“We owe it to ourselves to go out and do it!” – NFTS graduate Shady El-Hamus talks film directing

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Do you want to know a lot about directing films? Then chat with Shady El-Hamus, a recent graduate in directing fiction from the National Film & Television School (NFTS), or modestly read on and decrypt the messages below.

Shady’s short films focus primarily on relationships within the family and how pressures from one’s background, social status, and psychology all impact one another. After watching Over Zonen (About Sons), winner of the Dioraphte Award at the 2012 Netherlands Film Festival, I felt compelled to contact Shady and discover more about where he came from and how he manages to create such a compelling drama in the space of 15 minutes. The film secured Shady a place at the NFTS in the UK to study his craft in safekeeping for two more glorious years.

There was no one anecdote that secured Shady’s interest in filmmaking, rather both his parents have been writers and actors for years, so an impressive feat for accomplishing artistry must come as second nature. More specifically, Shady always loved storytelling and film fell into this love quite naturally. But, at eighteen, he admits not entirely understanding much about the process other than that a director essentially tells the story. However, the film school in Amsterdam (a 4 year BA) divides writers and directors – a long time to commit to one discipline! Despite enrolling in writing, Shady’s desire to direct his own scripts surpassed the schools regulations and he was able to convince the school to make Over Zonen. Without this go-getting attitude, film directing (and NFTS) would never have happened – I believe this is the case for anyone getting into the business – you have to have an element of single-mindedness that allows you to do what it is you actually want to do.

In a dream world, Shady does want to find a co-writer, another mind that can gel with his own to explore the many themes that he is curious about. Two minds can be greater than one. If you find someone with qualities you lack, for example, then it is likely to be most prosperous working with another writer. Let us not be misinformed, Shady is adamant about his love for collaborating, it is clear from his thoughts that it would not otherwise be possible to become a director. A director works with many people, something that Shady believes should be an enjoyable experience and come effortlessly, collaboration as a kind of disclosure. Shady targets another interesting thought that you have to be positive in order to be and stay creative. He then goes on to say that communication should go beyond language. It is a matter of getting other people inside your head. Whether right or wrong, this director understands how to work and evidently knows how to achieve what he wants – a bridge more fundamental in the craft than arguably anything else – essentially understanding yourself, “your mind”.

Shady has been fortunate (and wise) enough to focus solely on directing his films without wearing the producers hat too. The producer is not just the person to hold onto all the logistical and budgetary baloney and to force him or herself away from screaming in public, but actually to aid the director in vision, according to Shady’s welcoming experiences. He believes a producer should guide you in the right direction, “to keep you on the right path” throughout rehearsal, production, or whenever. But, the producer needs to understand first what the director is trying to achieve, and then help him to reach that specific goal. Shady is incredibly humble and talks about a habit of getting carried away with actors, or being overcome with excitement in the moment, and, therefore, finding someone who can remind him of a scene’s essence, or the core of the film, broadly a sustainability, is the most valuable asset that a producer can have.

When talking with Shady about actors, he underscored some central characteristics that are essential to a director. He explained his method, but then concluded with the philosophical truism that “everything will always be different.” And, therefore, the director “must have a very progressive state of mind.” It sounds quite simple really – just don’t be a conservative! But, we all know it is never that easy to give up that little piece, or a core idealism, that you wrote on that one long stormy night at 3 in the morning. Another interesting point is raised when thinking about the language used to engage with actors. It should never be from an audience’s point of view, but rather always that of the character. For example, “This guy is an asshole,” shouts a young lad at the screen – a very judgmental comment, but the director should not shout at the actor, “play an asshole!” There is no one way an actor can know how to play an asshole. The character just needs to know the why of what he is doing and the audience can judge in any which way they feel is appropriate. A director would be at a complete loss if he or she started making direct judgments about a character. Give Shady a message if you need this bit explained better!

