Shutter  By  David  Dacanay  

Shutter  By  David  Dacanay  

 Table  of  Contents  

 

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College Essay———————————————————————————

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Authors note

Shutter is a multi-leveled term that, depending on the circumstances, can be interpreted in different ways. For instance when used to describe someone who is scared and author may say: "One shudders to imagine what lay behind the mask." In other cases one may use shutter to describe a piece of furniture or the mechanism in a camera. However in contrast to its physical counterparts I have chosen to use the word shutter to metaphorically identify the glimpse into the film world. Much like how the shutter on a camera opens and closes revealing the scene for only a brief moment, so do the excerpt contained within the zine. The eight paragraphs I have chosen have display a brief but in depth look into the world of filmmaking and production.

Over the course of the semester, I have found that my ability as a writer has increased substantially. As a budding filmmaker and screenwriter, I have found myself, in contrast to the average teenager spending their summer vacation at the beach, slogging away at my keyboard attempting to finish my screenplays. The result of this being toward the beginning of my senior year, suffering from a common ailment amongst avid writers known as “The Block.” Symptoms include but were not limited to: “an inability to write, hair pulling, frustration, and the occasional nervous breakdown.” However as the year progressed the perpetual assignments along with the daily writing exercises facilitated in my ability overcome “The Block.” The four personal writings I have selected for the zine were chosen not only for their distinct images of filmmaking but also for their exemplary display of writing style over the last two quarters.

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Forgotten Hope

"Quiet on the set! Roll sound! Action!" The very grounds, on which those words were spoken, can only be described as inappropriate and erroneous. Yet their cruel memories never cease to disturb me. June 27, 2012, 8:23 AM Forgotten Hope day one. As the warm summer sun raises above the Ko'olau's, a heavy convoy of cars skid across the dew covered morning roads to a small rural neighborhood. Within the vehicles reside fifty actors, adorned in worn military attire each clutching a heavy caliber prop gun; their full appearance resembling that of a thrift store terrorist group. Accompanying them is a group of artists, eager for an opportunity to display their talents in the fields of writing and cinematography. However little do they know that this three-act narrative is about to become three acts of unnerving failure. Act 1; 9:00AM. One-third of the cast and crew arrive and begin setting up for scene 1-7. 9:30AM the director explains the scene to his actors four times because they had not even read the script. 11:30AM the rest of the actors arrive two hours post-call time! 12:30PM the rain disrupts shots and cause technical difficulties. At 2:00PM actors leave due to family business. Ten minutes later, the director calls a wrap leaving the shoot unsuccessful with less than two out of seven scenes completed. With little to no money left in the budget, the naïve yet confident director pushes for one more day in a desperate attempt to save his struggling investment. Act 2; Production issues and equipment problems have become an inevitable norm. Ranging from the cameras overheating to prop malfunctions, it seems as though the production has become the victim of a vicious cycle within an elaborate "purgatory." However, the worst is yet to come. Act 3; Sirens wailed through the streets, as police cruisers skid through traffic at a breakneck pace. Their flashing lights beaming through the heat wave of the blistering summer afternoon. In a flash, police emerge from their cars, weapons drawn, as they surround a small "militant" group armed to the teeth with "assault rifles." It was spectacular; the stage direction, the coordination, the

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believability, the very expressions on the actors faces! Except this was not a scene. By day three, residents of the area had taken notice to "suspicious" activities occurring within the past month. Unable to establish the difference between a film shoot and "domestic terrorism." Authorities were summoned with a cease and desist. Under the circumstances of the situation, police were ordered to disperse the film shoot. Due to the lack of proper shooting permits and the apparent "open display of firearms on a public road" the film was scrapped and ultimately forgotten. Although I will never fully cleanse myself of the mind-numbing hours spent on Forgotten Hope, the lessons I drew from that experience will stay with me. Being in a position of power I found that there was much more to being a director than "bossing" people around. I found that every film had a vision, and that only the director was able to comprehend it. Additionally, I realized that being the "boss" meant having to take responsibility for the failures of those below as well as my own. Balancing coordination, storyboards, organization, continuity, and scripts I learned that the director was required to anticipate the shoot at all times no matter how capable a crew. Today, I utter the same phrase with the same confidence minus the ignorance: "Quiet on the set! Roll sound! Action!" Striving to focus on my success rather than my failures has allowed me to grow as a filmmaker and a person. Yet I will never forget my Forgotten Hope. (Trait 1: Experience) Filmmaking is a divine trait with various aspects toward the production of a feature length or short piece. Like other art forms filmmaking follows basic rules and principles, which construct the foundation for the artist to follow. However unlike conventional painting or theatre, film has certain gray areas in which the rules can be broken or twisted in order to give a refreshing outlook on certain saturated topics. These ideals are comprised from both the success and failures veteran filmmakers are exposed to while in the field. This particular essay did a good job at exposing the true nature of experienced filmmaking versus initial.

