The Best Shows to Watch in 2018

BY CHARIS JOY JACKSON

serievisioni_OA_hap_lab

It’s a new year and the creative community needs good, new shows to inspire us to write and create our own new and amazing stories. Here’s a list of tv shows, which I think will help to inspire, provoke, and challenge us to make our own amazing content.

THE OA

If you haven’t seen season one of this highly innovative and creative story, then stop reading and go watch it now — be ready to do nothing for the rest of your day. Trust me, you’ll want to sit and binge the entire thing in one sitting. I did. Twice.

The story follows the return of Prairie, a young woman who mysteriously disappeared for several years. Her parents come to take her home, she stares at them and asks “Who are you?” They explain to the confused nurse, that when she went missing, Prairie was blind.

This inspired me to write and think outside the box for my own stories, hopefully you’ll find yourself inspired and provoked to create your own innovative stories. While we wait for season two, be sure to watch season one!

 

https://www.youtube.com/watch?v=DvHJtez2IlY

 

THE ALIENIST

Set during the late 19th century, this show recommends itself with heavy-weights Daniel Bruhl, Luke Evans, and Dakota Fanning. Based on the novel, of the same name the show follows a phycologist and crime reporter who team up to investigate a sinister new threat: a serial killer, which is something the world hasn’t defined yet.

Author, Caleb Carr wanted to combine his knowledge of history with his love of fiction. He strived to remain integrous to what people then would have known about psychological threats, new science such as fingerprinting, and the first woman to work for the NYPD.

With a hint of Sherlock Holmes about it, this show can teach us many things about the importance of research for historical stories and it’s fun to try and figure out who the killer is before everyone else. It also helps us creatives to learn what other shows do right and wrong in the small clues they give about the killer along the way. Definitely one I want to check out.

 

https://www.youtube.com/watch?v=JcJQnaXiCfI

 

CASTLE ROCK

If you want to be a writer, storyteller and filmmaker there are two names you should always pay attention to for further research in how to get better; J.J. Abrams and Stephen King, and both are attached to Castle Rock. These two giants of story are sharing this universe full of creative and iconic characters. This alone is reason enough to watch it.

If for no other reason, this new show should inspire us all to keep striving to make awesome films. With both King and Abrams attached, it’s bound to help us creatives learn how to tell better and more innovative stories. Learn from the greats and watch the trailer to see how many easter eggs you can count.

 

https://www.youtube.com/watch?v=XWGP9nOGbqo

 

RISE

While I’m a bit sceptical about this show, I have hopes it will surpass the stereotypes of high school dramas.

Based on a true story, the trailer gives an edgier feel than other shows like it, which is also giving me hope.

If nothing else, I think this show will help us creatives to create messier stories which can still inspire and encourage people to live big lives, and to dream big.

Take a look at the trailer and see what you think.

 

https://www.youtube.com/watch?v=u_jJ9ilpXlw

 

PHILIP K. DICK’S ELECTRIC DREAMS

Ok, this one looks amazing. The 10 stand-alone episodes remind me a bit of Black Mirror and the cast is packed with powerful players — Steve Buscemi, Bryan Cranston, Anna Paquin, Greg Kinnear, Richard Madden and more. The cinematography looks great and the production design fills me with mystery and the urge to explore. In short, this looks to be quite the ride.

Perhaps the biggest hook for this show is the fact it’s based off the book that Blade Runner was based off of, “Do Androids Dream of Electric Sheep.”

I imagine it will give us creatives the much needed reminder to follow the rules, and know them backwards and forwards, but I think it will also remind us to break them sometimes too.

 

https://www.youtube.com/watch?v=RtX_LVwEJhA

 

These are only a few of the amazing shows coming in 2018, there are heaps more including This Is Us, Westworld, Dark, Gunpowder and more. If you want to know how to make movies and be the best storyteller be a consumer of film and learn the good, the bad, and the ugly about what’s actually getting produced now.

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Why ‘The Last Jedi’ Is The Star Wars Movie We’ve Been Waiting For

BY JAMES PRESCOTT

The Christmas season is fast becoming associated with popular movies, such as the Star Wars franchise, and this year is no different. The Last Jedi, the eighth chapter (and ninth movie) was released earlier this week, and I was lucky enough to see one of the first showings, at 0100 on Thursday morning.

