Troy Zapata/ The Director's Cut
Posted: Thursday, August 05, 2010
by Steven Jackson
http://www.authorhouse.com/BookStore/ItemDetail~bookid~29226.aspx
The Director is the driving creative force in a film's production, and acts as the crucial link between the production, technical and creative teams. Directors are responsible for creatively translating the film's written script into actual images and sounds on the screen - he or she must visualize and define the style and structure of the film, then act as both a storyteller and team leader to bring this vision to reality. Directors' main duties include casting, script editing, shot composition, shot selection and editing. While the practical aspects of filmmaking, such as finance and marketing, are left to the Producer, Directors must also always be aware of the constraints of the film's budget and schedule. In some cases, Directors assume multiple roles such as Director/Producer or Director/Writer.
Directors may write the film's script or commission it to be written; or they may be hired after an early draft of the script is complete. During pre-production, Directors make crucial decisions, such as selecting the right cast, crew and locations for the film. They then direct rehearsals, and the performances of the actors once the film is in production. Directors also manage the technical aspects of filming, including the camera, sound, lighting, design and special effects departments.
During post- production, Directors work closely with Editors through the many technical processes of editing, to reach the final cut or version of the film. At all stages, Directors are responsible for motivating the team to produce the best possible results. Directors must also appreciate the needs and expectations of the film's financiers.
Assistant Director
The First Assistant Director (AD) is the Director's right hand person, taking responsibility for a number of important practicalities so that the Director is free to concentrate on the creative process. During pre-production, First ADs break down the script into a shot-by-shot story board, and work with the Director to determine the shoot order, and how long each scene will take to film. They then draw up the overall shooting schedule (a timetable for the filming period). Once the film is in production, AD’s are in charge of making sure that every aspect of the shoot keeps to the schedule.
Before the shoot, the AD’s main task is to create the filming schedule, working in careful consultation with the Director in order to fulfil his or her creative ambitions. When drawing up the shooting schedule, First ADs must also be aware of budgetary constraints, cast availability and script coverage. Preparing the storyboard, overseeing the hiring of locations, props and equipment, and checking weather reports, are all key pre-production duties. During production, they must ensure that everyone is on standby and ready for the Director's cue for action.
First ADs' core responsibility is to keep filming on schedule by driving it forward, so they frequently make announcements and give directions to co-ordinate the cast and crew. They also control discipline on the set, supervise the other Assistant Directors, and oversee the preparation of the daily 'call sheet' (a document detailing daily shooting logistics, which is distributed to all cast and crew). Firsts are also responsible for health and safety on set or location, and must take action to eliminate or minimize hazards at all times.
Producer
A FILM producer initiates, coordinates, supervises and controls all aspects of a production, from fund raising and hiring key personnel, to arranging for distributors. The producer sees the project through to the end, from development to completion. Traditionally, the film producer is considered the chief of staff while the director is in charge of the line. Under this arrangement, the producer has overall control of the project and can terminate the director, but the director actually makes the film. It's the producer who really authors a film. The producer raises the money that pays for the film to be made, and is responsible for anything affecting the budget of the film. The producer hires the director and the crew, manages the film through production and secures distribution for it when it is finished.
Executive Producer
The role of the Executive Producer is to oversee the work of the Producer on behalf of the studio, the financiers or the distributors if the film is a big budget project. They will ensure the film is completed on time, within budget, and to agreed artistic and technical standards. An Executive Producer may be a producer who has raised a significant proportion of a film's finance, or who has secured the underlying rights to the project.
Camera Operator
A camera operator works with digital, electronic and film cameras in multi- and single-camera operational conditions, producing pictures for directors by combining the use of complex technology with creative visual skills. The work is based in either a studio, where the camera operator usually follows a camera script (which gives the order of shots practiced at rehearsal and is cued by the director during recording) or on location, where there is likely to be more opportunity for creativity through suggesting shots to the director. A camera operator usually works under the direction of a film director or director of photography and is sometimes supported by a camera assistant. The camera man’s role also involves interacting and maintaining good working relationships with other members of the camera crew, including sound recorders, lighting technicians and actors.
