A Short Film About Letting Go: World Premiere – a sabi pictures memoir
A Short Film About Letting Go world premiered at the Dances With Films 2010 festival in Los Angeles to a crowded audience gathered for the Fusion Shorts program at Laemmle’s Sunset 5 theater in Hollywood. This film has achieved beyond our expectations financially & creatively, and the life-long relationships forged by taking a chance on this art film has expanded the Sabi family and our brand of films in immeasurable ways.
All of us at Sabi Pictures are proud of this film and the talent behind it & in the coming weeks we will continue to get the word out there about this work of art. A Short Film About Letting Go recently played at the Hollyshorts Film Festival on Sunset in Hollywood, as well as at the Sacramento Film Festival. Letting Go is also on DVD with 40+ minutes of bonus content at cinefist.com
This sabi pictures memoir features J. Erik Reese, Daniel Carmody, Joshua Nitschke, Mark Ridley, Christopher Sowers & Aqua Yost. Narration is by J. Erik Reese. Music is by Deklun and what you hear was composed for the film.
Kevin K. Shah www.sabipictures.com
Directing Improvisation in Interdependent Films.
With excerpts from: “Interdependent Filmmaking: Dramatic Improvisation in White Knuckles – a film by sabi”
“In a lot of ways the director and the actor when working with improvisation have to form a relationship like a family. This is why there is such a stress on the word “Interdependent” in our filmmaking process. There has to be a mutual respect, and a whole-hearted trust that the director in fact truly knows (or is exploring to discover) what needs to take place (and along with the producer, will keep everyone safe while doing so).”
In a thread in the Sabi Forum, Larry Strauss (star of White Knuckles) talks a little about what it’s like working on a film that is improvisation-heavy, and specifically, what it’s like collaborating with a director on a dramatic improvisation. His experience with Sabi Pictures is noted in the video called “A Conversation with Larry Strauss.”
Directing improvisation is different for every interdependent director, and different still on every picture – but what Larry describes quite simply here is very true.
Originally Posted by larry
“NOT ALL [IMPROV] IMPROVES THE WORK. [THE SCRIPT] IS SOMEWHAT LIKE A BACKSTORY IN THAT YOU HAVE THE IMPORTANT STORY PARTS IN THE BACK OF YOUR MIND BUT THEN WHEN THE CAMERA ROLLS, YOU LET IT GO. HOPEFULLY, IT WILL BE THERE FOR YOU.”
This is really the most important ingredient in my opinion: It’s preparing, mentally, reading the script a few times, learning some of the lines, studying motivations and intentions, asking questions… and then ultimately, when the camera rolls TRULY letting go.*
ACTOR – DIRECTOR RELATIONSHIP
Everyone has their own way of achieving this. But I think a relationship between the Actor and Director should be established where the Actor can feel he or she can in fact fully, and comfortably let go. This means that a director and his/her team should be aware of every concern the actor has. It doesn’t mean necessarily solving every single item of concern – but just being aware of it, listening to the actor, and being a true friend. The greatest collaborations are born of friendships, not ‘for-hire.’
*Note that the relationship goes both ways – in dramatic improvisation films such as those that Sabi Pictures creates, the director is also memorizing lines, studying motivations and intentions, asking questions — and ultimately, letting go when the cameras roll.
In a lot of ways the director and the actor when working with improvisation have to form a relationship like a family. This is why there is such a stress on the word “Interdependent”
in our filmmaking process. There has to be a mutual respect, and a whole-hearted trust that the director in fact truly knows (or is exploring to discover) what needs to take place (and along with the producer, will keep everyone safe while doing so).
The actor and the director thus have to meet on a common ground of understanding for the character as quickly as possible from the first audition, through production – and the interdependent director can’t get lazy once cameras are rolling. The burden of digging at the mystery of the character is always to be shared between the director and the actor. Each will contribute a piece, give direction, try something new, and reset without judgement (ideally).
