Film Fest Q & A. From the evening of the Panel Discussion.

The following are responses from Directors who took time to answer questions offline.

 

Daniel Yonathan

You said you had sound difficulties; with a lot of improvisation from actors how were you able to keep up with the improvised dialogue for dubbing later? Is that what you did?
We improvised in rehearsals before we shot, I then wrote down what they came up with in rehearsals. That then became the scene. We shot that, with variations each take.

Daniel how did you go about recording dialogue for the car scene?
We hid plant mics throughout the car.

How did you all raise money for your project? Any tips?
Launch an online fundraiser and encourage family and friends to donate.

How was it to work with actors who needed to speak a foreign language?
I love the way curse words sound in Arabic and Hebrew – so I really loved it.

Other than directing and/or writing, what are other film production skills that you individually possess that were at the forefront of your filmmaking process? For example, who thought more about sound? Who thought more about cinematography? Editing? Acting? Lighting? Etc.
I think of it all. Because we decided to avoid using anysort of underscore to comment on the suspense of the movie, we resorted to sound or the absence of sound. Ie the sound of the engine, how it hummed, revved, or how the radio sounded. That was decided in the writing process. I didn’t shoot coverage, so I’m always editing the movie in my head as we go. I like to plan but be surprised. That’s my favorite. Write the script, let the actors discover 100 better ways to say it. Then shoot that. Draw up the camera moves and angles but on the day just run and gun.


 

Dilek Ilce

How was it to work with actors who needed to speak a foreign language?
My two actors who play Amal and Amal’s father needed to speak Arabic in the movie. I wrote their dialogue in English because I don’t speak Arabic, but they speak both languages. I explained to them exactly what I wanted for each scene and I focused on their performance and how authentic they felt when they were speaking Arabic. I gave them a couple of notes to make their performance stronger and the language was not a barrier. 

For the film Amal, how did you find and cast the young actress? And what is in her that makes you trust in her?
We had two casting directors, one for the American actors and another for the Arab ones. The actress who played Amal was seven years old when we shot the movie. She is a very young and talented girl. We shot the most difficult scenes on the first and second days of production. The scenes required us to have many people in front and behind the camera because they revolved around the explosion scene at the hospital. I wanted the child actress to feel safe on the set. This was one of my priorities and I really wanted to be sure that she was feeling safe at every moment. I think she felt that I really cared about her and we built a great director and actor relationship very early in the production. 

How did you all raise money for your project? Any tips?
All the crew members contributed money to the movie. CSUN and professor Nate Thomas helped us a lot. We also had an Indiegogo campaign and raised more money. We received grants for the production and the post-production. My advice to my fellow students is to push hard to try every possible opportunity that could generate funds for the film. Ask people and everybody who can help you even if they can only give a dollar. The crew even sold donuts on campus and raised almost three thousand dollars. So every dollar definitely counts. 

Other than directing and/or writing, what are other film production skills that you individually possess that were at the forefront of your filmmaking process? For example, who thought more about sound? Who thought more about cinematography? Editing? Acting? Lighting? Etc.
I studied cinematography in school and I produced many short movies. I think if I was not a director or writer, I could still do a good job as a producer or cinematographer. I think knowing how to produce helps me because I know how to manage and lead people during the creative process. And knowing cinematography helps because I am very detail-oriented and I know how to create mood with lighting.  


 

Fabian Leon Lopez

Al fillmar el Canadian, ¿cómo pudiste acercarte a Tito y crear una relación natural que lo convenció de ser parte de tu proyecto? 
Tito ama la atención y que lo filmen, pero la parte más íntima tuve que buscarla con rapidez. Tuve que inventarme formas de entrar a su casa, de presionar y persuadirlo a confiar en poco tiempo. Mañas de director.

El Canadiense – Is your story, the story of many men there, even though it was closer to your story? 
I would like to think that there are a lot of people discovering creation, but I don´t think so. People finding themselves into violence, yes. Too many people I think.

Other than directing and/or writing, what are other film production skills that you individually possess that were at the forefront of your filmmaking process? For example, who thought more about sound? Who thought more about cinematography? Editing? Acting? Lighting? Etc.
Other than directing, I chose sound as my second specialty. Firstly because I hate all the physical work involving the camera department, and secondly because for me to think the movie´s POV starting from the sound leads me to something more advanced in terms of language. Its more balanced and cinematic.


 

Natali Montel

Are there any films or literature or artworks that you used as inspiration for your short films?
Yes. Tarkovsky, Andrea Arnold, Vicente Huidobro, the Tibetan book of living and dying.

 

Other than directing and/or writing, what are other film production skills that you individually possess that were at the forefront of your filmmaking process? For example, who thought more about sound? Who thought more about cinematography? Editing? Acting? Lighting? Etc.
Besides director, I’m also a cinematographer, so in this short film I worked very near with my cinematographer, for me it was very important to create atmospheres and sensations. Also I’m very interested in sound design so we dedicated special time for that.

As a sound faculty member teaching at CSUN, I am curious to know if the UNAM students mix their films in stereo, 5.1 surround, 7.1 surround, or Dolby Atmos?
My short film was mixed in 5.1 surround.