Posts Tagged → slow filmmaking

Episode 13 – Keith Alan Morris – Working as a production consultant, slow-filmmaking and the value of film school

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In this episode we talk with Keith Alan Morris (@keithalanmorris on twitter) about his role as a production consultant, slow-filmmaking and the value of film school.
Keith has been involved in numerous films as a writer/producer/director and cinematographer. Some of his films include “The Motorcycle Thief, The Clinic and Gutter King which was Keith’s breakthrough film.
In addition to being a film-maker Keith has served as a production consultant on numbers films including Old, Boy, The Magnificent Seven, Elvis & Nixon, and Mr. Right.
Currently Keith is a tenured Associate Professor of Film at Dillard University in New Orleans, an HBCU, where he runs the film program as the Program Coordinator. In 2015, the Film program was named one of two Signature Programs at Dillard.  Keith also won the 2012 Media Educator of the Year Award by the Social Change Film Fest and Institute and helps 3 to 9 features get made per semester.

SLOW FILMMAKING MANIFESTO

The main goal is to LIVE the film.

Filmmakers and Actors must commit to LIVING the film.  

Shooting must never be rushed.  

The sentence “Are we making our days?” must never be mentioned on or near set.

Budgets and schedules should rarely, if ever, be considered. 

Locations must be easily attainable for multiple returns to shoot.

Only essential crew must be used for what the instant calls for. No waste!

Regard the instant more important than the whole. 

A goal is to take the time and every precaution possible to get every instant correct.

The filmmaker must do all his own sound design and post production.

The film shall be the filmmakers’ secret. The film shall not be promoted or released until the filmmaker is ready.

DOGME 95 MANIFESTO

Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).

The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.)

The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.

The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.)

Optical work and filters are forbidden.

The film must not contain superficial action. (Murders, weapons, etc. must not occur.)

Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)

Genre movies are not acceptable.

The film format must be Academy 35 mm.

The director must not be credited.

Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.

Thus I make my VOW OF CHASTITY.

Copenhagen, Monday 13 March 1995

On behalf of DOGMA 95

Lars von Trier Thomas Vinterberg

Links Mentioned in this podcast

Dillard University – Dillard University is a private, historically black, liberal arts university in New Orleans, Louisiana, United States.

Asana – Collaborative Organizational Communication

Filmic Pro – Aspect Ratio / Filmic look for the iPhone

Celtx – Collaborative Screenwriting App

Studio Binder – Film Production Management