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Film Maker's Blog
Scorsese on Hitchcock
Apr 22, 2008 09:43AM
A great little short film/mockumentary/advertainment piece by the Martin Scorsese in perfect Hitchcockian style. It's called "The Key to Reserva" and features a unique new way to "preserve" film featuring a"lost" Hitchcock project. It's a lot a fun. Enjoy.
<DIV><A href="http://www.scorsesefilmfreixenet.com/video_eng.htm">The Key to Reservea</A>
The Revolution Continues
Aug 02, 2007 02:48PM
Speaking of RED, and more importantly the idea of getting high quality, high resolution image acquisition gear at a modest budget, enter Stu Maschwitz, film-maker, technologist, and author of the DV Rebel’s Guide who has taken this concept to the next level.
That rig on his shoulder (photo courtesy of Stu’s blog Prolost), is capable of recording full 1080p resolution images with 35mm film depth of field at the true progressive film cadence of 24 frames per second (fps) and can be put together for roughly ~$4,000. Yep $4K give or take a few hundred dollars worth of accessories. That’s not a type-o.
The system is what may be the perfect Digital Video Rebel camera rig, for those who want high quality HD images but still can’t afford a RED or Silicon Imaging Rig with all the accoutrements.
What you see here is a Canon HV20 HDV camera. A consumer HDV camera that has an impressive 1920x1080 CMOS sensor capable of recording progressive scan images at 24 frames per second (24P). Street price ~$1000. However as a consumer camera the lens and level of image and exposure control is pretty lax. Enter the Red Rock Micro M2 35mm adapter. Street price around $550 for the adapter, $2500 tricked out with rails and what not. This adapter attaches to the front of the camera and creates a new 35mm sized imaging plane that the HV20 focuses on. Once set, you can use traditional 35mm SLR lenses (Stu is using a Nikor 50mm f1.4 lens here) to enhance the optics and regain the image controls not available on the HV20. So now you’ve got high quality 35mm lens optics with the depth of field that goes with it being sent to the HV20 image sensor and then out digitally to disk or tape. Essentially the same concept as the RED or Silicon 2K, and only maxed out at HD resolution and without variable frame rates. But still, pair it up on Red Rocks’s prototype shoulder rig and follow focus like this:
The TV Set | posted 25-OCT-06 |
War & Truth | posted 02-JUN-06 |
TOMORROW IS TODAY | posted 23-MAY-06 |
Speaking of RED, and more importantly the idea of getting high quality, high resolution image acquisition gear at a modest budget, enter Stu Maschwitz, film-maker, technologist, and author of the DV Rebel’s Guide who has taken this concept to the next level.
That rig on his shoulder (photo courtesy of Stu’s blog Prolost), is capable of recording full 1080p resolution images with 35mm film depth of field at the true progressive film cadence of 24 frames per second (fps) and can be put together for roughly ~$4,000. Yep $4K give or take a few hundred dollars worth of accessories. That’s not a type-o.
The system is what may be the perfect Digital Video Rebel camera rig, for those who want high quality HD images but still can’t afford a RED or Silicon Imaging Rig with all the accoutrements.
What you see here is a Canon HV20 HDV camera. A consumer HDV camera that has an impressive 1920x1080 CMOS sensor capable of recording progressive scan images at 24 frames per second (24P). Street price ~$1000. However as a consumer camera the lens and level of image and exposure control is pretty lax. Enter the Red Rock Micro M2 35mm adapter. Street price around $550 for the adapter, $2500 tricked out with rails and what not. This adapter attaches to the front of the camera and creates a new 35mm sized imaging plane that the HV20 focuses on. Once set, you can use traditional 35mm SLR lenses (Stu is using a Nikor 50mm f1.4 lens here) to enhance the optics and regain the image controls not available on the HV20. So now you’ve got high quality 35mm lens optics with the depth of field that goes with it being sent to the HV20 image sensor and then out digitally to disk or tape. Essentially the same concept as the RED or Silicon 2K, and only maxed out at HD resolution and without variable frame rates. But still, pair it up on Red Rocks’s prototype shoulder rig and follow focus like this:
Or create your own with a Spiderbrace, or DV Multirig, and some rails, and you’ve got yourself one pretty damn nice HD film-making rig. If you hook it all up on set via HDMI to a Mac or PC with a $250 Blackmagic Intensity card you can even record uncompressed HD just like the big boys. Cineform’s even announced support to record directly to their format (via HDMI) just like the Silicon 2K.
Sure there are limitations. You still have fairly lousy shutter control on the camera, and unless you shoot tethered to a computer you are recording to HDV which is highly compressed, but still capable of getting stellar resultss, and a quick YouTube search will bring up a number of examples. I’ll update this post with Stu’s footage if/when he posts it.
For more information on the Canon HV20, and to ask real world questions check out the forums at:
Also, I mentioned earlier Stu’s book the DV Rebels Guide. I will be reviewing it soon, as well as the Spiderbrace, and VideoCopilot’s Riot Gear. So please check back soon.
PJ and the Mysterium Chip Affair
Aug 02, 2007 02:47PM
Red 23 has posted a PDF article about Peter Jackson using the RED camera's to shoot the NAB short, Crossing the Line.