I’m not sure I’ve felt quite as nervous and excited going into a film. I had no idea what to expect. I stayed free of spoilers (as this article will do), if there’s one movie to avoid spoilers with, it’s this one.

I’m glad I had no preconceived ideas of what it would do, because director Rian Johnson does an excellent job of turning all of them on their head, in what is an epic addition to the Star Wars saga. It’s the longest film in the franchise, but it earns its length, and the pacing and story are strong enough to keep you engrossed all the way through – I barely noticed the time passing.

The previous chapter, The Force Awakens, now feels more like what it was, a gentle re-introduction to the franchise, based on a familiar formula. This is where the real story begins, where we begin to see a real progression in the story – and it’s worth the wait.

The Last Jedi bears no resemblance to any predecessor. This is a great thing, and makes the film a real game changer. Johnson takes the franchise in new, bold, and interesting directions, and there are no rules he won’t break to do so.

The film begins with the resumption of hostiles between the First Order, the successor to the Empire, and the resistance – now led by General Leia, Organa, played by Carrie Fisher in what is a phenomenal and deeply moving last performance – with final scenes tenderly and beautifully handled by Johnson.

But the real story, of course, is happening down on the island, where Rey meets Luke Skywalker, and goes on a journey of her own. Without giving the game away, as time goes on we begin to understand more of why Luke has disconnected himself from the world, and Rey begins the journey into her own identity and exploring her powers, and her past.

And the other big story arc is Kylo Ren, fresh off killing his father Han Solo in The Force Awakens. Kylo – or Ben Solo – is a dark, conflicted, tragic figure, struggling to find his true path and the call to darkness.

In many ways, both Rey and Kylo are both on the same journey – trying to figure out their place in this story, both powerful with the force and wrestling with the call to explore their powers, tempted by the raw power of the dark side.

We see more of the history of both Kylo and Rey in this movie, all linked together by Luke, brilliantly played by Mark Hamill in arguably his best performance yet in the franchise, in the middle of it all – in many ways a broken man also wrestling with his own demons, yet trying to bring wisdom and guidance to Rey.

StarWarsJedi1-1

One thing which impressed me hugely in this movie is the balance between light and dark in it’s tone – and this balance is in many ways an underlying theme of the entire movie. It’s one of the darkest Star Wars films, but it combines this well with, mostly earned, laugh out loud moments, and tender, intimate and deeply moving scenes.

This movie had me scared, in fits of laughter, and in tears of both joy and sadness, all kept in perfect balance. It’s very rare for a movie to combine these three experiences without going too extreme into one area, but The Last Jedi does this perfectly.

The Force Awakens feels like mere prologue to the events of this movie. The Last Jedi is without doubt the biggest, most epic Star Wars film since Empire Strikes Back. It’s also one of the most spiritual and mythical of the Star Wars franchise, exploring deep philosophical and spiritual questions, without becoming too self-pretentious. But it combines this with lots of action, great fight sequences and lightsaber duels, and the amazing visuals we’ve come to expect from Star Wars – and some surprises too.

The real genius of this movie though, is how Rian Johnson takes all the fans questions and expectations and predictions of what will happen in this movie, and about who the characters are and what they will do, and turns them all on their head. He also, with great subtlety, takes the audience down what looks like one path, only to turn a completely different way to what we expect.

Some hardcore fans won’t like where this movie goes, simply because it shifts the franchise in a whole different direction. By the end of this movie, we’re in new territory for Star Wars, yet there is no doubt that to be true to the heart of what Star Wars is, it’s where the story needs to go.

Many criticised The Force Awakens for being too much like a predecessor – I suspect some will apply the exact opposite criticism to this movie. But such criticism isn’t justified in my eyes.

The Last Jedi is the Star Wars movie we’ve been waiting for – a truly fresh addition to the story, which takes the saga into new places. It’s an epic, thought provoking, innovative, action packed, sometimes funny, mythical and at times deeply moving addition to the Star Wars franchise, and will leave you with many more questions for J.J. Abrams to answer in Chapter IX, in two years time.

How to Find Royalty Free Music That Doesn’t Suck

If you’ve ever been a film school student or a no-budget independent filmmaker, then you know the pain. Finding high quality music to fit your movie for free is darn near impossible.

