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| 2011 -------------------------------------------------------------- |
| 1. |
A CALL OUT OF THE BLUE - a 3D experience with a difference - by Diana Dill |
| 2. | KAY MANDER - a summary of her career, marked by a new DVD release of her documentaries |
| 3. |
THE THIRD MAN (Studio Canal Collection) [Blu-ray] Extras include an audio commentary with Angela Allen |
| EVENTS PAST - occasions when a UK Script Supervisor has been in the public eye |
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| I get a pre-prep day, during which Rob Legato, the 2nd unit Director (who is also the VFX Director of the whole film, on which a huge proportion of the shots have a VFX element, and who I'd previously met when he was VFX Supervisor on 'Interview with the Vampire'), the 2nd unit 1st AD, and I, view film alongside MS's Film Editor, Thelma Schoonmaker (3 time Oscar winner). All very exciting and I try not to be too overawed. She is, of course, charming and very 'on the ball'. The AD and I assimilate as much information as we can, alongside the other two who know the film script, story and shooting style back to front. We'll be shooting close cover of actions that the main unit hadn't had time to complete; vfx elements; and some major action sequences - all with doubles. So, I was right, I won't be seeing Mr. Scorsese. Once that day is over I return home and have 5 days free before we are due to start on Monday 1st November. Sunday 31st October I get a call from the prod office: the main unit Script Supervisor is ill and I'm being called to work on the main unit the next day. "Ah, right, yes of course...." (help!) |
| Now, whatever anyone says, the prospect of working with an iconic figure is somewhat daunting. You know they come with a reputation - you've heard all the stories: he works from a tent on the stage; he likes a very quiet set; he hates noise.... etc etc. Mr. Scorsese had brought a lot of his own crew to the UK. I know his well- renowned, phenomenally efficient, Script Supervisor, a lovely American lady, Martha Pinson, who has worked on a lot of his films. She and I met when, some years ago, we shared 'Hackers' - she working on the USA shoot, me UK. Some of the camera technicians were from Canada and Germany, these having had previous 3D experience, however the majority of the unit were British. This film was actually being shot in 3D, as opposed to converting to 3D in post, as a number of recent 3D films have done. |
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| 'Hugo Cabret' was shot on the ARRI Alexa cameras using PACE 3D rigs, with Cooke 5/i prime lenses. In addition to the camera rigs, there is a lot of equipment on set: convergence/interocular computers; computers that line up the two cameras on a rig; cables linking the cameras to the towers that 'save' and 'store' the recorded images. There were 2 permanent 'rigs', as changing lenses takes time, so one 'rig' is often being prepared for the next shot. Large monitors everywhere - some 3D (with glasses to view), some 2D. The slate numbers are input by the technician who, via his computers lines up the 2 cameras. However the Script Supervisor is, as usual, in control of what the number will be. There is a digital clapper board and this takes several seconds to sync, showing the roll number, as well as the slate and take nos. This technician is the one who 'checks the gate' at the end of the last take of a particular shot. In fact he is checking that it was recorded correctly and successfully. |
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| The job for the Script Supervisor is not, of course, affected by the medium on which a film is shot - so working on a 3D film doesn't alter the job of maintaining continuity. On 'Hugo', as well as the usual camera setup, we also kept a record of the convergence points and the interocular settings, which can differ from take to take; all obtained from the camera technician who sets the IO. We also noted the VFX information and made special notes to the Film Editor of shots that were going to require VFX attention later, plus trying to give her any additional cutting order notes that we overheard - the film being so complex that it was hard for her to keep up to date with everything. Our 2nd unit often retook our 'pickup' shots for many and varied reasons. We were constantly in touch with main unit and cutting rooms, receiving and passing on shot information and explaining when and why a new retake took the place of a previous one. We had all the 1st unit material available to us for matching - nevertheless it was an extremely intricate job. My list of shots to pick up changed daily - and it was in constant email flight. We shot for a lot longer than that original 15 days! |