It Cannot Happen Again
Jun 08, 2007 01:37PM
Inheritance, for those of you who don’t know is my short film chronicling the liberation of the Buchenwald, Germany concentration camp. It prominently features photos taken by my grandfather, Anthony Cuoco during the liberation of the camp, as well as a heart-wrenching performance by the late Harrison Young, a wonderfully haunting score composed by John Swihart, and beautiful cinematography by my frequent collaborator Doug Delaney. The film itself was a labor of love that haunted my thoughts and dreams for months prior, during, and after production. It has had a long life as short films go, and on May 31st, just a few days after Memorial Day, it won its first award for best drama at the 4th Annual Universal Studios Hollywood Team Member Film Festival. This festival is open only to employees of Universal Studios, which is where I currently spend my days developing themed attractions. With a stellar panel of film and television professionals judging the films that included Ron Meyer, it was quite an honor to receive. As much as it was an honor, however, that’s not why I’ve finally gotten back to blog. What’s compelled me to write is the reaction that I’ve received from the film. I’ve gotten accolades for the film in the past, the ubiquitous congratulations from friends and family. My wife tells me how it’s her favorite of all my films. I’ve shaken hands with people at film festivals, and been written to by folks around the globe from making it available on-line here and on YouTube, but this time it’s different. When it last screened at VIFFI, it played well and hushed the audience before sustained applause, but after we left the festival, the experience was over. With this screening, it again hushed the audience and drew two rounds of applause, but since it was screened for employees, the people I work with, the experience has continued for me in ways it hasn’t in the past. Other employees whom I have never met congratulate me on the elevator, in the halls, or at commissary. People have pulled me aside with tears in their eyes telling me what a profound effect the film has had on them. I’ve received e-mails requesting copies of the film on DVD. People have shared the online links with friends and family, and the messages still come days later. This has overwhelmed me, for the simple fact the heart and soul of the film, was to show these images to the world so it cannot be forgotten. That was the legacy of the film, and it is finally being realized. It may have had this effect all along, but that was never shared with me until now. I feel the films audience has grown exponentially thanks to this festival, and I am thankful to Karen Fung and Christiane Sentianin at Universal for putting it on. That said, the film can still reach even more people, but it needs help. I’ve always wanted this film to reach as large an audience as possible and with the internet the audience is unlimited. Please visit these links and watch the film. Tell others about it. E-mail your friends, your families. Let it be known that the holocaust was real, that it cannot be forgotten, and cannot happen again.
Sincerely,
Paul Cuoco
30K feet over the Gulf of Mexico, 7:15 PST - 6/5/07
Inheritance, for those of you who don’t know is my short film chronicling the liberation of the Buchenwald, Germany concentration camp. It prominently features photos taken by my grandfather, Anthony Cuoco during the liberation of the camp, as well as a heart-wrenching performance by the late Harrison Young, a wonderfully haunting score composed by John Swihart, and beautiful cinematography by my frequent collaborator Doug Delaney. The film itself was a labor of love that haunted my thoughts and dreams for months prior, during, and after production. It has had a long life as short films go, and on May 31st, just a few days after Memorial Day, it won its first award for best drama at the 4th Annual Universal Studios Hollywood Team Member Film Festival. This festival is open only to employees of Universal Studios, which is where I currently spend my days developing themed attractions. With a stellar panel of film and television professionals judging the films that included Ron Meyer, it was quite an honor to receive. As much as it was an honor, however, that’s not why I’ve finally gotten back to blog. What’s compelled me to write is the reaction that I’ve received from the film. I’ve gotten accolades for the film in the past, the ubiquitous congratulations from friends and family. My wife tells me how it’s her favorite of all my films. I’ve shaken hands with people at film festivals, and been written to by folks around the globe from making it available on-line here and on YouTube, but this time it’s different. When it last screened at VIFFI, it played well and hushed the audience before sustained applause, but after we left the festival, the experience was over. With this screening, it again hushed the audience and drew two rounds of applause, but since it was screened for employees, the people I work with, the experience has continued for me in ways it hasn’t in the past. Other employees whom I have never met congratulate me on the elevator, in the halls, or at commissary. People have pulled me aside with tears in their eyes telling me what a profound effect the film has had on them. I’ve received e-mails requesting copies of the film on DVD. People have shared the online links with friends and family, and the messages still come days later. This has overwhelmed me, for the simple fact the heart and soul of the film, was to show these images to the world so it cannot be forgotten. That was the legacy of the film, and it is finally being realized. It may have had this effect all along, but that was never shared with me until now. I feel the films audience has grown exponentially thanks to this festival, and I am thankful to Karen Fung and Christiane Sentianin at Universal for putting it on. That said, the film can still reach even more people, but it needs help. I’ve always wanted this film to reach as large an audience as possible and with the internet the audience is unlimited. Please visit these links and watch the film. Tell others about it. E-mail your friends, your families. Let it be known that the holocaust was real, that it cannot be forgotten, and cannot happen again.
Sincerely,
Paul Cuoco
30K feet over the Gulf of Mexico, 7:15 PST - 6/5/07
New Demo Reel
Mar 26, 2007 03:51PM
Not Afraid!'s new demo reel is now online. You'll see some exclusive footage here from our next short film currently in post-production. You'll also see some examples of motion graphics we've produced for other indie filmmakers and business as well as examples from some of our theme park work. You can watch the You Tube link here or see a much higher quality version at www.notafraid.com.
The “Film” Revolution
Nov 26, 2006 11:57AM
The internet is always abuzz with hype on the latest and greatest video cameras and software innovations. If it wasn’t for paying work you’d see me blogging daily on bleeding edge digital video technology. As it is, I have to earn a living and so I leave the news gathering for the most part to the excellent blogs, DV Guru and HD for Indies. Subscribe to their RSS feeds and you’ll get more digital video news than you can handle.
One of their favorite topics of late is the RED camera. Considered the Holy Grail of independent digital video cameras, the RED sports some impressive specs not the least of which is 4K+ resolution at up to 60 progressive fps (The frame rate goes up to 120 fps as you lower resolution in the camera head).
