I design my films the following way.
If it`s for a club competition. I have a small book and a page for each competition. This is my ideas book. I could be watching television or a film and an idea will come into my head. It will either be an idea for a new film or it will be a new tecneque or effect I want to try. Something different and new. If I don`t have this book then I tend to forget and a brillient idea is lost to the world!
When I have a few ideas for a film, I then work at it on the soffa and come up with more ideas on this one film and ways to actually film it with different types of shots. I like to try and include something in the film that is new or totally out of this world either an effect or subject. My idea is that club members who watch the film will get the `WOW` effect and say in the judges comments `Another Ian Gardner Film!`. It also gives me something to work for and keeps me interested and on my toes.
When I film, I alter my ideas and tend to film the same shots from different angles. That way, when I edit I can choose the best shot or make the scene longer.
When I edit (which really enjoy), again ideas come into my mind and the finished film can be totally different from what I wanted.
Going back. I`m into `Dads Army`, and I saw one episode and there was a scene in it and an idea came into my head. I then worked on it thinking about me and the club and one of my best films. It had me prepairing to meet the Queen for my Knighthood, because she liked one of my films!
Just a 30 second clip from Dads Army was turned around and involved me and it lasted 8 minutes.
It`s great fun if you plan films. It takes all of you and you get involved more. It keeps your brain and mind active. My films may not be winners on a national level, but I and my followers will have a right good giggle while doing so.
This is what it`s all about.
Ian Gardner
How do I make a film ? And You ?
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FILM THURSO
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Dads Army- brilliantly funny and frighteningly true! Thank god the enemy never got to our soil- we'd have been done for!
But anyways, I don't set out a plan for when or where a film might be seen or shown. The movie in it's own right is the focus of attention.
Ideas come from all around, possibly a place, small activitey, a comment, a painting, a peice of music or just a mad notion whilst trying to avoid splash-back in the loo! Music is one of the strongest sources of story suggestion especially intrumental or orchestral scoring. Sometimes things come by pure chance like "Picture House Gazetteer" which started out as topical filming of a local airsoft group and ended up being a 1950s style comedy newsreel.
I quite often write satire of the basis of anything that enters an area I call 'human stupidity'. This is where other folk pontificate some bit of crassly stupid and just plain wrong tit bit of "wisdom" yet they believe there is nothing to question their words. ( This means I might sometimes write about myself- after all why not, it's all about me me me. See sun and moon on new solar path!)
Stories are drawn from local legends or events and small true stories can become element within a larger fiction work. The places in Caithness are very provocative knowing them to have long histories.
New ideas for effects and such can lead to other films. I find writing one picture often leads to another. Every idea creates branches to different unrelated stories. I have a full length feature film script which is part of 4 films. Writting the first went full in the knowledge that 3 more were to follow but not everything was known for each following film until the first went into writing. Each story has it's questions and answers and they develope along with the first script. I am now writting the second story and it is giving ideas for the next two stories.
Even a Pot Noodle has left a title in my head that I will eventually get down to writing but there's still a feature comedy to finish writing on top of the other 3 features in writing now plus the 3 featurettes that are ready for filming but needing cast.
But anyways, I don't set out a plan for when or where a film might be seen or shown. The movie in it's own right is the focus of attention.
Ideas come from all around, possibly a place, small activitey, a comment, a painting, a peice of music or just a mad notion whilst trying to avoid splash-back in the loo! Music is one of the strongest sources of story suggestion especially intrumental or orchestral scoring. Sometimes things come by pure chance like "Picture House Gazetteer" which started out as topical filming of a local airsoft group and ended up being a 1950s style comedy newsreel.
I quite often write satire of the basis of anything that enters an area I call 'human stupidity'. This is where other folk pontificate some bit of crassly stupid and just plain wrong tit bit of "wisdom" yet they believe there is nothing to question their words. ( This means I might sometimes write about myself- after all why not, it's all about me me me. See sun and moon on new solar path!)
Stories are drawn from local legends or events and small true stories can become element within a larger fiction work. The places in Caithness are very provocative knowing them to have long histories.
New ideas for effects and such can lead to other films. I find writing one picture often leads to another. Every idea creates branches to different unrelated stories. I have a full length feature film script which is part of 4 films. Writting the first went full in the knowledge that 3 more were to follow but not everything was known for each following film until the first went into writing. Each story has it's questions and answers and they develope along with the first script. I am now writting the second story and it is giving ideas for the next two stories.
Even a Pot Noodle has left a title in my head that I will eventually get down to writing but there's still a feature comedy to finish writing on top of the other 3 features in writing now plus the 3 featurettes that are ready for filming but needing cast.
Re: How do I make a film ? And You ?
[quote="Willy"]Some weeks ago Dave Watterson wrote : "What surprised me on first contact with the movement is how little time most clubs spend making movies or eventually talking seriously about how movies are made. So much attention seemed to be paid to technicalities.
First step
It's good to hear, my friends, how you usually find inspiration for your films. As I already told you most of the time I read short stories, not only for me but also for filmmakers. For instance I show them cartoons that I have found and I ask them if they are not interested in making one minute movies about them. The cartoon is always the plot of the short film.