After a chat about our favourite filmmakers, Shady talks crucially about coming at autership and cinephilia, as it were, from a place of theme. Watching a director for whom you recognise a certain theme within. “To me, that means that they have something to talk about.” Theme is not like style; style resides on the surface, whereas theme runs deeper, and ever deeper. It is enthusing to hear Shady talk about theme with such profundity. “The story is the vehicle, the ride… the theme is the core… not present, but existing in there somewhere.” Shady also believes that it is theme that essentially allows a film to be “timeless and universal”, look no further than Yasujirō Ozu for a few examples. It seems there are no bounds to the philosophy of film and its makers!

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The reality is that the director is on a suicide mission. They have to clench the confidence to carry a bag of elephants up a mountain and not be told otherwise. No matter what it is that they are carrying, it has to SAY SOMETHING. “What is it that you want to tell me?” Shady realises that a film had better be good and say something if you are asking people to pay a tenner and relentlessly sit in front of a big screen for two hours. This is the responsibility of the director. A director needs to be truthful if they are taking on this task. If not, then “why the hell are you saying it?” There needs to be a REASON, “you need to know what you are saying, and you need to know how to say it.” There really is now nothing more to say! That is directing folks!

Here is an overview of talking points and insights from our chat:

  • Preparation is key for the director – Know what you are saying and how to say it!
  • The task of the director is to get other people inside your mind. This is the art of collaboration. Enjoy collaboration – You have to be positive in order to be creative!
  • Becoming a director is a gradual process of discovery. Shady discovered directing by screenwriting and views this story component as essential to directing. In other words, learn to write too!
  • The importance of theme – the story is the vehicle for the theme that runs far deeper than any style. Theme is often what resonates most with an audience’s understanding. Remember: understanding and enjoyment are two separate things, for example, one might connect with Tokyo Story thematically, and yet be more entertained by Mad Max: Fury Road.
  • For young Tarantino’s – the story will determine your style, not the other way around!
  • The director’s responsibility – the material needs to be personal in order to be truthful. Although, personal does not need to mean autobiographical!
  • Actors are collaborators too. Shady uses the analogy of giving road directions when speaking to actors – be clear and know where you are taking them. Also ensure that the actor understands what you as the director want to achieve.
  • The producer is not an enemy, they are there to guide you in the right direction and keep a tab on that core driving the film.
  • Last advice: Stick to it and make sure you are prepared; rarely does one get a second chance in film directing!

Be sure to watch Over Zonen online, for free, right here:

 

NFTS graduate Daniel Montanarini on film school for directors

nftsFilm school or no film school? I won’t begin to give my own answers to this debate, and any answers are almost decadent after the spoken words of Paul Thomas Anderson: “You can learn more from John Sturges’ audio track on the ‘Bad Day at Black Rock’ laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.”

This is very true – we live in an age of information overload – but is this a good or bad thing? Hence ‘overload’! Can film schools not condense such information and give you a clear direction? Information to one side, the practice is probably the best thing you are likely to get out of film school, so let us look in more depth at the practice film school can offer.

I caught up with Dan Montanarini – who has consumed all of these experiences – and was fortunate enough to pick his brains on the subject of film school and filmmaking in general. Dan is a recent graduate in directing fiction from the prestigious National Film & Television School (NFTS) in the UK, so this article will be outrageously bespoke towards the NFTS film school. First-hand apologies.

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Dan’s first short film The Guest, starring Olivia Williams, premiered at the Krakow International Film Festival and his graduate film Seahorse will be making the rounds later this year. Below is my (very particular) interpretation of this conversation with the very occasional quote from Dan thrown in to testify his presence.

From 14 Dan knew that he wanted to direct films, but what was the next step to be? There are two things to take into consideration when approaching such a mammoth task as film directing: how to crack the industry open and secondly, perhaps most importantly, how to ground yourself in the craft and the magnificent history that precedes you. Film is an “art form” – study the history and theory of storytelling and aesthetics. Dan expresses a hungry appetite for the world that film occupies, which means watching a lot of films and exploring film culture. You can’t get away without watching lots of films folks. This should be a task to relish in. Of course, a director should enjoy the physical elements of life on a film set, but equally essential as to finding your feet as a film director is being able to talk of your place in the surrounding culture.

