JEFFERY'S BLOG

At the WIP screening I wanted to show my hard work, creative style, technical skill, and content, but it was clear to me afterwards that I had made a mistake by trying to create the semblance of a completed project. I left in the bad pans, shadows, and flat shots that were not going to be included in the edited piece.

I should have NOT included sound, or put the rushes in a linear sequence, because it was confusing, and presumed to be complete, instead of what it was; loosely edited, raw footage, without narration. I also attempted to express the importance of my work with my opening statement about my not being able to speak at age 6, or leaving home at age 12. With the reading from Black Elk Speaks (Niehardt), I was attempting to validate my cultural, and social silencing, indicating that finally I am able to break free of that silencing by getting an education with quality professors, students, and the use of proper equipment, and by being the first person in my family to have earned a college degree. I was attempting to tell the power behind the spirit horse, instead of leaving that interpretation for later, when the images of the scene were viewed, in fact I have not even shot that scene yet, but I will this weekend.

In making these statements, before the screening, I made the error of forcing a narrative, instead of allowing the visual work to say it. In adding two songs that mean so much to me; Hearts Mistral Wind, and Fleetwood Mac’s Chains, I again took the attention off the visual work. Both songs fit perfectly in tone and effectively tell part of the story, and I will use them in my final cut, (both will come from a source and not be background music). What also was not evident was that I would sing these songs when I would walk alone and they helped me feel less afraid, and that will be made clear in the completed film. It was premature, over-eager, and I know I was a little overly sensitive to the critiques but I was listening, and want you to know that I heard you when you reminded me of that larger point.

“I WILL NOT LET THE NARATIVE INTERFERE WITH OR DILUTE THE VISUAL IN MY FILM”

In filmmaking there are many different styles, and photographic properties that include tone, speed, sound, and perspectives created by the filmmaker. In The Wizard of Oz the Technicolor scenes suggests a fantasy world in contrast to the black-and-white of Dorothy’s hometown in Kansas. In Wings of Desire (1987), Wim Wenders uses black-and-white that to him represents reality better then color. I strongly believe that the individual choices of the filmmaker, including texture, color, and sometimes even quality, (say I wanted to use a Pixelater in some scenes), need to be taken into consideration and respected, even when we don’t happen to agree, as long as the technical aspects and rules of cinematography are followed. I think it can all be too systematic, and conveyor-belt-ish, if we do not break free of the rules sometimes. This is a thin line to walk for certain, and I do not pretend to be an authority on the issue, but I know when I have a shot that captures what I want, and I have studied film theory closely.

That said, I want you to know how much I appreciate your sharing your work and your suggestions. I am editing out ANY shots that are not technically right in tone or that seem unusually flat in comparison with the other shots. Julian said, (thank you Julian), “you can’t blow us out of the water with some shots and then give us the less then perfect shots.” (Julian happened to like the raw look of the shark shot through the wrinkled sheet in the dream sequence, but like most people, did not like the full skeleton, or some of the street shots). Your absolutely right, and in my hurry to get enough footage to show I have been working hard, I included these less then perfect scenes, I won’t make that mistake again, and I learned an important lesson, one that Sally has reprimanded me for in the past, and that is to never offer, or hand in anything that is not clean, or complete. I have three more scripts I am working on right now, writing down ideas as I work on completing this project, and this particular film will not end with this one translation. Shark Dreams will eventually be shot in 16mm Wide, and be much longer, much bigger.

I am proud of the work I have done, happy to be in this program, and am redoubling my efforts to make Shark Dreams a good work. I have three main scenes to shoot before this quarter ends. I do not want to be shooting next quarter, and so I have to stay hard at work. I am excited to see everyone else’s work this Thursday and Friday. Thank you to those who made comments about my “not being slick,” because what I mean by that is the question of work that is authentic. Many of you have gotten to know me personally, and know the motives and heart behind my work. My art in the mise-en-sce’ne is an important component in my work, and your input about this is important to me. I did take the time to speak afterwards with the other students who screened their work on Friday, giving my own personal perspective, knowing we must always be critical in a way that is not condescending or deflating, but supportive.

P/S There will be more surprises in my film, including some amazing shots through a porthole that I hope will blow you away!

Jeffery