Mini shooting-list
One clubmmeeting I showed a cartoon on the large film screen in our clubhouse. I asked my friends to look at it and to make a mini shooting-list for a one minute film. I told them to think about the structure of the story (step two) and to write down 20 to 25 shots. The stories were all a bit different, but the plots were the same. There were powerful stories. There were weak ones.
An interesting exercise
It seemed to be a very good exercise. I felt that I had encouraged my friends to make short films in the future. Last week one of them had a surprise. He was very proud. He showed a one minute film that he had "invented" and made himself. He was happy, but I was happy too. Maybe it will even be a one minute film for BIAFF next year because there are no dialogues in it. There is no language problem.
Esiotrot
An other example is "Esiotrot". When you read this word from the right to the left then it means "Tortoise". "Esiotrot" is the title of a short story written by Roal Dahl. I made a summary of it, I translated it and I gave it to my friend Urbain Appeltans. He made a wonderful film with it. Have you ever seen "Prinsje" ? It means "Little Prince". "Little Prince is a tortoise. Of course you must always be sure that making such a film is feasible. For this film we needed about 10 tortoises, but I knew that Theo, one of my clubmates, breeds tortoises in order to sell them. So Urbain was very lucky. He became a supporting member of my club for some time. He lives about 120 kilometres from us in a different region, but he was happy to be helped by some members of my club. His film "Prinsje" won an international medaillion. Urbain was proud, but my own clubmates were very proud to have made a valuable contribution to this wonderful story.
Helping each other
Cooperation between different clubs must also be possible. It's good to help other friends and it's also good to be helped - even by friends, even friends who don't belong to your own club.
First step
It's good to hear, my friends, how you usually find inspiration for your films. As I already told you most of the time I read short stories, not only for me but also for filmmakers. For instance I show them cartoons that I have found and I ask them if they are not interested in making one minute movies about them. The cartoon is always the plot of the short film.
Mini shooting-list
One clubmmeeting I showed a cartoon on the large film screen in our clubhouse. I asked my friends to look at it and to make a mini shooting-list for a one minute film. I told them to think about the structure of the story (step two) and to write down 20 to 25 shots. The stories were all a bit different, but the plots were the same. There were powerful stories. There were weak ones.
An interesting exercise
It seemed to be a very good exercise. I felt that I had encouraged my friends to make short films in the future. Last week one of them had a surprise. He was very proud. He showed a one minute film that he had "invented" and made himself. He was happy, but I was happy too. Maybe it will even be a one minute film for BIAFF next year because there are no dialogues in it. There is no language problem.
Esiotrot
An other example is "Esiotrot". When you read this word from the right to the left then it means "Tortoise". "Esiotrot" is the title of a short story written by Roal Dahl. I made a summary of it, I translated it and I gave it to my friend Urbain Appeltans. He made a wonderful film with it. Have you ever seen "Prinsje" ? It means "Little Prince". "Little Prince is a tortoise. Of course you must always be sure that making such a film is feasible. For this film we needed about 10 tortoises, but I knew that Theo, one of my clubmates, breeds tortoises in order to sell them. So Urbain was very lucky. He became a supporting member of my club for some time. He lives about 120 kilometres from us in a different region, but he was happy to be helped by some members of my club. His film "Prinsje" won an international medaillion. Urbain was proud, but my own clubmates were very proud to have made a valuable contribution to this wonderful story.
Helping each other
Cooperation between different clubs must also be possible. It's good to help other friends and it's also good to be helped - even by friends, even friends who don't belong to your own club.
Willy Van der Linden
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FILM THURSO
- Posts: 241
- Joined: Tue Feb 20, 2007 1:37 pm
- Location: Thurso
- Contact:
There are some interesting ideas there alone Willy. A production excersise I recommend to our team is to 'chance-shoot', which is simply to go out and film an event or maybe a sport like Surfing or Skateboarding. Essentialy they should film something common and ordinary and then make something completely un-expected from it.
Earlier this year I made a surf film called "Thurso 5-9" which is pretty average in it's 36 minutes as surf films go. It has fast pace and a rock music soundtrack. However the last part of the film is a montage of images set to an action soundtrack from Doctor Who. The music is completely different in style to a regular surf movie. This is closely followed by a mellow soft track with only 3 shots lasting just over a minute in slow motion giving a very different feel at the end of the film as the titles scroll alongside.
Surfing and Skating are two action sports that can be presented in very different ways on screen. They are a good way to learn editing, pace and screen appearance.
Activity sports like paint ball or airsoft can lend themselves to story creation. No doubt I've mentioned "Picture House Gazetteer" which arose out of chance-shooting the local airsoft group. It evolved very quickly from looking at all the random bits that we got and was turned into a newsreel about rebels fighting a dictatorship for control of some mushrooms in a jungle! When we catch something else like that there will be another Gazetteer. It helps to film anything that's about at the time but has nothing to do with the main activity.
