. Look for actors. Set the dates. It's going to happen. Not in the summer, but probably in two months.

I don't post much lately. I also don't read much film blogs lately. But i'll be back. Real soon now.