God bless Kevin MacCleod, but if I hear “Sneaky Snitch” in one more short film I’m going to throw something.

Before you get started on the journey of including royalty free music, be sure you understand the laws surrounding creative commons and licensed music. Every artist may have different stipulations for the use of their music in your film; many of them refuse it for commercial use (you would make a monetary profit from the video) and almost all will require you to credit their work.

“Royalty free music” does NOT always mean “free to use.”

Please have a firm understanding of what is required of you in using the artist’s piece before including it in your film. When in doubt, contact the artist and ask them directly.

Here’s a list of resources for your own short films and videos to help fill it out and bring it to life.

1. Incompetech

I literally warned you about “Sneaky Snitch” two seconds ago, however there’s no denying Kevin MacCleod’s music is iconic to the fledgling filmmaker. It can also be a great introduction into the world of royalty-free music for film. If you’ve never used any of his music, check it out!

However, don’t be surprised when you hear it in every other student short film known to humankind.

2. Free Music Archive

With a wide variety of music, some with lyrics and some without, this is a great one stop shop for all your royalty free music needs. All the music is free to download and easy to use. It has a great search engine to better find the kind of music you’re looking for.

Also, if you’re an up-and-coming composer, you can upload your works to this website for filmmakers (or whoever) to download.

However, like every royalty free music site, you really need to invest some time in separating the wheat from the chaff in terms of quality.

3. Bensound

Another website similar in style to Free Music Archive, but with a more limited library, Bensound is filled with royalty free music by French composer Ben Tissot. There is some great work on this site, but much like Kevin MacCleod’s works don’t be surprised to hear it in several other short films and videos.

4. YouTube Channels

Currently, YouTube provides me with the best royalty-free music on the internet, particularly if I’m looking for anything remotely resembling trap/club music.

You can find music one of two ways:

  • Look through the audio library and download the song you like directly from YouTube
  • Search YouTube the old fashioned way, find a channel with great royalty free music, and follow the channel’s instructions to download the track you like. Channels like RoyalTrax, AudioLibrary, and Argofox are great places to start.

You’ll find some familiar faces hanging out on YouTube as well (Bensound & Kevin MacCleod). The only downsides to using YouTube as a source are:

  1. It can be a complicated process downloading the track you like.
  2. Finding the specific style of music you’re looking for can be a bit more complicated than some of the other sites.

A FEW MORE OPTIONS….

Now before you start a download frenzy with the above listed resources, here are a few more options to think about.

5. Hire a Local, Up and Coming Composer For Free

Of all of the roles in film production, I’ve never had a group of people literally throw themselves at me like film composers. 60% of the messages we get as a production company asking for an opportunity are composers. I’m not kidding or exaggerating (if anything I lowballed the percentage).

There are people out there who are looking for a chance to score a film. Ask for their samples of previous works, and if you like what you hear, then you’re able to help them out as well as yourself.

6. Ask Your Musically Talented Friends to Help You

Other than downloading music from the interwebs, this is my go-to for finding music for my projects. Being a creative, I have no shortage of friends who are musical geniuses who have yet to make a break into the business.

They often appreciate the opportunity to stretch themselves in creating something, as much as I appreciate receiving some great music for my film.

Be sure to ask a friend however who is open to constructive feedback and direction. You don’t want to ruin a great relationship over a short film.

7. Audiojungle

If I find myself in a pinch, I bite the bullet and purchase a song from this comprehensive music library.

While there is plenty of mediocre music on the site, there is just as much of good quality. I’ve never been disappointed by a track I’ve downloaded, and to date I’ve never paid more than $20AUD for a track.

There is some great music out there, free for you to use. Happy hunting everyone, and don’t be afraid to find creative solutions.

 

Written by Brenden Bell.

Gavin Hood – Practical Advice and Inspiration from Eye In The Sky Director

Gavin Hood is climbing the ranks in the film industry, having directed some popular movies with tenacious morale.

I first noticed him after watching Eye in the Sky, which is about the disputes of modern warfare. I was thoroughly impressed. I don’t remember the last time I was on the edge of my seat for the duration of an entire movie. When I realized he’s a fellow South-African, I was intrigued even more – I have to admit I’m a bit biased…

The more I found out about him, the more reasons I found to acknowledge him and his work.