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College Essay

Film, my passion, my soul, defines me. I received my first camcorder as a birthday gift. Although like most seven-year-olds, I was more interested in getting a bike or new pellet gun, I began producing skits in the backyard with my cousins. The footage was raw and dingy; the actors couldn’t remember lines; and general production value was meager. However in those hot summer afternoons fooling around with a cheap 35mm camcorder, I felt a connection, something drawing me toward it: a spark.

Freshman year I devised 3 productions: Lenses, Slender, and Forgotten Hope, which quickly became production nightmares. I struggled trying to produce overly ambitious scripts with few practical skill sets. The first cuts were completely embarrassing. Actors barely remembered their lines, pictures were washed out by exposure, and cameras forgot to record! I began questioning myself: “Should I quit?” The spark seemed to fade. That was until I met Lance Iwamoto, who offered me a place at the 2012 Student Television Network competition. I soon found myself on a plane to Dallas, where we worked for 16 continuous hours to write, shoot, and edit a short film or news broadcast. Hours were long and production was stressful, but by the end of the day my dream had once again become clear. I wanted to be a director. The spark had returned and with it a flaming passion.

In my third year of STN, I headed the smallest Mid- Pacific STN team to date. With only an 8-man squad to back me up, my team and I endured jeers from classmates claiming we would get eliminated on day 1. But we persevered, training for over 7 months, practicing and repeating until our execution was perfect. Finally on March 10, 2014 at 10:50pm the time had come; everything we had trained for, every meeting, every weekend, every moment of anticipation and calculation had come together, and it all fell upon me. As I sprinted through the night, I could feel the brisk Florida air brushing up against my clothing. Around me my fellow teammates along with an array of audience members cheered as I ran

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toward the drop box 2 blocks away. The run seemed an eternity, but upon busting through the convention center doors, I felt a great relief as the judge announced: “Mid-Pacific Institute has successfully submitted!” We were relieved that the contest was over, but even more, we were proud. Against all odds, against all doubt, our team had executed our mission with steadfast dedication and professionalism.

Although we did not place, we took pride in knowing that as a team, we didn’t let our classmates’ jeers get the better of us. Nor did we accept defeat at the hands of our own self-doubt. Rather we challenged the idea and defeated it not only to prove to those around us, but also to prove to ourselves. Film defines me. (Trait 2: Passion) I chose this essay because it talked about a part of filmmaking that is many times overlooked by the average movie goer: "passion." Beneath every great director or writer is a burning passion to tell a compelling story and entertain others. This particular essay displayed my own personal motivations in which allowed me to pursue film over the past four years. Furthermore I found that in contrast to most of my essays, this one did an excellent job incorporating both the aspects of filmmaking and my personal experiences into a single essay. Examples such as STN have impacted my life as not only a filmmaker but also a person and have allowed me to grow in both aspects.

