Biggest dangers I see are lack of logic in scenes: why does Vincenzo’s family show itself as so dysfunctional when Chiara moves in? What is Filomena’s relationship to sons? (They all loved her, as did I?) If I get these two parts staged I can follow my original schedule. Cosima’s sweet little 5th birthday, and now here’s Pascale’s as well.
MAY 19, 2015
Tuesday morning. I think the SHORT DV experiment is going well. Now my priority after I can begin to see run-throughs of the three parts is to devise the CAMERA LOOK, the shot positions. I am pleased with all the departments: props, scenic, lighting, music—now comes the TD today, and then step by step I am building this LIVE experience. I like the attitude and effort of all the student crew. So far, I must say, as of this writing, that all areas are as good as I could have hoped for.
The IDEA I had that still seems a good one is to let SHORT DV be the “hub” of DISTANT VISION. And let it grow like a snowball rolling down a hill, until it becomes the fully developed long project. Build outward from this center, and let it grow longer natural, under its own rules. Don’t decide how many evenings it will occupy, rather keep working on it from this SHORT DV center, and see how large it grows.
MAY 20, 2015
So far so good. Now it’s about DAY #7 and I have the SHORT DV on the main stage, just need to fix the “poker game” and Vincenzo alone in front of TV and I more or less have the basis for the “settings.”
Met with Archie last night; perhaps Tony tonight. Maybe both Vincenzo & Filomena together—leaving only Chiara left.
Now hopefully Mike Denney will add logic to the “camera situation.”
As I said, “So far so good.”
MAY 21, 2015
Up early; soon I’ll be at the studio to continue setting shots. This morning will start with the big dinner scene: fight, etc. I guess this part is tedious, but when I make an unusual shot it’s then THERE and I can count on it coming up in the visualization of the story. Television AND this family.
I need to just keep going through and setting great shots.
MAY 23, 2015
Here’s where I am: it’s Saturday. I have all scenes except for: FFC walk from Silverfish, Christmas tape recorder; OFTH, Alison-Tony inside the Silverfish; Archie visits Tony/Alison apartment; limo (Western Union); limo, Archie conducting at awards ceremony and Archie/Tony in ambulance—with cameras added. I must finish today, so that in days to come I can do full run-throughs with cameras, plus adding costumes, makeup, hair, and final lighting.
I have to be especially practical today: knock off all the shots, while at same time making the style more dramatic.
MAY 24, 2015
(actual letter sent to all:)
Day off: SUNDAY
What I’m doing here could be best described: “What if” you had ALL the cinematic-style shots pre-laid out, shot-by-shot & lit from floor (not grid), and were able to have the actors move throughout them in a live performance—with all other elements: music, sound, lighting cues, green-screen composites, pre-recorded elements, graphics, and even time-manipulative expressions (replay, moving in time, etc.) also performed live—resulting in a cohesive dramatic production happening in real time.
So I am on schedule, and beginning Tuesday will run through the entire production (about 50 minutes) each subsequent day, with three commercial breaks, from beginning to end, each time adding a new level of finish—costumes, hair, final props, scenic elements, lighting cues, pre-recorded & graphic elements—until somewhere around June 1st I will begin dress rehearsals, until the FINAL DRESS, which will be recorded and mistakes removed by editing so it can run in tandem with our final performance, being a sort of safety net.
This “proof of concept” really is doing what I intended, making it clear to me what the futuristic LIVE CINEMA process is actually like and in what ways it differs from LIVE TELEVISION of the past & even the present: It is what I had termed “PRE-VISUALIZATION” 30 years ago, but where the Pre-visualization is also the final performance, the key difference being that it is performed in real time and with SHOTS that are actual cinema shots and not formalistic “COVERAGE,” i.e., Establishing, Over-Shoulders, Close Ups, etc., and with lighting from the floor and not the overhead grid.
Also, there is a new area afforded by actual LIVE switching within replay machines, offering an ability to manipulate time while in fact time is flowing normally. This area is yet to be totally digested and used to its advantage.