To put that in perspective, its sensor is almost the same resolution and size as the lauded Panavision Genesis used to shoot Superman Returns. However what makes RED truly impressive is that it outputs full 4K resolution files, while Genesis downgrades everything to 10-bit log 1080p. While 10 bit log 444 1080p is no slouch (in fact I’d be happy to shoot a feature with the Genesis), it’s only about a ¼ of the potential resolution of it’s sensor and what RED can output as RAW files. Oh and did I mention that the RED sells for only $17,500 and can use almost any standard Super 35mm or 16mm film lens while maintaining the same depth of field characteristics…?
Now that you’re all drooling lets face facts that RED still hasn’t been released, and their website only gives an ambiguous “early 2007” date. That’s not stopping them from releasing some footage and images on their website, or organizing the first public screening of their footage, which takes place next week in Santa Monica. If this camera lives up to what it boasts, it’s going to make things very interesting in the coming months.
Another camera bursting onto the indie film scene is Silicon Imaging’s SI-2K camera. This camera is 2K resolution (slightly better than HD) and captures direct to disk at 24 fps at its highest resolution and up to 72 fps at 720p HD using Cineform’s proprietary RAW 10-bit intermediate wavelet codec. This necessitates the need to edit with Adobe Premiere Pro which has been the red-headed step child of NLE’s for years, but has matured of late and really isn’t a bad system.
UPDATE 11/9/06: I have learned that this camera can also record RAW Uncompressed 12-bit content that can be exported to DPX or DNG frame sequences. These can be wrapped in QT and used in Final Cut Pro or other editing systems.
One thing that Silicon Imaging’s camera has over the RED camera is that it currently exists. The film Spoon was shot with this camera, and the workflow, trials, and tribulations are detailed on the Indie Film Live blog. I also had the opportunity to see this camera up close and personal last week at HD Expo. After cursing myself for forgetting my digital camera to snap some pics, I examined the camera head and it’s remarkably small size and high image quality. They had the camera head only version on display which requires a laptop or other PC connected via gigabit Ethernet to record, but also have an integrated solution. They have images and WMV-HD files you can view on their website to see for your self. At packages starting at around $12,000 they’ll be giving RED a run for their money.
Now how does all this relate to the title of the blog entry and more importantly to you? Well simple, these tools are going to change the landscape of independent film production forever. With the introduction of cameras at this resolution at these prices, and ever quicker and more powerful non linear editing desktop computers, it’s going to be easier than ever to make a feature film on a modest budget that looks like a Hollywood blockbuster. At 4k and 2k resolutions with the ability to use standard cine style film lens, we’re talking Hollywood caliber camera equipment finally within the grasp of the grassroots filmmaker. It’s a democratization of film production where for a percentage of the cost of a Hollywood feature film, you can get a RED or Silicon Imaging camera, couple it with a PC or Mac with your favorite NLE software and make a 4K or 2K resolution movie ready to distribute for film-out, digital projection, HD-DVD (or Blu-Ray whichever wins the format war), or standard DVD and you’ll never have had to even look at a Hollywood Studio. This technology coupled with an independently financed production model will turn Hollywood on its ear. These tools bringing the costs down enables storytellers not to need a big studio to finance their story. No studio means no studio notes. No studio notes means filmmakers will be able to try quirkier, weirder, more experimental methods of storytelling. It’ll be a film revolution fought in the trenches by independent filmmakers, and the viewing public will reap the benefits of new and interesting storytelling. Now, I’m not saying a camera alone makes all the difference. You’ll still need a group of talented collaborators to work with, and a fantastic script to guide you. And sure, the accessibility of the technology and the proliferation of cheaply produced films will likely produce a whole lot of stinkers… but there will be those diamonds in the rough from trailblazing, innovative filmmakers who might have never gotten the opportunity to make a film without this technology. They will change the landscape of film as we know it. EDIT - HD For Indies just posted a head to head in depth comparison of the cameras and workflow. A must read. Check it out.]
The Anonymous Collaborator
Aug 29, 2006 01:02PM
I just finished reading the latest post on John August’s blog, “Test Screening The Movie.” It gave me pause to see that such and accomplished and prolific storyteller has the same stresses, anxieties, and problems my collaborators and I are facing on my latest project. Viewing your film with friends, family, and colleagues is great, and it will help you to make your story better. It’ll get you, and I’ll be generous, maybe 60, 70% there, but as he mentions, whether they believe it or not, they are biased. They are your friends, your family, and your colleagues. They WANT to like what you’ve done. They think you’re talented, and have hopes and aspirations for your story or they wouldn’t take the time to watch. So with that bias, how can you ever truly get an honest response? You can’t. That’s why you need, as John August puts it, the trustworthy stranger. This person has no bias. No agenda. Nothing but (hopefully) a purely visceral and honest response to the story and imagery you put before him/her. They become your anonymous collaborator, and they will make your story better. Sharing your story and your passion with complete strangers, when it’s a work-in-progress is a scary thing and a risky proposition if you’re trying to break new ground, but it can also be the key that makes a good story great.
As digital storytellers, how can we get these un-biased screenings? How can we put our work out there for constructive criticism without it being what people perceive to be a completed project? You can’t viably use a service like YouTube, as you can’t control who sees it and how they are judging it. But you can use internet forums like DVInfo.net, or DVXuser.com. You can explain that what you’re posting is a work in progress and you need honest feedback. You’ll probably get more than you bargained for.
I’d love to hear any other trailblazing solutions people might have. Be my new collaborator and help me find a test screening solution.
