Most recently, I’ve been reflecting on the blogs of D.P. Philip Bloom. While his content is always able to pique my interest – sometimes it is refreshing to take on differing opinion. What Bloom might say and think could be radically different to other DPs. For this, I turn to D.P. Noam Kroll. In particular for this post, I’ll be inspecting Kroll’s statements on producing a short film; in a post similar to Bloom’s.
To boot, Kroll discusses his thoughts on tight schedules, and raises the hypothesis that tighter deadlines actually improve creative results. Without the time to meticulously plan a scene or shoot down to an exact science, Kroll anticipates for creatives to ‘tap into their intuition’, not only hastening the process, but allowing for creative intent and experimentation to enter the final product without interference. In this, however, Kroll still stresses the importance of allowing reasonable deadlines. To quote;
“Many people would consider it crazy to go through every stage of the filmmaking process – from concept to script to production to post – in only 6 months. And I can’t argue that for many film projects it would be a crazy idea, or even reckless.”
Contrastingly, Bloom constructs his advice around the ideal of extremely detailed planning. Discussing project introduction plans and pre-production strategies before the script and screenplay are even developed. Making mention of his casting process and the success which a widely encompassing casting call brought, an element which was expanded upon immediately after he was assigned the brief. In exposition, he says;
“Without having done the prep before hand, we would have had no chance at finishing before our delivery date.”
Kroll elaborates on his ideal production schedule, linking a 12 week shooting plan he has previously made. It is apparent that Kroll avoids laborious lengths of creative exertion. Understandably, as following a doctrine of hastily producing content which relies on teammates being under pressure in a high stakes environment would take its toll in the long run.
“This schedule is built around my philosophy of shooting relatively short days, and increasing time off in between each break from production to allow everyone on board to recover and maintain stamina, since production often gets more challenging as it nears the finish line.”
In Blooms case, production appears to be a constant set action, with few breaks and a consistent effort to create deliverables. One set of lines sums this up quite well;
“With the long distances between locations, we decided to put the edits together while driving. This was a great way to review footage we just shot and start to see the film take shape.”
In all of this however, a message can really be received. There is no one school of thought. In a previous blog, I mentioned that learning set ways to treat projects and processes can cloud your creativity and hinder you in worse ways than just that – in the case of dealing with clients, following one doctrine for all your projects simply won’t cut it.