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Roseanne Devon
In the commercial and theatrical world, professional filmmakers intentionally alter reality. They use all kinds of tricks to make things intimidating, pretty, ugly, or endearing. Makeup, costumes, and lighting turn a perfectly charming Emilia Clarke into the Mother of Dragons.
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This is nothing new. Film has been an interpretive art since its inception. Below are two of the earliest war photographs ever taken. These are from the Crimean War in 1855, twenty-three years before the first movie was made.
Taken together, Chernobyl and the companion podcast are worth far more to aspiring filmmakers than anything you can find in a university catalogue. The podcast is free and HBO Now has a 7 day free trial. You have no excuses. If you want to learn about the craft of filmmaking, Chernobyl is a must.
In addition to getting the image to the director, the video assist operator records the action, allowing for immediate playback. This allows directors to re-watch takes without waiting for dailies. Directors may call for playback to check performances, look for continuity errors, see if a piece of gear was in the shot, check to make sure a stunt or effect worked, or watch something back in slow motion.
The video assist system is also used to record rehearsals. When we shot on film, this was a critical way to practice camera and actor movement without wasting thousands of feet of film. Today, most film production is done on digital video, but film crews still use rehearsals to practice shots before all of the lights, makeup, and effects are in their final places.
Video assist operators need to be careful about what they put on screen. One of my coworkers was troubleshooting an issue with his personal phone and forgot to delete the number when we went to shoot. Months later when the DVD came out, he was inundated by calls from curious fans who wanted to know who Jason Statham called in the middle of the film
A lot of this has to do with how your characters react to the situations you put them in. If you walk down the street this afternoon and come across someone bleeding to death, how would you react? Call the police? Call an ambulance? Vomit and run away? Now what if you were walking down a beach in Normandy on June 6, 1944? You may vomit and run away, but you might also pull out a machine gun and start shooting Germans. Not a great option in the first example, but perfectly understandable in the second.
The film could have humanized them in a variety of ways. It could have better explained why they were killers (bullying? revenge?), given them their comeuppance in the end, or given them an opportunity to make amends for what they did. It also could have made their victims more despicable, turning Sadie and McKayla into the lesser of several evils (think of Dexter). But for some reason, everyone else in Tragedy Girls, is strangely guiltless and generally likable.
Tragedy Girls disregards the three act structure, starting with Sadie and McKayla committing their first murder and capturing (and torturing) a serial killer. While it does get things moving quickly, it raises more questions than it answers. Who are these girls? What is their ordinary world? Why do they believe they are morally justified in killing people? Why is social media so important to them? Why do they want to be notorious killers? Answering even one of these questions would help endear them to the audience which is, after all, the primary function of the first act.
(Sidebar, my first job in television was securing music rights for a high school band concert. We needed separate rights to broadcast the music and rights to synchronize the music to the televised concert.)
3) Amount of the copyrighted work. Screening the first scene of Saving Private Ryan to educate film students on a particular cinematography technique is probably okay. Screening all of Saving Private Ryan to a packed theater, not so much.
A few years ago, a biopic about Magaret Thatcher came out. Merryl Streep did a fantastic job in the titular role of The Iron Lady. She won several awards including the Oscar for Best Actress. But as a whole, the movie was virtually unwatchable. Halfway through, I started folding laundry, and by the end, I was scrolling through Twitter. The reason is that The Iron Lady violated an ancient, very clearly spelled out screenwriting rule: the Unity of Time.
Nate Watkin: Absolutely. So I wanna jump right in, and I'd like to start with a little bit of your childhood, your background, how you got into the creative industries. And I noticed you mentioned in your bio growing up in the South Asian community typically leads to a career in engineering, not entertainment. So tell me a bit about your childhood and when you first realized that you had a passion for film.