I just finished reading the latest post on John August’s blog, “Test Screening The Movie.” It gave me pause to see that such and accomplished and prolific storyteller has the same stresses, anxieties, and problems my collaborators and I are facing on my latest project. Viewing your film with friends, family, and colleagues is great, and it will help you to make your story better. It’ll get you, and I’ll be generous, maybe 60, 70% there, but as he mentions, whether they believe it or not, they are biased. They are your friends, your family, and your colleagues. They WANT to like what you’ve done. They think you’re talented, and have hopes and aspirations for your story or they wouldn’t take the time to watch. So with that bias, how can you ever truly get an honest response? You can’t. That’s why you need, as John August puts it, the trustworthy stranger. This person has no bias. No agenda. Nothing but (hopefully) a purely visceral and honest response to the story and imagery you put before him/her. They become your anonymous collaborator, and they will make your story better. Sharing your story and your passion with complete strangers, when it’s a work-in-progress is a scary thing and a risky proposition if you’re trying to break new ground, but it can also be the key that makes a good story great.
As digital storytellers, how can we get these un-biased screenings? How can we put our work out there for constructive criticism without it being what people perceive to be a completed project? You can’t viably use a service like YouTube, as you can’t control who sees it and how they are judging it. But you can use internet forums like DVInfo.net, or DVXuser.com. You can explain that what you’re posting is a work in progress and you need honest feedback. You’ll probably get more than you bargained for.
I’d love to hear any other trailblazing solutions people might have. Be my new collaborator and help me find a test screening solution.
Watch Glazed and Inheritance Now Online
Jun 11, 2006 02:38PM
Both of my war films
GLAZED and INHERITANCE are now available online for viewing at their respective film pages as well as their official websites. Please let me know what you think.
Paul
Both of my war films
GLAZED and INHERITANCE are now available online for viewing at their respective film pages as well as their official websites. Please let me know what you think.
Paul
Wider is Better
Jun 09, 2006 02:17PM
I love widescreen films. When I was a teen-ager I was a projectionist for a small 2nd run movie theater. While learning to thread the projector and make splices I also got my first gleaning of aspect ratio, when I was taught the difference between a “scope” film and a “flat” film.
A “scope” film is based in on cinemascope and features a very wide 2.35 aspect ratio:
While “flat” films are based on the normal Academy Aspect ratio of 1.85:
I remember seeing those “scope” movies and getting that more epic feel from them. I was always disappointed when watching these films on TV or VHS because TV’s are a 4:3 (or 1.33) aspect ratio:
It's nearly square, not the epic rectangular ratio of widescreen film. So in order to fit this widescreen image on your TV, they cut the edges off! We were missing half the movie!
So I was very happy when DVD’s arrived and preserved the aspect ratio through letterboxing. As a digital filmmaker I always wanted to get the widescreen epic feeling, but until DVD burning became affordable I was always forced to fake widescreen by cropping a 4:3 image. Sure cameras like my trusty old Canon XL1 had an electronic squeeze mode, but in order to view it properly on a 4:3 screen I still had to create a letterboxed master for distribution. I was again saved by the advent of DVD’s. Since the DVD format allows for anamorphic widescreen films as described above, I’m able to work natively in 16:9 wide format and finish the project that way. All consumer DVD players are smart enough to recognize this material and automagically letterbox it to fit on your 4:3 screen or display it full screen on a widescreen television. It’ll also introduce pulldown for 24 fps film or video as well, but that’s a discussion for another day.
So go ahead and shoot widescreen. We have the technology. Let's use it.
A “scope” film is based in on cinemascope and features a very wide 2.35 aspect ratio:
While “flat” films are based on the normal Academy Aspect ratio of 1.85:
I remember seeing those “scope” movies and getting that more epic feel from them. I was always disappointed when watching these films on TV or VHS because TV’s are a 4:3 (or 1.33) aspect ratio:
It's nearly square, not the epic rectangular ratio of widescreen film. So in order to fit this widescreen image on your TV, they cut the edges off! We were missing half the movie!
So I was very happy when DVD’s arrived and preserved the aspect ratio through letterboxing. As a digital filmmaker I always wanted to get the widescreen epic feeling, but until DVD burning became affordable I was always forced to fake widescreen by cropping a 4:3 image. Sure cameras like my trusty old Canon XL1 had an electronic squeeze mode, but in order to view it properly on a 4:3 screen I still had to create a letterboxed master for distribution. I was again saved by the advent of DVD’s. Since the DVD format allows for anamorphic widescreen films as described above, I’m able to work natively in 16:9 wide format and finish the project that way. All consumer DVD players are smart enough to recognize this material and automagically letterbox it to fit on your 4:3 screen or display it full screen on a widescreen television. It’ll also introduce pulldown for 24 fps film or video as well, but that’s a discussion for another day.
So go ahead and shoot widescreen. We have the technology. Let's use it.
Me tell story. What you do?
Jun 06, 2006 11:59AM
Some people define themselves by their titles as writers or directors or editors or producers. Others like to broaden their scope and take on additional titles to maintain creative control or as often the case in indie films to fill a gap that may be missing. These folks use hyphenates like writer-director. Others take that it even further by combining titles like Producer and Editor into new hip sounding titles like “Preditor.”
Ever increasingly as the tools of our trade become more and more accessible, writers and directors (or writer-directors, or Preditors, or what have you) find themselves picking up the camera and shooting, or buying some inexpensive editing software and cutting their story themselves. They might dabble in creating their own special effects. They might do their own color-correction. Then there are the up and comers who have never even conceived of what Hollywood might consider “film crew” and are comprised only of these jack of all trades people who just get it done. So what do we call these people who can do it all? I call them storytellers.