Something I always found fasinating is the suggestion of things rather than their actual presence. Like in oriental art where a scene across a landscape only illustrates the areas where the people are engaged in their actions. The space between each place is blank. In music you can sometimes find it played where the at the point you epect the next beat of the note it isn't there but as the music plays you still feel the presence of the absent note because you expected to hear it.
I like the idea of doing a two color film. Willy you mentioned catoons. I have some old music sheets and books from the 1920s and 30s and in them some pages are printed in what is called "spot color". It is done in two ways, as straight black printing on the page with key picture elements filled in a single extra color, red, yellow or orange are common colors. Alternatively the pictures may be printed as semi color in two primary elements. Red/Green is the most common but red/blue also exists. I saw an old animation from the 30s on TV years ago. It was a faded unrestored print and had the limited spectrum from red/green primaries but I found the abscense of the third primary gave it an added interest in it's visual appearance.
I've done one movie in the style of early silent films in monochrome but would love to try a movie in the style of early color pictures. The absence of a thing can often have a greater impact than actually seeing it.
Earlier this year I made a surf film called "Thurso 5-9" which is pretty average in it's 36 minutes as surf films go. It has fast pace and a rock music soundtrack. However the last part of the film is a montage of images set to an action soundtrack from Doctor Who. The music is completely different in style to a regular surf movie. This is closely followed by a mellow soft track with only 3 shots lasting just over a minute in slow motion giving a very different feel at the end of the film as the titles scroll alongside.
Surfing and Skating are two action sports that can be presented in very different ways on screen. They are a good way to learn editing, pace and screen appearance.
Activity sports like paint ball or airsoft can lend themselves to story creation. No doubt I've mentioned "Picture House Gazetteer" which arose out of chance-shooting the local airsoft group. It evolved very quickly from looking at all the random bits that we got and was turned into a newsreel about rebels fighting a dictatorship for control of some mushrooms in a jungle! When we catch something else like that there will be another Gazetteer. It helps to film anything that's about at the time but has nothing to do with the main activity.
Something I always found fasinating is the suggestion of things rather than their actual presence. Like in oriental art where a scene across a landscape only illustrates the areas where the people are engaged in their actions. The space between each place is blank. In music you can sometimes find it played where the at the point you epect the next beat of the note it isn't there but as the music plays you still feel the presence of the absent note because you expected to hear it.
I like the idea of doing a two color film. Willy you mentioned catoons. I have some old music sheets and books from the 1920s and 30s and in them some pages are printed in what is called "spot color". It is done in two ways, as straight black printing on the page with key picture elements filled in a single extra color, red, yellow or orange are common colors. Alternatively the pictures may be printed as semi color in two primary elements. Red/Green is the most common but red/blue also exists. I saw an old animation from the 30s on TV years ago. It was a faded unrestored print and had the limited spectrum from red/green primaries but I found the abscense of the third primary gave it an added interest in it's visual appearance.
I've done one movie in the style of early silent films in monochrome but would love to try a movie in the style of early color pictures. The absence of a thing can often have a greater impact than actually seeing it.
When I was a member of a cine club in the UK (about 35 years ago) it was divided into four film production groups, Alpha, Beta, Gamma and Delta and a new member was assigned to a unit. So when I joined I found myself a member of Gamma Group. This formed the basis of intra club competition and each group had a mix of skills which proved an excellent basis for learning. We took it in turns to work at different jobs during our productions. I am still in touch with one of the members who went on to be a script clerk (continuity girl) for a production company.
Our intra club productions were usually based on a non-specific subject, I well remember "The Key", which we shot in black and white with the scenario constructed over much argument and discussion. Sadly now lost.
This approach "forced" members to play some active role in film making and produced a lot of laughs and even some fairly decent films.
This made club membership well worthwhile and I can't remember an occasion when any of the groups failed to produce something. We also got a lot of publicity in the local newspaper as we supplied them with still shots, usually of the "what's happening here?" variety. The most memorabble being a film shot in an abandoned sand pit with a door in a frame standing in splendid isolation in the middle of nothing. The film was titled "I Sorrow Most" and was the subject of much analysis.
Great learning experience
Ned C
Our intra club productions were usually based on a non-specific subject, I well remember "The Key", which we shot in black and white with the scenario constructed over much argument and discussion. Sadly now lost.
This approach "forced" members to play some active role in film making and produced a lot of laughs and even some fairly decent films.
This made club membership well worthwhile and I can't remember an occasion when any of the groups failed to produce something. We also got a lot of publicity in the local newspaper as we supplied them with still shots, usually of the "what's happening here?" variety. The most memorabble being a film shot in an abandoned sand pit with a door in a frame standing in splendid isolation in the middle of nothing. The film was titled "I Sorrow Most" and was the subject of much analysis.
Great learning experience
Ned C
ned c wrote:When I was a member of a cine club in the UK (about 35 years ago) it was divided into four film production groups, Alpha, Beta, Gamma and Delta and a new member was assigned to a unit. So when I joined I found myself a member of Gamma Group. This formed the basis of intra club competition and each group had a mix of skills which proved an excellent basis for learning. We took it in turns to work at different jobs during our productions. I am still in touch with one of the members who went on to be a script clerk (continuity girl) for a production company.