Gavin Hood is the kind of filmmaker who is in the business for the right reasons.

He is driven to create current and applicable content which is entertaining at the same time. When asked why he chose to direct Eye in the Sky, he commented: “It’s completely current and it’s about what’s really happening in modern warfare and it has elements of black comedy and farce that are grounded in real life.”

His choice to cast Helen Mirren (the role was intended for a male lead) as Colonel Katherine Powell was very strategic. He didn’t want to box the movie in as a war movie for guys.

He recounts saying, “I want it to be a movie about war but that it’s a conversation starter for men and women about a subject matter that I think is very topical.”

He’s also a filmmaker who works extremely hard to get where he is right now. When asked to give advice to aspiring filmmakers, he shared, “Unfortunately, […] there’s this notion that you can become famous and rich very quickly. It’s a curse I think. […]

The way you make it is by getting good at making films.

There’s no shortcut; just study the craft and practise and hopefully you’ll eventually connect with an audience. And if you don’t connect with an audience, you won’t have a career in this business.”

Hood with Barkhad

It took a while for him to gain international recognition. Even though he wanted to be an actor, he followed his father’s advice and “took his big mouth and studied law” though he only practiced it for 4 months. He was already 30 when he actually started studying screenwriting, cinematography and directing.

Although he knew he was always going to go into film, he doesn’t regret having studied law, instead he recalls, “it trained me in terms of thinking and story and conflict and moral and ethical questions.”

He continually emphasizes the importance of making films in order to connect with your audience. He himself is drawn to stories compelling him to think. “I personally, with my background of being a lawyer and growing up in the turbulent times of the 80’s in South-Africa, I tend to be drawn to […] stories that somehow challenge me in a moral or ethical way.

“Don’t tell me what to think, but present me with something morally or ethically challenging.”

He started small by making short films; The Storekeeper was one I remember seeing in Middle School. It left a big impression on me, not only because of the dilemma it presents, but because it was so close to home. It was a South-African story which could be understood universally.

https://www.youtube.com/watch?v=UoAONuFrjtU

This is another thing I appreciate about him; he bloomed where he was planted. He started where he was and then expanded, instead of limiting himself to the small South-African film industry.

Tsotsi was his breakthrough film which garnered him an Academy Award for Best Foreign Language Film in 2006 – a film I highly recommend by the way…

It was again, an authentic story, but one exploring universal humanity.  

https://www.youtube.com/watch?v=s-cQHJm25qI

https://www.youtube.com/watch?v=wikqd0aUVkM

“I really believe that we focus so much on differences and not enough on similarities. Most people, on a very basic level, have surprisingly similar needs. The need for companionship, dignity, love. And when these basic needs are not met, you find individuals developing a very distorted sense of the world.”

By now, he has other popular movies under his belt like Ender’s Game, X-Men Origins: Wolverine and Rendition.

gavin-hood

I celebrate people like Gavin Hood and believe there are many more like him out there who we simply need to discover.

Fellow filmmakers and actors, let us strive and work hard to tell stories worth telling. Stories that challenge people in their thinking to fight passivity.

Gavin Hood, I thank you for being an inspiration and persisting with a tenacious and creative spirit – all the best to you for your future projects!

Written by Annette Lange.

Anatomy of the Best Loglines

Knowing where to start in the creative process of writing can be daunting for a first time filmmaker. I know it was for me. I’ve tried building a story around every possible thing imaginable, and I found Blake Snyder’s longline method from his infamous book, Save the Cat, to be the most effective.

His argument centers around starting your writing process by creating something called a logline (your entire movie summarized in a sentence). He would say, if you can’t do this in a compelling way from the start, then you don’t have a story worth telling.

Many of you more seasoned writers may find this approach “formulaic,” however for writers starting out, this is a great place to begin.  

Ingredients for the best logline:

  • One Character
  • One Goal
  • One Source of Conflict with a dash of Irony

In short what you will be creating is the following equation:

Your hero is going for their goal, but something ironic happens to stop them.

If you cannot put your story within this simple formula, then perhaps your story is too complicated, OR missing a crucial element.