Casting Directors
Casting Directors organize and facilitate the casting of actors for all the roles in a film. This involves working closely with the Director and Producer to understand their requirements, and suggesting ideal artists for each role, as well as arranging and conducting interviews and auditions. Once the parts are cast, the Casting Director negotiates fees and contracts for the actors, and acts as a liaison between the Director, the actors and their agents. Casting Directors must have in-depth and up-to-date knowledge of new and existing acting talent. They are responsible for matching the ideal actor to each role, based on a number of factors, such as the actor's experience, ability, reputation, availability and box-office appeal. Casting Directors also work closely with Production Accountants to prepare the casting budget.
Editor
Film editors assemble footage of feature films, television shows, documentaries, and industrials into a seamless end product. They manipulate plot, score, sound, and graphics to refine the overall story into a continuous and enjoyable whole. On some films, the film editor is chosen before cast members and script doctors; people in Hollywood recognize that the skills of a good film editor can save a middling film. In the same way directors use certain actors they appreciate over and over again.
Music Editor
Music Editors help Directors to achieve their musical ambitions on films, and provide a crucial link between the film and the Composer. They structure the soundtrack, ensuring that all the components work together. For film music to work successfully it must be beautifully written, well performed and appropriate to the story and setting. In addition, it must be very carefully placed within the film, in order to complement the action, rather than detract from it.
Make Up Artist
Make-up Artists work on feature films and on some commercials and pop promos, working to the Chief Make-up Artist. Make-up and Hair are key elements in the overall design of films or television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.
Today the light will shine on film director Troy Zapata.
Jackson: You look real young to be a film director. How old are you?
Troy: Well thanks! I am 22.
Jackson: It seems to me that you have a slight accent as well. Where are you from and how long have you lived in New York?
Troy: Ha! Ha! Haven’t got that in a while. I grew up as a military kid. I was born in Texas, where I lived for a few years. We then moved to Maryland and from there my family was shipped over seas to Germany where I attended high school. Not long after high school we returned back to the states, Savannah, Georgia to be exact. I attended Savannah College of Art and Design.
Now I live here in New York. Been here for one month now!
Jackson: Ok so you’ve been moving around. Now what influenced you to become a film director and did you receive any formal training?
Troy: There were many elements that influenced me to become a interested in film directing. The biggest is my passion to reach people. I always believed that film was a collaborative effort of a team and not just one director. So I set out to stop that mode of it’s a particular person’s film, in actually it takes hundreds of people to make a film and just one person. So I believe in group effort, a team effort. That’s success. To be able to make a movie where everyone involved can be happy to say they had a say in the process of making that film, all the way down to the production assistant. And yes I did receive formal training. When we moved to Georgia, I attended Savannah College of Art and Design where I earned my BFA.
Jackson: Ok, ok! So do you believe a director should act before he or she becomes a director?
Troy: You do not have to be an actor first but it is a great advantage. I am an actor too! I was one before I was a director. For me I wanted to understand the craft of acting so I can better bring to life my vision as a director. Mind you Jackson, I started out in theatre under the wonderful skill of my acting coach Carol Rudd. If it wasn’t for her taking a chance on me I wouldn’t of acted or become the director I am today. I learned so much from her.
Jackson: There are directors who have really big films coming out who say "film school is a waste, don't go to film school". There's a movement of young filmmakers coming from commercials, video, and television who say that as well. I find it interesting but how do you feel about that?
Troy: I have heard that as well and I do not agree. Our profession is one that does not require a degree but it is one that requires experience. I believe the best way to network and to learn the film industry to through school where you are given the attention you deserve and the opportunities to show what you have inside of you creatively and improve it. After my 4 years of training, I’ve been praised on my growth and skills that has developed in the environment of my professors and peers.
