Creative References

Now that the script for our Heart Break Productionz feature comedy The Whole Truth is locked and has scene numbers, we're flying into production action.

We're interviewing some terrific candidates for key crew positions (Director of Photography, Production Designer, local Casting Director, make-up, hair, wardrobe and so on). They've read an earlier incarnation of the script - it's better now - and come with ideas and questions for us as well.

Something that helps the technical/artistic crew members is called a "Creative Reference." I have in the past referred to it as my Film List, but now that I'm working in feature films, I discover the more accurate name is Creative Reference.

This is a list - comprehensive but not exhaustive - of films that have an element that would, IMO, serve our film well. Whether it's blocking (where/how characters move), design (scenery, background, colors, props), camera movement, symbolism or a number of other integral parts of scenes, scenery and style.

The idea is *not* to copy anyone - far from it. It is to recognize effective cinemagraphic techniques that could tell the story best.

So I watched about 40 films that I believed would have something that we (the production team) could use, update, twist or incorporate in a new or unusual way.

This is where knowing about films from the past and film history comes in handy.

From those, I selected nine for my list, writing what I saw in each that could lend effective creative elements - some minor, some major - to our film. Dramas and comedies are considered because, remember, we're looking for technical references as well as story telling techniques.

For example, one of the films I list on my Creative Reference sheet is Rob Reiner's classic, "This Is Spinal Tap."

Now, The Tap is *nothing* like The Whole Truth. Nothing.

The Whole Truth is tightly scripted, The Tap is mostly improv'ed by a cast of brilliant writer/actors. But what I see in The Tap that I believe will work for us? The sincerity of the characters; there's never one false note.

Those characters are simply who they are. None tries to be funny. They only react as their characters would honestly to the bizarre situations in which they find themselves, which are actually fairly realistic for show biz.

So, for our film, I listed: This Is Spinal Tap - the sincerity of the characters. No one tries to be funny, they are simply and honestly themselves. Billy Crystal tells the only joke (you'll have to see the film to find it) in the entire film.

The folks we're interviewing try to watch at least the top few films on my list to understand how I see an aspect of the acting or their technical make-up helping our project.

If the Creative Reference list is properly and well done - the crew folks who read it should immediately see what I see, the way I see it. It's written carefully, conscientiously.

Their job is to help me realize my vision as the director - but directing is a completely collaborative job. It takes a village of crew and cast to help bring that vision to life - what we directors do is, in the end, take credit for the work of The Whole Creative Village. ;-)

Now, by sharing my Creative Reference list, they can come up with notions that only enhance my concept and vision, bringing me ideas and creative choices to make that vision become a living, breathing reality in a way that, hopefully, you will enjoy on a number of levels.

This is a very layered film. You'll have the opportunity to enjoy it on a very simple level - from taking that roller coaster ride of "just" a funny film for a sheer escape from your day-to-day life, to an examination of the darker sub-stories, to many other levels of character analysis, story telling and subject matter.

Which is why casting is crucial. The folks cast in our film must be able to *act,* and well. We're working with some top casting folks in LA (who are amazing) and we'll be working side by side with a well-known Seattle casting director, too.

When all our crew is in place, I'll be listing them here.

Executive Producer Gary Allen Tucci and I have been so fortunate to hook up with, IMO, the best producer in the biz with the passing of Sydney Pollack, Larry Estes. His enthusiasm, vast knowledge and support for The Whole Truth are making certain we maintain our very high standards of quality and priority of doing the best job we possibly can to work on behalf of our real boss.

That's you.

Our audience.

Times change, so do walls

My transition to a feature film writer-director-producer has changed my coaching practice immensely - I don't have time to coach any longer.

There are precious few people I'm coaching now. They've been working with me a very long time and their schedules still permit me to see them.

Folks coming to my house for many years have enjoyed my Wall of Fame - headshots of dozens of actors with whom I've worked have hung in my hallway.

They've recently been taken down, and the entire hallway's been painted a fine white, which really brightens up the place.

The reason I coached actors for camera work started out as something I was asked to do and I also needed camera-trained actors to appear in my films. I loved watching so many people grow and blossom as people and as performers.

Over the years I've worked with hundreds of people - being coached is a much different experience than being in a class. Much more challenging, harder work and there is the need to be professional, to be a self-starter, to come in prepared and ready to work - or figure out how to create a system of preparation that would if not guarantee success, at least positively work toward it.

I got the idea from Rob Reiner and other directors who started out as acting coaches because it gives us the opportunity to help actors achieve their performing and career goals. It also helps us sharpen our directing chops with every conceivable type of actor at every conceivable level of training, experience and career aspirations.

It takes so much dedication, work and savvy to keep at it, many decide they'd rather not put themselves in the race.

What I discovered that has cost more of them a career than anything: the lack of understanding who they honestly are and what they honestly want, and the lack of a plan. A genuine plan based on reality. I recommend every artist create a business plan, or their chances of becoming professional lessen greatly.

Of course in order to create the business plan they must understant who they are, what they want and what is needed to succeed, one step at a time -- most importantly, on their own terms. If you want to know what makes you stand out - it's the real you. That's what we want. That's what we need.

Not another cardboard cutout of an actor.

You can detect the outstanding performers every time. They have a clear sense of themselves.

So many changes are taking place in my life, my environment is reflecting that process. Streamlining, fluffing and primping, enabling me to do everything I can in the best way possible. It's energizing and comforting.

Since I'm doing it in increments, it's not shocking or weird. It feels just right. Yep. Just right.