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What it means to direct a movie

Making a movie is one of the most gratifying yet grueling tasks any human can attain. Requiring patience and an open mind, many find that the world of filmmaking is much more than a camera, tripod, and a few friends in their mom’s back yard. In fact on an average film crew there are over 15 independent jobs in which require a specially trained leader. Beneath these leaders is roughly around 20-40 people in which are divided into sub-branches corresponding to their respective crews. These crews are known as departments and are further instructed by the P.A. or production assistant. Much like a well-lubricated machine, each crew must work in tandem with one another to accomplish their task, only reporting to the P.A. in dire circumstances. Never the less the chain of command continues on to its inner mechanisms in which a single being takes control of every individuals lives for duration of the production; the director. Born of an iron will and the mental capacity of a prodigy the director must control every meticulous detail within a production. Serving as both a leader and the sense of instincts, the director must guide his crew throughout the production in order to portray what they desire. However as a wise man once said: "With great power, comes great responsibility." As an aspiring director I have enrolled in various classes that have exposed me to a wide spectrum of directing styles. Over years I have been able to utilize the skills accumulated through repetitious studies of Spielberg, Tarantino, and Bruckheimer. Furthermore due to the competitive nature of modern "guerrilla" filmmaking I have found myself in situations similar to those seen in the industry. A particular instance would be in the case of my first post-apocalyptic "blockbuster": Forgotten Hope. June 27, 2012, 8:23 AM, a date that shall forever live in infamy. As the warm summer sun rose above the Ko'olau, a heavy convoy of cars skid across the dew covered morning roads to a small rural neighborhood. Within the vehicles were fifty actors, adorned in worn military attire each wielding a heavy caliber prop gun; their full appearance resembling that of a thrift store terrorist group.

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Accompanying them were a group of artists, eager for an opportunity to display their talents in the fields of writing and cinematography. Unfortunately their visions as well as my own fell short of our expectations. The production was a flop, the actors failed to memorize their lines, the story was cliché, and the attitude toward the film was anything but positive. The end result being an unfinished film forgotten in a purgatory of shame and regret. From my experience as a filmmaker a good director must understand both the riches and detriments of being the leader. In the event that a production is to fail, the director must take it upon himself for the deterioration of the film. In fact within the industry it has been said that a director can make more mistakes in a minute than the average person does in a year. In the event that an actor gets sick, the director is wrong. In the event that the boom enters the shot, the director is wrong. In the event the budget dries up, the director is wrong. In the event that the movie is belated due to technical difficulties, the director is wrong. In the event that a animatronic T-rex fighting aliens burst through the studio doors, and takes out the lighting guy, the sound guy, the catering guy, and even the great- uncles-nieces-daughters twice removed son of the catering guy, the director is wrong. No matter what happens, if it went wrong on set, it’s the director's fault. This particular reason was why the term: "movie magic" became a popular phrase within the film industry. Although praised as a term to describe post camera editing, the true "magic" is within its ability to cover up the inevitable mistakes captured throughout the original shoot. In the event that a film succeeds within the box office or independent means of exhibition determines another fate for a director. A lavish fate of both respect and praise from peers, as well as fellow filmmakers commending the artist’s work. Similarly to a failure the director will take responsibility for their creation, receiving input and feedback from various sources examining their work. Like artists with a painting the director will give their default responses: "Thank you very much. It was a joy to make. We all really bonded on set." The director is the single most important piece of any production whether it is professional or amateur. Wielding both the power and the vision, the director must use the tools he is given to chip away the surface of uncertainty and slowly shape their masterpiece in a form that others may understand. Film is an empty canvas of endless possibilities and zero limitations but those of the imagination. As the great director Steven Spielberg once said: "I don't dream at night, I dream all day; I dream for a living." (Trait 3: Production) Production is possibly one of the most stressful parts of filmmaking in both the physical and psychological level. To the average person production of a film does not seem too difficult. "Write a script, get together, and shoot it, done." However in reality the stress levels experienced by directors both professional and amateur is equivalent to that of a lawyer losing a court case. The rule of: "productions will never go according to plan" is a well-known constant among the experienced filmmaking community. This essay does justice toward the phrase and therefore describes the hardships of a film crew.

