Two of the biggest lessons that I learned in filmmaking came on the first film I worked on… Boxing Helena.
The first was from the line producer. On the production assistants’ first day he called us in and said “Keep your ears open and your mouth shut unless directed.” Over the next few years I followed that advice and as film students came and went voicing their opinions, talking about when they made their film & how they would do it this way, etc.. Carrying a chip on their shoulder that they knew something better about how to make films… I learned… Lots. I took every job (to this day when you look at people’s resumes I gained so much from cleaning toilets and reading scripts to assisting everyone from producer to make-up & set dressers… To eventually the jobs I had worked toward quietly at all my life, acting, (directing) & writing). To this day I continue to watch as the young people (& many older) who succeed at being a FILMMAKER or become ‘experts’ at it…are the people who try harder to learn while they work, more than they try to explain their opinion and their expertise (most experts selling their wares haven’t really spent enough time making things before they start trying to be experts). Film & TV …video, complex, collaborative media… is always a learning lesson. There are very few experts.
The second lesson was from Carl Mazzocone, the producer who gave me so much of my initial breaks in the industry. One day I offered to be the PA at the 5am dailies viewing (in addition to my 12-13 hr days on the set). The projector broke down the first day. I had no idea how to fix it. Carl came running back and, like a scene from Cinema Paradiso, he turned to me as the strip started moving again and said “If you want to be good at storytelling, you need to understand every aspect of the process… From the wheels that run this projector to the legal ramifications when pen hits paper.” It was the exact opposite of what so many people said in the industry. Again, I went on to take a job at almost every position in filmmaking. How a broadcast works helps me understand editing… and that helps me understand acting (both my own & others’) & vice versa. It all helps my writing & directing.
Today, the new interface, the web and story structure has made that second lesson even more so… The past 5 years studying programming, the platform battles, the social interface & processes are informed by those film jobs. (& yes, my studies in social and interpersonal communication architectures at Ithaca are still a big factor in how we build) …
How we frame, how we store, how we react, how UX = production design… Understanding all of it is more important now than ever in building story experience.
When audience can now step in and touch a story… When the user sometimes just wants to be an audience member.. & knowing the rhythm of the difference… Means you have to understand ALL of the parts.
As I have said ad nauseum for 7..8 years; Until we change the revenue model for media from make more money by limiting to make more money by spreading the actual media, CISPA, etc. will keep coming up in some form until it passes. I have been working for ten years to change that model from restrict to spread. Storycube structure with organic integrated retail that is precedented with better, closer retail flow opportunity and lower up front risk using the plurality of screen interface to minimize obtrusiveness with layers of unobtrusive hypervideo/audio/AR; Is the model that will do that. Until then the content industry (the second largest export industry of the US) will not relent on attempts to change the law. & sooner or later they’ll win if the model does not change sooner
Using the Wynter Transplay with the Hyv link integration to explain tonight (for Storycube Hyv mtg) how eye tracking will be a very very cool tool for character reaction & audience UX/UI. To hide secrets but tease them or to hunt for the secondary narratives etc.
If a filmmaker or a group of filmmakers don’t understand the actor’s concept of ‘action via reaction’ & what drives that… (Both on a complex interaction and arrays of emotion…) They are building stories for yesterday’s screen not tomorrow’s touchable one. (Same goes for game devs and journalists)
The future of the Internet, Media & IoT is not about Z.
The most important transformation in film and television to the future is not in changing director’s abilities first… It is first & foremost in the screenplay. So many are starting at h or t or z… When it all starts before a.
If you don’t have control of script/story structure at inception you are (9x out of 10) doing interactive TV/film like a gimmick hypervideo layer.
Along those lines …Imho …this presentation (below) by Danny Hillis regarding “Plan B” …is related. A new flow of communication, a new grammar and format for message… One that sees the audience as an actor…is inherently needing a different architecture than the present internet flow… Therefore… Plan B. for the internet… ..is baked into Hyv (hypervideo/hyperaudio,AR layered production and delivery systems) & Tu-Is (Convergent ‘Transmedia user interface system’). Another reason Why Hyv & Tu-Is are more of the future and matter more than people understand … The safety of hybrid, interoperable structures delivered through multiple pipes and coming from layers of sources.
RT @allthingsd: #ATDWeekInReview: “We Need a Plan B for the Internet,” Warns Internet Pioneer Danny Hillis http://t.co/cHUhR9BmwD
Portsmouth is hands down the coolest small city in America. If you shrunk San Francisco down, gave it better beaches, more trees, kept the same range of restaurants, theater, and outdoor activities, a better Christmas, Halloween, Easter, 4th of July, dropped their taxes through the floor, moved it next to Boston/Cambridge, gave it more access to skiing, the cape, the vineyard, NYC, gave them all great professional sports teams to route for…and had every Presidential candidate accessible every 2 -4 years… You might come close.