is this a writer's block?

As a film student life is easy. Ideas fly like dust, you pick them up, shoot'em down. But now I want to write a script that will be sent to a director, which supposed to love it and shoot it. I stare the empty page. I write half a sentence and erase it. I google for some ideas. I browse my mind. Nothing. I'm scared.

The teacher's fav

Last Wednesday we learned about characters development. We read 2 examples in class. The contact lens in my eye flipped and it took me 20 minutes to put it back where in should be. I didn't leave the class though, I waited 2 weeks for this class (last week it was canceled due to the strike). After class I talked to the teacher, telling her I'm writing a feature so my pitch next week will be for a full length film and not for a short. She seemed impressed, and asked me what do I want to be when I grow up. I said: "scriptwrite- ahm, scriptwriting". She looked at me and told me with a serious face: "Good, because I think you're a scriptwriter". My mind became pink and shiny, my eyes sparkled, but I remained calm. She asked me why didn't I take more scriptwriting courses this semester, I told her I understood myself a bit too late. Actually, I was about to start screenwriting BA at Bournemouth University in England 3 years ago but canceled due to lack of $$$ (plus, there's no work in Bournemouth, I lived there for 6 months, it was dreadful. Nice landscapes though. And many squirrels).

So the teacher told me she will make me one of the 3 students the other teacher takes for the final project. This other teacher he's a very good scriptwriter who teaches at uni. She told me he was the best. I was very happy, thrilled even, I only hope he's not too TV-oriented. Though i trust my teacher to give me the best advice, and coming to think of it, even Charlie Kaufman started of in TV.

Haven't worked yet on the script for this well-known director but I will start now, and will pitch it to the class next week. I also want to pitch my other idea, with the mind reader, but I figure out this will be slightly harder. Also no way I get to pitch both. Unless some of the 8 chosen students are sick or unprepered.

I don't feel like producing anything. Only still pictures and scripts.

Creatures with no comfort

Last night I was at my friend Sharon. She made the 7th candle eve with some friends, most of them scientists of some sort. It was a very nice evening, and since I don't have any scientist friend, I was quite surprised to find out how they are very similar to most of my artistic friends.

This morning I saw this amazing video of the big ear jerboa the zoological society filmed. This lovely creature deserves a feature film I guess. By Aardman. Or Pixar. Maybe the short film division of Pixar could make something out of it. Osnat Shurer, take action!

Today will be a slow day, with many small things to do. Also: I've decided to dedicate 4 hours a day for my script. Some discipline must help my sleepy situation.

Another sleepy day, but with one fairly good meeting

Since I gave up the rest of the workshop, I had some free time today. I had a meeting with one director. He won lots of awards for his two features, and the first one was a real cult movie in Israel. I won't mention his name but he's a very nice guy. Anyway, he is looking for an assistant to help him finding material for his scripts, as well as for reading the scripts he gets, sometimes in English. Cool. i'm not sure he'll take me though, cos i was soo tired I didn't try hard to make any impression whatsoever. But he asked me for films I've made and I told him about the first short I shot in university, about two porn actors. I think he loved the idea, at least that's what he said. He told me to send him the script when it's done.

It was interesting talking to him. Also made it very clear for me that I must do it more often. Luckily Israel is small enough (most media guys live in Tel Aviv) and by meeting the working people I can get some easier path for myself.

But one thing is certain: I must write this now. Yesterday I started to think my idea with the mind reader was a bit too much for a first script. Now I got an alternative, with a chance for an actual production of it. Well, lets not get carried away, but at least the logline was very good. I saw he really liked it.

The rest of the day was tired. I'm deffenately pregnant, and on the way to- and back from the swimming pool, on the bus, my eyes closed so fast I didn't have a chance to think about my characters.

Romantic comedies on TV

Yesterday the cinematography workshop was all about the same. Same film students ran towards the camera (we use the Sony DSR-450), same film students complained, same film students just had a laugh out of it all. The camera was quite heavy, and I didn't feel comfortable holding it, since I think I'm pregnant and in the first weeks I need to take extra care.


So Michael was guiding us through some dolly shots in the warehouse. One of the shots came out real nice, with the dolly goes one way and then reverse, the lights made the look and feel of The Godfather and a greenish hue gave it all quite a sad mood.


They went drinking afterwards, but I had people waiting for me at home so I couldn't join them. The workshop goes until Tuesday, but I think I will not return there. I just want to write. I don't enjoy those crowded sets, I don't hear anything overwhelming from Michael.


I'm now enrolled to one of the UCLA Extension Online courses. I can't wait for it to start. In university half of my teachers are still on strike, the 43rd day. They say it might end soon. I wonder what they will do next - make us all continue in the summer semester? Or just cancel those courses? I understand the necessity of strikes sometimes, but those lecturers didn't even try to shout out loud, so it just drags over a long period of time with no solution. Only when the students helped them, you could see some headlines in the papers about it.


