Bind 2

How should an ideal film creation process look? And how can I contribute to it?

This is the question that guided our Bind 2 project during this semester. This issue is particularly
important for our film industry because collaboration between people working on the same
project is crucial. The parallel with the field of music is significant because it is now possible for
an artist to produce an entire album without leaving his room and this by being alone with a
DAW. The same applies to a painter, writer or photographer. They obviously interact with the
environment around them but their artistic creation does not fundamentally require collaboration.
Whereas in the field of cinema, collaboration is at the heart of the creative process because it is
above all a multidisciplinary art that requires the participation of people with different abilities.
For example, there are elements of writing about the script, elements of the theater about the
performance of the actors or even sewing elemnts for the costumes. For these different reasons, it
is crucial for filmmakers to ask themselves how this process can best be carried out taking into
account the different sensitivities and abilities that are in a team formed to create a film (“The
Importance of Collaboration in Filmmaking,” 2015). To deal with this subject, we were put in
group with other students in filmmaking but also with students in acting. Our goal was to deal
with the driving question within a narrative and to bring this narrative to the screen but also to
think about this question within our creation process. We will start by looking at the way that
technological advances are pushing towards specialization in the world of cinema and therefore
requires a closer collaboration between the different departments. Then we will talk about the
social dimension that can lead to inequalities in the way films are produced. Finally, we will
think on how manifests may or may not help define a framework for collaboration and how we
have applied this to our own project.

Films inevitably reflect the conditions under which they were produced, either directly or
indirectly. This reflection can stem from various factors, such as the scriptwriter's life experience,
the director's aesthetics, the actors' practices, or even budgetary considerations. These are just a
few of the major areas to mention. Moreover, films can directly address production conditions
and the issues surrounding the film industry within their own narratives.
For instance, ‘’ Sign’ in the rain’’ (Donen & Kelly, 1952), is a musical that portrays the advent of
talking cinema in the 1920s and the challenges faced by silent movie stars. The film illustrates
how the concept of an ideal film creation process evolves over time and emphasizes the necessity
of adapting to technological innovations. Apart from the new storytelling possibilities that
emerged from this innovation, it redefined the very essence of acting itself. Integrating speech
into acting meant that a once great silent actor could become overwhelmed by the vocal aspect of
their performance.

In a more recent example, the film "Babylon" (Chazelle, 2022) takes a comical approach to
depict the impact of sound's introduction on the workings of a film set. The character Jack
Conrad, played by Brad Pitt, is mocked by the audience upon discovering his voice for the first
time in a silent film. This contributes to his inability to contribute to cinema as he did in front of
the screen, eventually leading him to suicide.

These examples highlight the essential role of technical components in film creation and how
they directly influence the filmmaking process. Films serve as a reflection of the evolving nature
of the society in general but also of the industry itself, shedding light on the challenges faced by
those involved in its creation and how it redefines the collaboration process.The introduction of
the sound component paved the way for greater collaboration among different artistic fields.

In recent history, the use of computer graphics has had a significant impact on special effects in
films. Technological advancements, including computer-generated images (CGI), have opened
up incredible possibilities for creating previously unimaginable images. This breakthrough has
given rise to a new profession as digital artists, deeply integrated into the film development
process. An example of this can be seen in the film "Tron" (Lisberger, 1982), which was one of
the first to utilize this technology. It has profoundly changed the way sets are conceived and
executed. However, traditional set creators have not disappeared; instead, they have collaborated
with digital divisions to create computer-generated universes and sets (Maltête,2012).

Technological advancements also prompt us to reconsider the conditions of collaboration within

a film crew. The integration of new technologies leads to increasingly specialized collaboration
between departments. This heightened specialization necessitates a reevaluation of the optimal
conditions for effective collaboration. Furthermore, the advent of artificial intelligence
introduces further questions about how technology will reshape the collaborative processes
involved in filmmaking once again.

Cinema encompasses not only technological factors but also has a social dimension. It involves
individuals from diverse social backgrounds, different genders, and different ethnicities who
come together to create a film. These social components contribute to varying opportunities
within the film industry. An impactful recent example of this is the #MeToo movement.
Although the movement originated in 2007, it gained global attention in 2017 after numerous
women working in the film industry revealed incidents of sexual harassment by producer Harvey
Weinstein. Beyond its moral implications, this movement has shed light on power dynamics
between men and women within the industry's structure.