As I said before, filmmaking is about collaboration with other story-tellers. Whether you wear one hat or many. Whether you tell your story through words, images, wardrobe, or special effects, we’re all there for a common goal: to make a film. So don’t get bogged down by titles. Let your writer try his hand at editing. The edited film is the final re-write after all, and they could bring something new to the table you might not have guessed. Listen to the ideas from your special effects technician. Talk over character with your wardrobe person. Try your own hand at an aspect of filmmaking you’ve never considered. Let everyone cross pollinate their thoughts with the common goal of telling your story, and watch as it blossoms.
I am a storyteller. What do you do?
Memorial Weekend Screening:
May 30, 2006 09:41AM
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED played at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.
The film was very well received and I had a great group of supporters and friends in attendance.
The festival also screened under the commercial category, a teaser trailer for the new film I am producing for writer-director Tony Teofilo.
The teaser got a great reaction. It seemed to hit all the buttons in the crowd we wanted to press, and created the kind of name recognition we were looking for. There’ll be more on that later.
I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED played at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.
The film was very well received and I had a great group of supporters and friends in attendance.
The festival also screened under the commercial category, a teaser trailer for the new film I am producing for writer-director Tony Teofilo.
The teaser got a great reaction. It seemed to hit all the buttons in the crowd we wanted to press, and created the kind of name recognition we were looking for. There’ll be more on that later.I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
MISS THE LOACH
May 20, 2006 06:25PM
Keeping going with my collaboration theme today, I'd be remiss if I didn't spend a little time to talk about the Loach. Co-writer and director of GLAZED, producer of INHERITANCE, and co-founder of NOT AFRAID!
Jeff Loach and I were writing and producing partners since 1998 when we formed Not Afraid! As true collaborators we practiced the art of “ego-less arguing.” (I think we borrowed that term from another pair of writers, Ted Elliot and Terry Rossio and their excellent website wordplayer.com but I digress…) Each of us would constantly shoot holes in each others ideas and nary an ego was bruised, because we both understood it was never personal. It was about the idea. The best ideas can stand up to that scrutiny and all others should go by the wayside. That was how to make it great. That’s what makes collaboration work.
Alas, Jeff as great a collaborator as he is, felt another calling. His true calling was not to entertain, but to serve, to put his own life at risk for others. He was to be a firefighter. At an age where most people would say it’s too late, Jeff persevered. He followed that dream with a fervor and tenacity of film-maker searching for funding, and he has made that dream come true.
Later this week, Jeff will begin his life as a professional fire-fighter in Fairfax County Virginia, and I couldn’t be more proud. Though I miss his energy in our writing room, even with him 3,000 miles away I can hear him arguing his point, and I smile.
Be safe, Mr. Loach.
Paul
Keeping going with my collaboration theme today, I'd be remiss if I didn't spend a little time to talk about the Loach. Co-writer and director of GLAZED, producer of INHERITANCE, and co-founder of NOT AFRAID!
Jeff Loach and I were writing and producing partners since 1998 when we formed Not Afraid! As true collaborators we practiced the art of “ego-less arguing.” (I think we borrowed that term from another pair of writers, Ted Elliot and Terry Rossio and their excellent website wordplayer.com but I digress…) Each of us would constantly shoot holes in each others ideas and nary an ego was bruised, because we both understood it was never personal. It was about the idea. The best ideas can stand up to that scrutiny and all others should go by the wayside. That was how to make it great. That’s what makes collaboration work.
Alas, Jeff as great a collaborator as he is, felt another calling. His true calling was not to entertain, but to serve, to put his own life at risk for others. He was to be a firefighter. At an age where most people would say it’s too late, Jeff persevered. He followed that dream with a fervor and tenacity of film-maker searching for funding, and he has made that dream come true.
Later this week, Jeff will begin his life as a professional fire-fighter in Fairfax County Virginia, and I couldn’t be more proud. Though I miss his energy in our writing room, even with him 3,000 miles away I can hear him arguing his point, and I smile.
Be safe, Mr. Loach.
Paul
Love the Doug
May 20, 2006 11:33AM
Speaking of collaboration, I just wanted to give a shout out to one of my frequent collaborators, Doug Delaney. He shot both Inheritance, and Glazed, as well as my new project which for now will remain nameless.
Doug still manages to find the time to collaborate with me, even while moving up the Hollywood ladder working as a DI Colorist on the ICE HARVEST and THE MATRIX: REVOLUTIONS and additional color timing for THE ITALIAN JOB, THE MATRIX: RELOADED, JAY AND SILENT BOB STRIKE BACK, SPY KIDS, VANILLA SKY, ANY GIVEN SUNDAY, AMERICAN BEAUTY, KUNDUN and ARMAGEDDON, among many others.
He’s recently moved to Post Logic Studios (see the article here. Doug is also featured in the Dear DI Colorist feature in this Month’s Post Magazine. (Sorry, no link yet…)
Congratulations Doug. Beers are on me.
Paul
Speaking of collaboration, I just wanted to give a shout out to one of my frequent collaborators, Doug Delaney. He shot both Inheritance, and Glazed, as well as my new project which for now will remain nameless.Doug still manages to find the time to collaborate with me, even while moving up the Hollywood ladder working as a DI Colorist on the ICE HARVEST and THE MATRIX: REVOLUTIONS and additional color timing for THE ITALIAN JOB, THE MATRIX: RELOADED, JAY AND SILENT BOB STRIKE BACK, SPY KIDS, VANILLA SKY, ANY GIVEN SUNDAY, AMERICAN BEAUTY, KUNDUN and ARMAGEDDON, among many others.