I'm a bit confused about this script I'm writing. one of the characters is telepathic. he can read thoughts. I'm not sure how to use this kind of a character in my screenplay. At times I think it might be better to start off with a simpler idea, so this souldn't be the first feature script I write.



I saw Alex and Emma yesterday on the TV. It's a nice TV movie, not more. It's quite predictible, but the characters are cute so you don't mind watching them doing the things you expected them doing. For me the interesting parts were inside the second story, the story Alex was dictating to Emma. To see how imagination works. That enough made it fun to watch. But it's not a film to remember or anything. The bad guys weren't bad enough, the other woman wasn't a strong enough temptation.

I'm going to write my own stuff now.

P.S. somehow I find those great pictures of sleeping people lately. There is something very strong in a picture of a sleeping man. Where he sleeps, how he sleeps.

The tired film student - a new day

It was hard getting up this morning. I didn't go to the workshop. I felt so weak, and it was so stormy. Maybe I'm pregnant. I've decided to stay home. Michael Chapman and his enthusiastic crew will do without me.

I started to write my first feature. I was scared at first, telling myself it's bad to start writing without a beat sheet or an outline. But My head was too dry and just writing scenes seemed right. So I wrote 3 scenes, very short, no dialogs.

I'm registering for the UCLA Extension Online certificate program today. I already chose some courses. I thought I'd take the intermediate level courses, but since the beginners start earlier, I could just try one class with them and then decide if it suits my level. Since we never experiment with feature length ideas at uni, all I know is self knowledge. I'm not sure though how different shorts are, from the writing perspective. You still need to understand the structure, still need to define your characters. I'll register today and report here after the course begins, the second week of January.

Day two on cinematography workshop

If yesterday I was tired, today I was exhausted. From doing nothing at all. Again the tiny location was packed with strong men, all wanting to make the next tweeny to look great for the master Michael Chapman. I don't like too many people with no clear vision. I don't like working for no real intention. I had no drive. I sat and watched the monitor. Chapman sure knows how to operate a camera. Our guys are less crafted. It was cold. And I got bored. I went to sit on a different spot, in front of the other monitor. Chapman didn't understand how the light outside was changing. Someone just decided to play with it. He never really worked with students before. He told us to be quiet. He was very accurate in his remarks, he didn't expect much of us, the strong men didn't deliver. I got bored. I went to look for the loation to my own scene.

A huge factory. Chapman said it will be hard to control the lights there, since we don't have the time nor the equipment to handle the space.

I wanted to sleep. Reuven took my place on the dentist chair. He also found a cover and slept deep. Time just passed and passed. Then it was all over.

On the way home in the car, someone said Capman was the cameraman on Fingers. I just watched this brilliant film last week (never saw the French remake, but what for). I love Keitel, and first thing I'm doing tomorrow is asking Chapman about this production. God, I can't believe he did this film. I hope he will still have the energy to chat. This workshop is real exhausting.

A very very tired filmmaker: the first day of the cinematography workshop with Michal Chapman

Today was the first day of the cinematography workshop with Michael Chapman, aka Chappy. It's actually the only cinematography class the Tel Aviv University gives its students on their final year (another 1-week workshop is intended for April). So there are 25 eager students, all waiting to hear the master's voice and vision.

Luckily, this old master is a very laid back, easy going chap. he told us today: "don't think by any means of doing 'art'. Just solve difficulties, only this way you will bring fresh ideas to the screen'. Creativity comes from necessity, not by a decision. He said he "loaths storyboard", though he did mention Marti's as being very good, because he couldn't really draw, so he made them just to reflect the movement the shot had. Big strong arrows. Chapman said that nowdays the storyboards are so good, there isn't much sense in making the film anymore - they can make it an animation, which will save the money.

He's a very nice man, Michael Chapman. He said that now he's retired, and that Bridge to Terabithiya was the last film for him as a DOP. He also said he didn't want to be a director (though he had his trials). It's just a horrible job, everyone's mad at you, wanting things from you.

In this workshop every 2-3 students will work on one scene as DOP, with some other 5-6 as their crew. I chose to bring my own scene. I just must rewrite the location, cos instead of a cool city loft we will be shooting in an old ugly Kibbutz house. Yaaaiiichs.

Here's my scene:

INT. Queen's loft - night

A big open space furnished in a modern eclectic style: antique French sofa, 60s lamps, Ikea table. On the walls hang contemporary art works. On the side of the room a long table with 5-6 computer screens, on all a screensaver shows slowly-changing pictures from outer space. In the far through the open windows a truck is honking.

BAREKET (27) stands next to a horizontal metal chest of drawers, going through the prints that are stored there. She is searching for a particular print but cannot find it. The doorbell rings, its sound reminds an airport announcement tone. Bareket glimpses at the door and continues to rummage through the papers. Three knocks on the metal door. Bareket takes a deep breath and opens the door.
SAKKE (27) stands at the door. His hair, as well as Bareket's, is dyed grass green. Bareket's brown hair roots are few centimeters long.