FOR EXAMPLE:

Disgraced pilot, E. Ripley is left with PTSD after her encounter with the xenomorph and tries to rebuild a life for herself. However, when a human colony is overrun with xenomorphs, Ripley may be their only hope.

From the film Aliens

ripley

Element 1: Establish Your Hero

The first step is to insert your main character into your logline. This isn’t a place to go into great detail on their backstory; all that’s needed are one or two descriptive words. Sometimes the scenario they find themselves in is sufficient enough information.

As Blake Snyder says, you want to paint a clear enough picture in the minds of those who will hear your logline. They need to be able to see where your story is going. This includes who your character is.

In my example, I defined Ellen Ripley as a disgraced pilot with PTSD. We know she’s an underdog, and it will be easy for the audience to get behind her.

Emma-watson-as-belle

Element 2: Establish Your Hero’s Goal

The next step is to show what the character is trying to accomplish before they are confronted by the story’s major conflict.

In Vertigo, Scottie is investigating Madeline for her husband (his goal) before he begins to fall in love with her (the conflict).

In Beauty and the Beast, Belle wants more than what her small town has to offer (goal) before she is held prisoner in an enchanted castle (the conflict).

Sometimes the goal can be something more passive, or simply keeping the status quo. For example, in Toy Story, Woody isn’t actively trying to do something new, but is enjoying the “status quo” of being the toy on top.

Don’t just tell us WHO your character is, but where we find them at the start of the story.

For Ellen Ripley, I have her trying to rebuild a life for herself.

Warrior

Element 3: Conflict with a Dash of Irony

Lastly, we introduce our story’s major source of conflict into the logline.

This is where people tend to struggle the most, either because they realize they have no real source of conflict throughout their story. Even if they do it’s lacking the crucial element of irony which gives a story it’s hook, edge, or bite.

Conflict is truly what starts your story and what moves it forward. Without this element, there is no story.

In my example from Aliens, the conflict comes from the xenomorphs overtaking a colony, forcing the corporation to turn to Ripley for help.

It’s conflict, because it’s both stopping her from starting a new life, while giving her an opportunity to gain her old life back.

Irony?

Before I explain how irony comes to play in this equation, let me explain what irony IS. There are two forms of irony: situational and irony of fate. Situational irony is when events defy expectations, while irony of fate is when it seems the gods, fate, the universe, etc are toying with humanity for their own amusement.

Situational irony would be getting robbed by a police officer (an amoral act practiced by someone who is sent out to stop such behavior). Jesus being crucified by the very people he was to save is another great example of situational irony. Both examples play on your expectations and subvert them.

Irony of fate is when something occurs with lasting consequence beyond a specific situation. A former athlete who is now paralyzed is an example of irony of fate. Beethoven, one of the world’s greatest composers lost his hearing. He can no longer hear the beautiful music he puts out into the world. Irony of fate.

Irony is all about subverting our expectations in an effort to hook us.

The irony in Aliens is drawn mostly from the situation Ripley finds herself in; she was seen as a pariah and a liability by the company at the start of the film, and becomes the very person who could save them.

That’s irony.

There’s no right way to go through the writing process, but by beginning with a logline my writing has grown simpler and stronger. I hope it helps you on your own writing journey. For more great film advice, check out Blake Snyder’s book, Save the Cat.

Written by Brenden Bell.

 

Is “Guardians of the Galaxy” Marvel’s Second Best Film?

BY KEATON J. EVANS

*Warning: Huuuuge Spoilers!*

Guardians of the Galaxy is considered to be one of the greatest creative achievements by Marvel and also the favourite of many fans. But is it the best Marvel film? Or has the new Guardians of the Galaxy vol. 2 surpassed it?

I thoroughly enjoyed the film when I watched it a few days ago, and I wondered how it stacks up to the first one. I made three rounds for both movies to compete in and we shall see who the winner is at the end of the article.

These three points are the ones I considered to be the most important differences between the two.

ROUND 1: THE PLOT

Guardians Vol. 1: Peter Quill embarks on an adventure to escape Ronan and everyone else out to get him and the infinity stone he carries. Along the way he’s forced to work with other convicts. They all learn to work as a family and end up saving Xandar, a planet that Ronan was bent on destroying. Only by uniting as a team do they stop Ronan and take-back the infinity stone. Overall, the plot establishes the theme that family is what is most important. To read more about this, read Brenden’s piece here.