This seems to be very interesting, Ned. However,there are not enough members in my two clubs to divide them into groups. That's a pity of course, but I think it's like that in any other club in my own country or abroad.
Third step
As I already told you I first do some research and afterwards I make a scenario. This is followed by a script. I think it's good to ask some friends to read the script in order to make any suggestions. The third step is finding locations and a cast.
When I intend to make a travelogue I write messages to pubs, restaurants, historic houses etc. in order to ask them to get the permission to film on these locations. That's not always evident. I live not far from a castle where the Dutch anthem was composed, the "Wilhelmus". Oh dear, I would have only got the permission after having bought some books about the castle. I would also have to give a tip to the man who would lead me through the castle.
In England, on the contrary I could film in Sudeley Castle without any problems. I had seen a beautiful picture of the tomb of Catherine Parr, sixth wife of Henry VIII. That photograph was taken from a special angle. Therefore I asked the permission to get into the crypte. A servant opened the door for me and I could stand on the other side of the tomb. My wife helped me with the lighting. I was very happy and I could take the best shots.
Using a tripod in Egypt
So after all. If you do not ask the permission then you won't get it. Sometimes people are willing to help you. Sometimes they are not. I think you must always try. Anyway it is obvious that it is getting very difficult to film on certain locations with a tripod. Many friends have already told me that in Egypt for instance it is not possible anymore to film graves using your tripod unless you pay for it.
Willy Van der Linden
Willy, You talking about permission to film reminds me of one of my films called `Rememberence`.
Our Queen (God Bless Her) had here Goldern Wedding Annerversary and in the Solent we had a Review of ships, aircraft etc, from our country and from around the world. We have a Pier that is a half a mile long sticking out into the Solent in Ryde. Due to Health and Saftey, (All excusses given concern this, don`t they. I hate H and S!) Ryde Pier was closed to the general public except for passengers for the ferrys. Anyway, I tried to get on and I succeeded, but I had to get permission to film at the pierhead. I was refused. I explained that I was a member of the IOWVCC. I have even got a card to prove it! But no, this diddn`t work. I had to film the actuall day on the beach. It came out quite good as I had alot of croud shots and people dressed up for the occation in Union Jack stuff with also the bands etc.
I did manage, the day before to go down the pier as there was a dress rehursal of this big event so I got planes landing on the carriers and helicopters etc.
Did I tell you the story of how I went on a location shoot, forgetting to take any tapes!
Our Queen (God Bless Her) had here Goldern Wedding Annerversary and in the Solent we had a Review of ships, aircraft etc, from our country and from around the world. We have a Pier that is a half a mile long sticking out into the Solent in Ryde. Due to Health and Saftey, (All excusses given concern this, don`t they. I hate H and S!) Ryde Pier was closed to the general public except for passengers for the ferrys. Anyway, I tried to get on and I succeeded, but I had to get permission to film at the pierhead. I was refused. I explained that I was a member of the IOWVCC. I have even got a card to prove it! But no, this diddn`t work. I had to film the actuall day on the beach. It came out quite good as I had alot of croud shots and people dressed up for the occation in Union Jack stuff with also the bands etc.
I did manage, the day before to go down the pier as there was a dress rehursal of this big event so I got planes landing on the carriers and helicopters etc.
Did I tell you the story of how I went on a location shoot, forgetting to take any tapes!
Ian Gardner
Film Maker
Film Maker
[quote="stingman"]
Our Queen (God Bless Her) had here Goldern Wedding Anniversary and in the Solent we had a Review of ships, aircraft etc, from our country and from around the world.
...
The Isle of Wight
One day I must visit your island, Ian. It's one of the only places in Britain that I have not visited yet. I remember that I could see it in the distance. I'ver already been in Bournemouth a few times.
The Battle of Passchendaele 1917
Now something special about your Queen and about locations. Last weekend I was at Tyne Cot Cemetery. About 12,500 soldiers of the Great War were buried there. They were all killed in the Battle of Passchendaele in 1917, 90 years ago. Last Saturday I was the only cameraman who was allowed to follow her. The BBC and other TV channels had to stay in some "Press Pools". I had received very interesting archive footage for my new film "Will ye Go to Flanders" from the Passchendaele Museum and I told the curator of the Museum that I wanted to do a favour in return. So therefore he asked me to follow the Royals on 12th July.
The chance of a lifetime
The atmosphere was really unique. Some days before I received a special badge so that the security men could recognize me. I had only one problem at the entrance of the cemetery. I was just about to stand in front of Queen Elisabeth and our own Queen rushed to the ... loo. I was stopped by a security man. Of course I didn't have the intention to film our own Queen Paola while she was running to the toilets.