Like anything in life that requires making something happen, it won’t transpire at the flick of a switch. Dan graduated in English literature and film from Warwick University and went on to find a full-time job. While earning his living, Dan produced and directed his aforementioned film The Guest on the side. And here is where film school comes in; it is a time to focus solely on making films without the burnout that one encounters trying to do everything at once i.e. maintaining a ‘normal’ living. However, Dan had never planned on the film school route because he had the sense that if one needs £10,000 to spend on film school then why not make a film yourself? Along the lines of the old Rodriguez and Tarantino motto I believe. But isn’t this a restricting approach to the matter? As Dan explains, film school offers far more opportunity to enrich your craft then the piggy bank; he had two full-scale set builds at NFTS!

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Getting into NFTS is almost entirely based on your short film. It needs to be good. If it is good enough then you get an interview. Dan says that the interview was actually a very pleasant experience; NFTS looks for honesty in their applicants and play to a focused, yet relaxed environment. A quality any great director needs is surely to remain relaxed with an all-pervading sense of focus. Once at the school, you are free to explore your craft with great freedom. While the contact hours are very decent, Dan is sure to note that the tutors do not impose regulations. They do, however, provide detailed feedback and hold an intense reviewing process. From rushes to sound lock, every step of the phase is thought-out and given attention to detail. It looks like film school must do one thing well: harden you to feedback! When was the last time you received a fleshed out piece of feedback on your own film? Go to film school and you will never have to force someone to watch your film again!

But, how does one keep their own direction with all these opinions? Well, as Dan clarifies, don’t feel pressured to have all the answers, be honest and you will learn quickly. By staying flexible you will eventually be lead towards your goal – “Know that it is going to come, it is going to happen.” A director does not need to always provide the answers, they just need to be confident in what they do and don’t know. This sounds well, but what happens when a director says, “I don’t know?” Quite simply, remain open to an idea and take it on board sensibly. Directors are not super-humans, but super-talent does often surround them – use it!

What’s the best method for working with actors? Give them the script, understand their interpretation, let them rehearse it and then work with them towards your vision. There is no right way to do this, the environment, the story, and personality of the actor will inform this. This is Dan’s view and he goes on to talk about other directors, including a screening he attended of 12 Years a Slave with Steve McQueen who gave some miraculous advice: “I am a director and not an illustrator”. I.e. you cannot be too rigid on a film set; rather you should work with what you have, in the moment, so to speak. A film director needs to direct on the day, not everything can be done before (unless you are Hitchcock). Every director has his or her own way of working, which must be a paramount reason for the source of beauty and wonder that comes with this craft. Each director is unique – an art form, indeed.

 

Here’s an interesting method of directing that Dan picks upon, but, let’s be clear, does not salute to himself: letting the actor working it out for themselves until they inevitably reach a point were they become desperate for direction. Who else would play these psychological games but Lars Von Trier, or so it is rumoured. But, have you ever seen a bad performance in one of his films? More likely, the answer is to be a blistering performance of harrowing proportions – a very good thing for drama! Film directing is a form of manipulation, and working with actors is no different. There is some honesty in this approach however, not least in the opportunity to wholly understand what your actor can bring to the scene in his or her own capacity. Nevertheless, it is up to each director to eventually find their own way.

Dan continues to talk about his love of movies and directors, moving on to the one and only Martin Scorsese – an obvious choice, but a choice that makes sense for a first-love. Hearing Scorsese talk about the movies is like spreading jam on toast or taking a close shave with a clued-up razor. It raises cinephiles to an ecstatic level of insight and comprehension. If you ever run out of steam in this business, or feel lonely, spend on hour on YouTube (or preferably a criterion Blu-ray) with Scorsese talking about the cinema – but, if you aspire to be like Paul Thomas Anderson then make sure you stay equipped with John Sturges also!

