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Week 4: Life is a Sitcom

This past week was a really intense work week. We finalized our cast, finished all of our pre production materials and now we're ready to shoot! In the middle of our hectic pre production week, we were all on the hunt for last minute props. Irene and I in particular went to a prop shop in Brisbane, CA to look for items, later to find out that we weren't able to look at the props without an appointment. So, instead of wasting a trip (that was provided by this weeks sponsor, Cameo Wood) we decided to explore a little. Let go of some stress before head back to the office. I was joking with Irene saying that we were literally acting like we were straight out of a sitcom in the streets of Brisban

Week 4: Understanding how to Direct

Me data dumping right after set: I seem super detached, but the real stuff takes a bit to settle in. After more reflection from set: It's really sinking in to me what it means to direct. I had trouble delegating things to the people at my disposal. I'm very much used to doing things on my own, but on set, if I'm the one doing everything, it wastes a lot of time. It takes a level of trust in your teammates to be able to put your full focus on what you have to do. This is what it means to collaborate. This is what it means to direct. If that means letting go of your own vision of what you expected it to be, that's the point (to an extent). Filmmaking is a team effort. Mira Nair touched briefly

WEEK 4: what time is it

Hi, this is Tamar and it is 12:09 this is probably the last SF related video I will make for now. Sorry, it's a little dramatic. I made it late at night. And nights and moon are for being dramatic. I shall be focusing on my film from now on. We're shooting it tomorrow. Wish me luck <333 thank you, Tamar

week 4 MAKING MOVIES

Our actors were chosen, locations locked in, props delivered, and the our shot lists finalized; at the end of week three we were ready to begin shooting. This week we are filming the four shorts we've spent the past three weeks preparing for. Yesterday we shot Irene's short on the fire escape of me and Tamar's Airbnb. Today we get a break from shooting, before heading to the beach on Wednesday for Tamar's shooting day. Thursday we'll meet on a rooftop to shoot my film, and Friday we're back in the office and the Airbnb to film Sharissa’s short. Here are some pictures of the crew on set; Irene directing, Tamar as DP, Sharissa on sound, and me on slate duty and script supervisor.

OPEN AUDITIONS FOR A SHORT FILM IN SAN FRANCISCO

HI! this is Tamar, Next week I'm making a short film about migration and deportation in the US and I'm looking for actors to play Nabila (18-30), the protagonist and The Fortuneteller (18-40), a crazy fortuneteller who narrates Nabila's life in this country and also symbolizes time. The script is only 3 pages and there will be a one day shoot on Tuesday 28th or Wednesday 29th of next week. Depending on my actors' availabilities. For auditions, you can contact Connie Jo Sechrist at: connie@charmingstranger.com or contact me directly at: tamar@charmingstranger.com phone: 609 772 2301 here's a link to my videos for the blog: https://vimeo.com/386283379 https://vimeo.com/384931299 https://vimeo.

Week 3 Directing and Screenwriting

last week was a full week of major script edits and analyzing every word we had written on our three page limit. Almost everyday we did a table read that left us with new questions about the story we were telling, and notes on what to enhance and what to consider cutting out. It was a difficult process for the four of us, but I felt proud of my fellow interns and the stories they were able to create from the three page limit. Though the script analyzations were difficult, I found them incredibly helpful. Cameo, Connie Jo, Liz, and a few others helped us understand our scripts in ways we hadn't before. Each new version of our scripts only made for a stronger story. This week taught me the val

Week 3: Only week 3?

Sweet Smell of Success by Clifford Odets, Ernest Lehman How I imagine it: - A tracking wide shot of the truck passing along all the others and revealing the clock. Newspapers shooting out of their spiral chutes. Men ready to receive them. - The truck is framed bigger than all the other cars in Times Square. - Entrance of truck framing SIDNEY FALCO - Nautural lighting, high contrast when applicable - WIDE tracking shot going back to the far back counter. Darkest on its top and bottom frame. Close up, still tracking, picking up dialogue. - Low angle. Framed by the light above. Dark. - Med Wide of Sidney running around the office as Sally informs him of new messages. Tracking around the room. C

Week 3: Expectation vs Reality

This week I was concentrating more on my short film in terms of how it would look cinematically. I want to have good visuals and define my style with this short film. Usually when I make short films, I’m both directing and operating the camera. Since I’m the one with the vision, I feel like I would be the best person to capture it. Also having limited resources in the past, I was just conditioned to having to film what I create. After watching Mira Nira’s Masterclass on working with a videographer, I can see the importance of that relationship. It’s hard putting all your trust into a person to be visual responsible to your passion projects, but that relationship is important to have. I now k

WEEK 3: Reasons why I'm not a fish

Hi, This is Tamar and it is 11:42am on a Tuesday and it is our third week in San Francisco. In the last week we've been editing and workshopping and rewriting and refining and trashing and changing our scripts so much that at the end of it I couldn't even bare to look at it any more. I think it's finally achieved its final form which gives me great relief, because I think I'd apply for early retirement if I had to strengthen another character's motif or defend another choice of action. Lately I've been so caught up in always thinking about the next step that I keep catching myself forgetting simple things, like picking up coffee I made. We're literally thinking, breathing and sleeping work.