Jet planes
For the organizer Freddy Declerck, a retired navy officer, this was a difficult moment. Everything was timed. Your Queen, who was in Ypres before coming to Tyne Cot, had called him to say that she wanted to go to the toilets as well, but when she arrived there she did not. Only our Queen did. At 3.17 pm three jet planes had to fly over the cemetery, not one minute earlier or one minute later. So Freddy had to inform the pilots to wait one or two minutes. All this illustrates that also Royals are people like us.
Queen Elisabeth
I must say that Queen Elisabeth still looked quite energetic. She also has the look of a real Queen. She was wearing a blue-purple dress and dito hat. The right dress for such a ceremony. Of course I was proud that I could film her with my amateur camera.
Amateurism
I got this unique opportunity thanks to my hobby. Now Freddy has asked me to film the funeral of 4 Australian soldiers in October on the 4th October. Do not be worried Scottish friends, Tyne Cot Cemetery is on my way to Calais where I will catch the ferry ... The remains of the soldiers were found last September. Some weeks ago I already filmed the funeral of a soldier of the Lancashire Fusiliers at Tyne Cot Cemetery. As I am an amateur filmmaker I do not charge anything to make a "reportage film" about such a ceremony, but it's also thanks to my amateurism that they have asked me to do all this. Now I can also use these shootings for my own films.
Our Queen (God Bless Her) had here Goldern Wedding Anniversary and in the Solent we had a Review of ships, aircraft etc, from our country and from around the world.
...
The Isle of Wight
One day I must visit your island, Ian. It's one of the only places in Britain that I have not visited yet. I remember that I could see it in the distance. I'ver already been in Bournemouth a few times.
The Battle of Passchendaele 1917
Now something special about your Queen and about locations. Last weekend I was at Tyne Cot Cemetery. About 12,500 soldiers of the Great War were buried there. They were all killed in the Battle of Passchendaele in 1917, 90 years ago. Last Saturday I was the only cameraman who was allowed to follow her. The BBC and other TV channels had to stay in some "Press Pools". I had received very interesting archive footage for my new film "Will ye Go to Flanders" from the Passchendaele Museum and I told the curator of the Museum that I wanted to do a favour in return. So therefore he asked me to follow the Royals on 12th July.
The chance of a lifetime
The atmosphere was really unique. Some days before I received a special badge so that the security men could recognize me. I had only one problem at the entrance of the cemetery. I was just about to stand in front of Queen Elisabeth and our own Queen rushed to the ... loo. I was stopped by a security man. Of course I didn't have the intention to film our own Queen Paola while she was running to the toilets.
Jet planes
For the organizer Freddy Declerck, a retired navy officer, this was a difficult moment. Everything was timed. Your Queen, who was in Ypres before coming to Tyne Cot, had called him to say that she wanted to go to the toilets as well, but when she arrived there she did not. Only our Queen did. At 3.17 pm three jet planes had to fly over the cemetery, not one minute earlier or one minute later. So Freddy had to inform the pilots to wait one or two minutes. All this illustrates that also Royals are people like us.
Queen Elisabeth
I must say that Queen Elisabeth still looked quite energetic. She also has the look of a real Queen. She was wearing a blue-purple dress and dito hat. The right dress for such a ceremony. Of course I was proud that I could film her with my amateur camera.
Amateurism
I got this unique opportunity thanks to my hobby. Now Freddy has asked me to film the funeral of 4 Australian soldiers in October on the 4th October. Do not be worried Scottish friends, Tyne Cot Cemetery is on my way to Calais where I will catch the ferry ... The remains of the soldiers were found last September. Some weeks ago I already filmed the funeral of a soldier of the Lancashire Fusiliers at Tyne Cot Cemetery. As I am an amateur filmmaker I do not charge anything to make a "reportage film" about such a ceremony, but it's also thanks to my amateurism that they have asked me to do all this. Now I can also use these shootings for my own films.
Willy Van der Linden
Some nice facts there Willy. Yes, even our Queens need to go 
! Fancy having an airforce to abort a run just because The Queen is doing a pee, hee, hee 
If and when you do visit my Island, you can come round for a cup of tea, or we can meet up for a drink! I will look forward to it.
! Fancy having an airforce to abort a run just because The Queen is doing a pee, hee, hee If and when you do visit my Island, you can come round for a cup of tea, or we can meet up for a drink! I will look forward to it.
Ian Gardner
Film Maker
Film Maker
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Dave Watterson
- Posts: 1876
- Joined: Sun Jan 28, 2007 11:11 pm
- Location: Bath, England
- Contact:
If I were the cameraman, I suspect I would have been running to the toilets, Willy! What an awesome responsibility.
Knowing you, though, my guess is that your main concern would be for the dignity of the occasion, so that nothing would detract from the remembrance of those young men who died in the First World War.
You have at least two major competition movies in production just now - "Flanders Fields" and "Guernsey". You are making these formal records for Tyne Cot. Are there any others? Are you making one-minute movies and promotional films as well?
Dave the amazed
Knowing you, though, my guess is that your main concern would be for the dignity of the occasion, so that nothing would detract from the remembrance of those young men who died in the First World War.