He’s recently moved to Post Logic Studios (see the article here. Doug is also featured in the Dear DI Colorist feature in this Month’s Post Magazine. (Sorry, no link yet…)
Congratulations Doug. Beers are on me.
Paul
There Is No Auteur
May 20, 2006 11:14AM
Some people consider filmmaking the art of the Auteur, and while new digital technologies are certainly making it possible for a single person to create a film all on his or her own, I don't subscribe to the Auteur Theory.
Film is a collaborative art. It always has been, always will be. As I filmmaker and story-teller I rely on my collaborators to bring something to the table and help make our art better. Whether it's a script review, edit notes, shot composition, production design, or of course an actors performance, the collaboration with another mind invariably elevates your material to a higher level. People have ideas and will see things from perspectives and come from places you could never imagine. That is the magic of film-making. Those are the moments that drive me. That surge of adrenaline when a collaborator off-handedly puts something in perspective for you after hours of banging your head against the wall. The spark that keeps you going at 2AM when you’re on take 16 and your actor tries something new and the whole scene comes together. Collaboration is key.
Some people consider filmmaking the art of the Auteur, and while new digital technologies are certainly making it possible for a single person to create a film all on his or her own, I don't subscribe to the Auteur Theory.Film is a collaborative art. It always has been, always will be. As I filmmaker and story-teller I rely on my collaborators to bring something to the table and help make our art better. Whether it's a script review, edit notes, shot composition, production design, or of course an actors performance, the collaboration with another mind invariably elevates your material to a higher level. People have ideas and will see things from perspectives and come from places you could never imagine. That is the magic of film-making. Those are the moments that drive me. That surge of adrenaline when a collaborator off-handedly puts something in perspective for you after hours of banging your head against the wall. The spark that keeps you going at 2AM when you’re on take 16 and your actor tries something new and the whole scene comes together. Collaboration is key.
Glazed Playing at the Third Annual Universal Studios Hollywood Team Member Film Festival
May 19, 2006 04:01PM
GLAZED has been selected as a finalist for the Third Annual Universal Studios Hollywood Team Member Film Festival. That's quite a mouthful isn't it? It is a film festival open to employees of Universal Studios, my current main source of income.
The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
GLAZED has been selected as a finalist for the Third Annual Universal Studios Hollywood Team Member Film Festival. That's quite a mouthful isn't it? It is a film festival open to employees of Universal Studios, my current main source of income.The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
Inheritance
May 17, 2006 07:58PM
INHERITANCE is a short film based upon my Grandfather's experience liberating the Buchenwald Concentration Camp. It's obviously a very personal film and my directorial debut. It's first public screening was at the San Fernando International Film Festival on April 9, 2005, almost 50 years to the day of the liberation April 11, 1945. Please check out the film page for more details. If you've seen the film I'd love to hear your comments. Paul
INHERITANCE is a short film based upon my Grandfather's experience liberating the Buchenwald Concentration Camp. It's obviously a very personal film and my directorial debut. It's first public screening was at the San Fernando International Film Festival on April 9, 2005, almost 50 years to the day of the liberation April 11, 1945. Please check out the film page for more details. If you've seen the film I'd love to hear your comments. Paul
GLAZED
May 17, 2006 07:52PM
There are times in your life when you feel very strongly about an incident, a circumstance, or a person. Things happen to you everyday that affect how you think, act, and react tomorrow. The world can change on a dime and usually will. This became extraordinarily evident to Jeff Loach and I during the production of Glazed. A film in and of itself about just that: the precariousness of life and love and sudden change. It was early in 2001, months before 9/11 that we first decided we wanted to make a film about American soldiers and the aftermath and continuing battles of its survivors. We wanted (in that world of relative peace) to remind people of what the American soldier has done for us over the years, and to think about what we are asking of our soldiers when we send them to war. The horrors they will have to endure and the psychological effects war can have upon them. And so, we crafted the story of Glazed, an exploration into the psyche of a veteran who in the blink of an eye, lost everything in his life, both at war and at home and its effect on him still years later. We went into production during the summer of 2001 with conviction, purpose, and a sense of responsibility. As we moved into post-production the unthinkable happened: 9/11. The entire world changed. Our feelings for our film changed. Our conviction and sense of responsibility changed. We began to question. Was this story appropriate now? Americans are uniting over tragedy, they don’t want to be reminded of what’s at stake when you wage war. So, we decided to shelve the project. By the winter of 2004, the world had changed again. The U.S. for the first time had invaded a country on a pre-emptive strike. The country and the world was now divided over whether or not we should have gone to war. The American people began to forget what we have asked our soldiers to do for our protection. The message of Glazed had become appropriate again. With renewed conviction, purpose, and sense of responsibility, we dusted off our tapes and files and carried on. We completed the film filtered through our changed eyes. Is the completed film a searing look at the U.S. Government and their treatment of soldiers? No. Is it a Michael Moore-like political Pandora’s Box meant to spark controversy and ire? No. Is it a small film about how the world can change on a dime, and how we’ll never be the same? Yes, and we think in this post 9/11 world, that that’s something we can all understand.
