A Filmmaker's Blog: Andrew G.

Testimonial from the Director of Living Through Dying

2010-05-26T09:23:00.000-07:00

For the past 13 years, I've worked as a producer and director in the documentary field and I'm currently based on the east coast. When I needed to get a pick up of several critical interviews on the west coast, I wasn't sure who to contact. I was introduced to Andrew through a friend, and that connection was a turning point for the project Living Through Dying.

Andrew coordinated, directed and shot several interviews during a year process as we documented a father getting a second kidney transplant. The interviews included the kidney donor as well as the kidney recipient, his wife and two younger children. You have to be mindful in these situations as you are dealing with delicate issues, and we were focusing on a particularly sensitive topic --- death.

With the children, Andrew put them in a setting where they felt safe and comfortable, their play room. He was so kind and gentle in talking with them about their ways of coping with a father who has a chronic illness and was going for another kidney transplant. All the interviews were well set and documented from a video and audio perspective.

Andrew is very professional, yet down to earth in his approach. I would recommend him to any of my peers looking for a videographer/director in the Los Angeles area.

Marcia Urbin Raymond

Director, Living through Dying

www.livingthroughdying.net

Testimonial from Foundation For Cancer Research & Wellness

2010-05-26T09:14:00.000-07:00

July 11, 2006

Dear Andrew,

Once again, my wife Linda and I appreciated the promptness, preparedness, and high degree of professionalism you demonstrated at the Dearborn, MI shoot this past weekend.

I have been interviewed be many people, some of whom are household names in America. You were the best, literally #1.

Good work, Andrew.

My best,

Greg Anderson

Confused About What To Charge - DGA Rate Card

2009-08-19T21:38:00.000-07:00

I know a lot of my friends are not getting a whole lot of work these days, but if you aren't sure what to charge as a director, AD, UPM or stage manager follow the link below to the DGA Rate Card.

http://www.dga.org/thedga/bas_rate.php3

This may not be what you would actually charge but at least it is a place to begin. One could also use this as a selling point to convince your client that you are giving them a great deal by referring to the rate card and charging the client less.

Either way, it is always a good reference tool on what the going rate in the industry is for all types of positions.

Visiting Le Cinematheque Francaise in Paris, France

2009-08-12T14:36:00.000-07:00

While vacationing with my wife in Paris, France I took one day to visit the Cinematheque Francaise. I was really excited, because it took so long to get there! 18 years to be exact. I was a film student at UC Santa Barbara and began to study various genres: Film Noir, Italian Neo-Realism, Japanese and Latin American Films but my favorite above all was the French New Wave (1958 - 1973). This was a style of cinema that threw away conventional story telling and opted for a new method. Their "radical experiments with editing, visual style, and narrative (were) part of a general break with the conservative paradigm". This is what set these films and especially the filmmakers apart. Films like Breathless, Last Year At Marienbad and The 400 Blows are all part of a huge catalog of films from this era. Filmmakers like Godard, Renais, Charbol, Truffaut created a unique style of story telling that hadn't been seen before. In an industry that frequently admits there is nothing that hasn't been done before, these creative men broke free from that restrictive belief

In 1998, I was on a whirlwind trip through the Middle East and parts of Europe shooting video for a documentary I was working on. One of our stops was in Paris and the Producer took us to dinner on one of the boats that cruise down the Seine River. The boat stopped at the foot of the Eiffel Tower and our group got out and walked around for a little while. We walked up a flight of steps and away from the tower to the Palais Du Challot.

It was a very large and beautiful building and as I rounded the corner I could not believe my eyes. By chance I had walked up to a film museum. Now, I don't know if this was where the Cinematheque Francaise was located before but I do know that there was an exhibition of film at this time. Unfortuantely we were to late, it was closed. The next day we would begin to head back to the United States and I wasn't sure if I would ever come back.

Fast Forward eleven years later, Sheree and I decided to go to Paris. The Cinematheque Francaise had moved but, before leaving I had done all my research on how to get to the new location. After taking two different tour buses I finally arrived in the vicinity of the Museum. I had such high hopes of learning so much more about the New Wave.