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Perhaps the next step to reignite your imagination with dreams, memories, and alternate realities would be to stop in with Fellini. Dan talks about his first experience as akin to being “stabbed.” Not quite spreadable, but an experience far closer to reality, as Dan explains the mixture of memories and textures of reality on display are for more adjacent to the thought-patterns that occur in our own everyday existence – undeniably, a truism of lateral proportions. Finally, if you are really looking to challenge your taste, a desire for Luis Buñuel’s spectacle of curious and sometimes laborious cinema will serve well.

Can you think of ten minutes that changed your life? This question was asked to Dan during his time at NFTS and is a great way to connect with your beliefs and potentially re-write your past. Film directors must find something personal in the material that they work with. Therefore, it makes perfect sense that they must understand the nuts and bolts of their own lives and the various transformations occurring within. You might be thinking why ten minutes and not, more likely, a split-second (a tragedy) or a few months (a romance), but ten minutes of change and we have a movie scene! Give this one some thought.

What happens when you finish film school? Other than being highly versed in your craft, full of debt (bear in mind NFTS has super scholarships for British citizens) and geared to rev any film production to full virtuoso, you must, quite simply, just keep going. You may find yourself in the position of Lars Von Trier’s actors: you have no idea what is going on, but you eventually find yourself acclimatising and succeeding with sheer greatness – trivial, but somewhat true. A director can only keep developing their ideas, stories and writing. A director must be ready to present their greatness. Think beyond your present moment (even if Eckhart Tolle tells you not to); be aware of the past, present and future. Where are you from? Write about this. Where do you want to be? Write about that journey. Who was your first love? Write about that. These are all ideas that Dan wants to inspire and he reminds me that we are all living and, therefore, we all have telling stories to tell. We mean, all of us.

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To sum up with some key ideas and NFTS specifics:

  • Film school may be a fantasy factory, but it also requires serious hard work:
  • Rigorous review processes include showcasing each step of a films maternity to the entire school of students and professors for merciless feedback:
  • Confidence building. Tougher skin. Objectively shrewd.
  • You can find your own voice: teachers will adapt to each individual while keeping the student open to new experiences and ideas.
  • On set: “you have all these talented people around you, why would you not want them to contribute?” Enough said.
  • Actors – discover first what you are working with. Points highlighted from Steve McQueen and Lars Von Trier.
  • Scorsese will make you fall in love with cinema. His conviction is infectious.
  • Be confident even if you don’t know the answer – it is okay not to know everything! Enjoy directing!

In the best sense, watch this curious and unruly short film from Dan below.

 

Visit Dan’s website here.

You can also join him on Twitter.

 

 

Elstree Film Design and Rob Finlay

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After hours, days and weeks of emailing production companies with a keen interest for work experience, it is often that you don’t end up hearing back. You might send them a second email, if you could still remember the details. Elstree Film Design  (EFD) have no such hospitality, they replied within minutes and, after the initial shock, things progressed: a phone call. Here is something that was made very clear to me at EFD, don’t waste your time with fancy emails because calling is ten times more effective. If I’d called the company first, an instant interest would have ben expressed on my part and no doubt a clear resolution to the matter by the end of the call, no treading on mailbox eggshells. However, it is never easy to confront a cold and icy line out of blue water, yet such is the task of life, so lets make it easier for ourselves by picking up the phone.

I met up with Rob Finlay, the company director and a great musician as well as a filmmaker, who inspired me to talk passionately about film. I quickly developed a keen understanding of the work Rob does at EFD and his productive, forward-thinking and tactile approach. For a company who started on the corporate scene only two years ago they are making clear waves in the sector and have exciting prospects for the near feature. With a prolific output, a prime and crisp location, and a small dedicated team with big minds, I hope to visit EFD again very soon. All I can say, is the work experience was thoroughly enjoyable, flexible in the productive sense of the word, and.. get your placements in!  There are only a few companies in this industry who have such warm open doors; they care for the future, remember their pasts and are highly intelligible workers of the present.