- Paul Cuoco | Co-director | GLAZED
There are times in your life when you feel very strongly about an incident, a circumstance, or a person. Things happen to you everyday that affect how you think, act, and react tomorrow. The world can change on a dime and usually will. This became extraordinarily evident to Jeff Loach and I during the production of Glazed. A film in and of itself about just that: the precariousness of life and love and sudden change. It was early in 2001, months before 9/11 that we first decided we wanted to make a film about American soldiers and the aftermath and continuing battles of its survivors. We wanted (in that world of relative peace) to remind people of what the American soldier has done for us over the years, and to think about what we are asking of our soldiers when we send them to war. The horrors they will have to endure and the psychological effects war can have upon them. And so, we crafted the story of Glazed, an exploration into the psyche of a veteran who in the blink of an eye, lost everything in his life, both at war and at home and its effect on him still years later. We went into production during the summer of 2001 with conviction, purpose, and a sense of responsibility. As we moved into post-production the unthinkable happened: 9/11. The entire world changed. Our feelings for our film changed. Our conviction and sense of responsibility changed. We began to question. Was this story appropriate now? Americans are uniting over tragedy, they don’t want to be reminded of what’s at stake when you wage war. So, we decided to shelve the project. By the winter of 2004, the world had changed again. The U.S. for the first time had invaded a country on a pre-emptive strike. The country and the world was now divided over whether or not we should have gone to war. The American people began to forget what we have asked our soldiers to do for our protection. The message of Glazed had become appropriate again. With renewed conviction, purpose, and sense of responsibility, we dusted off our tapes and files and carried on. We completed the film filtered through our changed eyes. Is the completed film a searing look at the U.S. Government and their treatment of soldiers? No. Is it a Michael Moore-like political Pandora’s Box meant to spark controversy and ire? No. Is it a small film about how the world can change on a dime, and how we’ll never be the same? Yes, and we think in this post 9/11 world, that that’s something we can all understand.- Paul Cuoco | Co-director | GLAZED
Film Production Blog "Glazed"
Glazed is Now Online. No Really...
Aug 29, 2006 12:41PM
Had a bunch of problems with the post below not working, but got the film up on You Tube. Hope you enjoy.
For a higher quality viewing you can also view it at the official website.
For a higher quality viewing you can also view it at the official website.
Glazed at Universal Studios
May 30, 2006 10:01AM
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED plays at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.
The film was very well received and I had a great group of supporters and friends in attendance.
I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
Please be sure to add your comments and ratings below.
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED plays at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.The film was very well received and I had a great group of supporters and friends in attendance.
I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
Please be sure to add your comments and ratings below.
Glazed Playing at the Third Annual Universal Studios Hollywood Team Member Film Festival
May 19, 2006 04:03PM
GLAZED has been selected as a finalist for the Third Annual Universal Studios Hollywood Team Member Film Festival. That's quite a mouthful isn't it. It is a film festival open to only employees of Universal Studios, who is my current main income.
The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
Directors Statement
May 17, 2006 08:06PM
There are times in your life when you feel very strongly about an incident, a circumstance, or a person. Things happen to you everyday that affect how you think, act, and react tomorrow. The world can change on a dime and usually will. This became extraordinarily evident to Jeff Loach and I during the production of Glazed. A film in and of itself about just that: the precariousness of life and love and sudden change. It was early in 2001, months before 9/11 that we first decided we wanted to make a film about American soldiers and the aftermath and continuing battles of its survivors. We wanted (in that world of relative peace) to remind people of what the American soldier has done for us over the years, and to think about what we are asking of our soldiers when we send them to war. The horrors they will have to endure and the psychological effects war can have upon them. And so, we crafted the story of Glazed, an exploration into the psyche of a veteran who in the blink of an eye, lost everything in his life, both at war and at home and its effect on him still years later. We went into production during the summer of 2001 with conviction, purpose, and a sense of responsibility. As we moved into post-production the unthinkable happened: 9/11. The entire world changed. Our feelings for our film changed. Our conviction and sense of responsibility changed. We began to question. Was this story appropriate now? Americans are uniting over tragedy, they don’t want to be reminded of what’s at stake when you wage war. So, we decided to shelve the project. By the winter of 2004, the world had changed again. The U.S. for the first time had invaded a country on a pre-emptive strike. The country and the world was now divided over whether or not we should have gone to war. The American people began to forget what we have asked our soldiers to do for our protection. The message of Glazed had become appropriate again. With renewed conviction, purpose, and sense of responsibility, we dusted off our tapes and files and carried on. We completed the film filtered through our changed eyes. Is the completed film a searing look at the U.S. Government and their treatment of soldiers? No. Is it a Michael Moore-like political Pandora’s Box meant to spark controversy and ire? No. Is it a small film about how the world can change on a dime, and how we’ll never be the same? Yes, and we think in this post 9/11 world, that that’s something we can all understand.
- Paul Cuoco | Co-director | Glazed
- Paul Cuoco | Co-director | Glazed
Film Production Blog "Inheritance"
Glazed is Now Online. No Really...
Aug 29, 2006 12:41PM
Had a bunch of problems with the post below not working, but got the film up on You Tube. Hope you enjoy.
For a higher quality viewing you can also view it at the official website.
For a higher quality viewing you can also view it at the official website.
Glazed at Universal Studios
May 30, 2006 10:01AM
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED plays at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.
The film was very well received and I had a great group of supporters and friends in attendance.
I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
Please be sure to add your comments and ratings below.
Last year, as I wrote below, INHERITANCE screened nearly 50 years to the day of the anniversary of the liberation of Buchenwald . This year, GLAZED plays at Universal Studios Hollywood on the brink of Memorial Day, fitting for a film that pays tribute to American soldiers.The film was very well received and I had a great group of supporters and friends in attendance.
I was a little disappointed with the projection system. The films all tended to be too dark, and the ambient light was too bright, but overall Universal put on a fun event. For those of you who attended, thank you all for your support and encouragement.
Please be sure to add your comments and ratings below.
Glazed Playing at the Third Annual Universal Studios Hollywood Team Member Film Festival
May 19, 2006 04:03PM
GLAZED has been selected as a finalist for the Third Annual Universal Studios Hollywood Team Member Film Festival. That's quite a mouthful isn't it. It is a film festival open to only employees of Universal Studios, who is my current main income.