07 (1)

Guardians Vol. 2: In the second installment we see the team working together to protect a superior race of people and then fleeing said people when Rocket steals one of the batteries they were hired to protect. Their ship crashes on an alien planet where they meet Peter’s father, Ego. We then follow father and son and the plot between Gamora’s sister Nebula, who’s out to take her revenge of Gamora. It’s a bit slow in some areas, which is understandable because the movie is character-focused. Both films are. But overall, the plot drags in some areas, being sacrificed to the jokes and humor, which are good, but take away from making the plot stronger.

04 (1)

The first film brought the charm of family and bringing together a ragtag team to win this round over vol. 2.

WINNER: Vol. 1

ROUND 2: THE VILLAIN

Guardians Vol. 1: In the first volume of the Guardians of the Galaxy our heroes face Ronan, a leader of the Cree people who’s out for the infinity stone and couldn’t care less about Thanos. He’s about as flat as a villain could be, but still intimidating and powerful. He’s defeated by the Guardians rather easily, though that hammer of his sure was crazy good with an infinity stone strapped inside of it. Overall, he’s about as typical as Marvel villains come.

MV5BMjExMzk5MDY4Nl5BMl5BanBnXkFtZTgwOTkxOTMyMjE@._V1_ (1)

Guardians Vol. 2: In the second volume of the Guardians’ adventure, we face a whole new kind of villain: a father gone bad. His reveal is dynamic, a twist to many fans and a highlight of the film, to be sure. I know I was shocked and I feared for Star-lord, a reaction I haven’t felt for many characters. But when Star-lord literally went starry-eyed, I was concerned. And the horror of all the children Ego killed and buried was also uncomfortable to realize. And, being a planet is something we haven’t seen yet, which adds to the originality of the character. Admittedly it feels like they’re fighting the Death Star at the end, but that’s for another round. The thing about Ego is his motives sound grand, but they too appear a bit murky.

06 (1)

With Ego being the more original and surprising twist of the two, the winner of this round belongs to Star-lord’s dad.

WINNER: Vol. 2

So far the two are tied, which is good. It’s what makes fights interesting. Good thing there’s a third and final round to settle which one’s better!

ROUND 3: THE CLIMAX

Guardians Vol. 1: The climax of the first film included an epic space battle above Xandar, the planet the heroes are desperate to save. After trying to stop a giant ship from crashing into the city, the ship is able to break the blockade and crash into the city. But before Ronan can slap his infinity stone-infused hammer into the ground and wipe out the world, he is challenged to a dance-off by Peter. After distracting Ronan he takes ahold of the infinity stone and defeats Ronan with the help of the other Guardians. The dance-off is completely unexpected and hilarious and the moment they unite is a powerful one.

08 (1)

Guardians Vol. 2: At times the climax reminded me of people trying to blow up the Death Star, and I’m still trying to figure out if this is a good thing or not. It was unique that they had to fight a being which was a planet, and it added a strange dynamic to the fight. I think Ego being essentially invincible (until you destroyed the core) made the fighting seem superfluous, but what was thrilling was seeing each member of the team having to fight Ego in their own way. There was a good deal at stake too, with the earth being in danger of Ego’s take-over.

05 (1)

With both movies having excellent final clashes, this one is probably the closest of the three rounds. But….

WINNER: Vol. 1

With two out of three wins, the original Guardians of the Galaxy remains one of the best films in the Marvel cinematic universe. I enjoyed both quite a bit, and think the second one is good, but the first one remains the better of the two. Do you agree with the results, or do you think I’m crazy?

Whatever you may think, James Gunn knows how to make popular movies, no doubt about it!

What A Stunt Person Needs In A Director

BY CHARIS JOY JACKSON

When it comes to knowing how to make movies, there’s one area independent filmmakers can not ignore. Stunts.

Pretty much everything else, you can “fake it, ‘til you make it”, but when it comes to stunts, you need to know what you’re doing. They’re dangerous and if you don’t have professional training, you’re creating an incredibly unsafe set.

A happy set is a safe set.

I love stunts. Watching Tom Cruise perform death-defying stunts in the Mission Impossible franchise are always a highlight. I mean, come on guys! The man hung off the side of one of the tallest buildings in the world. And, he held on to the side of a plane as it took off!