To finish this blog post, I have an exciting recording of a Skype interview I did with Rob. I also have an innovative music video embedded, a fantastic project that I was fortunate enough to help develop alongside EFD. Find the interviews on my YouTube channel here, or the full interview embedded below:

Music video: Rob Finlay – Call Back the Day

Visit Rob’s personal website here for more cool videos.

Or, and finally, Visit EFD for a leading service in corporate video!

These Directing Tools are Easily Fastened

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Simon Phillips along with the Directors Guild of Great Britain has been touring the UK with his “Tools of Directing” workshop. The workshop is a great insight into his work as a directing consultant and illuminates some potentially much overlooked areas of film directing. As an enthusiastic and thoroughly engaging teacher, the four hours zipped by, but the information gained is worth far more. Unfortunately, the workshops have finished their tour (Leeds was the last stop), but nevertheless Simon is a busy man and he will be around again soon.

I want to talk a little about the workshop, but don’t want to give away any of Simon’s secrets (as he explicitly said, not many people know about these tools!) Nonetheless, it is beneficial to reflect and I want to offer an introduction to Simon and the craft of directing in general.

It is common knowledge that there are three principal areas for a director to focus his attention: the script, the actors and the camera. Some directors will say they only focus on the actors and the camera, at least whilst on set, but the script is always the bedrock and the core that is constantly shifting. Simon talks about all three, let’s start with working with writers (a colossal task for all directors). Simon has an effective term to use for the director’s reading of a screenplay, the “creative reading of a screenplay” that offers a unique way of breaking down a script. It is simple, read the script like a “real event” (you as the director, are fundamentally the only person treating it as such) and in doing so you reach into each character’s senses and note all the “ChangePoints” – I won’t go into “ChangePoints” because they are intrinsic to Simon’s great work, but I will say that they are a great eye-opener and magnificently simple (but not easy) way to breakdown the script, camera set-ups and yes, even the directing of actors.

A lot of discussion was given around working with actors, planning the rehearsals (which are ever lacking with today’s schedules), what to gain from them, asking questions with the actors on set, sensing the empathy and, ultimately, creating the director’s unique vision. It is not the actor’s opinion that counts, let their questions be your guide, you must have the material to formulate the answers and adjust the performance. Simon is very much in touch with the director as auteur, a true visionary, and so they should be. Such talk created some stimulating discussions and, of course, there is a complex network of answers (many consultants bring different ideas to the table), but Simon was focused on making the situation as simple as possible (good!), I am definitely intrigued to hear from Simon and attend one of his masterclasses that go into more detail with these simple methods.

Finally, and one of my favourite discussions, the tools of directing the camera summon equally abundant possibilities. Simon began with narrative strategies (mystery, suspense etc.) and how to work the camera in conjunction, though the strategies all come scurrying back to the script and the actors; everything must be in place for the camera to work its magic. I won’t give away Simon’s specific insights into working with the camera, but he offers some genuinely intriguing and original advice that you won’t find in Katz’s Shot by Shot method of directing.

Sign up to Simon’s website and gain more insight.

There is also a Facebook group for further discussion here.

7 Key Traits Filmmakers Can Learn From Entrepreneurs

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If you are a filmmaker, then you are probably already thinking: “But we are entrepreneurs!” Yes, filmmaking is a business and it has moguls that make it so, and consequently the independent filmmaker, more and more so, needs to act and think like an entrepreneur. You need to get funded, you need to build a team around you and you need all the traits listed below (or in my case, bits of them), of which I have found to be most commonly associated with entrepreneurs.

