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Posts Tagged ‘Kelley Baker’

“For those of you who have seen Living in Oblivion (the best movie about making a movie), there is a wonderful scene that’s repeated throughout the film of various crew members sniffing the milk container on the craft services table after they’ve poured themselves a cup of coffee. Everyone makes a face, puts it down and walks away. That’s just one little jab pointed at all those filmmakers who don’t take care of their crew in the simplest ways.

Living in Oblivion is a great film that should be required viewing for anyone who wants to make a feature. You will laugh at the stuff that goes on, but just about every low-budget shoot I have ever worked on had at least one of those elements happen. I think the movie is a documentary. It’s a good way to avoid pitfalls. I walked out of the theater feeling like I had worked with half of the crew portrayed in the movie. If you want to make movies, see it.”
Kelley Baker
The Angry Filmmaker Survival Guide; Making The Extreme No-Budget Film (part 1)
Page 149-150

P.S. Living in Oblivion was written and directed by Tom DiCillo, who was the cinematographer on Stranger Than Paradise. If you haven’t seen that film, check it out because it’s a great example of “embracing your limitations.” Each scene in the black & white film written and directed by Jim Jarmusch was shot in one-take master shots.

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Fueling Your Imagination (Jarmusch Style)

Scott W. Smith

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In light of the Friday post on Portland filmmaker Edd Blott, and the University of Oregon football team stepping up to #1 ranking in the AP poll over the weekend (how can you not pull for a team whose mascot is a duck?), I’m feeling in a very Oregon state of mind. So I went over to Portland filmmaker Kelley Baker’s website—Angry Filmmaker— to see what he was up to and found this video just posted a few days ago that shows the power of sound design.

Baker’s excercise is very effective in showing how sound works in the mind of the audience. And it’s a bit of a play of how Hitchcock explained the impact editing visuals can have on an audience.

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The Angry Filmmaker (Part 1)
The Angry Filmmaker (Part 2)
The Angry Filmmaker & Four Eyed Monsters

Scott W. Smith

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Over the years I’ve learned to wear quite a few hats; producer, director, writer, cameraman, editor, etc.—but one thing I have little experience in is sound design. Thanks to The Angry Filmmaker, Kelley Baker, I know a lot more today than before I met him two days ago.

Years ago, I had one class is film school where the teacher showed us the George Stevens’ classic A Place in the Sun. When it was over he asked us questions like, “What sounds do you associate with the Elizabeth Taylor character?” and “What is going on in the background noise for Shelly Winters’ character?” None of us had a clue. We talked about sound design and then watched parts of the film again and I began to understand the details that went into a well crafted film. Though it’s been a big gap, what I learned from Baker took up right where that film professor left off.

Baker stopped into my office Monday as a quick pit stop on his way from Wisconsin to St. Louis. He watched a short video I’m on the tail end of production on and offered some wisdom on sound design and added that I should cut it the whole thing by a minute. A minute? It’s only four minutes long. A minute is 25% of the almost finished video. Later that night (just before midnight) 51 seconds had been painfully edited out and it’s a better project for it.

Baker is a USC film school grad, an independent feature filmmaker, and was sound designer on several high profile features including Good Will Hunting, Finding Forrester, and My Own Private Idaho. That’s a pretty good resume.  These days he spends a lot of time doing film seminars and passing on what he’s learned over the years to other filmmakers. (I’ll get into why he’s the Angry Filmmaker in later posts.)

But today I want to touch on one scene Barker sound designed for Good Will Hunting. It’s the scene where Will (Matt Damon) gets into a fight. Watch the linked clip and then read Baker’s comments below. (If you really want to dip your toes in sound design, first watch the clip without sound and then ask yourself how you would design the scene, Then listen to it with sound before you read Baker’s comments below.)

Baker told me that he asked director Gus Van Sant what he wanted for the fight scene thinking he might want big punches like those found in Raging Bull. Van Sant simply told him, “I want Revolution Number 9.” That’s the Beatles song off their White Album and what Van Sant was saying was he wanted chaos.

