For those of you cheering me on, here's a small victory to celebrate:
A response to a job application:
"Hi Arnon,
I like your character. I don't think you would be the right match for this position - but am eager to have you come on board at some point in another capacity. Perhaps we could set up an internship that works around your schedule. That way, if you had other commitments you could attend to them. You sound like a good guy!
Thanks, and let me know if you are interested in an internship. I will check if we can make one available."
Yahoo! It's an exciting company, too, on the cutting edge of stereoscopic production. You bet I'm interested!
-Arnon
Friday, February 24, 2012
Wednesday, December 14, 2011
Storyboarding Action
I'm working with J.K. (http://www.followmetohollywood.com) on a short called "Wayfarers". I wrote the post-Apocalyptic Exodus narrative about a month ago, and we're aiming to shoot in February.
For the past couple of days, I've been working on storyboarding a central action sequence, and it's really making my head swim.
The scene (without giving anything away): a bunch of (renegades? refugees? rebels?) are about to get their desert camp bombed. They're scrambling for their belongings, racing to their ATVs and roaring out of there.
The setup: The camp is nestled between sand dunes in a desert dune field. The pattern I set up in the script is that everyone hops on an ATV and drives in circles around the camp, giving stragglers an opportunity to rush to the perimeter and hop on one of the moving ATVs before the lead ATV peels away and leads the rest to safety.
The challenge: With a bunch of swirling, circling ATVs, it's very tempting (and in some cases, almost necessary) to bring the camera around in circles, too. That kind of movement is really tough to "motivate", and it constantly breaks some hard-and-fast rules when it comes to spatial continuity. For those of you who are unfamiliar with the "180 degree rule", it basically says that if two characters are talking (or are otherwise spatially related, like if a person is looking at an object), the shots that describe that relationship must remain on one side of the imaginary line that bisects the two. Here's a good video description of it: http://youtu.be/HdyyuqmCW14
With all the circular movement in the scene, the "180 degree line" is constantly shifting. To make matters worse, I'm opting to keep the kinetic energy of the scene high by moving the camera a lot. There's at least one 270 degree spin which could wreak havoc on spatial continuity if I don't handle it very carefully.
I'm actually very excited to work on this scene, even if it's complicated. It's an opportunity to play with the kind of scene that I hope will be a regular part of my work in the future. It'll be my first action set-piece since high school.
-Arnon
For the past couple of days, I've been working on storyboarding a central action sequence, and it's really making my head swim.
The scene (without giving anything away): a bunch of (renegades? refugees? rebels?) are about to get their desert camp bombed. They're scrambling for their belongings, racing to their ATVs and roaring out of there.
The setup: The camp is nestled between sand dunes in a desert dune field. The pattern I set up in the script is that everyone hops on an ATV and drives in circles around the camp, giving stragglers an opportunity to rush to the perimeter and hop on one of the moving ATVs before the lead ATV peels away and leads the rest to safety.
The challenge: With a bunch of swirling, circling ATVs, it's very tempting (and in some cases, almost necessary) to bring the camera around in circles, too. That kind of movement is really tough to "motivate", and it constantly breaks some hard-and-fast rules when it comes to spatial continuity. For those of you who are unfamiliar with the "180 degree rule", it basically says that if two characters are talking (or are otherwise spatially related, like if a person is looking at an object), the shots that describe that relationship must remain on one side of the imaginary line that bisects the two. Here's a good video description of it: http://youtu.be/HdyyuqmCW14
With all the circular movement in the scene, the "180 degree line" is constantly shifting. To make matters worse, I'm opting to keep the kinetic energy of the scene high by moving the camera a lot. There's at least one 270 degree spin which could wreak havoc on spatial continuity if I don't handle it very carefully.
I'm actually very excited to work on this scene, even if it's complicated. It's an opportunity to play with the kind of scene that I hope will be a regular part of my work in the future. It'll be my first action set-piece since high school.
-Arnon
Wednesday, November 16, 2011
Easing in, Moving up
Since that last post, my first "real" movie gig has come and gone. Being the Production Manager on "Benjamin Troubles" was no easy task, but I met some wonderful people, overcame some difficult (and when I step back, interesting) challenges, and earned a solid, reliable Los Angeles credit.
For my first gig, I wasn't expecting to hit upper middle-management. In fact, I had assumed I'd be working as an assistant to somebody before they offered me the PM position.
I've had a lot of opportunity to think about the job-hunter's mantra: "It's not what you know, it's who you know". It's very true, and it's extremely misleading.
