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  • Handling It, Or: Working Around Your F*ck-ups

    Tuesday, July 31st, 2012

    The myth of the perfectionist director is one I’ve had difficulty shaking. Just ask Darcy, or Joel Mills, another mate of mine who made the grave error of agreeing to be in one of my short films (it’s called “Macropus Doofus”, not one festival I sent it to wanted it, and I’ll hurl it up on the channel one day when enough people are looking). A fifteen-minute short about a drunk dude squaring off against a boxing kangaroo in his lounge room (seriously) spiraled into a year-long two-night-a-week shoot with three- and four-month breaks in between because, you know, people have lives. I remember vividly ¬†one night where I was demanding take after take because Darcy wasn’t snapping his head back in the way I wanted in reaction to a punch. Probably because, if he’d done so, it would have dislocated his neck. It took me a while to accept this, so intent was I on the look and feel of this tiny shot. And guess what? In the edit, they were all usable.

    Anyway, I’ve been making great strides in letting go of my perfectionism and a lot of that’s had to do with the growing understanding that with a little creativity (and good equipment that you own and don’t rent), just about anything can be remedied. Maybe not perfectly, but enough. Walk with me now, down For Instance Trail…

    I just finished animating episode twelve of season one, which is about Decca Records rejecting a little band called The Beatles back in the very early 60s. Now, we shot this at the wonderful Place Estate Agents offices down the road in East Brisbane. Darcy played Dick Rowe, and the irrepressible Jake Moss, a Facebook ring-in, played Mike Smith, two key players in Decca Records at the time. The footage wasn’t too bad – visually very nice actually – but I was forced to use the low-rent lamps in the lights which give off a hell of a buzz, so the sound was sub-par.… Read the rest

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