Every film starts with an idea. It’s a creative idea that grows legs and moves in a direction. The direction may be logical or experiential, but it’s always fueled by passion and emotion. And, if it’s based on a universal concept, it can climb onto the silver screen or on top of an entertainment venue filled with stars.

The best ideas for film are visual ideas. They are not ideas of thought from the mind, but rather the physical realm that’s filled with action and color. These ideas can be brainstormed or birthed from sketches and playtime. Every successful filmmaker has talked at one time or another about how his idea originated on a napkin.

Creativity is one of the most written topics in the world of art, but few books can capture the non-conforming activities that make an artist great. Sure they can describe think tank processes, impromptu brainstorming activities, or even suggest exercises that stimulate new perspectives. But, they can’t mentor you in the exhilarating experience birthed between two creative types that drive a positive idea to fruition.

The closest thing to achieving this form of creative reproduction within a workforce is the Disney Imagineers.  While I’d highly recommend each of their books, it still won’t stir up the creativity within your soul like your own process will.

And there is the rub.

Many creative types feel they need permission to do what it takes to be creative. Or, they slap society in the face and do anything that might shock them away from the status quo and into a new light of creation. These extremes are rarely healthy and many times incorporate vices or devices that eventually send the artist into a dark place – Some never to return.

It’s my personal conviction that developing a movie must be physical. There needs to be pieces of paper all over my walls. My sketchbook needs random thoughts and peculiar ideas plastered all over it. The unrelated elements must be reviewed until a sense of logic is formed.

Forming the related elements into key groupings tend to force a focus that can drive a story forward. By conforming the ideas to fit the needs of the many, new creative perspectives can take hold. After all, no one has ever seen what’s been developed on the topic within my mind before. It is truly new and fresh – Just like what’s in your mind.

The most fascinating thing that develops through this non-specific process is a style that most can see has come from me. No one would be able to conform their work to look and feel like the things that I’ve developed within my own minds eye. It’s therefore critical, at least to my expression, that I find people who can help fulfill my dream. The collaboration is a must in the world of film, especially since it’s stories culminate from the fusion of both the arts and sciences.

And, if I were so fortunate as to have the opportunity to create that new story, it would be even more exciting to see it instill certain values to the audience that I support. But, my goal is not to teach, as much as entertain. For entertainment in of itself is an excellent tool that helps people to catch ideas, rather than be taught the same.

It all starts with the simple creation of an idea, which can be practiced whenever the mood strikes. And, for the professional, whenever he logs time in his calendar. So, take a moment to create something. Pull it out of the air. Or, ask a why question that hasn’t yet been broached. But whatever it is you do, do it in the exact way that you choose.

Copyright 2013 By CJ Powers

I have directed shows with a 1^st AD and without one. I can tell you the differences in how the sets were run and how much of my time was focused on the actors instead of the petty problems that surface during a shoot. The best thing about having a 1^st AD on a film is the amount of my time that is freed up to focus on bringing the story to life.

It shouldn’t be a surprise that out of all the national and international productions that I’ve directed, only those pictures with a 1^st AD won major awards for “Best Director.” The first time I noticed this pattern was at the U.S. and International Film and Video Festival where I was competing against thousands of directors. The ability of each director was high and the only difference between the top ten were subtle nuances that required a 100% focus on their craft.

A good 1^st AD is extremely valuable to a director and his creative process. It frees him up to work more closely with the actors, bringing such depth to their characters that the audience is compelled to watch the movie again. This freedom also gives the director more time to develop his shot list with the DP, focusing on the cinematic vision that drives the emotional beats within the story.

Some of the key responsibilities managed by the 1^st AD are below:

• Run the set.
• Develop the script breakdown.
• Work with the director on the shooting schedule.
• Manage the schedule.
• Coordinate production activities.
• Manage the 2^nd and 3^rd ADs and oversee the Runners/PAs.
• Oversee the blocking of atmosphere.
• Be the liaison with the production office.
• Be the link between the director and the cast & crew.
• Oversee the publishing of the production reports.
• Oversee the acquisition of locations, props, and equipment.
• Oversee the development of previs or storyboards.
• Keep up to date on the weather reports.
• Manage set/location discipline.
• Work within budget limitations.

