Parc Entertainment - A Video Production Company - Birmingham, AL

There are many corporate videos that feel staged, rehearsed… unnatural. Every action seems forced and the blocking predictable. Budgets often prohibit the hiring of professional actors, so sales and marketing videos usually rely on actual employees to communicate a company’s message. Using real-life employees, however, does have its advantages. It gives the company some transparency, allowing viewers to see the people behind the brand. And it can be a necessity. After all, if you’re producing an employee orientation video, wouldn’t you want to feature other employees within the company?

The challenge for the director then is to instruct non-professional talent so that the video seems personable, open, and natural. Here are some things to keep in mind:

1. Be clear with the talent regarding the content of the video, what you expect of them, and what you are trying to achieve.
2. If they are to be interviewed, go over the questions with them beforehand. Again, tell them what you’re looking for, but be careful not to lead them. The answers need to come from them, in their own words.
3. Before you start shooting, take some time to get to know your talent. Get them talking about things they are interested in. Being in front of a camera can be intimidating for some people. So you need to help them relax before you start rolling.
4. In some situations, you may find yourself working with children. If so, take some time to joke around with them. Get them laughing. go outside and play with them for a little bit. If they consider you a friend, then they will perform better on camera.
5. Children are very curious, so let them look at your gear. Show them the camera. Let them look through the viewfinder. Get them excited about being in the video.

Each of these suggestions is designed to help your talent feel comfortable. If they feel at ease with you, your crew, and the situation, then their on-camera presence will be incredibly strong.

A majority of my first post on acting for the camera dealt with preparations the actor makes in order to find work. For the purposes of today’s post, imagine that you’ve landed the role. What do directors and producers expect of you throughout the production process?

1. A Strong Work Ethic - Whether you are getting paid for your time or you are donating your talents for the experience, you need to demonstrate an eagerness for the project. This includes: a) Arriving on time for all rehearsals and shooting dates, b) Memorizing your lines, c) Remaining courteous to everyone involved, d) Being mature and professional. We’ve all seen those “behind-the-scenes” documentaries of actors joking around on set. There’s certainly a place for that, but don’t let it hinder the process of filmmaking.
2. A Willingness to Listen - When the director critiques your performance, don’t get defensive. Listen and acknowledge that direction. Don’t make excuses. Don’t tell the director why he/she is wrong. Effective communication begins with listening.
3. A Willingness to Collaborate - As a director, I enjoy getting input from my actors. I expect them to come to the project with their own ideas and suggestions. I realize that not every idea fits with my vision, but I also know that some suggestions will make the film better. I welcome that creative collaboration. As an actor, you need to study the material. Be prepared to offer your opinions. It shows the director that you care about making the best film possible.

The process of filmmaking is extremely demanding, yet extremely rewarding. Being professional, courteous, and hard-working will go a long way toward landing you that next acting job.

Before director Danny Boyle was winning accolades for Slumdog Millionaire, he shot a little film about two English brothers who fall into an incredible amount of money. In the film Millions, brothers Damian and Anthony re-locate to a new area of town with their father Ronnie. All three are still reeling from the death of Ronnie’s wife and the new house gives them a chance to move past the grief.

Damian is an imaginative little boy, always conscious of others and always willing to help. So, when a duffel bag full of British pounds literally falls into his lap, he’s motivated to use the money to help as many people as possible. His brother Anthony, in contrast, wants to keep the money to himself and use it for his own benefit. But complicating their situation is the fact that England will switch over to the Euro in only 14 days, leaving their cash worthless.

Millions is told from Damian’s perspective, and the fanciful special effects and vibrant colors throughout reflect Damian’s imagination and his view of the world around him. Each scene becomes a visual treat, especially the opening sequence when the two brothers venture on to the empty lot of their soon-to-be-built house. They start to imagine what the house will look like and as they dream, the house builds itself around them.

The film has a distinctive charm that’s brought out both through the wonderful visual elements and the performances. Alex Etel’s portrayal of Damian is heartwarming, and although the character is naive and innocent, he teaches us a lot about humanitarianism. Overall, Millions is a delightful story with identifiable characters, a solid plot, and an emotional appeal that doesn’t become overly sweet.

7 out of 10 stars

How one goes through life depends entirely on his or her perspective. One individual might see the tragedy inherent in a specific event, and yet someone else might perceive the same event to be a positive. Is the event itself tragic or comic, or does it depend solely upon your point of view?

Summary

This philosophical merry-go-round is the foundation for Woody Allen’s 2004 film, Melinda and Melinda. The film opens at a restaurant where four friends are in the middle of a conversation about life and relationships. Two of the friends are playwrights. One friend says that life is inherently tragic, but the other claims that life is inherently comic. A third friend sets the plot in motion when he asks the two playwrights to listen to a story and then comment on whether the tale is best viewed as a tragedy or comedy.

From that point, the film follows two parallel stories, centering on Melinda, a young woman trying to get her life back together after a series of bad relationships and self-destructive behavior. One story follows a dramatic interpretation, and one follows the conventions of a romantic comedy.

Commentary: The Premise

The premise of following parallel stories is engaging, although cliched and formulaic. This movie would not seem quite so original had it been produced as a stand-alone tragedy or comedy. But because both story arcs are shown side by side, the film is much more interesting. I think most people enjoy contemplating how life’s course can be set in one direction or another by events outside their control. It’s fun to imagine what if? scenarios, thinking how things could have been different, if only…

Commentary: The Dialogue

The dialogue in the film is a number of things - snappy, clever, poetic, and philosophical. Allen allows his characters to speak what many of us only think. The danger of doing so, however, is that a lot of the dialogue is too on-the-nose and expository. It doesn’t ring true for real life. Characters (Melinda especially) engage in reflective and introspective monologues that are often tedious. At times it feels more like a stage play than a film, but perhaps that’s the intent, considering that we are seeing this story through the eyes of two playwrights.

Commentary: The Comedic Interpretation

Of the two “Melinda” stories, the light-hearted, comedic tale is much more interesting, due to the talents of the actors on screen. Will Ferrell plays Hobie, a struggling actor married to an up-and-coming director played by Amanda Peet. Ferrell’s Hobie is charming and innocent, and he falls for Melinda (played by Radha Mitchell) when he realizes his marriage is going nowhere. Peet is equally likeable as the ambitious work-aholic filmmaker, striving to lock in the extra money to get her first feature into production. The dynamic between Ferrell and Mitchell is fun to watch, and the dialogue between the two rings truer than the dramatic counterpart of the film.

Commentary: The Dramatic Interpretation

The weaker of the two stories is the dramatic interpretation. Here, the characters are far less interesting, the dialogue far too stilted, and the acting too melodramatic. Aside from Mitchell’s performance, the ensemble around her was flat, stiff, and too over-the-top. Mitchell’s portrayal as the emotionally disturbed and suicidal Melinda really carried this portion of the film.

Final Thoughts

Overall, Melinda and Melinda explores some very human themes in very conventional ways, but presents them in a unique way.

5 1/2 out of 10