WEEK 2: gesture14

hi, this it tamar and tis 8:26pm on a Tuesday I made another video that encapsulates the past week in SF a little bit. It doesn't mention how much I <3-ed Coven Film Fest, so I'll say it here. I loved it, Thank you Cameo, Connie, Faridah, Taylor, Matt and everybody else who made fri-sunday so special! Today I got to see Uncut Gems for free at the Alamo!!! #cameosponsorsmylife I loved the movie, it kept me on edge the entire time! usually I like a slower-pace movie that builds up, but recently, watching Bombshell and Uncut Gems has really changed my perspective on my taste in film. Also I'd never heard of Safdie Brothers, this was amazing! thank you Cameo. Due to the scary schedule, I only ma

Week 2 Listen&Look

In the efforts to be present: Watching Mira Nair direct was exciting. I enjoy her direction. She knows what she wants and she's consice in expressing it. I felt excited for when it comes time to direct my own work. How will I explain what I want to convey so that my actors will understand? It makes me question if I am empathetic enough; straightforward enough; observant enough; and not just for film, but generally as well. I tried to be present and observant this week. Mira Nair stressed observation in her masterclass and this helps making actors feel comfortable, which will make communication with them even better. At the Coven film festival, I learned a lot about what happens after you fin

Week 2- Films and Freak Outs

This past weekend, us interns volunteered at the second annual Coven Film Festival. I’m so grateful for the experience and I learned a lot in those 3 days and I wanted to share my 2 main take aways. 1. Directing Tips and Tricks One of the things that I’m terrified about the most for directing my short film is, well, directing it! Directing for my short is on a different and higher scale than directing silly videos with my friends. In Mira Nair’s MasterClass, she talked about the relationship between actors and directors and how it’s important to make a comfortable environment for them so they can be able to perform at their best. Honestly hearing that freaked me out! Knowing that the actors

Week 2

In Mira Nair's Master Class, she says her experience in documentary film helped her develop a keen eye for real life behavior. I've realized it's important to pay attention to bodily gestures if you want to differentiate the difference between genuine body language and body language that is for the camera. As a director, you want your actors to be as natural as possible. What happens on screen has to hold true emotions. This week’s assignment was to observe how people move when they interact with one another. Since this weekend was the Coven film festival, I took the time to observe the filmmakers and other attendees. Here's a video of my experience!

Week 1

It hasn't even been a full week and already how I think about film and myself as a filmmaker has changed. Before arriving in San Francisco, Cameo and Connie Jo gave my fellow interns and me a list of required reading. One of the books, Judith Weston's Directing Actors, has completely changed my approach to how I want to work with actors. This book essentially told me every method I had previously used for directing actors was wrong. My mind was blown even for small tips like; don't watch your actor's performance through the camera monitor; you won't be able to tell if their acting is genuine until you're watching it in the editing room. In all my films, I've only ever watched my actors perfo

Week 1- Discovering My Unique Voice

For the past few years, I’ve been fortunate to start the new year with an internship to help further my career. This year, that opportunity is with Charming Stranger Films. This week marks the first week of my internship with Charming Stranger and I’ve already learned so much. From technical skills to interpersonal skills, I’m learning a lot of new things to implement into my short film and I’m so excited! Extremely terrified, but mainly excited! We are currently in the beginning stages of our short films. I’m revising the rough draft of my script and look book of the visual elements I want to include in the film. One aid that is helping me through this process is Mira Nair’s MasterClass. Sh

Week 1: New

A full week with Charming stranger began yesterday. To be dramatic, my whole life is changing and I feel myself clinging to old habits for comfort. Being thrown from a freelance schedule to a strict 9-5 will be tough, but I'm from New York; a place where we thrive on a constant hum of somewhere to be and something to do. More importantly, I find myself with a fluttering feeling at the thought of the many possibilities for the film I want to create. My one hope for the internship is to be present as possible. For Mira Nair's masterclass assignments 1-4 and 11: My family means the world to me. It consists of my mother (Aries), two older sisters (Aries and Aquarius), my grandparents (Libra and

WEEK 1: the pier project

Hi, this is tamar and it's 16:13 on a Monday. <3 For Week 1, Instead of writing a blog post, I did some Cinema Verite work and made a short video essay about my experience. I made the video in a day, so don't be too harsh. I couldn't decide on the name. it's either 'PIER' all caps or 'the pier project' no caps. I guess time will show :))) Some of the narration in the video refers to questions and exercises Mira Nair poses in her Masterclass. PIER I realized, I prefer making shorts such as this over a narration, because I always have a hard time working with actors and communicating my intentions. So far I've been lucky to work with a very talented bunch, but I know the end results weren't go

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