|
As part of our Directors Series mix, here are a pair of sponsored content profiles in which directors Jay Patton of Dictionary Films and James Lipetzky of Foundation Content reflect on their most creative, challenging work this year, as well as lessons learned about the business and/or themselves based on their experience/projects in 2013. Jay Patton 1) What project has been most significant for you this year in terms of creative challenges you were able to meet and/or how did it help to define or diversify the nature of your work? I worked on a great Philadelphia Cream Cheese project with McGarry/Bowen Chicago. They wanted a spot that followed milk through all of the steps to becoming cream cheese. 2) What has (have) been the most important lesson(s) you have learned about the business or about yourself as a director based on your experience/projects this year? This year I’ve really learned the importance of stepping out from behind the camera. Previously, I’ve operated the camera on almost everything I’ve directed. As I tackle bigger projects with creative that is more dialogue and performance driven, I have really seen the benefits of delegating the camera work. 3) Have you a mentor or mentors? If so, who? And how has that (those) mentor(s) helped to influence or shape you as a filmmaker? Nadav Kurtz has been an inspiration to work with, I love that he makes his own opportunities and is always exploring new ways to approach the stories he’s trying to tell. |
|
1) What project has been most significant for you this year in terms of creative challenges you were able to meet and/or how did it help to define or diversify the nature of your work? Filming the documentary feature, License to Operate, over this past summer has been the creative challenge of my career. It was a wonderful and challenging opportunity. It started when I did a short for a charity Pete Carroll started called A Better LA which funds gang interventionists. The agency, Omelet, and I decided the story deserved to play out over a feature and with their support, I was able to make the film. Link to License to Operate teaser trailer: https://vimeo.com/74390569 2) What has (have) been the most important lesson(s) you have learned about the business or about yourself as a director based on your experience/projects this year? Focus on what’s in front of you. The amount of change to the business over the past year has been monumental. I’ve seen more change in the past six months than I have in the previous ten years. As a creative, you just have to accept that uncertainty and embrace it because you can’t change it. Let every shot be an opportunity for change. Let every shoot challenge you. I try to be organized for every shoot but I’m also open to where the shoot and then the edit takes the idea. Filming the doc feature, License to Operate, was a case in point. I had expectations for the story but it changed every day. If you’re open to it, change is the best thing to happen to you. 3) Have you a mentor or mentors? If so, who? And how has that (those) mentor(s) helped to influence or shape you as a filmmaker? I wouldn’t say I had mentors as a director but I was influenced by directors I worked with as a commercial editor. From Zack Snyder, I learned the importance of constantly reworking the camera within a scene to find the best way to film it vs. shooting twenty takes of the same thing. No frame of film from Zack was the same. The lensing always differed. He was constantly exploring trying to find the truth of a scene. From Errol Morris, I learned the importance of being in a conversation with the people you’re interviewing rather than having a check-list you go through. Let the subject lead you where they want to go and together you both can find the story that needs to be told. So when it came to filming my feature, you can say they were mentors in a way to me since I put both those skills to the test. |
James LipetzkyReview: Director Naoko Yamada’s “The Colors Within”
Kids movies so often bear little of the actual lived-in experience of growing up, but Naoko Yamada's luminous anime "The Colors Within" gently reverberates with the doubts and yearnings of young life.
Totsuko (voiced by Suzukawa Sayu) is a student at an all-girls Catholic boarding school. In the movie's opening, she explains how she experiences colors differently. She feels colors more than sees them, like an aura she senses from another person. "When I see a pretty color, my heart quickens," she says.
Totsuko, an exuberant, uncensored soul, has the tendency to blurt things out before she quite intends to. She accidentally tells a nun that her color is beautiful. In the midst of a dodgeball game, she's transfixed by the purple and yellow blur of a volleyball hurtling toward her — so much so that she's happily dazed when it smacks her in the head.
Like Totsuko, "The Colors Within" (in theaters Friday) wears its heart on its sleeve. Painted with a light, watercolor-y brush, the movie is softly impressionistic. In one typically poetic touch, a slinky brush stroke shapes the contours of a hillside horizon. That evocative sensibility connects with the movie's spiritual underpinnings. Totsuko prays "to have the serenity to accept the things she can't change." In "The Colors Within," a trio of young loners bond over what makes them uniquely themselves, while finding the courage to change, together.
The ball that knocks down Totsuko is thrown by a classmate named Kimi (Akari Takaishi), who not long after that gym class drops out of school — hounded, we're told, by rumors of a boyfriend. (Boys are off-limits for the boarding school.) Totsuko, curious what's happened to Kimi, sets out to find her, and eventually does. At a local used... Read More