The permanent exhibition hosted a respectable collection from early film history. It contained an original kinetoscope and other objects from the Lumiere Brothers, Thomas Edison and Kodak.

But I was shocked that there was hardly anything more than one display on the French New Wave (FNW). I guess I was surprised because of the impact the FNW had on cinema that is still felt in the films of today.

As I was leaving I asked if there was another museum that contained more information on my favorite genre and the docent unfortunately said no. She did tell me that upstairs in the Bibliotheque there was a large collection of books, films and screenplays from that era. So in the elevator I went.

When I got there I met a guy that spoke english and I was able to ask him about information regarding the FNW. He gudied me to a computer that contained the database of the facility and typed in Godard. Over 800 items populated the screen, some were films, others were interviews and still more were notes on films never produced. I had found the "El Dorado" of the FNW!! Unfortunately it was near time for me to leave. Once again my efforts were thwarted by time. So I will once again have to plan a trip to France and pursue my passion for knowledge and appreciation for films that were made long ago. Such is the life of a film geek like me. Hopefully it won't take me 11 years to get there. What about you? What are you pursuing in your life that is unique and artistic? Share with me.

Prototype of RED Scarlet on Display

2009-07-15T14:07:00.000-07:00

Some of you have been waiting to see the Scarlet and now is your chance. Obviously there were the stills on the RED website but now there are new generations of the prototype that look fascinating. Here is video of Ted Shilowitz showing one of the prototypes.

http://camerarentalz.com/category/red-news/

In addition scroll down the page and you'll see some of the first Scarlet 3k footage shown to the public.

Don Williams - A Director's Dream

2009-07-08T09:33:00.000-07:00

Recently spoke with a good friend of mine and great actor Don Williams. When I was directing on-line videos in the San Francisco Bay Area I used Don quite often. He was a directors dream. He was easy to work with and always delivered a solid performance. He used to always say, "Andrew, you won't hurt my feelings. Tell me if I can do something different." I loved hearing that because it caused an open and safe environment where we could try different things till we both had a "take" that we liked. If you need an actor that likes to explore all the possibilities of a character I highly recommend Don! Don has credits in Film, TV and Theatre. He is represented by Indigo Talent Management 805-773-2256. You can also find him at Now Casting => http://donrwilliams.nowcasting.com/

Meeting With Michael Prickett

2009-06-26T10:45:00.000-07:00

While in Hawaii, I met with Michael Prickett in regards to shooting footage for the Tavarua documentary. We shared various approaches we would take in capturing the beautiful images that come naturally in Tavarua. We discussed methods of shooting that have rarely, if at all, been used in a surfing documentary.

Mike had just returned from shooting in Indonesia and was very generous with his time despite being jet-lagged. It was a great opportunity of "talking shop" and allowing ideas to flow. Mahalo Mike!

Lauren Verhoeven Slater - National Commercial

2009-06-26T10:28:00.000-07:00

My good friend, Lauren Slater, just booked a national commercial for the Speed Channel. I asked Lauren what the concept of the commercial is. She replied,

"There are these three guys gawking at a model standing in front of a sports car. One of the guys says 'Look at those curves'. The other guys ooh and aah. Then they pull out their cameras and ask the model to move so they can get a picture of the car only. The model is offended and storms off"

Sounds like fun. Congrats Lauren! Good luck!

Meeting With Mike Prickett

2009-06-01T11:34:00.000-07:00

I'll be in Hawaii this week and while there I hope to meet with Mike Prickett. I say I hope because Mike is shooting the sequel to "Point Break" in Indonesia right now. Mike is a very kind and generous guy. I had dinner with him earlier in the year to discuss usage of stock footage for Tavarua. This time we are going to talk about shooting footage specifically for our documentary. If you want to know a little more on Mike and the films he has worked on click on the link http://www.prickettfilms.com/

Turturro to Direct BV Social Club-like Film

2009-03-26T14:37:00.000-07:00

By NICK VIVARELLI

ROME -- John Turturro will direct a "Buena Vista Social Club"-like feature celebrating the contempo Neapolitan music scene.
Turturro announced the project on Wednesday in Naples, where classic songs such as "O Sole Mio" and "Volare" have segued into vibrant local forms of jazz, blues, rock and rap, fusing local sounds with African and American influences.