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Fotga DP3000 Shoulder Rig Imagine being on a shoot in the middle of the forest, you’ve got a well written script, a proficient crew, and stable budget. Everything seems to be going perfect, but then like in any good story, tragedy occurs. “The ground is uneven; the crane can’t reach, the glidecam is broken! What to do?” You need a shoulder rig. Although to many the misconception of shaky cam gives the illusion that the cameraman is shooting handheld from within the action, much like at a sporting event or documentary. However, in contrast to popular belief the construction of a shaky cam film is actually captured through the use of shoulder rig. Conventionally a shoulder rig was developed for “on the go” reporters and reality TV in which required a fast but stable way to record spontaneous shots. Due to the increase in the use of doc style or documentary style camera work within film, the shoulder rig has become a powerful tool within the filmmaker’s arsenal. Professional grade shoulder rigs like most high-level pieces of equipment can range anywhere from $2000- $200,000 depending on the brand and quality of the rig. Assuming that most amateur or indie filmmakers cannot drop that type of money onto a piece of camera equipment, Fotga has delivered the same professional quality into a cheaper more compact device. Constructed of a full carbon fiber rod rail system, the Fotga DP3000 is one of the most reasonably priced and effective pieces of equipment on the market for the indie filmmaker. The rig features an adjustable full steal DSLR mounting place in which is capable of housing a variety of cameras such as the Canon 5D series, T3i, 7D, 60D, and 1D. The ergonomic shoulder pad as well as the carbon fiber build, easily makes the Fotga DP3000 one of the most comfortable and lightweight shoulder rigs amongst indie filmmakers. Furthermore the 15mm rod rail system allows for easy access to a variety of third party pieces including the professional grade Red Rock Micro series. The versatility of the rig allows for maximum usage throughout a beginning or low budget filmmakers career and ensures the user a simple ready to go rig system.

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As an independent filmmaker myself, I can attest that the Fotga DP3000 was an essential tool within my latest production Forsaken. Due to the circumstances of the film -hiking up a mountain, as well as filming on uneven territory -the shoulder rig proved itself of much benefit. Providing stable and precise shots, as well as allowing the cinematographer to film from locations otherwise inhibited by tripods or cranes, made the rig a successful asset. The Fotga DP300 is a great choice for the beginning or amateur filmmaker’s arsenal. The rig delivers the raw stability of professional grade cinematographer and allows the user to add a cinematic feel to their independent works. Retaining the comfort and stability of a professional level shoulder rig, but a price within reason of the average filmmaker, the Fotga DP3000 is the rig for that ambitious filmmaker, with a not so ambitious wallet. (Trait 4: Technical) As an independent filmmaker I am aware of the costs and budgets required to create a successful film. Although the essay lacks in the personal experience factor, what I find that it thrives in is how the essay connects with the reader. For instance in the essay I state multiple times that the average filmmaker is many times incapable of buying professional grade equipment. Therefore by stating this I have given the reader an alternative to this unsettling dilemma. Furthermore I found that unlike my other writings in which incorporated an intimate personal statement; this essay was formatted like a formal review in order to sell a product on a public level.

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Be Creative and Original

Creativity is an essential skill for the professional writer, especially in screenwriting. Too many aspiring writers don’t understand its importance. Ideas are king in Hollywood. Anyone who has read hundreds of scripts and listened to thousands of pitches could tell you that most of them are derivative of other movies, with familiar characters, uninteresting ideas, and clichéd plot twists. Beginners tend to develop the easiest idea that comes to mind, rather than working hard to generate original ones. Tony Gilroy: Having a great imagination is 98 percent of the work. Originality is the job. It’s what you do. Craft is craft, but it’s imagination that puts you on the map. I’d rather work with someone who’s imaginative with no idea what he’s doing than an experienced writer with a limited imagination. -Excerpt from 101 Habit of the Successful ScreenWriter, Karl Iglesias, 2011 (Pg.28)

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(Trait 5: Creativity) The truth of the matter is that Hollywood is out of ideas. It has been said many times that In this current generation most film ideas have been done and many times the cinema has been guilty of repackaging the same garbage. However I particularly found Mr. Iglesias' response to the matter refreshing from the monotone drawl of usually film critics and writers. By admitting that Hollywood repackages ideas, Mr. Iglesias has embraced the idea of being "different yet cliché." I find this powerful because in many cases successful screenwriters do this because it give the audience something they are comfortable with, but add a new spin to it. For instance the Hunger Games series versus The Running Man.

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You and your "What is it?"

All good screenwriters are bullheads. There. I said it.