Rajan Patel: Yeah, that's that's a pretty interesting question. I grew up in Stockton, California. Which for people who know, it is a pretty rough area for the most part. We, we ran a small motel in, in, in a very ghetto area. It was a street full of little motels that Indian people ran. And so, in one weird way, my childhood was a part of this huge community, south Asian community, but also a pretty diverse community, right? You could imagine even if you had 25 rooms, every room has a story, right? Every day that somebody checks into. Interestingly enough I was into music since I was a kid. I, I started playing the drums. I, I couldn't tell you how old I, I don't have a memory. Many people in my family actually don't have a memory of me without drums.
And it started with Indian drumming tables and lux. My parents used to go to India and, and do anything they could to, to bring back instruments. And that kind of, I would say it was my first creative passion, you know? And it slowly led into other, other things. My mom was down here and she was telling me how she found this old film that I made where all my cousins were the actors and something, and she took it to Costco and she's all proud that it's on the DVD now, but she says the quality's not good. Well, it's like just cuz you it onto a D V D doesn't mean the VHS quality's gonna be good. So, to be honest with you, man, we I wasn't into movies growing up. It's actually a funny topic of conversation where when you're, I'm with a bunch of clients or even my own staff and everyone's like, top five movies and I'm like, you know, 10 things I hate about you.
And they're like, what? ? cuz we didn't get to watch stuff. Our culture wasn't about that. And, and we watched a lot of Indian movies. I worked for a Fortune 500 pretty much right at the beginning of college. And it was based outta Chicago. And I was going to school full-time and I was, I was having to go back and forth and I was doing sales and management and strategy. And in 2008, when the economy crashed in 2009 the company had to go through severe layoffs because we were a luxury brand. And at that time I told the owner who was a good friend Greg Woodstock and still a confidant of mine, I said, you know, it's gonna suck, but there's guys here and, and, and people here who have families. I'm just like a 20, you know, 22 year old kid, I haven't even like, finished school.
And like, these people have kids, so save whoever you can and, and let me go. And, and they did. And I went to my parents and I remember saying, mom and dad, we grew up in a motel. We worked every day. Then I was interested in music. I, I, I worked music like a job. I started DJing, turned that into a business, was very successful. Went to work during high school, DJing on the weekends, worked at a place called Robinson's Feed, then got this job. I said, I'm gonna take some time off. And they said, how long? I said, maybe like a year. And my, my parents started laughing. I was like, where are you laughing? They're like, you're gonna be bored in a week. My brother decided that he was gonna propose to his girlfriend at the time, his now wife. And it hit me that like, it would be really cool to make a fictitious Bollywood story about the two of them and their, their kind of, you know, romance to marriage and, and play it at the wedding reception.
And I learned how to use cameras. I learned all these things and essentially made it and put it up. Somebody put up on YouTube and we started getting calls. And my first real peak into film, like I'm sure you've learned a lot of people as was events and weddings, right? But we weren't wedding filmers, right? We were doing these cool concept films and using, at that time, jibs and dollies and, and just like Indian people spent a lot of money on weddings and Indian people love Bollywood. It was a perfect match, . And that's when I fell in love with the art of it, I would say, and the art of it, meaning like my version of the art of it, right? I'm a business grad . It, it was my version of it, but my version of it, even doing weddings still holds true of how in this industry that we've known has been wasteful in Hollywood and can spend exuberance amount of money to do something really simple.
I think where my success came from all the way back to my childhood was learning how to do the maximum with the minimum. And so through this process now, 14 years plus at Framework, I was running the business for the wedding business for two to three years. Before that, I had to edit all my own films. And the pressure was different, right? Like, you, like you can retake on a movie set or a marketing set. You can't at somebody's wedding. The pressure was insane and I thrived off of it. And I think that's what made me fall in love with the, what I considered the art of, of making content. I wouldn't even say filmmaking of making content. So it was a really, really strange journey to, to get there. I landed in a career that I never knew existed, I never wanted because I didn't know about it, but it turned out that I found out that I landed into something that I was made for and I didn't even know it.
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