Probably the healthiest sign the improvisation is going well is when the director and the actor continue to ask each other questions – particularly as the film is coming to a close. It’s important also, for the actor and the director to not be settled with the answers – so as to leave room for exploration. And if everything seems perfectly clear, that’s ok too – something will come up that changes everything – and the director, actor and the rest of the cast and crew have to be ready for this point of divergence, they have to embrace it, work with it – and explore its possibilities both on set and in the edit.
This is a nutshell of how directing improvisation in interdependent films like those of Sabi Pictures works. The entire point is to plan for the unplanned surprise – an honest moment, a truthful beautiful shot, gesture, glance – whatever it is. It doesn’t have to be pretty or poetic, just in the context of the film and the world created – truthful. Dramatic Improvisation strives for that truth.
Practically speaking, often this means for the director to keep his mouth closed for the beginning phases of the experience of rehearsal and shooting. The director still has to guide, but gently & simply. The complexities of the character should begin to emerge naturally (and problems should iron themselves out with collaborative listening). A lot is revealed in the first week of shooting, and it is probably the most intense week of production (besides the last week) for a director, producer and their actors (not to mention the tireless crew).
The idea during the beginning of a production that employs heavy dramatic improvisation is that the actor needs to (as fast and as naturally as possible) get into the skin of the character on their own – so that then the director and actor can guide the character through their journey without too much internal resistance. This means what Larry mentioned about casting is absolutely critical. The casting sessions and the callbacks exist to ultimately ensure that the right person that’s sitting in the casting chair will be the right person in front of the cameras.
Thus, an interdependent director should discuss the character at length with each of their prospective actors, and together they should rehearse and camera test to make sure the actor is comfortable with the process of improvisation. Note I didn’t say make sure the actor is “good” at improv. There is no standard for good or bad improv, just honest and not quite honest. And it may take careful study to find the right actors sometimes – and often a “polished” actor performs dishonestly when asked to improvise. Understandably, many actors are simply uncomfortable with the idea of using your own words for the character, but what should be happening is that the director and the actor are together finding the character’s voice. Freeing oneself from the confines of the words on the page sometimes makes for a more authentic route. Often actors feel this process is more artistic, more “experiential”, and ultimately, more fulfilling. What’s fascinating, is that often when it’s all said and done and the film is put together, most of the beats and the words that were true in the script, end up on screen anyway – but filtered through the heart and soul of the actor/artist.
Directing for improvisation also means that we regularly have call-backs and more call-backs at the outset of a production, with the director working intimately with the actor in meetings and rehearsals –
and the most important component of our call backs is incorporating improvisation in the auditions.
A lot was revealed about Larry Strauss who went on to play William in White Knuckles, through his improvisation in the call-back. Sure, it’s may be the hardest thing to do in a casting session – but we are often looking just as closely as the awkward gestures, the uncomfortable silences – as we are the content of the scene.
Here are some questions for a Improvisational Director to ideally ask themselves (and seek the answers to) before a production begins (and just after the actors have met in the call-backs):
Was there chemistry?
Could I watch them for 2 hours?
Can they talk to each other? Can they have a conversation?
Can they have a clear objective and go after it?
What are their fears?
Are they willing to explore? Are they comfortable in silence?
Do they make eye contact?
It often helps to get the feedback of a locked actor who might be working with the prospective candidate. The actor has an incredible amount of insight into whether or not improvisation will work. Most of the time, it is intuition – an actor’s feeling that the can simply get along with their co-star. Again, friendships forged on sets are critical to the success of creating an atmosphere on set that is conducive to successful improvisation.**
Hope this sheds more light on Directing Improvisation, and the process for a Director and an Actor in collaboration. This has only been my experience, I’m completely open to hearing other experiences with directing improvisation.
**Side note: Successful Improvisation on set is truly an out of body experience for both parties involved. When it’s working, from what I understand – actors seldom remember the moments depicted (because they were “in the moment” and the performance was honest). A director has this same experience when moving into the edit – and while finding these moments again on set for shaping into the final film.