"I want to do in Naples what Wim Wenders did in Cuba with 'Buena Vista,' " Turturro told the local press.

Italy's Istituto Luce, producer Luigi Musini ("Miracle at St. Anna") and pubcaster RAI will be among co-producers of Turturro's as-yet-untitled project.

Germany's Beta Cinema has acquired world sales. The Campania region and local tourism board APT will also contribute coin.

Luce topper Luciano Sovena told Daily Variety that "the idea is to premiere it at a major festival, probably Berlin."More than one option
(Co) Daily Variety
Filmography, Year, Role
(Co) Daily Variety

Turturro will start shooting in June in Naples, southern Italy's cultural and artistic hot spot. Its hopping music scene is rooted both in its Mediterranean melting pot DNA and in the Yank riffs brought by U.S. military stationed in the port city since the 1950s.

Turturro has another, previously announced, Naples-based project in the works, a film adaptation of the Eduardo de Filippo play "Souls of Naples," which he starred in Off Broadway.

Turturro is penning the screenplay for "Souls," which Domenico Procacci ("Gomorrah") will produce.

SHADOWS - Listed on IMDb

2009-03-12T14:20:00.001-07:00

SHADOWS has been posted on IMDb. It is unfortunate that all of the other projects I have worked on have not made it to the database but that's alright. There have been some projects that I am happy not to be associated with. Thanks to all that worked so hard on this little project.

http://www.imdb.com/title/tt1381869/?c=1

Filmaka - Film Competition Gets You Noticed

2009-03-12T13:05:00.000-07:00

http://www.filmaka.com

(From their website) Filmaka pledges to reward your creativity. Our monthly competitions provide exciting challenges where you can win prizes, showcase your work, develop your skills and find an audience.
Filmaka encourages debate and feedback between all members, whether you’re a famous filmmaker or a first time novice.
Most of all, we give you the opportunity to express your unique take on life and the world around you.
We hope you’ll take part and share your creative vision with us and our community.
Deepak Nayar and Sandy Grushow

This is an opportunity to get you work in front of real industry professionals. You kind of have to sell your soul though. Make sure you read the fine print. If you win one of their competitions they own the rights to the film, music created for it, as well as distribution. Something to think about. Every filmmaker has his pet projects. Films that he wants to have total control. Don't submit one of those, rather come up with something creative that you don't mind giving away.

Pacific Symphony Plays Vertigo Suite

2009-03-02T20:49:00.000-08:00

On Saturday night I went to the Orange County Pacific Symphony's program: Hollywood's Golden Age. I wasn't sure what to expect because it had been quite a while since I had attended any symphony. As soon as my wife and I walked in we were invited to go into the "Preview". Not sure what that was, we were pleasantly surprised when it was a Q&A with two well known composers, Paul Chihara and James Newton Howard. Paul Chihara is known for his work on films such as: Prince of The City, The Morning After and Crossing Delancy. Mr. Howard is known for his work on: The Sixth Sense, The Interpreter and The Dark Knight.

Afterward, the Symphony played four outstanding pieces; Suite from Vertigo, I Would Plant A Tree from James Newton Howard, Kings Row from Erich Wolfgang Korngold and Parade of the Charioteers from Ben Hur by Miklos Rozsa. All of them were outstanding but my personal favorite was the Suite of Vertigo! It was incredible to hear it live!

As a reminder, I have attached the credit opening and the chase scene from Vertigo (1958). Directed by Alfred Hitchcock, Vertigo, was composed by Bernard Herrmann.

