Final Film Reflection

NAME: Jase Van Meeteren

DATE: Dec 14 2018

FILM: Final Master Coverage A Beautiful Mind

DP: Taylor Davis

TMA 285 DIRECTOR’S REFLECTION

Reflect on how your film turned out. Have the courage to evaluate your work not only with a self-congratulatory eye, but also with a critical eye. Step back; pretend the film wasn't made by you. Be exacting. Be demanding. Don't let yourself off the hook. Be completely honest about your performance.

- Turn in a hard copy of this statement the next class session after your film screens

- Upload the statement to Learning Suite the day after your film screens

- Post this to your blog with your film the day after your film screens

Overall response (2-3 paragraphs):

In 2-3 paragraphs, write an overall response to your film: Were you successful at achieving what you set out to achieve? What are you proud of? What would you do differently if you could remake this piece? What did you learn? 

This was the hardest thing I ever directed. It was such an intense and difficult scene for everyone and I’m incredibly proud of the way the actors handled it. I thought both of their performances were so great and they both felt really great to me. I honestly feel like this one was successful if not just for me personally. I think it was one I wanted to make for a long time. It was a film that I really connected with and something I really needed to express.

I had a really long conversation to both of the actors and it got crazy personal. I didn’t expect to have the conversations we did but it turns out both the actors I picked were very very connected with the script. I knew at the beginning that both of them had some issues with mental illness but it went a lot deeper than I thought. I had the opportunity to pull them both aside and talk for a while about it. I think Kyler in general is just an open person so it was easier to get that performance. Sariah was harder but I still loved the way she handled the performance. It got a lot better once we had a conversation too.

I was really humbled to see how the actors were so open to me. We were able to communicate things openly and honestly the set felt so quiet and amazing. I’ve never felt a set so somber and I’m really grateful for that. I think this turned out great and I don’t really think that had anything to do with me. I had some great actors, a great script, and a great crew to make it happen. If I could remake it I would have done the push and pull out practically. It would have looked amazing if it wasn’t digital.

Briefly answer the following:

What, specifically, did you want to communicate? Were you successful? Why? Why not?

I was trying to express how I feel about my own mental illness. It is so hard to communicate with other people in a way that’s effective. I was trying to say that the only way to begin overcoming that difficulty is by being open about it. Allowing ourselves to be open and willing to talk about problems is a gateway to resolution. It’s important to allow others in. I think I was successful because that’s what the audience got out of it. I also think I was successful because it was therapeutic for me. It just felt so good.

How, specifically, did you try to say this? What visual elements, techniques, etc. did you use?

I tried to show how Nash was boxed in and unwilling to accept the reality of what was happening by using the window he was stuck in. Towards the end, his wife invades the space and we don’t see the box anymore. This was all to show the release of Nash’s feelings and, as a result, his release from the box.

What did you learn about storytelling:

I think I learned how great location and production design can be when trying to show mental state. The window worked so perfect for that. Also the furniture made the lines and structure I wanted to show him in an even more boxed in way. It just worked out really well for the story.

Working with actors and getting performance:

This was so hard. I learned that it’s super hard being an actor. I took Sariah aside because both of us felt it just wasn’t feeling great. We had a really long conversation about how both of us felt about mental illness and our friends that go through it. She really opened up and I think it worked out really well. Then I was able to take Kyler aside and do the same thing. After that the set became even more somber, and the actors did an amazing job.

Blocking — camera and actors:

I think I learned how important it is to block according to the location, not according to how you necessarily want to block it. If you don’t block according to the location, things look clunky and strange, but when you use it right, the location works amazing.

Visuals — composition, framing, visual elements:

Visuals are a huge part of the story. The film would not have been the same if I didn’t use the window to box Kyler into the space.

Design & Art Direction:  

There were a few pieces of furniture that we moved in order to populate the frame and it looked much better because of it. The Design does a great job at boxing John in and making the film work. It also makes it a lot less boring.

The Production Process — collaboration with crew, the logistics of making this piece:

Man, this crew was great. Everyone was very quiet and respectful. I loved the way everyone let the actors do what they had to do. It made directing way easier because I could focus on them. The only thing that was hard is my DP would sometimes forget to check the f stop and then we would have to go back and reshoot something to compensate.

What was it like to watch your film with an audience? Did they understand it? Miss the point? Why did they respond the way they did?  

This time it was nerve-racking because it was literally just how I felt about something. It was pure me and it was scary to show people that. I think they responded well though. They seemed to understand and I think a lot of that has to do with the script, but I also think the actors really sold it and this is probably my best editing job.

Other observations:

https://www.youtube.com/watch?v=uZOI1XwPLQc

Final Scene Intent

FILM  7

NAME: Jase Van Meeteren

DATE: Dec. 4^th 2016

DP: Taylor Davis

FILM 7: FINAL SCENE
DIRECTOR’S STATEMENT OF INTENT

This statement of intent is designed to train your mind, eye and heart to shoot purposefully. Prepare it well before shooting. Briefly—but thoughtfully and specifically—answer the following questions.

1.     What film or TV show is this from?

A Beautiful Mind

a.     After reading the script, in 3 sentences, what is the story of the entire film?

John Nash is a brilliant mathematician and code breaker who works and studies at Princeton. He soon finds out that he suffers from schizophrenia and sees people who do not actually exist. He and his wife must find a cure that will allow him to continue research and subdue his condition.

b.     After reading the script, what is the theme of this film?