Jackson: Ok troy, I need you to help us understand the basic steps you have to achieve to become a working director. Walk me through it!
Troy: Well first you need to have the passion for story telling in a visual medium, wither it is film or theatre. You have to really want to be able to make a movie. For me, becoming a working director was being able to make any film with the help of people who were there for the same effort. I had a story to tell, so I wrote a script, titled "WEST". I pitched it to other fellow film-makers and producers. Out of that I was able to find a producer, Jennifer Bird. Her job was to find locations for us to shoot our scenes, rally up crew members and assist in finding sources of money.
Then comes casting actors for the characters in the story. To me this is one of the hardest tasks to achieve. Usually it is the casting director’s sole job to cast the film but we agreed to have Assistant Director Jesse Cook accompany us so that he could have a say in the casting. Casting the lead is also hard but after long days of auditions actor Christopher Forster came in and wowed us with his monologue. After getting a whole crew of 50 plus people, we began production. Afterwards it was a few months to wrap it all up in editing and get it to premiere time.
Jackson: Very interesting! Is there more benefits when a director writes and produces the story?
Troy: It all depends on the director. For me writing gives me a lot of insight into my characters that would allow me to communicate well with my actors. It also allow me to be confident enough in my own writing to give the actors creative liability with it as well. I would tell them follow there gut on a particular scene and if I don’t think its working, ill change it. I will only change something only if I don’t think it’s working, not because I don’t like it. Liking something is subjective to each person.
Jackson: When does a director know when he is ready to do a feature film?
Troy: When he feels confident he can manage a whole crew and cast. When he or she feels like they know what to do and can communicate it thoroughly to everyone.
Jackson: Do you model yourself behind any famous director if so who and why?
Troy: I don’t really. They all have such great skills in their own right.
Jackson: What steps do a screenwriter have to take for you to consider his script for a project?
Troy: be able to write a good story! Without a good story there is no project!
Jackson: When you are ready to work on a project is there a list of names where you choose from to get assistant directors, producers, location managers, sound person and cinematographers?
Troy: For me there was no question about who I asked to be on my team and the actors and actresses cast for my film ‘"WEST". If you were to ask me to find a crew I could and im confident they would all return with the chance to work together with me and my department heads, Zack Arrington, Jennifer Bird, Jesse Cook, Angie Crayle, and Pamela Kozodoy. I would love to tell you about each and every one of my crew members but we don’t have the time. I do appreciate them all and the work they did for me and for themselves. Combining them with the wonderful talent of Christopher Forster, Debbie Scott, George Wentworth, Pamela Kozodoy, Reece Thomas, and Andres Tessari, made my filming experience very enjoyable.
Jackson: Hey Troy, I really want to thank you for your time and this informative interview.
Troy: I wanna thank you and Pen It! Magazine for having me. You know it feels good to have the light shining on me! Take care man!
Jackson: I wish you the best!
Steven Jackson/newyorklegend was born in Harlem Hospital, he’s a Leo, was raised in Colonial Projects in New York, and attended Adlai E. Stevenson High School in the Bronx. Jackson started writing screenplays while practicing as a license real estate broker. He became a published writer with AuthorHouse Publishing Company February, 2005. His book titled, INSTANT MESSAGE (IM);ISBN: 9781420824902; - is a story about an interracial couple who is faced with public prejudice and family persecution. Filled with sex, lies and hatred! This online relationship is based on true events!
Prior to becoming an author Steven Jackson ventured into acting landing work with Universal City Studio’s Production of "Friday Night Lights" directed by Peter Berg. He also worked on director Roland Emerich’s Production of "Day After Tomorrow". As a writer Mr. Jackson currently writes as an “Arts & Entertainment" Columnist for TheCelebrityCafe.com and hard copy publication Pen It! Magazine - editor and chief, Debi Hurt.
Questions and comments for Steven Jackson email him at: newyorklegend@yahoo.com
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