| My first day? Well, that turned out to be awe inspiring and fascinating. On meeting MS his first words were: "I suppose you're up to speed?" I said "yes, of course" - we both laughed and the ice was broken. He was charming to me: chatted and laughed when he had time to talk about something other than the film; during and after every shot he always gave me all his take notes and print selections; and when, a few minutes into an early meeting I was attending between MS, the 1st AD and the DoP, my phone gave out that loud 'beep beep' text message warning, he kindly ignored it and made no comment, although it is a cardinal sin and, like all Directors, he hates phones on set. It was a truly great day and I felt I could carry out my job with confidence and in the same way that I normally do it. There is an incredible aura about Martin Scorsese and it was unbelievably exhilarating working alongside such a presence. Throughout the following weeks, MS came over to our 2nd unit to direct shots when we had main cast - bringing good humour and patience with him. I consider myself fortunate in the extreme. |
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| For more personal insights from across the Atlantic eg Rabbit Hole and Blue Valentine, please visit the New York Script Supervisors Network NYSSN. If you would like to contribute to these insights please email us. |
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| KAY MANDER - Known to many of us as a high profile Script Supervisor, in her day and who, we now learn, was also an awarded documentary film Director! |
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| Kay Mander, was born in 1915. She began her career in 1935 in 'Continuity' and became the first woman member of the ACT in 1937. However, during WWII she directed instructional films for Shell, Paul Rotha Productions and Realist Film Unit, before setting up Basic Films with her husband Rodney Neilson Baxter in 1945. The recently released DVD, "One Continuous Take: The Kay Mander Film Book" collects eight documentaries that she worked on during that period, preceded by a biographical film made by Adele Carroll in 2011. This is a gentle, informative portrait and career history, concentrating on Mander's engaging recollections. |
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| Basic Films' first commission was a 'socially conscious' documentary "Homes for the People" (1945), which looked at the appalling conditions of city, town and country dwellings from the 'ordinary' woman's viewpoint. This film was sponsored by the Daily Herald for the 1945 Attlee election campaign. The film marries the 'direct-testimony' technique she adopted in "Housing Problems" (1935) to fluent, inventive graphics and a more outspoken message. Other documentaries she made, included on the dvds, are "Penicillin" (1935), "Highland Doctor" (1934) and "A Plan to Work On" (1948), which combine a mix of amateur and professional performance. In 1945 she won a BAA for her education film, "La Famille Martin" (1949). |
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| She returned to 'Continuity' in the late 1940's and worked with, amongst many others, Truffaut "Fahrenheit 451", Otto Preminger "The Human Factor", Terence Young "From Russia With Love", Ken Russell "Tommy", Anthony Mann "The Heroes of Telemark". Panamint (a 'cottage-industry' label) is the company that has released the dvd of her documentaries and bestows 'auteur' status on Kay Mander. Few members of the British documentary school have yet been singled out for individual valorisation by dvd release and a query is raised by the Sight and Sound reviewer as to whether she should be 'so near the front of the queue'. She is described as 'talented, sometimes inventive, and unfairly overlooked - but so, apparently, were many of her generation. "One Continuous Take" marks a departure for the label, and the reviewer hopes that Kay Mander, now 96 years of age, 'got a real kick out of its release'. |
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| EVENTS PAST |
| APRIL 2011 EVENT - ANGELA ALLEN MBE IN CONVERSATION with Richard Holliss at the Fan Museum, Greenwich Monday 11-April 2011 For future events information & to secure tickets please visit The Fan Museum |
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| NOVEMBER 2010 EVENT - BAFTA : 'ACADEMY EVENTS' - "Making Better Movies: Vision, Sound and Continuity" Tuesday 2-November 2010 In their 'Learning & Events' programme, BAFTA, Skillset & Cineguilds presented an evening examining the importance of the work of Continuity Script Supervisors to three principal elements of a film crew - Camera, Sound and Editing. Panel members: Diana Dill, Denis Crossan, Eddy Joseph, Terry Rawlings. Introduced by Angela Allen. Mentored by Mia Bays. What's on at BAFTA |
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