STUDENT FILMS & FILM SCHOOL CAN GET YOU ON FOX!
Let’s take a look at the different types of film projects, starting at the beginning with the student film. Everyone has to start somewhere, and film school is where many filmmakers start. It’s not a bad place to begin acting in front of a camera, either. You can think of student films as a sort of scene class for screen acting. Many people teach film acting with a single video camera on a tripod, but there is a limited amount that you can learn from that. In fact, some of what you learn from such an experience will not translate onto a set and into the film medium. I think that student film projects are a great place to work for a variety of actors.
• It’s a good place to start if you are a novice actor or have never acted in films.
• It’s a good place for actors who have been away from the business for a long time and want to start working again.
• I think it can also be a good place to hone those elements of your technique that you have not been satisfied with in your previous film work.
A student film is made by someone in film school who is making the film as part of the school’s curriculum. There are many different levels of these projects and it’s always a good idea to know what level and type of project it is before you get involved. There is almost never payment; it’s usually meals, transportation, and a copy of the tape. The meals will be bagels or peanut butter and jelly, the transportation usually an overcrowded secondhand car, and the tape (a copy of the film on VHS) may prove to be much more difficult to actually get into your hands than you ever could have imagined. That being said, these projects can be a lot of fun, very creative, and you might be lucky enough to create a lifelong friendship that will translate professionally later in your career. You are usually truly appreciated for being a participant, even if your director has no idea what to say to you as an actor. After all, you are really part of his dreams coming true. Following are some different types of student projects you might encounter. Most film schools are four-year programs for undergraduate or two- or three-year programs on the Master’s level. Obviously, the later the year, the more proficient the student.
Film schools have production classes, where the students learn all the jobs of the film crew as they shoot small projects. Usually, these are assignments with an instructor present during class time. In the second or third year, the production class starts to bring in actors from the outside; before that, the students shoot each other. It’s usually a simple exercise, like coming into a room, or a small scenario, lasting a minute or two of screen time. The shooting of such a project takes about six hours. The actor is usually responsible for her own clothing and makeup, all of which has been discussed and agreed upon beforehand. There isn’t a great deal of pressure to perform, because the emphasis of the production class is on the techniques of filmmaking, not on the performance and direction of the actor. It’s a good place to start if you have never been in front of the camera, because you can become accustomed to being on the set and start to decipher the crew positions. The atmosphere is generally very relaxed, because everyone is just learning what to do. You can also learn a great deal from the instructor if he lectures during the process. Call the school directly to inquire about how it finds actors for production classes
In 1948, George Marshall, the President of the Screen Directors Guild (which became the Directors Guild of America, Inc. in 1960) announced to its senior members that the Guild would begin an Awards program to honor directors for their directorial achievement. Awards would be given on a quarterly basis, and would culminate in the presentation of the Annual Award for the Best Directorial Achievement to the winning director at the General Membership Meeting.
The 1963 DGA Awards dinner and dance.
The selection process was envisioned as a Guild family affair, free from prejudice and unhampered by outside influence. It was determined that the senior members themselves were to be the judges and the jury because no person was better qualified to pass judgment on the creative ability of the director than the directors themselves.
The original members of the Awards Committee included George Sidney, Frank Capra, Delmer Daves, John Ford, Bruce Humberstone, Irving Pichel, Norman Taurog and Ex-officio George Marshall.
The quarterly winners in 1948 were Fred Zinnemann for The Search, Howard Hawks for Red River, Anatole Litvak for The Snake Pit and Joseph Mankiewicz for A Letter to Three Wives. The winner of the first Annual Award for Best Directorial Achievement in 1948 was Mankiewicz who was presented with his Award at the Los Angeles Roosevelt Hotel.
Six decades later, the Awards have grown to include television, documentaries, commercials, and Special Guild Service Awards including the Guild's highest honor, the Lifetime Achievement Award.
Only twice since 1970, when the current method began of selecting five nominees from which one winner is chosen, has a director received two DGA Feature Film nominations in the same year. In 1974, Francis Ford Coppola was nominated for both The Godfather Part II and The Conversation (Coppola received that year's DGA Feature Film Award for The Godfather Part II); Steven Soderbergh was nominated for both Erin Brockovich and Traffic for the year 2000.
The DGA Award for Outstanding Directorial Achievement in Feature Film has traditionally been a near perfect barometer for the Best Director Academy Award. Only six times since the DGA Award's inception has the DGA Award winner not won the Academy Award:
1968: Anthony Harvey won the DGA Award for The Lion in Winter while Carol Reed took home the Oscar® for Oliver!. 1972: Francis Ford Coppola received the DGA's nod for The Godfather while the Academy selected Bob Fosse for Cabaret. 1985: Steven Spielberg received his first DGA Award for The Color Purple while the Oscar® went to Sydney Pollack for Out of Africa. 1995: Ron Howard was chosen by the DGA for his direction of Apollo 13 while Academy voters cited Mel Gibson for Braveheart. In 2001 Ang Lee took home the DGA Award for Crouching Tiger, Hidden Dragon, while the Oscar® went to Steven Soderbergh for Traffic. In 2003 Roman Polanski received the Academy Award for The Pianist, but the DGA Award went to Rob Marshall for Chicago.