You have at least two major competition movies in production just now - "Flanders Fields" and "Guernsey". You are making these formal records for Tyne Cot. Are there any others? Are you making one-minute movies and promotional films as well?
Dave the amazed
_____________________________________________________Dave Watterson wrote:If I were the cameraman, I suspect I would have been running to the toilets, Willy! What an awesome responsibility.
Knowing you, though, my guess is that your main concern would be for the dignity of the occasion, so that nothing would detract from the remembrance of those young men who died in the First World War.
You have at least two major competition movies in production just now - "Flanders Fields" and "Guernsey". You are making these formal records for Tyne Cot. Are there any others? Are you making one-minute movies and promotional films as well?
Dave the amazed
I'm biting more than I can chew
Oh Dave. Filmmaking is a hobby, but sometimes I have the feeling that I'm biting off more than I can chew. The stresses and strains of filmmaking may make people ill. Last year I entered 7 films for BIAFF. I guess that next year there will be "only" three.
"Guernsey, I Love You !"
Yes, I'm making a film about Guernsey, but I've decided to do this together with Mary and Peter Rouillard. They've already done a wonderful job in "step 3". I mean helping me to find the best cast and locations.
There is a difference between a "holiday film" and a "travelogue". You can't make a good film about the land or region that you would like to show without the assistance of native people or friends who live there. In May I was already in Guernsey to film Liberation Day and to meet the actors. The Rouillards had found three lovely girls. One was a bit too young and too shy. The other two seemed to be very motivated. Moreover they also knew a folksinger with dreadlocks and a guitar... I met him in my B&B. The Rouillards met him at a performance in Guernsey ...
Folksinger with dreadlocks
Indeed in "Guernsey I Love You ! " the main actor is a young folksinger. After a tour round Europe he arrives in St. Peter Port, the capital of Guernsey. In my original scenario Adam Powell was a busker, but Mary Rouillard told me that in Guernsey busking is only permitted for charity and with the Parish Constables' agreement. So I changed my scenario.
In fact Mary gave me very useful information. The pretty Guernsey girl Martine who meets Adam when arriving in Guernsey tells him that he is not allowed to sing in the streets to collect any money for his B&B.
Stress
Next week I'm leaving for Guernsey. I've written the script or screenplay. I've made a shooting-list and storyboard with the help of the Rouillards and now I'm hoping that the weather will be much better than it was in Belgium and England the last few weeks. To be honest it causes some stress, but I know that it is always over when I have my camera in my hands. Good to know that Peter has the same camera : a sony 2000. So we can save time when filming the dialogues. On 7th August I'm going home and then everything should be "canned" or filmed by that time.
Free accommodation
Thanks to the Rouillards I also found free accommodation. Imagine that you are on the island and that the weather is awful. You can't do any camera work at all ... and you have spent so much money on your journey to Guernsey. Then you cannot say : Next week I will be back. Maybe the weather will be better by that time.
A challenge
So "Guernsey, I Love You !" is quite a challenge. To avoid any misunderstanding : this is not a film for the prestigious "Guernsey International Lily Festival" organized by ... the Rouillards and friends. After having all the shots I will enjoy myself editing the film in the winter season. From time to time I will send a rough version to my Guernsey friends. I will ask them what they think about it and I will ask them to make any suggestions. I worked like that for the film "Until You Smile". I only finished the film when my friend and folksinger Brian Higbee was happy for 100 % with the documentary about himself.
Seabirds
"Guernsey, I Love You !" is a similar film. I need the approval of the Guernsey "natives" otherwise the film is "rubbish". Just like my previous films it will take two or three years to finish it. Next year I will go back to Guernsey to do some camera work. On Alderney, one of the smaller islands, there are thousands of seabirds. This will be good for an other film session in spring next year. Hopefully the film will be shown in première in autumn next year.
International cooperation thanks to the IAc
In fact all this in an example of international cooperation thanks to the IAC. In October or November this year my film "Will Ye Go to Flanders" should be finished. Again Geoff Harrison of the Preston Movie Makers has offered the help of an excellent narrator. His voice is very good for war films. I am very grateful to Geoff. I have promised to go to Preston in daffodil time next year.
One minute movie
Yes, Dave, I have also planned to make a one minute movie for BIAFF next year, because I would like to beat Michael Shaw and company (joking of course). One minute movies are good to make people laugh. I have only one problem. I am looking for someone who is willing to make a Flint Stone car for me. I am not going to tell the story otherwise you already know the plot and then I cannot win BIAFF anymore.
Dublin's Fair City
My third film for BIAFF should be one about Dublin. I was in that fair city some years ago. I filmed without using a tripod ! Of course that's very bad, but I've read a few times that it is the new tendency. To be honest, I didn't vote for the new tendency on this forum.
Anyway I have about one hour of footage and now I'm going to make a short film about it, just to create the atmosphere of Dublin. This will not be a film to become "world champion" I know... It's just a film to support the IAC and to entertain people, in particular friends who have already visited Molly Malone's fair city.