(Note: It depends on some degree of pre-design, although the scenes can be rehearsed one after the other in a semi-scenic/prop simulation not all finalized, with modular elements such as “work” chairs, tables, apple-boxes and work props I have been using. In a funny way it’s not very different from Rawnsley’s INDEPENDENT FRAME of the 40s, except once all the details are noted, there is expressive freedom as the actors travel through the sets in real time. The concept of the sets all arranged around the perimeter of the studio, with a “free spot” in the center where the equipment is based, accomplishes the same as IF’s sets all up before the CAMERA/LIGHTS rolling on and off by rostrum?)
We begin our technical and dress run-through performances next Tuesday—
Sent from my iPad
I didn’t really finish today’s entry. I explained how my Live Cinema is nothing more than pre-visualization made animate. Between the previz phase and the performance phase there are weeks of rehearsal and shot layout with relevant camera angles—and then (magari!)‡ the film is performed. But it’s not unlike Independent Frame in that the shots exist and the actors walk through them during the performance of the play. Anyway, having been immersed in the process, I am understanding how it works. And had I to do it again, I would know how. Although I must say that I anticipated much, and certainly put my “experts” in the right places.
MAY 25, 2015
OK, it’s Memorial Day, and Gia has just left to fly to L.A. It was fun having her here with me, the little shrimp. Where am I? In Oklahoma City and ready to begin complete run-throughs tomorrow (Tuesday). Perhaps I ought to do a run-through in the actors room to just have them play, play and play the piece? Think about it.
However, the key for me is to focus on each day’s plan. Early, get the actors in line rehearsals while tuning up the technical issues; get the intercom installed, and such facilities. Set up Brian’s piano in the sound room. Set all the pieces and then do a complete stop-and-go run-through, and perhaps at 5:00 each day, a complete run-through with a new layer added: costumes, hair, final props, perhaps tomorrow record all the voiceovers in the sound room.
My mind is organized, so I’m sure I put the emphasis where it need be.
Remember, I can always pull a Van Wart and during a bad dress make them do another after that, even going late (reward with some sort of food).
Technical shortcomings are more difficult for me to remedy, since I truly have no control over the machines.
MAY 26, 2015
Tuesday, “resume”—reading to go into DAY #10. This morning I plan to work solely with actors in the actors room while stage is left to the crew to organize themselves for an after-lunch adding of period CAR & AMBULANCE. Then 4:00 complete run-through with such elements as we have: cameras, VT, costumes?, props?, scenic.
All right, this morning is to focus on the actors, acting—the story and all that. Should Anahid be there with me? Or more valuable to plan VT segments. I guess the latter.
I think I have this on course, as well as the FFCp stuff. As I understand what Joe was saying, FFCp is the master company, and FCW under it. Thus, as we change FFCp (through a DBA) to THE FAMILY COPPOLA, it all eventuates the way I want it.
I seem to be hitting my stride: productive, energetic and juggling many balls in the air as well as ever I did. I think the exercise is part of it. Also being at peace with my wife by giving her what she wants: “A happy wife is a happy life.”
MAY 28, 2015
DAY #12. As I watched SHORT DV, I despaired that the
shots on Tony’s Silverfish monitors weren’t showing what I wanted them to show. However, now—if I prerecord most of the “source VT,” and route them to screens in the EVS room, and have a camera there, I could essentially fake that those screens WERE the Silverfish screens and what both Tony and Darryl were looking at—and that Chiara was switching.
What I realize now is that the task of all that switching between the live cameras (with their number rename issue) was more complex than I imagined, even for a professional like Teri, and that the added burdens of chroma key, etc. make her job almost impossible, given the limitations of the TriCaster and the lack of graphics and other stations.
Today I should keep going through “blocks” of the script and confirm camera settings, confirm VT portions and settings, and continue going through a block at a time. Now I have roughly done that with PART ONE, so must continue with PART TWO the same way. Also, the intercom will be here and set up by late this afternoon—plus Mike Denney will be here, and I ought to have him sit in the Silverfish and work with Teri.
When Owen gets here, I’ll get his opinion on how the overall piece is playing, ask for some suggestions regarding the OVERALL and which parts in particular he can help with.
It is exciting, a fantastic “machine” to play with. My actors are doing fine, oddly enough, especially Chiara, Vincenzo. What could give Archie more tragic stature? Ask him to play it as if he’s almost cursed—by not achieving what his father wanted: more Greek Tragedy?