The qualities or skills of a great 1^st AD are:

• Diplomatic.
• Authoritative.
• Approachable.
• Organized.
• Time Manager.
• Trouble Shooter.
• Detail Focused.
• Crisis Manager.
• Risk Mitigator.
• Multitasker.
• Knowledgeable of Health & Safety Laws.
• Flexible.
• Flexible.
• And, Flexible.

Great 1^st ADs are hard to come by, but are worth every penny. Most directors can make a really good film without a 1^st AD, but he typically can’t focus on the subtle nuances of the story, while staying within budget, unless he has one.

Copyright © 2013 by CJ Powers

Have you ever regretted locking a script, because an hour later you had revisions? You no longer have to regret it, as long as you know the rules to manage the most current version of the screenplay. And the good news is that the rules are standardized within the production community. However, the rules do change a bit from the United States, to England, to India, to China, to Australia, etc.

While my readers are from over 100 countries, I will limit this article to the rules used in the U.S..

Colored Paper

The original locked script is published on white paper. Any changes to a script page are distributed on colored paper. There is a hierarchy of colors so everyone knows what order of change they have received. The paper colors are in the below order:

• White
• Blue
• Pink
• Yellow
• Green
• Goldenrod
• Buff
• Salmon
• Cherry
• Tan

Should a script have more changes after the color tan is used, the colors start again from the top.

The color pattern is helpful during a production that sees many changes. For instance, if the production manager couldn’t find you with last night’s changes and hands you a yellow script page, you would know to pitch it if the director handed you a green page after his brilliant ideas developed during breakfast.

Revision Marks

Once the script is in everyone’s hands, all revisions need to be marked. The revision mark is in the right margin and typically set at 7.8” from the left edge of the paper. The most common mark is the asterisk.

If a scene is replaced with one or two other scenes, then the revision is noted. In the below example, scene 72 was omitted, and then replaced with two new scenes marked by a letter to convey order.

72       OMITTED

72A     INT. CELLAR – NIGHT

The lamp cord dangles over the Zombie.

72B     EXT. BARN – CONTINUOUS

The farmer grabs a special zombie-killing pitchfork.

73       EXT. CELLAR – CONTINUOUS

The farmer breaks the lock off of the cellar door.

If a series of scenes are omitted the script would read as follows:

72       OMITTED

thru

72B

73       EXT. CELLAR – CONTINUOUS

The farmer breaks the lock off of the cellar door.

If a scene or two need to be squeezed into a script, the scene number would have an A or B added to it, like below:

78       INT. BUS – DAY

Isabella abruptly turns from Josh and looks out the window.

78A     EXT. PARKING LOT – CONTINUOUS

Isabella steps down from the bus and keeps walking.

78B     INT. BUS – CONTINUOUS

Josh grabs his mangled flower bouquet and heads to the door.

79       EXT. TRAIN STATION – CONTINUOUS

Josh hands Isabella a bouquet of flowers.

Should another scene idea pop into the writer’s head that must be located between 78A and 78B, a letter would precede the number.

78A     EXT. PARKING LOT – CONTINUOUS

Isabella steps down from the bus and keeps walking.

A78B   INT. TICKET BOOTH – CONTINUOUS

The Conductor glances out the window at a woman walking alone.

78B     INT. BUS – CONTINUOUS

Josh grabs his mangled flower bouquet and heads to the door.

If a lot of the page is deleted within a locked script, it will remain short or mostly blank. If a lot of scenes are added, then an extra page would be added and marked with a letter after the page number. This means that page 51 would have a page 51A added to it.

Once 50% of the script has seen changes, the writer typically replaces it with a new draft on all white papers with no asterisks.

Copyright © 2013 by CJ Powers