American Idol vs American Workers

2009-02-25T19:13:00.000-08:00

American Idol Goes Live – And So Do The Protests

WGA members, reality TV writers, Teamsters rally during live broadcast of American Idol at CBS TV City
LOS ANGELES -- Audience members waiting in line for the first live broadcast of American Idol this season were greeted by picket signs and chants of protest as reality TV writers, the Writers Guild of America, the Teamsters Local 399, Professional Musicians Local 47, and Clergy and Laity United for Economic Justice rallied outside CBS TV City in support of better working conditions for American Idol workers.

A crowd of 200 picketers called for American Idol’s producer FremantleMedia to provide its “reality” TV writers and other workers with health care, pension benefits and other necessities that are standard for workers in the entertainment industry.

“I am a writer that has worked on a lot of reality shows. I loved working in that genre, but I had to leave it and start working on a ‘scripted’ TV show because I have kids and I need health care coverage,” said WGAW member Wendy Calhoun.

“’Fremantle is lowering standards for workers all across the entertainment industry,” said David N. Weiss, vice president of the Writers Guild of America, West. “American Idol is the top-rated show on television, and the fact that Fremantle does not compensate its writers and other workers fairly is unacceptable.”

FremantleMedia North America (FMNA) is a multinational production company that produces one of the highest-rated programs on television, American Idol, as well as other primetime network programs including Million Dollar Password for CBS, Farmer Wants a Wife for the CW and America’s Got Talent for NBC.

“American Idol generates billions in revenue and there is no excuse for the company not to offer its hardworking employees benefits that are standard in the entertainment industry—minimum compensation, health insurance, and pensions, for example,” said Rabbi Alison Abrams, Community Organizer for Clergy and Laity United for Economic Justice. “It’s simply not ethical.”

“Fremantle wants to pretend that writers don’t exist, but we’re here. We work hard, we have families, and we need to be able to provide for them like everyone else,” said reality TV writer Ro Di Salvo. “As a former Fremantle writer, I’m here to show support for all the writers who work on reality shows that don’t get the compensation they deserve.”

The Writers Guild of America, West (WGAW) is a labor union representing writers of motion pictures, television, radio and Internet programming, including news and documentaries. Founded in 1933, the Guild negotiates and administers contracts that protect the creative and economic rights of its members. It is involved in a wide range of programs that advance the interests of writers, and is active in public policy and legislative matters on the local, national and international levels. For more information on the WGAW, please visit: www.wga.org.

Red One - Podcasts!!

2009-02-23T17:12:00.000-08:00

In case you don't already know, the boys at FX guide have a devoted section specifically for Red Cameras called the "Red Centre". They offer podcasts that cover the latest news and updates on the RED camera. I personally downloaded "red centre #23" and was blown away by all the insider information I came away with. Anyone who is planning on shooting or working with Red in any capacity would be wise to listen to these podcasts. Oh, the best part is that they are free!

Downloads are available at iTunes store>Podcasts>red centre @ fxguide.

IMDb Wants SHADOWS

2009-02-19T12:44:00.000-08:00

Got an email yesterday from IMDb (Internet Movie Database) that asked me to create a page for my short film SHADOWS. I filled out a lot of information and it should appear on IMDb in a couple of weeks. The IMDb website consists of one of the largest accumulation of data about films, television programs, direct-to-video products, and video games, reaching back to each medium's respective beginning. In many cases, the information goes beyond simple title and/or crew credits. It includes, uncredited personnel, production and distribution companies, plot summaries, memorable quotes, awards, reviews, box office performance, filming locations, technical specs, promotional content, trivia and link to official and other websites. Furthermore, the IMDb tracks titles in production, including major announced projects still in development. The database also houses filmographies for all persons, cast and crew, identified in listed titles.

Fiji Documentary Trailer #2

2009-02-17T22:23:00.000-08:00

For those of you who haven't seen any of the trailers for the Fiji Documentary, this is the second trailer. It goes into much more detail about the history of the island of Tavarua. This will be part of the documentary but with many more tribe members sharing their part of the story. Just a behind the scenes note: You will see a shot of the island of Tavarua from the air. Presently this footage has security text that appears across the screen to prevent unwanted use of copy written material. But after a great meeting with Michael Prickett (cinematographer), I will be able to feature and use his shots to support the telling of this story. In the near future new trailers will come without the text appearing.