In the book ‘'Me too’’ , Tarana Burke argues that ‘’ Some analysts view sexual harassment as a
manifestation of systemic misogyny in American society. They contend that misogyny -
characterized by contempt, hostility, denigration, objectification, and violence aimed at women-
served as an organizing principle throughout U.S history and is still reflected in a patriarchal
system of male dominance and female subordination in politics, business, and popular culture.’’(
Burke, 2018, page 2) This disparity in treatment affects the ability of individuals to participate
equally in the filmmaking process. The #MeToo movement has brought attention to this bias and
has already begun to effect change. It has contributed to the rise of the fourth wave of feminism
and has sensitized audiences to the importance of providing space for the female perspective and
the "female gaze" in the stories depicted on screen ( Riebe, 2020). In order for the world of
cinema to be enriched, it should reflect the stories and experiences of diverse societal profiles,
rather than solely focusing on those in positions of market power.

A prime example of this is the film '’Autoerotica'’( Hoyos, 2021). The film portrays the story of
a young girl seeking an abortion in Peru, a country where abortion is illegal. During a conference
at the Catalyst School, Director Andrea Hoyos explained how this film has had a profound
impact on young women in Peru who face similar challenges. Some of these women have
reached out to the director directly, even to this day, seeking advice on the abortion procedure
and psychological support. This testimonial illustrates the significant impact a film can have
when it reflects and narrates stories that are not commonly portrayed on screen, thus
incorporating a broader range of sensitivities into the creative process.

We recognize that the process of creating a film entails various challenges, ranging from
technical aspects and coordination among teams to political issues and societal biases. These
factors contribute to unequal opportunities for individuals to share their stories. In response to
this, certain movements or groups of filmmakers have produced manifestos in which they
express their technical, aesthetic, and political positions regarding the film industry
(Amsellem-Mainguy et al, 2013) . Within these manifestos, they outline rules that, according to
their beliefs, would enable a creative process that aligns closely with their values.

For instance, proponents of the french new wave movement advocated for working with
non-professional actors, both for economic reasons and to grant the director more creative
control with them. They also emphasized principles such as using minimal crews and natural
settings. Similarly, Dogma 95 introduced rules like hand-held camera usage and the avoidance of
constructed sets and props. These movements shared a common objective of reducing artifice
and focusing on the essential elements (Amsellem-Mainguy et al, 2013). While opinions may
vary regarding the specific rules set forth, understanding the core essence of the story that one
wants to tell is crucial for effective team coordination.

For our group project, we were also tasked with reflecting on certain rules that would guide our
collaboration. We all agreed that our aim was not to replicate reality but to create a representation
of reality. As the Director of Photography for this project, I held two fundamental technical rules:
no handheld camera and no over-the-shoulder shots for dialogues. After discussing with the
project director, Kaito Sashihara, we decided to approach the filming with a sequence shot
technique, hidding cuts within camera pans. We believed this method would best utilize the
unconventional shooting location—a squat filled with various objects—and provide an
immersive experience for the audience.
Since we lacked a gimbal, I used an easy rig to achieve a handheld aesthetic in the footage. I had
to compromise my anti-handheld stance due to the unavailability of equipment for smooth shots.
Additionally, Kaito favored the handheld approach, so I believe adapting to the project's needs is
a necessary quality for effective teamwork. And it was a right move to adapt because I ended up
learning a lot and having a great time. In general, I highly appreciate sequence shots as they
allow for a true dance between the actors, cameraman, and the rest of the team.

Director Julia Ducornau explained in an interview (Konbini, 2021) that she began shooting her
film "Titane" (2021) by capturing the longest sequence shot scene. This decision aimed to
engage all departments in a crucial coordination effort, fostering solidarity and trust among the
team. It became evident, on our own, the importance of our interdependence and the necessity of
synchronizing our movements, involving actors, directors, cameramen, and technicians.

During the shooting, I sensed a growing camaraderie as we continued shooting in relation to the
actors and even with the sound engineer, Dillina, who guided me to avoid tripping over debris on
the ground. Although we were acquainted before the shoot, I believe it is always vital to rebuild
trust on the set. Everytime. This trust among team members is crucial as it enables everyone to
express themselves without fear of judgment, fostering respect.

In an interview, Monica Bellucci (About Actors, 2020) explains that despite the intense and
violent scenes in the film "Irreversible" (2002) , the trust she developed with director Gaspar Noé
facilitated an organic creative process. This film also utilized long sequence shots, which
Bellucci found highly stimulating, as they allowed her to remain fully present in the moment.

During our shoot, we were equipped with Walkie Talkies, a new experience for me. This
example highlights how technical tools can enhance the creative process. It enabled effortless
communication with my manager, considering the vast shooting space and the duration of the
takes. Such small technical and organizational details contribute to a smoother workflow and
save valuable time.
Additionally, we had a Focus Puller provided by Calen Dawkins, further exemplifying
specialized tasks discussed in the earlier part of our work. This specialization requires careful
communication to ensure seamless coordination.