MARSYAS—SATYR WHO PLAYED THE FLUTE:
MAY 29, 2015
Main problems:
•SOUND. He has too much to do and is little experienced. Get someone else to be responsible for microphone placement and sound boom placement and instruction. Will should be at the control (mixing) panel.
a)The RF mikes should be mounted on a simple loop harness that can just be hung around an actor’s neck or shoulder, and can come off quickly and replaced with the new costume quickly. (This should be done by the movie sound guy.)
b)Will should begin to actually do “sound design” by adding sounds, ambiances, and specific sound cues.
c)Perhaps Robby will have to start taking over some of that.
•STG. MGR. should stay at his station and run the show, all cueing over intercom. He should never be off intercom during the running of any act, and of course during the complete run-throughs. He has to mark lighting cues that he’s giving to Sean. He may need other subalterns like Daniel, who floor-manages wardrobe, props, and scenic. Maybe two or three efficient guys to direct all that floor traffic.
THE STG. MGR. HAS TO BEGIN CONTROLLING, CUEING, AND RUNNING THE ENTIRE SHOW FROM HIS STATION, and ALWAYS ON INTERCOM.
•Brian needs to be set up in his MUSIC RECORDING ROOM with his piano, his script, and a BIG monitor so he can watch and perform as the show progresses. He ought to be on intercom during the entire show.
•We have a bottleneck to the TRICASTER, which means Teri needs a very efficient TD type who can handle all the patching, and sending the relevant cameras to the eight feeds of the TriCasters.
•It may be best to have Mike Denny sit next to Teri in the Silverfish, and act as Assoc. Director, and have Wendy on the floor working with the camera operators.
MAY 30, 2015
I slept worried that the SHORT DV was drifting into a movie set, with “just two minutes” expanding and eating up all the time, and Steve the stg. mgr. less adept in this type situation, off-intercom and failing to have his second stand by me. So I figured the smartest thing I could do was push it back into a theater setting, with him at his station and always on intercom during the show. I have Beggs as backup in case things go terribly wrong, sound-wise—and we’ll hire a movie sound guy to set mikes as Will operates the mixing board and various cues. I have to weigh all things carefully as we now proceed into the week of run-throughs.
After rehearsal Saturday. I put them through the entire piece. Acts 1 and 2 were ragged but held together; act 3 hit the fan, and with so many cameras missing, was ragged. Tomorrow I should start with Part Three, and set each camera, and then record image on vectorscope. A lot rests on Robby—he’s got all those pre-recorded sequences to cut, and his instincts aren’t mine. That leaves SOUND—sound recording; sound mixing, all sound design, and integration into a single moody & legible sound track. (Beggs could do). We have nothing to fear except fear itself.
LAST THOUGHTS ABOUT DV RUN-THROUGH TODAY—If the cues are all hit, and you can hear and understand the dialogue, and if the music & live score is mixed in with some finesse, it will be an enjoyable experience. It is aggressive in how it took the bull by the horns, and made a dent in what LIVE CINEMA is and could be.
MAY 31, 2015
Sunday, early before I go work at OCCC on the “voluntary” day. I do feel this performance will come together—probably not until June 3rd, oddly, on Wednesday. But that is sufficient. Also, my hunch is that Beggs will show up; but I have to plan for him not showing up. What about Jim? Could he do it? He’s comfortable with sound, so perhaps. Let me ask, but first see if I hear back from Beggs.
What is the vulnerability beyond the TriCaster crashing? Hmmm, it’s that the thing plays in real time, and that transitions are instantaneous. I do think it’s OK, however, if we “catch” the madness of the elements just being assembled, actors rushing in, sets being set, couches slid in those seconds before the scene begins. It is meta-theater after all—which those interviews with Chiara et al., polio discussion, all express.
So as good as we try to get it, that last-moment madness of even a camera still trying to set isn’t bad, and it presents a further safety net. This is very exciting—and I’m glad I chose to do it and grateful I had the necessary $ to push forward and actually attempt it.
Step by step.