The Frustration and Fun of Being an Independent Producer

2009-02-17T21:07:00.000-08:00

Have you ever had one of those weeks where everything is going your way? Your making decisions, making plans. Phone calls are made and returned. Emails are sent and responded to with the exact information you were looking for. You go to bed and during a deep REM state you creatively come up with a solution you couldn't think of in your waking hours. Yeah, good times. Then there are times when decisions are put on hold and plans have to be chucked out the window because no one calls you back, no one responds to your emails. Sleep is filled with nightmares of forgotten camera gear while overseas and people teasing your professionalism. Yeah, bad times.

I have had weeks of the latter that have jeopardized my Fijian documentary to the point where it is almost time to put it on the shelf. These are the trials of being an independent producer. It is analogous to an appointment I had today with a friend who used to work at MGM, her name is Sara. I went to see her because she had some marketing materials of previous films she had worked on. I walked in feeling quite friendly and told the receptionist I was there to see Sara, and that's when it happened. She asked, "Who are you with?" Since I am not representing any other company I just kind of shrugged my shoulders and made some nonsensical sound. So she repeated herself, a little louder this time and much more impatient, "WHO...ARE...YOU...WITH!" I replied, "I am independent, I'm not with any company." Then she exhaled loudly, rolled her eyes and said, "Is she expecting you?" To which I replied, "Yes". Then I gave her my name and she rudely told Sara I was there to see her. So I sat in the lobby wondering how this woman ever got her job.

People find security in the name of a company. They understand the purpose of you being there if they know who you are with, but why and what if you are representing yourself? With in the film industry that is common place. Even with unions, the dirty little secret is everyone works on non-union jobs. Outside of Los Angeles my independent answer gets misunderstood. Who am I with? I should have looked over my should and then back at her and said, "No one. How many people do you see?"

So with the power of a strong company name like Universal, Paramount or Warner Brothers would these people, the ones I have tried contacting get back to me any sooner? Possibly, if it was in their benefit but maybe not. Yet therein lies the fun. When an independent film gets made and does well at the Box Office or film festivals it is a success and celebration for all indie producers! It's like giving the big bird to all those receptionists who are so rude.

So here's to more sleepless nights (as I raise my cup of tea). Here's to more important people ignoring my important emails. Here's to what may be the end of a great idea and a great movie (I'll know in a couple of weeks). Because when my next indie film gets completed I'll remember these hard times and feel grateful.

Citizen Kane - An Example of Perfection

2009-02-09T13:12:00.000-08:00

This is one of my favorite scenes from Citizen Kane for the following reasons.

1. The Use of Lighting. This film was produced between 1940 and 41. Back then the film wasn't as sensitive to the absence of light as the film stock used now so in order to get the shades of gray in this scene is really amazing. Also you really aren't able to see who is talking. The characters are left in the shadows. They propel the story yet are not the main protagonists. I could spend a long time writing about why Orson Welles chose to do that but suffice it to say, it was a pretty brave choice when most audiences then were used to seeing every character in bright light. The exception was in the Film Noir genre but that really didn't reach a defined style for another four years.

2. The Use of Sound. Notice how Welles has everybody stepping on each others lines. As you listen to the talking each line is important in the scene. This type of chaotic dialogue is still used by many filmmakers, most notable is Steven Spielberg. Whether in Jaws or Catch Me If You Can he has taken a style used by Welles and made it his own.

3. Screenplay Structure. This is the launch pad for the rest of the film. Prior to this scene Charles Foster Kane has died whispering one word. That begins the mystery but this scene really propels the audience into the rest of the story. As the audience, we know exactly what the goal is. Every scene following brings us closer to this goal. There are no wasted scenes.

The compression really doesn't allow you to appreciate the subtleties in the lighting but hopefully it will motivate you to rent it or pull it off the shelf and watch this classic once again.