The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
The awards ceremony will be held on Thursday, May 25 in the Globe Theatre at Universal Studios Hollywood. Tickets for non-employees are limited and I'm sorry to say I'm already out. But for those of you who work on the lot, all you need is an ID. Doors open at 6PM.
In addition to Glazed they'll also be playing the trailer for my next short film currently in post production.
If you see the film, please be sure to post your thoughts here. Thanks,
Paul
Directors Statement
May 17, 2006 08:06PM
There are times in your life when you feel very strongly about an incident, a circumstance, or a person. Things happen to you everyday that affect how you think, act, and react tomorrow. The world can change on a dime and usually will. This became extraordinarily evident to Jeff Loach and I during the production of Glazed. A film in and of itself about just that: the precariousness of life and love and sudden change. It was early in 2001, months before 9/11 that we first decided we wanted to make a film about American soldiers and the aftermath and continuing battles of its survivors. We wanted (in that world of relative peace) to remind people of what the American soldier has done for us over the years, and to think about what we are asking of our soldiers when we send them to war. The horrors they will have to endure and the psychological effects war can have upon them. And so, we crafted the story of Glazed, an exploration into the psyche of a veteran who in the blink of an eye, lost everything in his life, both at war and at home and its effect on him still years later. We went into production during the summer of 2001 with conviction, purpose, and a sense of responsibility. As we moved into post-production the unthinkable happened: 9/11. The entire world changed. Our feelings for our film changed. Our conviction and sense of responsibility changed. We began to question. Was this story appropriate now? Americans are uniting over tragedy, they don’t want to be reminded of what’s at stake when you wage war. So, we decided to shelve the project. By the winter of 2004, the world had changed again. The U.S. for the first time had invaded a country on a pre-emptive strike. The country and the world was now divided over whether or not we should have gone to war. The American people began to forget what we have asked our soldiers to do for our protection. The message of Glazed had become appropriate again. With renewed conviction, purpose, and sense of responsibility, we dusted off our tapes and files and carried on. We completed the film filtered through our changed eyes. Is the completed film a searing look at the U.S. Government and their treatment of soldiers? No. Is it a Michael Moore-like political Pandora’s Box meant to spark controversy and ire? No. Is it a small film about how the world can change on a dime, and how we’ll never be the same? Yes, and we think in this post 9/11 world, that that’s something we can all understand.
- Paul Cuoco | Co-director | Glazed
- Paul Cuoco | Co-director | Glazed
| Wed, November 8, 2006 | ||||
| Time | Festival | Event | Venue | |
|---|---|---|---|---|
| 10:00 pm | AFI FEST | Theater 14, Nov 8 10:00 pm | Arclight | |
Things notafraid said...
The TV Set | posted 25-OCT-06 |
I just saw this at the Austin Film Festival, and it was hysterical. Sigourney Weaver steals the whole movie. If you get the chance, go see this!
War & Truth | posted 02-JUN-06 |
As I said below, this looks great. I can't wait to see the whole film.
TOMORROW IS TODAY | posted 23-MAY-06 |
Looks great! Kevin C.W. Wong really made that camera sing. I saw this posted on DVInfo a few weeks ago as well and remember how impressed I was. Be sure to let us know the screening schedule.
Paul & Bill
Paul, Natalie, and Keith
Drew
Dara Cuoco
The Collaborators
Paul, Natalie, and Keith
Drew
Dara Cuoco
The Collaborators
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9 Comments about notafraid
Nov 29, 2006 08:52AM
Hi there,
I am venkat and i made a forum site for filmmakers .
since the site is new, i am myself collecting work profile , official websites of few involved in filmmaking to post in the site.If you are interested please post your work experience , profile or about your film projects at ----------> www.MyFilmmaking.com < ----------- in category that suits you.This is just a small effort .so the site may not be perfect and useful atpresent.It will take sometime for me to really make the site helpful for filmmakers.
thanks for your time
http://www.myfilmmaking.com
venkat
Nov 22, 2006 03:04AM
Keep up the great work on your project - if you get a chance check out my podcast at http://www.indiefilmnation.com to here the latest independent film news from around the globe!
Mike Smith
Oct 05, 2006 11:22AM
yeah no worries- i really did enjoy it's sensitivity.
Sep 26, 2006 04:25PM
"Inheritance" is really amazing.
May 30, 2006 03:03PM
Sorry I missed your screening. I've seen "Inheritance" and "Glazed" but would have loved to have seen them on the big screen. I look forward to seeing new projects by "Not Afraid." Paul is there any directing in your future?
May 23, 2006 07:11AM
Great blog Paulie,
Looks like the world class FSC man hands screen writing class is paying dividends. I'm looking forward to reading your posts.
Homey
May 22, 2006 04:15PM
I screened there last year on 4/9/2005. VIFFI's a fun little festival. They still feel a little fledgling, but they keep getting better. Did you have a good experience?
May 22, 2006 03:49PM
Hey!
I screened at San Fernando Valley too.... what day was yours???
May 20, 2006 06:50PM
Wow! You guys sound like you've got something really good going on. I like the vision. I like the "not afraid." I like the sound of the projects that you have accomplished already. (I like the canon XL1 in the picture :) )
I'm interested in how you guys run your studio. Do you make enough money from your films to support you and your employees? I'm new to the whole process and I am trying to get a feel for how things are done. If you want to offer any wise reccomendations or sage advice, just post a reply on my blog. You find me by searching for gator boy.
Leave a comment about notafraid