Watch my Movie!

[Tim Simmons]

Some of you know that a few months back, the gang and I entered ExtremeFilmmaker’s 48 hour film fest. For those that don’t, here’s the scoop:

Contract is a short film (9min give or take) that was written, produced, casted, ect.ect. in a little under a month. It was then shot and edited in the span of 48 very sleep deprived hours.
It was then entered for submission at the ExtremeFilmmaker’s 48hour film fest and was selected to be screened at the Arclight Cinema in Hollywood, where it took home awards for Outstanding Cinematography and Directing.

Now it’s up at Undergroundfilm.org, so all of you who are bored at work or home have the chance to watch it at your leisure!

Here’s the link:
http://www.undergroundfilm.org/films/detail.tcl?wid=1020108

It’s a little film, but we had a ton of fun making it- and, as always, I’m very interested to hear what you think of it!!

[Tim Simmons]

Bump for the evening folks...

Comments? Anyone?

[citizenDave]

Man, that was excellent! Very well crafted and damned entertaining, too. Nice pacing, good camera work and lighting and a nice and creepy score at the end. The acting was very good, I could feel one man's nerves and I got a chill from the other.

Shot and edited in 48 hours? That's amazing.

[Tim Simmons]

Many thanks Dave!!

Yeah, that score at the end was a total ripoff of Bernard Herrmann, the guy Hitchcock used alot- He also wrote the "Whistling Theme" in Kill Bill...

Really glad you enjoyed it!!

[citizenDave]

I remember from college how much work it takes to make a film. You should be really proud of this.

[Tim Simmons]

I remember from college how much work it takes to make a film. You should be really proud of this.

Thanks Dave! And actually, I remember from a number of failed attempts how hard it is to draw a comic!

Y'know, I'm always curious regarding comic artists and films: How much of an effect on your art did you feel that your film class had on you?
And when you watch movies, do you feel that you're a little more critical of the composition and/or lighting because of your comic work?

[citizenDave]

Thanks Dave! And actually, I remember from a number of failed attempts how hard it is to draw a comic!

Y'know, I'm always curious regarding comic artists and films: How much of an effect on your art did you feel that your film class had on you?
And when you watch movies, do you feel that you're a little more critical of the composition and/or lighting because of your comic work?

Interesting. I never worked on comics and film simultaneously. College was in the middle of my decade long hiatus from comics. I remember I got a lot of compliments for my camera work and lighting. I thought, for a bit, of becoming a cinematographer. I never studied it very academically, but I always knew immediately what kind of pan or track, angle, and depth of field I wanted. I use that same part of my brain when I set up panels and scenes in comics. When planning a scene for film, I pretty much made the same kind of sketches I do now when planning a page.

I know watching a lot of films has helped me, especially older films where, due to slower edits, it's easier to absorb the composition of a scene. Often when I watch tv or movies I think of how it would be handeled as a comic. I find in comics, that I have to add a lot more shots and angles. In a scene with two speakers, I can't just keep going back and forth between over the shoulder shots. Taking note of editing rhythms has also helped my art.

What I like a lot more about doing comics is that I can do it with a lot less management. I mostly only have to worry about myself. I don't have to rely on a large crew of people to show up on time, work with dedication and take direction, especially actors!

[Genius J]

I find in comics, that I have to add a lot more shots and angles. In a scene with two speakers, I can't just keep going back and forth between over the shoulder shots. Taking note of editing rhythms has also helped my art.

This is probably what I like most about your work.

[Tim Simmons]

Often when I watch tv or movies I think of how it would be handeled as a comic. I find in comics, that I have to add a lot more shots and angles. In a scene with two speakers, I can't just keep going back and forth between over the shoulder shots. Taking note of editing rhythms has also helped my art.

That is a very interesting point- The film I did is, for the most part, two talking heads- we varied up a few angles for emphasis and/or to break up monotonaty, but couldn't do as much as I'd have liked due to time constraints…
However, that being said, if this were to have been approached as a comic, the standard “over the shoulder/ Reverse” would never fly. I suppose it’s that a comic reader won’t stand for similar framing in a dialogue-heavy sequence. Whereas in a film, it would be regarded as far too “busy” and probably deter the actual content of the scene.

It’s something that I’ve been thinking about a lot recently- what with the current influx of TV/Movie writers coming into comics (Whedon/Singer/Every writer on Lost), and the natural transition of the two mediums versus the inherent differences…
There are the obvious differences (sound and movement), but editing seems to be right there on the fence- Your choices of panel movement dictates pacing as much as a splice in film does.

So, here’s a question that relates to both mediums:
Having read Scar Tissue 1 and 2 (review still forthcoming- haha), I notice that for the most part you consistently observe the 180 degree film rule (A character on the right will appear on the left if the shot is reversed), this is something that comic artists fuck up ALL the time (and it drives me nuts)- is that something you picked up in film school? Or does it just come instinctually to you? (ie: are you even aware you’re doing it?)
And when you’re between panels, do you tend to think “camera” as something that roams (like on a steadicam), or fixed? (I ask this b/c in the first few pages of issue one, you basically have what amounts to a “Push In” then a “Push out” on a TV screen)

[citizenDave]

So, here’s a question that relates to both mediums:
Having read Scar Tissue 1 and 2 (review still forthcoming- haha), I notice that for the most part you consistently observe the 180 degree film rule (A character on the right will appear on the left if the shot is reversed), this is something that comic artists fuck up ALL the time (and it drives me nuts)- is that something you picked up in film school? Or does it just come instinctually to you? (ie: are you even aware you’re doing it?)
And when you’re between panels, do you tend to think “camera” as something that roams (like on a steadicam), or fixed? (I ask this b/c in the first few pages of issue one, you basically have what amounts to a “Push In” then a “Push out” on a TV screen)

I was formally made aware of the 180 degree rule in school and I keep it in my mind when setting up shots. Sometimes I have to draw a little overhead diagram of the setting with camera and character placements just so I can keep everything straight(also learned from film class).

In film, I always used moving shots rather sparingly. Many times allowing actors and props to move was more effective. In the opening of issue 1, I was thinking of a moving camera. It may have actually been written into the script that way. I did similar movements in #2, as well. So, I think I act as I might shooting a film, with both still shots and moving shots. I just have to simulate that movement in a series of still panels. I visualize as though behind a camera. I have even simulated effects that are particular to the camera: such as distant zoom shots, where the background flattens, and wide angle/fish eye distortion.