Baker goes into more detail on his educational DVD Sound Design For Independent Films saying;

“We already agreed that the fight would be from Matt’s point of view—all the audio for the fight…You’re going to hear church bells, you’re going to hear birds, happy little birds, and you’re going to hear kind of a choir…There’s a lot more going on, but those three kind of stand out. And you have to think, “This is a fight, what am I hearing happy birds for? Why am I hearing church bells? What’s the whole deal with the choir? It’s easy. As a young man Will Hunting was beat up and knocked around and dumped on by all these foster parents and he talks about it in the movie.

The only time he’s ever happy and at peace with himself is when he’s fighting. When he’s beating the crap out of somebody. So to him to some extent—and this is only in my logic perhaps—it’s the happiest time for him when he’s invloved in a fight and he’s winning. That’s why you get happy birds, that’s why you get these religious type sound effects because he is at one. He is at peace when he’s in the middle of a fight.

Is anybody in the middle of watching the movie going to say, ‘Listen there’s a choir, he’s at one with himself because of his horrible childhood”? No, nobody’s going to say that. Are they going to pick up on it psychologically? I hope so. That’s the idea. I’m trying to tell you more about characters through sound and sound effects.”

Now watch the clip of the Good Will Hunting clip again. You may be a writer, not a sound designer, but look at the detail that professionals (including directors, actors,  editors, directors of photography, wardrobe, set designers, sound designers, etc.) are looking for clues on how to best bring your story to life.

And just for good measure listen to the Beatles Revolution Number 9 to see Van Sant’s original reference point for the fight scene sound.

Scott W. Smith

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Once upon a time (1978) in a land far, far from Hollywood (Utah) a film festival popped up that eventually became what is considered today as the granddaddy of film festivals in the United States—the Sundance Film Festival. I imagine 30 years ago if you asked most people if they wanted to go to a film festival in Salt Lake City a common answer would have been, “Why?’.

Of course, having Robert Redford involved didn’t hurt visibility, nor did the decision in 1981 to move the festival to Park City, Utah. And since that is a ski resort town they also moved the festival from the summertime to the winter as a way to make the festival more glamorous to the Hollywood crowd. Those changes all worked. And the festival that was originally started to increase filmmaking in Utah and highlight regional independent filmmaking has become a two-week suburb of Los Angeles full of celebrities and paparazzi.

So where do you go these days to see small, independent, regional filmmakers? Well, honestly, if you’re not making a film try next door because somebody there is probably between writing a script and editing the film. Small film festivals are everywhere as cities now see it as a marketing advantage—a way to seem with it.

But I want to tell you about a little film festival that is located in one of my favorite areas in the country—The Fly Way Film Festival began in 2008 and is held in late October in Pepin & Stockholm, Wisconsin.  (It’s going on right now.) The two small villages on Lake Pepin (part of the Mississippi) while not large in number are a located in a beautiful area that has no shortage of artists. And begin located an hour and a half south-east of Minneapolis makes it not so remote.

This year 35 feature films and shorts will be show through this weekend. I met the director Rick Vaicius last month while sailing on Lake Pepin. One of the things I like most about the festival is they don’t charge an entry fee for filmmakers. I think that probably sets them a part from most (all?) film festivals right out of the gate. I don’t know if they’ll become the next Sundance (or even want to be), but I think it’s a festival that should be on your radar because what every filmmaker needs is a few cheerleaders in their corner.

And speaking of cheerleaders, Kelley Baker, The Angry Filmmaker, will also be speaking at the Fly Way Film Festival this year.

As a taste of this year selections… Ballhawks is a documentary by Mike Diedrich that is narrated by Bill Murray. The film will be show tomorrow (10/23/10) at the Fly Way Film Festival and Diedrich will be on hand at the showing. (For those of you in Texas, the film is also showing this week at the Austin Film Festival.) The film is about  a little known aspect of Chicago Cubs baseball that happens just outside Wrigley Field. Diedrich says it’s, “A story about hope, exuberance, shattered dreams and picking up the pieces to move on.”

Vimeo doesn’t play well with WordPress so click here to watch a trailer of Ballhawks.

Oh, and one for the trivia books. Pepin, Wisconsin happens to be the town that Laura Ingalls Wilder was born just outside of. (Before she wrote Little House on the Prairie, her first book was Little House in the Big Woods about the Pepin area.)

One more example of big things happening in small places. (Not to mention Bob Dylan playing here in Cedar Falls, Iowa on Sunday.)

Scott W. Smith

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