But I mean it in a nice way! Because if there's anyone who understands the occasional arrogance of the screenwriter, it's moi. To be a screenwriter is to deal with an ongoing tug of war between breathtaking megalomania and insecurity so deep it takes years of therapy just to be able to say: "I am a writer" out loud. This is especially so among the spec writing crowd I liked to hang with. We come up with our movie ideas, we start to "create," we SEE it so clearly that by the time we're writing that sucker, it's too late to turn back. We're going to bullhead our way through this script no matter what anyone says. But I am suggesting you say "whoa" to all that. I am proposing that before you head off into you FADE IN, you think long and hard about the logline, the title, and the poster. And even do some test marketing. -Except from Save the Cat, Blake Snyder, 2005 (Pg. 11) (Trait 6: Writing) I chose this excerpt from the book Save the Cat because of its unique writing style. Being that the book is supposed to be an educational tool for the budding screenwriter, Mr. Snyder used an interesting method of writing as a personal statement in contrast to an instruction manual. Furthermore the snarky yet quirky attitude displayed by Mr. Snyder through first hand experience makes the passage all the more worth reading. Mr. Snyder’s work embodies the theme perfectly as a snapshot into the world of screenwriting.

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Saving Private Ryan Review

A main theme throughout the beautiful story is brotherhood. As the D-Day squad travels further

and further behind enemy lines they are thrown into a bunch of treacherous situations, most of which involve fighting off German soldiers, and to make matters even worse the squad is outmanned and outgunned most of the time. Right about now you might be asking yourself: “Why would they put so much at risk to save just one soldier?” Some of the soldiers in the film asked themselves the same question. And they started to question their orders. Well when you watch the movie you will see. "In Washington, D.C, at the U.S. War Department, General George Marshall is informed that three of the four brothers of the Ryan family were killed in action and that their mother is to receive all three telegrams in the same day. He learns that the fourth son, Private First Class James Francis Ryan, is a paratrooper, and is missing in action somewhere in Normandy. General Marshall, after reading Abraham Lincoln's Bixby letter, orders that Ryan be found and sent home immediately." (stolen from Wikipedia, there was no other way to explain it). Essentially this sequence of events is what sets the tone and the story for the whole movie. - Amazon Review, David Foy (Trait 7: Narrative Development) The topic within this particular excerpt made this essay enjoyable to read. Being that Saving Private Ryan is one of my all time favorite films, I found that the summery like review of the film gave a refreshing look on the classic tale. Throughout the passage there were distinct points in which the writer displayed narrative development of either the character of Private Ryan or the story of the squads travels. Furthermore I found that the writing style was unique. I could tell that the writer wanted to give an in depth overview of the films events, which in contrast to my own essays gave a general outlook on the film. However I feel a personal look on the film could have been desired.

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Interstellar Review

Christopher Nolan's science fiction masterpiece Interstellar is without a doubt one of the greatest space films of all time. It is possibly one of the greatest films of all time to be honest. It rivals films such as Apollo 13, Stanley Kubrick's 2001: Space Odyssey, etc. Some may say Interstellar is a movie about "Space" or "Science" and one of the genres it is listed under is Science Fiction. Yes, there is a lot of science involved in it but there is so much more to the film than just space and science. Christopher Nolan is known for his non-linear storytelling, and puzzling plot lines. I'll be honest it seemed confusing at first, but Nolan has a way of being subtle about certain details in the story that point and hint at different things which in turn make the story easier to understand. It is easy to get confused or lost while watching the film, however if you pay attention to detail and give the movie your full attention in general it is hard to lose interest. A superb story, followed by brilliant writing, beautiful acting, mesmerizing cinematography, and topped off with the direction of a true Genius yes I said genius Interstellar will keep you interested and at the edge of your seat biting your fingertips for the full two hours and forty-nine minutes. -interstellar review, David Foy (Trait 8: Critical Feedback) Part of filmmaking is being able to understand and accept feedback from various sources whether it be positive or negative. In many circumstances most artists feel it would be best to receive only praise from those who view their films. However negative feedback is a good way to collect data as to what could be improved within the next film. I chose this excerpt because I felt that the write was extremely passionate toward the film of interstellar. The passage reflected not only a shallow summary of the story, but also the magnitude of the films ability to project a story through personal statements.

 

Expository  Writing  Period  6