I got the PM job through a Brandeis connection, and from there, I got a job Line Producing a short (for "Benjamin Troubles" writer, Lee Ross). On BT, I worked closely with Jonathan Knapp (whose wonderful blog is worth the read) -- Jonathan is now producing a short that I'll direct. While running an errand for BT, I met Ari Davis, with whom I'm now working to produce a feature.
It's all connections. But then, that's where the adage flips upside-down. Once you're hired, it doesn't matter who you know, as long as you're able to do your job well.
If you don't know what you're doing, it's hard to keep work, and it's hard to pass the "references" test. Savvy employers in this town check references pretty closely -- I've already been contacted a couple of times about people who I worked with on "Benjamin Troubles". Reputations seem to spread that way, as people move from project to project.
It adds to the pressure of wanting (or needing) to deliver good, solid, high-performing work. In a way, that's a good thing, but it can be unnerving at times, too, especially when the quality of work from those around you isn't as good as you need it to be in order to do your own best work.
At the end of the day, I've gained a lot of confidence from my first gigs in this town. I may not know very many people yet, but those I've worked with seem to take me seriously (at least, to my face!) It's good to know that all the time I spent learning and not meeting was time well spent.
For more on the new projects I'm working on, check back in every now and again. They have no websites yet. These are the projects:
"Tender"
A short by Elric Kane, written by Lee Ross (Benjamin Troubles). I'm the Line Producer.
"Wayfarers"
A short I'm writing/directing. Jonathan Knapp (Benjamin Troubles) is producing.
"Sex.Sound.Silence"
A feature by Ari Davis, who I met while running an errand for "Benjamin Troubles". I am producing.
For my first gig, I wasn't expecting to hit upper middle-management. In fact, I had assumed I'd be working as an assistant to somebody before they offered me the PM position.
I've had a lot of opportunity to think about the job-hunter's mantra: "It's not what you know, it's who you know". It's very true, and it's extremely misleading.
I got the PM job through a Brandeis connection, and from there, I got a job Line Producing a short (for "Benjamin Troubles" writer, Lee Ross). On BT, I worked closely with Jonathan Knapp (whose wonderful blog is worth the read) -- Jonathan is now producing a short that I'll direct. While running an errand for BT, I met Ari Davis, with whom I'm now working to produce a feature.
It's all connections. But then, that's where the adage flips upside-down. Once you're hired, it doesn't matter who you know, as long as you're able to do your job well.
If you don't know what you're doing, it's hard to keep work, and it's hard to pass the "references" test. Savvy employers in this town check references pretty closely -- I've already been contacted a couple of times about people who I worked with on "Benjamin Troubles". Reputations seem to spread that way, as people move from project to project.
It adds to the pressure of wanting (or needing) to deliver good, solid, high-performing work. In a way, that's a good thing, but it can be unnerving at times, too, especially when the quality of work from those around you isn't as good as you need it to be in order to do your own best work.
At the end of the day, I've gained a lot of confidence from my first gigs in this town. I may not know very many people yet, but those I've worked with seem to take me seriously (at least, to my face!) It's good to know that all the time I spent learning and not meeting was time well spent.
For more on the new projects I'm working on, check back in every now and again. They have no websites yet. These are the projects:
"Tender"
A short by Elric Kane, written by Lee Ross (Benjamin Troubles). I'm the Line Producer.
"Wayfarers"
A short I'm writing/directing. Jonathan Knapp (Benjamin Troubles) is producing.
"Sex.Sound.Silence"
A feature by Ari Davis, who I met while running an errand for "Benjamin Troubles". I am producing.
Monday, July 18, 2011
First Gigs
Last week, I shot some footage for a TV commercial for a local real estate company. It was my first paid gig in California, and it was fairly uneventful. No feedback yet on the footage, but I hope they like it!
I've also picked up my first unpaid (but exciting) feature film job. SY, a Brandeis alum I had met with a few weeks ago, pulled me in on a feature he's working on. At the first few meetings, I insisted on remaining without an official title. I figured, the best way to get to know the project was to start out as a general assistant, and to have them throw whatever work they needed to throw at me. Yesterday, I was given an official title: Production Manager! Not bad for my first at-bat out here.
Of course, now the real fun begins -- living up to the role!
-Arnon
I've also picked up my first unpaid (but exciting) feature film job. SY, a Brandeis alum I had met with a few weeks ago, pulled me in on a feature he's working on. At the first few meetings, I insisted on remaining without an official title. I figured, the best way to get to know the project was to start out as a general assistant, and to have them throw whatever work they needed to throw at me. Yesterday, I was given an official title: Production Manager! Not bad for my first at-bat out here.