Overall, this shoot demonstrated the ability to mobilize a team using specific camera techniques,
such as long takes for this case. It also underscored the intricate technical aspects upon which we
rely, which can sometimes complicate communication due to specialization, but can also
facilitate our exchanges.

Brainstorming about the story we wanted to tell was a collective effort. We had two main story
ideas that we were considering, and after discussions, we made a spontaneous decision. The
scenario was then developed collaboratively by Khiri Chumtong and Dilli Anni. The story
revolves around a punk band that needs to write a song in one afternoon but ends up wasting
their time by talking in the void instead of collaborating and listening to each other. The
subsequent stages of the project were divided among the different departments in a more
traditional manner. The entire process went smoothly, with no major disagreements among the
project participants.

However, I align with a point made in the New Wave manifesto (Amsellem-Mainguy et al,
2013), which states that the director should also be the screenwriter and that the film should be a
manifestation of the author's perspective. Even though the process was enjoyable, I believe it is
crucial for the director to write the screenplay. Otherwise, the original intention can be lost.
There may be instances where it is beneficial to deviate from the initial intention, but in such
cases, it is important to carefully select team members who possess specific skills aligned with
the desired story.

Overall, we could have delivered higher quality work if the project had started earlier in the
semester, but we had to make the most of the time we had. From a cinematic standpoint, the
result of the long take was not as successful since we had limited time for rehearsals, which is
evident in the final outcome. Following the public performance, the feedback primarily focused
on the comedic aspect of our film, particularly the acting and the Blob that we designed
ourselves. The Blob could have been more captivating if we had involved students from the SFX
department in the process, but time constraints prevented us from doing so.

In conclusion, this project allowed me to reflect on the challenges of effective collaboration and
sparked thoughts on a more horizontal collaborative approach. When I'm on someone else's set, I
deeply respect the director's vision and often hesitate to voice my opinions for fear of causing
disruption. However, through this experience and other sets I participated in this semester, I
learned the importance of expressing myself and not constantly hiding behind the director's
expectations. Like the character of L, portrayed by Melika Rezapour, I realized that in order to
fully engage in the creative process, I must learn to communicate my ideas and gain
self-confidence.
Bibliography

About Actors. (2020, July 12). Monica Bellucci Talks about her most challenging &
controversial role [Video]. YouTube. https://www.youtube.com/watch?v=G60YhlllNZo
Amsellem-Mainguy, Y., Cortéséro, R., & Porte, E. (2013). Du réseautage professionnel à la
communauté virtuelle ? À propos de l'usage d'un réseau social en ligne. Figures de la Psyché,
1(34), 85-102. https://www.cairn.info/revue-figures-de-la-psy-2013-1-page-85.htm

Burke, T. (2018). Me Too: How a Social Movement Started a Global Conversation about Sexual
Assault. New York, NY: Beacon Press.

Chazelle, D. ( Director). (2022). Babylon (Film). Paramount Pictures

Donen, S. & Kelly, G. (Directors). (1952). Singin' in the rain [Film]. Metro-Goldwyn-Mayer.

Ducournau, J. (Director). ( 2021). Titante ( Film), Kazak Productions et al.

Hoyos, A. ( Director). ( 2021). Autoerotica (Film)

Konbini. (2021, July 15). La Masterclass cinéma de Julia Ducournau, la réalisatrice de Grave et

Titane | Konbini [Video]. YouTube. https://www.youtube.com/watch?v=I-KoL3OBAKc

Lisberger, S. ( Director). (1982). Tron ( Film) Walt Disney Productions

Maltête, J. (2012). Les effets spéciaux au cinéma. In J. Maltête (Ed.), L'image animée (pp.
195-216).Paris:ArmandColin.
https://www.cairn.info/les-effets-speciaux-au-cinema--9782200619824-page-195.htm

Noé, G. ( Director) (2002). Irreversible ( Film), Les Cinémas de la Zone

Riebe, E. (2020). The feminine gaze: The re-imagination of cinematic female sexual experiences
in a post #MeToo world. UWL Journal of Undergraduate Research, XXIII(1), 1-16.
https://www.uwlax.edu/globalassets/offices-services/urc/jur-online/pdf/2020/riebe.emily.cst2020.
pdf

The Importance of Collaboration in Filmmaking. (2015). [YouTube Video]. In YouTube.

https://www.youtube.com/watch?v=jj6NSM-esAA