Sakke
(smiles)
O-oh, what are you doing here, Bareket?

Sakke enters. They hug and kiss on the lips. Bareket returns to the drawers.

Bareket
I gotta find this something before I go.

Sakke looks around.

Sakke
Where's Queenie?

Bareket
Not clear.

Sakke
How'd you get in?

BAREKET
I had this key from when I watched his house.

SAKKE
Cool, leave it with me before you go, we fuck with Queen.

Sakke walks around in the house, looking for something to do. Bareket still searches the drawers. Sakke finds a magazine and leafs through it fast.

SAKKE
So. So I heard you had quite a night yesterday.

BAREKET
(smiling, without looking at him)
Oh you've heard.

SAKKE
Of course I've heard, what do you think? Queen tells me everything. E-v-e-r-y-t-h-i-n-g! So, what happened?

Sakke leaves the magazine. He grabs a cat's toy from the table and starts to play with it, like a fishing rod. A cat appears and starts to jump, trying to catch the toy. Sakke doesn't pay attention to the cat.

BAREKET
Some kid picked me in this club, Queen picked him, we ended up all here.

SAKKE
Cute kid?

BAREKET
Yep.

SAKKE
Big?

BAREKET
Yep.

SAKKE
And Queen?

BAREKET
What with him? He doesn't have big, you know.

Sakke throw the toy rod at the wall, aggressive.

SAKKE
You fucked?

BAREKET
Who, me and Queen?

SAKKE
(anxious)
No, me and Queen.

Sakke drops the toy on the floor, looks at Bareket.

BAREKET
(Smiles, still in the drawers)
Yeah, a bit.

On the wall hangs a photograph of a man in his mid 30s, his hair dyed green. Sakke looks at the picture, press on it with his finger. The finger gets red from the stress.

SAKKE
So. How is he? (beat) Good?

Bareket doesn't respond, still busy with the papers. Sakke slaps her on her bottom and she turns around at once. Sakke pushes her on the drawers.

SAKKE
You slut! Let's fuck we also!

Bareket laughs. Sakke moves his hand on her breast and ties, on the cloths. He rubs his body against hers with no gentleness. The metal drawers squeak and clank.

BAREKET
(Pushes him slightly)
Aou,it pains. What you doing, you're not even hard, you fag.

Sakke backs off completely.

SAKKE
What a cunt. I can't believe Queen actually fucked a cunt. Brr. Where is he anyway, probably forgot you were leaving today.

Sakke sits on the sofa and switches on the TV. Bareket closes the last drawer, looks at Sakke's back.

Romance & Cigarettes - a tired film student watching tv

I love Kate Winslet a lot. I think she's one of the finest actors who brings every role she takes a full character. Her expressions change so much, you never think of the other characters she played. She is real.

Yesterday I was watching Romance & Cigarettes. I knew it cannot be good, how else haven't I heard of this star-exploded film before? I thought the movie was not coherent, and the songs in it (it's a kind of a musical) weren't good. I wasn't anything at the end - not funny, not dramatic, not beautiful. The only interesting thing was seeing the cast in roles that didn't fit them exactly. How James Gandolfini sang thesong of a man without love, how he cut his dick off for his mistress. Gandolfini, by the way, reminded a lot of Tony Soprano. Sometimes you thought it's just a family on the side the mafia boss has.

I need to write my script but my mind is drifting. I need my own room. I want a room with a sofa, a large desk and a tv. And a view.
Maybe I'll write another short before I go ahead with the feature. Writing the feature is still hard for me. I think I still don't know my characters enough, so every choice I make (location, situation, dialogue) seems coincidental.

Learning the basics of film music

Like every Sunday, today I had another class in Compositing for Film. The teacher, Mr. Bardanshvily, is a compositor, who worked on various Israeli films, including the seconf film of Dover Kozashvily, Matana Mishamayim as well as his first (and better known film) Hatuna Meucheret.

Today we looked at two films: Leon, of Luc Besson, and Laura, a film from '44. The music on Laura was fantastic. It became a real hero in the movie. It followed the point of view of the detective who tried to find out what happened to Laura, and who killed her. As the story evolves, the music changes. Also his understanding changes. It's interesting to see this film in relation to film score, and it's a shame we didn't wach it in class. Well, I will have to borrow it from the library now. but there's nothing like the big screen and the good speakers.

The music composed for the movie Leon represents the way European treat film score. Gentle, interesting, not illustrative to the film, but adding something else. The tango of death, as our teacher called it, showed the murder of Matilda's family and the begining of the connection with Leon. The end of the film leaves us with only piano music, all the rest of the music fades out. The piano, which wasn't there before, comes inside and places the love in the frame.

It was a good class today. Now if you'll excuse me, and also if not, I must write a feature this week.