Of course, now the real fun begins -- living up to the role!
-Arnon
Sunday, July 10, 2011
Get on the Carousel
I got some fantastic advice from SB, a Brandeis alumnus with sixty features and an emmy under his belt:
"Here's what I think - Hollywood is a giant carousel. If you can figure out a way to jump on it - or pay for a ticket - you're in. You might start by sitting on one of those lame ass benches for awhile before you get to stand or sit next to a horse - but you'll never get off again. The problem you're experiencing is the "how do I get on the carousel" conundrum. As long as you stay out in the "micro-budget" world - that's where you'll stay. Only once a generation does someone send out a funny e-Card and end up with SOUTH PARK. Everyone else starts at the bottom. But you're below the bottom.
My suggestion - find a way to get some caché. Get on the carousel - one way or the other. I'd look for jobs in mailrooms at an agency or a studio. I'd look for PA jobs in production offices. I'd right kiss ass letters to anyone you admire on a series or film - and prove how smart you are (in the letter). You need on to the carousel. Focus on that. Once you get on, then navigating your way to directing will be easier. Someone you work for will let you direct a short or a trailer - and eventually someone will notice you. But for now, nobody on the carousel knows you exist."
I've heard this advice before, but never phrased in such a clear, illustrative way. This approach appeals to me, so I've been looking for avenues in to the studios, agencies and production companies. In the process, I've been meeting some very interesting people (such as SB, who I had met before, and MK, who's a big-shot in the TV world, and most recently, a VP of Variety, who responded to a letter that I sent in the mail!) It's very exciting, humbling, and encouraging to see so many people give a little upstart from the East so much of their valuable time.
-Arnon
"Here's what I think - Hollywood is a giant carousel. If you can figure out a way to jump on it - or pay for a ticket - you're in. You might start by sitting on one of those lame ass benches for awhile before you get to stand or sit next to a horse - but you'll never get off again. The problem you're experiencing is the "how do I get on the carousel" conundrum. As long as you stay out in the "micro-budget" world - that's where you'll stay. Only once a generation does someone send out a funny e-Card and end up with SOUTH PARK. Everyone else starts at the bottom. But you're below the bottom.
My suggestion - find a way to get some caché. Get on the carousel - one way or the other. I'd look for jobs in mailrooms at an agency or a studio. I'd look for PA jobs in production offices. I'd right kiss ass letters to anyone you admire on a series or film - and prove how smart you are (in the letter). You need on to the carousel. Focus on that. Once you get on, then navigating your way to directing will be easier. Someone you work for will let you direct a short or a trailer - and eventually someone will notice you. But for now, nobody on the carousel knows you exist."
I've heard this advice before, but never phrased in such a clear, illustrative way. This approach appeals to me, so I've been looking for avenues in to the studios, agencies and production companies. In the process, I've been meeting some very interesting people (such as SB, who I had met before, and MK, who's a big-shot in the TV world, and most recently, a VP of Variety, who responded to a letter that I sent in the mail!) It's very exciting, humbling, and encouraging to see so many people give a little upstart from the East so much of their valuable time.
-Arnon
Friday, July 1, 2011
A New Take on Hot Air
I had a meeting the other day with JF, a guy I had met many years ago, when I was just dating Talia (whose first day on the job as Dr. Shorr is today!)
Since that initial meeting, JF moved to LA and established himself as a rising producer. Yesterday's meeting with him was an exciting one. He's a fast-talking, big-idea guy with a lot of ambition and a healthy go-getting gutsiness.
One note that came up during the conversation struck me. He mentioned the well-known idea that lots of people in Hollywood are full of hot air. They'll talk your ear off about "the next big thing", then go back to their bedroom office and cruise the web for no-pay Production Assistant jobs. That's the cliche, in any case, and it has been reiterated to me many, many times.
JF had a different take. He said that everyone in this town has big ideas, and everyone wants to share them. The tricky thing is figuring out who's taking action on those big ideas and who isn't. Just because someone's talking in bloated terms doesn't mean they're lazy. On the contrary, it could mean they're ambitious!
I happen to like working with people who talk big. On "A Modest Suggestion", my fellow producer is a notorious big talker. The thing is, that's what drew me to working with him -- I knew that with him on board, his enthusiasm and energy would keep everything running smoothly. As it turns out, I was right about him.