Making films or being a judge ? (Here we go again)
Oh Dave and friends, sometimes I think of giving up making films. The older you are the heavier the tripod is. I am as old as you are, Dave. From time to time my back is aching. Not yours ? Wouldn't it be better to be a judge just like you and to attend festivals in Belgium and abroad as a critic ? But on the other hand I realize that judging is not always a rewarding job.
Time for my cycle tour
It's 7.15 pm continental time now. Time to start my daily cycle tour of about 8 kimometres. It's not good to work on your computer all day long and to edit films from morning till evening.
Next week I must be fit for the new Guernsey experience !
Willy Van der Linden
Some time ago I told you that Freddy Declercq, a retired navy officer and curator of the Passchendaele Museum, asked me to film the visit of Queen Elisabeth to Tyne Cot Cemetery. Now Freddy received the following letter from your Queen :
_____________________________________________________
Buckingham Palace
Dear Mr. Declerck,
The Queen and The Duke of Edinburgh have asked me to write to thank you and your team for all you did to make their visit to Tyne Cot last week such a success. Her Majesty and His Royal Highness appreciate how hard everyone worked to provide such a smooth running programme, and I would be grateful if you could pass on their thanks. It was a very memorable visit.
Thank you again for your assistance. This letter comes to you and everyone at the Passchendaele Society with The Queen's and The Duke of Edinburgh's warm good wishes.
Yours sincerely,
Edward Young
Assistant Private secretary to The Queen.
_____________________________________________________
Freddy Declerck has sent a copy of this letter also to me, though I am only the "huiscineast" (call it "private filmmaker") in his voluntary team.
It all proves that voluntary team work may be very rewarding. Warmhearted replies like your Queen's are more valuable than anything else.
Now Freddy has already received messages from his friends saying that they are willing to contribute to the Ceremony of the ... 100th Anniversary of the Battle of Passchendaele. I have written a simular message, but oh, Lord ... in ten years ... !
Anyway I have taken the opportunity of the Queen's letter to emphasize the fact that is very important to be helped by friends also in filmmaking.
I help friends and friends help me
I never forget to add the names of my friends who have helped me to the credits of my films. That's why my credits are relatively long. Some people have already told me that this gives the wrong impression that I am a professional filmmaker, but I don't mind.
Of course it is not good that your credits are comparatively longer than the film itself, but that problem can be solved. It's not necessary that everyone has enough time to read the names of all the people who have made a contribution.
Of course keeping silent about friends who have helped you is completely wrong. This may cause damage to good relationships. I hate egotripping.
Now in fact we're talking about something that belongs to the final stage of filmmaking. Let's go back to step 3 : cast and locations. Some anekdotes :
Locations for historical films
Some years ago I made an historical film about Charles Dickens. I worked together with Tony Jacobs. Perhaps you remember the maker of "Career" and "Yellow Tulips". I found some good locations in England. He found some excellent locations in Belgium.
In England I filmed the London church where Charles Dickens and his Kate got married. I also went to Gloucester Cathedral for some shootings of the interior. Before going to England Tony told me how to do this. Later I filmed the wedding ceremony in front of a blue screen in our clubhouse.
We mixed the two shootings and eventually the marriage was performed in an English church ! The result of blue key. That was also an excellent result of good cooperation.
The Royal Opera of Ghent
Tony asked the manager of the Royal Opera of the Flemish City of Ghent if we could film the visit of our Charles Dickens to the American President in the Great Hall. He agreed and we didn't have to pay anything at all. Wonderful, isn't it ? In the Great Hall there were electric candles on the wall. I asked Tony to take the bulbs out of the sockets. There was some discussion but afterwards he agreed. In the 19th century there was no electricity.
Working together always leads to discussions but that's normal. There were things that Tony knew much better than I do. After two years and a half we had an interesting film. The result of excellent cooperation.
[/b]
_____________________________________________________
Buckingham Palace
Dear Mr. Declerck,
The Queen and The Duke of Edinburgh have asked me to write to thank you and your team for all you did to make their visit to Tyne Cot last week such a success. Her Majesty and His Royal Highness appreciate how hard everyone worked to provide such a smooth running programme, and I would be grateful if you could pass on their thanks. It was a very memorable visit.
Thank you again for your assistance. This letter comes to you and everyone at the Passchendaele Society with The Queen's and The Duke of Edinburgh's warm good wishes.
Yours sincerely,
Edward Young
Assistant Private secretary to The Queen.
_____________________________________________________
Freddy Declerck has sent a copy of this letter also to me, though I am only the "huiscineast" (call it "private filmmaker") in his voluntary team.
It all proves that voluntary team work may be very rewarding. Warmhearted replies like your Queen's are more valuable than anything else.
Now Freddy has already received messages from his friends saying that they are willing to contribute to the Ceremony of the ... 100th Anniversary of the Battle of Passchendaele. I have written a simular message, but oh, Lord ... in ten years ... !
Anyway I have taken the opportunity of the Queen's letter to emphasize the fact that is very important to be helped by friends also in filmmaking.