It’s inspiring to see stunt performers in action. They’re one of the most tight-knit community in film. Which, honestly, is no surprise because they have to trust each other with their lives.

As an aspiring director, I wanted to know what stunt professionals look for in a director. I reached out to a few and here’s what they had to say…

missionimpossible3_burjkhalifafeat_hd

Kyal Scott, SAP

The Tempus Elixer (2015) & Out of the Woods (2017)

Kyal is an incredible actor and stunt professional. He’s performed death-defying stunts as several iconic characters at Warner Brother’s Movie World in Australia.

“What I look for is trust. A stunt person doesn’t want to risk injury or death for the sake of a slightly better camera angle or perform a stunt that is deliberately difficult because an alternative action doesn’t adhere to the storyboard. 

“If a stunt person knows that their safety is the main concern then they will push their fear to the limit and risk their lives to create something incredible for the director to capture.

“Trust also helps both director and stunt person be far more efficient. Time is money after all.”

I think he’s hit the nail on the head. The biggest thing a stunt performer needs from their director is trust. They are putting their very lives on the line to serve the vision of the story. If they can trust they’re working with a director who will think outside the box to ensure their stunt performer is safe, the performer will work harder for them too.

It’s a mutual road.

Daniel Nelson, SAP

Deadline Gallipoli (2015) & Pirates of the Caribbean: Dead Men Tell No Tales (2017)

Daniel currently works at Warner Brother’s Movie World in Australia and already has an impressive list of films under his belt as a qualified stunt performer.

“Sometimes directors don’t always have the same eye for action that stuntmen do. So having access to playback footage of each take and seeing what it looks like on camera is very handy. Particularly in a fight sequence.

“Directors can also spend too much time on the actors’ dialog that there is no time in the day for the stunt sequence. So a director who is aware of his time is definitely beneficial.”

This is great advice for the aspiring director. Keep an eye on the time. Stunts require a lot of work and time. The crazier the stunt, the longer it’ll take to make sure everything is set up and safe for the performer. The more a director honours this, the more a stunt person wants to make things work to serve the story.

Daniel Weaver, SAP/ Stunt Rigger

Bleeding Steel (2017) & The Shallows (2016)

As well as working for Movie World, Weaver is also a Stunt Rigger and most recently worked on Thor Ragnarok as a SPX Rigger.

“One of the things I look for in a director is being easy to communicate with. [There’s] nothing worse than trying to understand what someone wants to see if they are not clear. Some directors climb all over the ground and grab performers to show what they mean prior to shooting, so a director who is clear and not afraid to get their hands dirty is great!”

“Another is a director that understands action filmmaking. It’s awesome when you get a director that knows the value in seeing the stunts rather than a director that will just cheat the stunts to speed things up. A good director knows the time it takes to provide quality performance and maintain safety.”

I think Daniel makes an excellent point about being clear with what you want from a stunt person. The more concise and articulate you can be as a director the better. In fact, I’d even go so far as to say, learn their lingo. Find out what different stunts are called, it will save you time on set and I think it’ll make your stunt professional’s day.

Jason O’Halloran, SAP

Goldstone (2015) & The Chronicles of Narnia: Voyage of the Dawn Treader (2010)

Jason also works for Movie World and has had an impressive career, working on shows like Sea Patrol and Russell Crowe’s The Water Diviner.

“I like to see a director that’s excited about action. If you get on set and the director is pumped about the scene then everything just naturally goes up a notch.”

Jason gives some great advice here. At the heart of what I hear in this is, have passion for the action you’re creating. The more passion you have, the more your entire crew will want to get behind what you’re doing. Passion is a huge support to creativity. It gets the juices flowing, so to speak, and you may find your stunt professional coming up with even better takes for what you want to create.

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“All of the stunt men – these are the unsung heroes. They really are. Nobody is giving them any credibility. They’re risking their necks.” – Jason Statham

The next time you work on a set with stunt professionals, I hope you keep this advice in mind. What Jason Statham says above is so true. They really are the unsung heroes on set.

While it takes extreme effort for every crew member to serve a project, keep in mind these guys and gals are going the extra effort. Support and honor this community and listen well to this incredible filmmaking advice.