The key, then, is to find those big talkers who have genuine enthusiasm and a genuine desire and capacity to put in the work behind their ideas, and to filter out those whose big ideas are a front, meant to hide some inner barrier to productivity that lurks in their psyche.
I can't say I know how to differentiate, but it's good to be reminded every now and again that big talk might be genuine, and shouldn't be dismissed out-of-hand. Thanks, JF!
-Arnon
Since that initial meeting, JF moved to LA and established himself as a rising producer. Yesterday's meeting with him was an exciting one. He's a fast-talking, big-idea guy with a lot of ambition and a healthy go-getting gutsiness.
One note that came up during the conversation struck me. He mentioned the well-known idea that lots of people in Hollywood are full of hot air. They'll talk your ear off about "the next big thing", then go back to their bedroom office and cruise the web for no-pay Production Assistant jobs. That's the cliche, in any case, and it has been reiterated to me many, many times.
JF had a different take. He said that everyone in this town has big ideas, and everyone wants to share them. The tricky thing is figuring out who's taking action on those big ideas and who isn't. Just because someone's talking in bloated terms doesn't mean they're lazy. On the contrary, it could mean they're ambitious!
I happen to like working with people who talk big. On "A Modest Suggestion", my fellow producer is a notorious big talker. The thing is, that's what drew me to working with him -- I knew that with him on board, his enthusiasm and energy would keep everything running smoothly. As it turns out, I was right about him.
The key, then, is to find those big talkers who have genuine enthusiasm and a genuine desire and capacity to put in the work behind their ideas, and to filter out those whose big ideas are a front, meant to hide some inner barrier to productivity that lurks in their psyche.
I can't say I know how to differentiate, but it's good to be reminded every now and again that big talk might be genuine, and shouldn't be dismissed out-of-hand. Thanks, JF!
-Arnon
Wednesday, June 22, 2011
Money and Ideas
I spoke with another relative bigwig the other day. Though his initials are BS, his advice certainly isn't.
BS entered the industry after a successful career making money (for himself and for others). He leveraged his connections to wealth by bringing his friends and former clients to invest in new films. His perspective, "if you can bring the money, you're a player, and you're in." He then described his own latest project, and invited me to find investment capital for it. I haven't got the kinds of connections he had, so I doubt his approach will work for me, but I don't mind giving it a try.
Of course, though BS didn't emphasize it, he acknowledged that money isn't the only way to get in to a project. Content, or ideas, or any sort of creative property that catches a producer's attention can also be used, though it's much less versatile than money. Since I am still, at heart, creative rather than entrepreneurial, I think this approach may be a better fit for me. It's also in line with what SL told me a couple of weeks ago over the phone.
So, I've got a screenplay, "In the Image of Man". Here's the logline:
"A Hassid is killed on a Friday night. People whisper about a giant in the dark. Detective Landesman, who left their world long ago, is thrust back in to the heart of the Jewish community by a case that threatens the foundations of her modern, secular life."
When SL spoke to me, she was very clear: "No Jewish overtones!" I've got to come up with something commercial, she said. While I'm working on that, I might as well put what I've written out there, to see if anyone's interested, right?
So, to start, there's the logline above. I'm no expert in writing loglines. Let me know if you think I could do better with that one.
-Arnon
BS entered the industry after a successful career making money (for himself and for others). He leveraged his connections to wealth by bringing his friends and former clients to invest in new films. His perspective, "if you can bring the money, you're a player, and you're in." He then described his own latest project, and invited me to find investment capital for it. I haven't got the kinds of connections he had, so I doubt his approach will work for me, but I don't mind giving it a try.
Of course, though BS didn't emphasize it, he acknowledged that money isn't the only way to get in to a project. Content, or ideas, or any sort of creative property that catches a producer's attention can also be used, though it's much less versatile than money. Since I am still, at heart, creative rather than entrepreneurial, I think this approach may be a better fit for me. It's also in line with what SL told me a couple of weeks ago over the phone.
So, I've got a screenplay, "In the Image of Man". Here's the logline:
"A Hassid is killed on a Friday night. People whisper about a giant in the dark. Detective Landesman, who left their world long ago, is thrust back in to the heart of the Jewish community by a case that threatens the foundations of her modern, secular life."
When SL spoke to me, she was very clear: "No Jewish overtones!" I've got to come up with something commercial, she said. While I'm working on that, I might as well put what I've written out there, to see if anyone's interested, right?
So, to start, there's the logline above. I'm no expert in writing loglines. Let me know if you think I could do better with that one.
-Arnon
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