New Studio In Long Beach, CA

2009-02-06T12:20:00.001-08:00

American Cinematographer New Products

Posted using ShareThis

Judge Rejects Bid to Stop Hollywood Labor Talks

2009-02-06T08:40:00.000-08:00

A Los Angeles County Superior Court judge denied a request on Thursday by the president of the Screen Actors Guild to block the resumption of contract talks between that union and the major Hollywood studios.

http://www.nytimes.com/2009/02/06/arts/06arts-JUDGEREJECTS_BRF.html?partner=permalink&exprod=permalink

American Cinematographer Podcasts- Episode 3: Poltergeist

2009-02-06T08:19:00.000-08:00

American Cinematographer Magazine is presenting a series of interviews with cinematographers, directors and other key collaborators involved in the filmmaking process. Episode three contains the following interview:

Cinematographer Matthew Leonetti, ASC, and visual effects supervisor Richard Edlund, ASC, sit down with American Cinematographer's Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.

The interview is a downloadable podcast and is free. I got a feeling this is temporary and as soon as it gains popularity. They will begin charging for the service.

http://www.theasc.com/magazine_dynamic/podcasts.php

Interview with Angela Bassett & Courtney B. Vance

2009-02-05T21:12:00.000-08:00

This is the short video biography I produced, directed and conducted. Leading up to this interview another producer wanted to ask the questions but I had a feeling she would back out. The night before the interview, I read their book and wrote down my questions just in case I would be the one asking the questions. I was nervous because Angela was an Oscar award winning actress. The next morning, my premonition came true. I found out I would be the one doing the interview. It was a crazy day but one of my favorite production memories.

The Importance of Sound In A Visual Medium

2009-02-05T17:34:00.000-08:00

When working on a video project some directors pay very little attention to the sound quality. I am not sure why. I have never heard a person say while watching the TV, "Could you turn up the brightness. The image is a little too dark." But on the other hand, I often hear people complain about not being able to hear the dialogue in a video.

I believe there are a couple of reasons for this. Most directors what to emulate great directors of the past and focus their attention on the visuals of the piece. Who can blame them? A beautiful image is usually the most impressive because our visual stimulation trumps audio stimulation every time. Let's try a test. I will say one word and tell me what comes to your mind. Titanic. What popped into you head? Probably the ship lifting vertically in the North Atlantic. Or maybe it was the frigid demise of Jack. Possibly the artistic drawing of a nude woman. I doubt strongly any of you thought of the sound the ship made as it broke apart. Or the perfect blend of music, dancing, laughing and dialogue during the Irish dance sequence. That's just how it is. We are visual people. But even though we are visual, most people really don't understand how to manipulate an image that is captured, edited and transfered back to a screen. Where does one begin? What about Sound? That is a different story.

Viewers are all to comfortable complaining about audio because it is something they understand. It has a tangible solution. If something sounds bad a viewer can turn the volume up or down depending on their needs. Most people don't know what to do with their wide screen, LCD/Plasma, HD monitor. So they don't complain, they assume it was meant to look that way, but people have been working with sound since childhood. Remember the good old days before iPods and CD's. You remember right? Records and tapes. You would make your own mix of music on a tape. Record. Stop. Record. Stop. Then when you got really savy you began to use the pause button to prevent hearing the big "click" from pressing the stop button. Yes, the audience is too "sound savy". Filmmakers need to learn the art of sound. Not that they should ignore the importance of the visuals but rather have a dual strength of sight and sound.

A film professor once told me, "You should make a film the blind can see and the deaf can hear." Although completely impractical the theoretical impact of this is powerful. In order for a blind man to see a film it would have to contain all of the subtle stimulus an image can communicate. Has this ever been done before? I believe so. Have you ever seen Citizen Kane? It is not considered the best film of all time for now reason. Filmmaking is a blend of two different mediums being blended together to help tell a story. How can a filmmaker or videomaker be considered such if he is not passionate about both and use them to the best of his abilities .