I help friends and friends help me
I never forget to add the names of my friends who have helped me to the credits of my films. That's why my credits are relatively long. Some people have already told me that this gives the wrong impression that I am a professional filmmaker, but I don't mind.
Of course it is not good that your credits are comparatively longer than the film itself, but that problem can be solved. It's not necessary that everyone has enough time to read the names of all the people who have made a contribution.
Of course keeping silent about friends who have helped you is completely wrong. This may cause damage to good relationships. I hate egotripping.
Now in fact we're talking about something that belongs to the final stage of filmmaking. Let's go back to step 3 : cast and locations. Some anekdotes :
Locations for historical films
Some years ago I made an historical film about Charles Dickens. I worked together with Tony Jacobs. Perhaps you remember the maker of "Career" and "Yellow Tulips". I found some good locations in England. He found some excellent locations in Belgium.
In England I filmed the London church where Charles Dickens and his Kate got married. I also went to Gloucester Cathedral for some shootings of the interior. Before going to England Tony told me how to do this. Later I filmed the wedding ceremony in front of a blue screen in our clubhouse.
We mixed the two shootings and eventually the marriage was performed in an English church ! The result of blue key. That was also an excellent result of good cooperation.
The Royal Opera of Ghent
Tony asked the manager of the Royal Opera of the Flemish City of Ghent if we could film the visit of our Charles Dickens to the American President in the Great Hall. He agreed and we didn't have to pay anything at all. Wonderful, isn't it ? In the Great Hall there were electric candles on the wall. I asked Tony to take the bulbs out of the sockets. There was some discussion but afterwards he agreed. In the 19th century there was no electricity.
Working together always leads to discussions but that's normal. There were things that Tony knew much better than I do. After two years and a half we had an interesting film. The result of excellent cooperation.
[/b]
Willy Van der Linden
Just a quick note to let readers know that I still have a PAL DV VX1000 and am happy to get stock shots of the local National Parks/area for them. Nearby are Zion, Bryce, N Rim Grand Canyon, Pine Valley Mountains (over 3000 metres), state parks suchs as Kodachrome Basin, Snow Canyon, Coral Pink Dunes and of course, Las Vegas which we visit fairly often.
Let me know if you need something for a production
Ned C
Let me know if you need something for a production
Ned C
Fourth step
How do I make a film ? I told you : step 1 = research or reading books, brochures, etc... ; step 2 = writing a scenario; step 3 = looking for locations and actors; step 4 = script and story board
Storyboard
The script is very essential I think. I write down the film shots that I would like to take = the angle + long shot/medium shot or close up and I also make some drawings. Next to it I write the dialogue.
For my last film I made 317 drawings ! I'm not a good artist at all, but I think that the drawings were clear enough for actors and people who helped me. So the drawings were numbered from 1 to 317 and in fact they formed a story board.
Fifth step
While filming you don't always follow the development of the story. Therefore I use little stickers. I stick them next to the drawings. For instance : blue sticker = Saturday; red = Sunday; green = Monday; yellow = Tuesday.
Let's say : numbers 1 to 32 blue sticker or should be done on Saturday. Also numbers 63 to 73, and 288 to 299 ... Numbers 33 to 45 and 74 to 98 red sticker or should be done on Sunday, etc...
Time table
Of course it also means that you must make a schedule or time table. That's step 5
IScript girl
t's good that you are assisted by a "script girl or man". He can follow the script and see if you have not forgotten anything.
Once I didn't have a script girl or a clubmate who could help me with this. But one of the actors knew everything by heart before filming and she helped me with the script. She was actress and script girl at the same time. All this means that making a film means "team work". It's important to have good friends who are willing to help you with one or an other aspect.
How do I make a film ? I told you : step 1 = research or reading books, brochures, etc... ; step 2 = writing a scenario; step 3 = looking for locations and actors; step 4 = script and story board
Storyboard
The script is very essential I think. I write down the film shots that I would like to take = the angle + long shot/medium shot or close up and I also make some drawings. Next to it I write the dialogue.
For my last film I made 317 drawings ! I'm not a good artist at all, but I think that the drawings were clear enough for actors and people who helped me. So the drawings were numbered from 1 to 317 and in fact they formed a story board.
Fifth step
While filming you don't always follow the development of the story. Therefore I use little stickers. I stick them next to the drawings. For instance : blue sticker = Saturday; red = Sunday; green = Monday; yellow = Tuesday.
Let's say : numbers 1 to 32 blue sticker or should be done on Saturday. Also numbers 63 to 73, and 288 to 299 ... Numbers 33 to 45 and 74 to 98 red sticker or should be done on Sunday, etc...
Time table
Of course it also means that you must make a schedule or time table. That's step 5
IScript girl
t's good that you are assisted by a "script girl or man". He can follow the script and see if you have not forgotten anything.
Once I didn't have a script girl or a clubmate who could help me with this. But one of the actors knew everything by heart before filming and she helped me with the script. She was actress and script girl at the same time. All this means that making a film means "team work". It's important to have good friends who are willing to help you with one or an other aspect.
Willy Van der Linden