Let me begin with this rather unhelpful quote “entrepreneurship is dealing with repeated failure.” (I can’t cite this quote, but it has come from somewhere!). One would fathom that this suggests “repeated failure” will eventually lead to the good will of success i.e. you just keep trying to succeed. Of course, tenacity is essential, but this quote is probably hammering home the harsh realities of running a business, and learning from your mistakes. (My dad has forever told me to “learn from my mistakes”; he just forgot to tell me to write them down!). Making a film, getting represented, publishing a book etc. are all things that no doubt feel like you are receiving treatment of “repeated failure”. But, if you learn to deal with it and flip it on it’s head into progressive enthusiasm then it can only be valuable (admitted, we are not all this strong minded). Essentially, it seems to me that this is what entrepreneurship is all about: you need to deal with whatever is thrown at you and have an answer for it (commonly by “flipping it” – a term I have now made up) – thus emulating the role of the film director.

Passion

It was obvious, who can make something happen without passion? The slight difference in regard to an independent filmmaker is that they should be primarily fuelled by their craft and the story (much like an entrepreneur is for their product, however). You shouldn’t be so fuelled by the need to get rich, if so, you probably should be an entrepreneur after all. Passion, belief and excitement all come before money in this game i.e. the world.

Tolerance

A filmmaker needs to be able to tolerate a vast number of individuals all at once. Let’s hope everyone is on the same wave length, but if not, you need to know that you have control over the outcome. A big hamper is obviously fear and various anxieties; this could be fear of the ambiguous or the ‘Other’ hanging over your shoulder. Successfully controlling such a marvel will keep you right on cue.

Vision

Just like an entrepreneur needs to vision their product and its market 6 months down the line, so do filmmakers. It is easy to forget that at the end of the day, as a filmmaker, you are selling a product. Moreover, having a clear vision to bring that product to life goes without saying. For the director, to be assertive and maintain a state of control, you have to have a clear vision. Surely, if not, then that control would stem from something other than a passion for a vision, egos begin to come out and play. Tension between crew on a film set is the ultimate assassin for a director.

Self-belief   

Nay-sayers are what the cultural industries are all about; decline and more decline. Or, so it can sometimes seem when trying to get a project off the ground. So, overcoming such individuals and taking steps away from subjective dismay and into future resolve is a desirable and fundamental trait. These are understandably tough moments were support could be largely beneficial, but “rise above” as they say.

Flexibility

If you are in control/running something (as is an entrepreneur or a film director) then you have to be adaptable to survive. Arguably, one can be narrow-minded, bigoted to the heavens and still become the lord of a business, but I will argue that filmmaking can be more delicate (especially on set) and being flexible is vital. Being assertive to changes and managing them in the best way possible is all one can do at times. This doesn’t mean letting your power slide, your power will be all the more if people respect you for listening and become enriched by your compliance. The history of film directing is littered with debates around this topic (and the others listed), nothing I have said here is to direct you, it is purely personal thoughts and beliefs for my own reflection (with the hope you may like them too!)

Rule Breaking

Perhaps not a forerunning thought for a narrative filmmaker. Of course, innovative aesthetics are not the only way to be recognised, powerful stories are the significant other. Yet, with powerful stories, more often than not, comes a beautiful and ground-breaking aesthetic and the stamp of an author. I guess this trait is about being open-minded (to yourself, your DoP, Art Director etc.), in other words, defying some form of conventional wisdom associated with filmmakers (notoriously the classical Hollywood style of filmmaking that we all know so well). However, there is no set of rules when making a film (someone respectable said this, though I can’t remember who), so set your own and break them on occasion. Besides, creative choices, there are the guerrilla filmmaker rules i.e. break the law. This is another story altogether (Read Chris Jones’s Guerrilla Filmmaker’s Pocketbook)

Tenacity

I like to think of tenacity as having an external strength – the Zeus of filmmakers if you like. This is the eternal drive that keeps you going, the firmness in your belief-system that keeps you on track, the device that pushes you through the obstacles and defies uncertainty. Anyone trying to make something happen needs a degree of tenacity.

Underlying all these factors however, is the obvious and ubiquitous need for a strong mental state – nothing is applicable without such a device. And, this is where it all begins to get a bit complicated…

Thank you readers. Please share your experiences with these traits in the comments below.