Director's Ventings

[ᾦɐļᵲʊʂ]

OK, I'm sorry, I didn't know exactly where to put this, or if it even existed, but recently I attempted to film a short film I have to do for a class.  We get about halfway through the filming, and my star isn't doing too bad.  For a while he's wanted to get a mohawk, but he had to wait though because he was in my short film and his own group's project.

Well, he decides that it doesn't matter if he gets a mohawk or not and, as a totally irresopnsible prick, goes ahead and does it.

I've got about 10 minutes of useless film now, the film is due at the end of this week, I have to refilm casting myself in his role, and still having to find someone to replace him, the leading female doesn't want to film outside of school because she's too lethargic (which is something she didn't specify when I asked her to be in my movie) and of course, I'll still have to edit all that.

A 15 minute movie done in a week.

Can it be done?

Well, yes.

Will I proud of it?

Probably not.

The thing that hampers my efforts: all the editing equipment will have to be at school, so I'lll have to come in when it's inconvienent, my entire week will be devoted to this film, rather than being able to relax and think about other subjects a little more and well, suffice it to say, I'm a little piseed.  </end rant>

[ElPandaRoyal]

Well, I think that even if the short doesn't turn out great, it's good in a weird way, that you're having some problems, 'cause you'll start learning how to deal with them and that's also very important for a director. I'm not saying your actor did a good thing, of course, but it's good for yourself to start dealing with these things right now, I think  

[cowboykurtis]

thats what you get when you cast students.

[picolas]

if you've shot it more or less chronologically, just do a scene where he comes out of a barber shop. you can pick up from there.

[Tictacbk]

or just never acknowledge the mohawk at all and keep filming.  Call it "artistic freedom." Or whatever other BS you can come up with.

[ᾦɐļᵲʊʂ]

if you've shot it more or less chronologically, just do a scene where he comes out of a barber shop. you can pick up from there.

I thought about that, but this guys works at a job where they'd get outraged at something like that.

I also thought at one point he'd shave his head, but it was a little too Taxi Driver for me.

[Just Withnail]

I've got one kind of like that, though it's not necessarily the actor's fault. See, I got this friend of mine, real close one, good actor too, had no problems what so ever, and I shot half a movie with him. Not sure of how much, but a lot of footage, a lot. Then I get the message; he's moving. I was devastated, and didn't even consider the film until about a week later. Thank God he retains his looks, so we can film smaller stuff when he's home the occational weekend.

Anyway, are you planning to reshoot the whole thing?

[ono]

Have the kid bumped off.  No director in the world would convict you.

[MacGuffin]

Have the kid bumped off.  No director in the world would convict you.

That falls under Cinematic Immunity.

[MrBurgerKing]

I love the movie from Truffaut, Day For Night, mainly his portrayal of the director, it reminds me of this thread. Truffaut casually walks around, then he hears that a major scene of the film has been ruined... the look on his face doesn't change at all: no contempt or frustration, no change of tone into anger, he just works with it. I think that goes along with this, that the problems are a part of the process, and how he himself loves that entire process, including all the disasters and melodrama.

[SoNowThen]

Film the guy only in ECU for the rest of the movie. Any shots not on him, go to POV.