Notes from a Masterclass with Alex Garland

At the pre-residential weekend of the BFI and NFTS Residential course, Alex Garland’s Ex Machina was screened for us, and after the screening he gave a masterclass on directing/writing/being an artist, and here are my (really messy) notes from one of the best days of my life:

Alex Garland talked a lot about how he prefers sticking to a schedule by shooting in 10 hour days – he said that he doesn’t do breaks/lunch breaks etc. as he does not want to go over time since 1. it will annoy producers/cost more money, and 2. he knows his cast and crew have other commitments such as a family to go home to etc.

Since he was an author/screenwriter before becoming a director, Alex (I don’t feel like I’m on a first name basis with him but let’s go with it) talked about collaboration vs. isolation. He said how he preferred directing as it allowed you to collaborate with people and work with a time to create a vision, whereas when he was writing he found he was in his own head, which can be jarring for both the writer and the work itself.

Ex Machina fact: it was shot in six weeks, 4 weeks were shot in Pinewood studios and 2 weeks in Norway, it is set in Alaska (this is not stated in the film).

Alex Garland words of wisdom number 1: make the right movie for the right cast.

The director brought up new points of view for me about Ex Machina and how to watch it. For example, he asked ‘who’s the protagonist of Ex Machina?’, and it’s like…crap, man…IDK? To me, it feels like the protagonist changes…it goes from Domhnall Gleeson to introduce us to this new world, then Oscar Isaac to show how isolated it is and contrast the two sides between Gleeson and Isaac, and then Alicia Vikander, the New Human? I feel like we definitely go into her point of view when her and the other AI kill Isaac’s character, as the blood that pours from him feels more alien and inhumane than Ava putting skin onto her magnetic/robotic ‘body’.

Alex also talked about the noises of Ava and how they were purposefully made to sound like a heartbeat…direct quote: ‘the noises of Ava make you feel she is alive’. He talked about how these effects were added in post by the sound designer, but I annoyingly can’t remember how they made the noises.

The rest of his talk consisted of more words of wisdom, so I will title this section ‘Alex Garland’s Words of Wisdom number 2 to infinity:

A director must understand the direct of photography’s fingerprint/style, and react in an immediate way to this.

The writer and the author are always the 2 people who are closest to a character – writer hands the character over to the actor.

It is important to understand actors and what they do, since what they do is quite isolating (I found this really interesting as all the other directors from the masterclasses said something along the same lines too – something I had never really considered before. But, after being on set the actors really are the odd ones out).

Film wants to exploit – always think about why violence/why nudity/why this gender? Always give a reason for something.

Concept/theme and character – work as hard as can (I don’t really know what this note means but I’m putting it down in case I figure it out later).

Just write scripts and don’t use script editors – the producers can act in the same way.

Know the argument of a film.

Themes, character and place should all support each other.

Adjustment to include everyone else.

Grammar of camera.

Industry does not take sex seriously – it exploits it. Always have valid reason for including sex in film.

All production companies are hungry for scripts.

Writer and producer = very close relationship.

Make sure first film is good, since this is what the rest of your career will be largely based off.

It is the screenplay’s job to tell people what the room is going to be like – don’t overwrite in a screenplay, be restrained.

Understand why shots go together and why they don’t. He also said don’t hold shots too long, but I think this is a stylistic choice if he’s meaning in the way I thought he meant in terms of Citizen Kane style length shots, but he could’ve meant to be sparing in how these shots are used too.

‘Auteur theory is bullshit’ – Alex Garland, 2016. He did say he believes Wes Anderson, Hitchcock etc. are auteurs in terms of styles, but he was more focused on how the auteur theory suggests it is the director putting in all of the work to the film, when really it’s a collaborative process.

Alex Garland, if you are somehow reading this – thank you so much for the masterclass. It meant a lot that you came, I don’t know why Ex Machina wasn’t nominated for more awards (not that they are an indicator of a film’s value), and this aspiring director will take all of your advice seriously and work on it.

 

P.S. please give me a job on Annihilation. I will do anything.

Advertisements

Future Learn Script Week Two

My 30 Second script:

EXT. – DAYTIME – A deceased mansion occupies the entire frame, with the whole area covered in rubble and black charcoal. The entire situation seems bleak – there is leftover smoke from when the firefighter’s – who are currently preoccupied with a broken piece on their fire engine – took out the fire, and a heavy fog covers the area. The only thing that juxtaposes this picture of death is the standing room in the middle, which somehow miraculously survived the fire.

CUT TO: A woman in a long, black coat and black hat that covers her features walks over. The camera TRACKS her as she walks over to a pile of cast-aside rubble and stands on it, her gaze focusing on the room in the centre.

A CU of her face reveals her brown eyes and determined gaze. She checks her watch, clearly telling herself that for some reason, this is the right time to follow through with her goals. She continues to walk to the centre of the destruction, stops as she reaches the door to the lone room, and enters a microcosm of the universe that once existed before the fire.

INT. – Inside the room – it is clearly decorated in expensive wallpaper, with paintings from around the world hanging on the wall. A coffee table, two chairs, and a turntable – quietly playing Le Gazza Ladra Overture – stands in the centre of the room. On old man occupies one of the chairs, his focus clearly on the letters and novel he is holding.

The woman we have come to briefly form a sense of knowing with sits in the opposite seat, the old man not being disrupted by this. Instead, while still focusing on the objects in his hand, he says:

OLD MAN:
You know it was them, who did this.

WOMAN:
Yes. I know. I’ll be quicker next time, I’m sorry.

For the first time the old man looks up. He frowns.

OLD MAN:
It’s not your fault. You’ve been born into this world, there’s nothing you could do to escape being part of this…but there is something you can do to ensure you do not die because of this world, but I think you know that already. Am I correct?

WOMAN:
Yes.

OLD MAN:
I thought so.

He takes the letters and novel in his hand, puts them in a brown bag, carefully, and hands them to the woman.

OLD MAN [CONT.]:
I want you to have these. They are the only things that can save you. Decipher each and every letter your mother and father sent to each other; ensure you understand every page of the book – the notes are just as important as the text itself. I can no longer continue to go on anymore, but I know you can. When you leave this room you will not be in the same place you were when you entered it – physically and mentally – I need you to be prepared for this, do you understand?

The old man had adopted a worrying expression on his face, and was growing paler and paler by the second. The woman nodded, understood this was their last conversation, and, with no words being said – just a simple nod from one to the other, showing their mutual respect, they parted ways.

EXT. LONG SHOT of the door. It opens, and the woman’s face is shocked. The camera PANS OUT SLOWLY to reveal that she is in the middle of an ocean, with an ambitious jump between wear she stands at the edge of the door and a ship opposite. She makes the leap, the bag containing the documents intact.

END

My storyboards (my drawings are so bad and so is my handwriting please don’t judge me I am not gifted):

scan 6Scan 6