It is possible to work through your problems, whatever they are, with the help of others.

2.     Do you have the actual script of the film (not a transcript)?

Yes

3.     In 3-5 sentences, what happened in the story immediately before this scene?

John finally admits that he is seeing people that are not there. Just before she leaves him, he tells his wife that the little girl he has been seeing is not real because she does not age. This came right after a moment when he almost let his son drown in a bath. John’s wife tells him he needs to go back to a mental institution and John does not want to go back.

4.     In three or four sentences, what is the story—the beginning, middle, and end—of this scene? In other words, what happens as the scene starts, as it progresses, and as it ends?

At the beginning, John is packed and ready to go to the institution in order to spare his family from his outbursts. In the middle, John pleads with his wife to allow him to stay, alone to deal with his problems outside of the institution. It ends with his wife allowing him to stay and she decides to stay with him so she can help him with his disease.

5.     What, specifically, must the audience understand narratively/plot-wise in order to engage in this scene? How will you communicate each piece of information?

They must understand that Nash regrets his actions and he is horribly worried for the future. They must also feel the love between both Nash and his wife to understand why Nash wants his wife to leave him instead of trying to get her to stay and hold him. They must also understand why John’s wife allows him to stay and more so, stays with him during his recovery. I need to communicate this through close ups of the camera, and we need to see how each character feels about each other through their faces. The angles will also be important to answer the tension if John’s wife will stay or not.

6.     What is the narrative and thematic purpose of this scene within the larger story?

We need to see if John’s wife will stay with him while he is trying to think through his illness. When we see that she allows him to stay in her home and take care of his son, It is a relief to the audience but also an anxiety. John admits during the scene that there is uncertainty in his ability to beat his own mind. This shows the trust and love that exists in relationship and the value they have in one another. It also raises the stakes of Nash’s recovery because its totally possible that Nash could potentially make another mistake with their child.

7.     What emotion do you want the audience to experience while watching this scene? Why? How, specifically, do you intend to do this?  

I want the audience to feel a pity for Nash and then a relief when we find out his wife is willing to stay with him. I want to show this by making sure we see lots of close ups on Nash. I want us to see his reactions to his wife. I also want to use the camera angles to show the satisfying reveal of Nash’s wife staying. We will have him all alone in the frame and then his wife will come from behind him after a car leaves to show that his wife will stay with him. This will hopefully make a purposeful bump as Nash realizes his wife will stay.

8.     What is the first image of the scene? What is the final image of the scene? Why do you think the director chose these specific images?

I haven’t seen the actual movie but the first scene I want is close on Johns suitcase as he is packing. The final image a close up on John’s face as he hugs his wife. The first image is to establish that John is going back to the institution. This is narratively important because he hated it there. The last image is to show the fear that John has of himself. He isn’t sure if he can do it so he holds on to his wife for dear life.

9.     Why is this scene personal to you? What specific personal experience(s) does it remind you of?

I feel like a lot of us deal with mental illness and I do to. Mine isn’t as scary as schizophrenia, but it can be just as hard to deal with in relationships. I’m manic depressive, which essentially means I’m bipolar. There have been many times when I have lashed out on people I love and I never think I deserve the love and forgiveness they show me. Because of this, I always feel like I can’t get close to people because I don’t want to get mad or yell at people I love. I feel like I relate to John in this way because I would love to have a person in my life who is willing to accept that and help me through it, though I’m too afraid to find them.

10.  How should the lighting feel in this scene? Why? You may include sample image(s). (Not from the actual film!)

The lighting in breaking bad is really pretty amazing. It is very dramatic and intense whenever two characters are having deep and important conversations. The hair lights are crazy strong and the lighting is motivated in strange and unique ways. There are pools of light that characters walk through based on their moods and I want to try and recreate that.

11.  Which two specific visual elements—line, shape, space, tone, color, rhythm, movement—do you intend to use to purposefully communicate the emotion of the scene? (You will be graded on your execution of this plan)

I want to focus on line and rhythm. I feel like they are very difficult but I want the lines to be structured and represent John’s mind. It represents a structured trap that he can’t get out of. When his wife leaves, I want the lines she comes from to be more dramatic, like she is exiting her world and coming into his. I also want to try and make the line between the two of them to be more straight. I want this to represent her trying to come to his level.

12.  In a bulleted list, describe three potential obstacles you may face in creating a successful scene. Describe how can you be prepared to overcome these? Be specific!

-       Production Design.

o   Because I want rhythm and lines to be prevalent through the piece, I need to control what the set looks like very well. To combat this I’m going to the Ellsworth well ahead of time and getting some stuff to put on walls. I will also grab some small lamps to put on tables from the prop shop. Also it might be hard to find things that are period appropriate.

-       Costumes will be hard to find

o   I’m planning on going to the DI and taking a script with me so I can read over the character descriptions several times before I buy something. It is especially difficult because it is a period piece.

-       The performances have to be spot on to read into characters’ thoughts

o   Because John’s mental state is so important, I want to meet with the actors ahead of time and talk to them about their characters. I also want them both to read the entire script so they get a better sense of the characters.

Submit a hard copy of this assignment with the shot list and lined script twelve days before your film screens in class. Post to your blog twelve days before your film screens in class.