JUNE 2, 2015
OK—its Tuesday morning; I do the performance in three days, Friday at 5:00 P. M. I’d imagine there will be time for a rehearsal on Friday morning, but wonder if I ought to have a late morning Friday. What are the weaknesses? Getting all the cameras, sets, & costume changes between the scenes. It’s now a totally technical issue in which a few days would make a big difference. If there are problems with the “show,” I don’t think it’s in the beginning nor in the ending. Maybe around the FFC intrusions, which we’ve never done—and we should shoot that at least for the Thursday schedule. Idea: Should it be Archie who closes the curtains, as he runs out with Willie earlier than Chiara? Or get the closing of the curtains VT by Chiara? How much time would it really gain? Also, how about some fingers pushing switch buttons VT, so we can have such shots? What other inserts—the ax in wood pile?
List of INSERTS:
•Tony’s fingers pushing switcher buttons
•Ax in pail of wood, being pulled out?
•Chiara closes curtains
•Vincenzo’s glass rapping on table (when he’s blind)
Of all my problems going to performance, the actors are the least of them, lighting little; most is moving all the cameras into place, on time.
Reaction to the run-through: Occasionally there were touching moments, interesting or exciting moments. What can I do with Alison? Other than underplay? Make her energetic re: her work. How do I get her to stop “acting”? She has to be worn down by the conflict of work and marriage so that she almost has no emotion anymore. She should play the scene with Tony in the Silverfish AS IF:—she’s closing a deal;—telling someone she loves to take it or leave it;—she’s gotten news that she’s got a month to live;—gotten news he’s got a month to live;—feels she’s already lost him;—she’s about to tell him about her own affair;—she’s Judge Judy;—she’s a minister;—she must feign concern or emotion. Even anger: she should strip down to the essence of her feeling, be bare, be naked—remove her protection.
JUNE 3, 2015
There were two run-throughs today; the first camera/actors/scenic improved, whereas Robby playback (PB), Gold and Silver fell apart. The evening perform
ance was even better, about 55 minutes, whereas Robby and PB, Gold and Silver only fell apart at the “scream” EVS sequence and the whole Las Vegas sequence.
But there were times when I got “into” the movie, and almost forgot I was driving.
There is definitely such a thing as LIVE CINEMA, and I know a lot about it now.
The hairy part was when Tony comes into the Silverfish—they sent Chiara too soon; plus the problem that PB is too long, so you can’t cut to the specific cues the “dialogue” makes. I suggest three loops: (a) Tony buttons, (b) Chiara buttons, and (c) TV documentary. They can be accessed at any time.
Then the Robby PB can be present in sync with the dialogue.
That—plus my poor editing on:
a)the big Alison/Tony scene
b)the Chiara cooks spaghetti scene
c)and really all the edited sequences (Why not ask Greg to help?)
I’m tired—a great day, a great experience, and a great achievement.
JUNE 4, 2015
This is now Thursday; had I not added the two extra days, this would be the day after the event and thus the press conference.
Here’s my warning for the NEXT TWO DAYS:
•HELP ROBBY EDITING PLAYBACK VT (MAKE DATE).
•FIX CHIARA COOKING (HAVE GREG HELP EDITING).
•HAVE 15 MINUTES PLAYING GAMES IN ACTORS ROOM WITH CAST.
•LAS VEGAS SEQUENCE HAS TO BE PINNED DOWN.
•BE SURE I AM OUT OF WAY DURING TONY IN SILVERFISH.
•PRE-FILM FFC WALK, ENDING WITH TAMALES/CHILI CON CARNE & ROYAL CROWN COLA (WITH GLASSES).
•MAKE SPAGHETTI FOR CHIARA—ENOUGH FOR FAMILY.
•LISTEN TO BRIAN’S FAMILY PIANO CUE?
•TELL ALEC (FRANCIE): SLOW DOWN WHILE PULLING TELEGRAM STRIPS—ENUNCIATE.
•ALL ACTION SCENES: GO FOR IT (PERFORMANCE ONLY).
•TELL TERI TO INCLUDE V’S POV OF AX IN WOOD INSERT.
•BE CONSERVATIVE WITH CUTAWAY NICKY’S COMMENTARY.
Live Cinema and Its Techniques Page 11