Steven Spielberg and George Lucas predict film industry 'implosion'

Veteran directors warned students in US about difficulty of getting projects into cinemas, and suggested studio cautiousness could lead to hiked ticket prices

Changing scene … Steven Spielberg and George Lucas were speaking at the University of Southern California. Photo: Hubert Boesl, Corbis/Mario Anzuoni, Reuters

Steven Spielberg and George Lucas have predicted a Hollywood "implosion" that could change the shape of the film industry forever and lead to dramatically hiked ticket prices for blockbuster films.

Speaking at the opening of a new media centre at the University of Southern California, the two Hollywood titans painted a picture of a future in which the failure of half a dozen $250m movies in quick succession caused a seismic shift in studio dynamics, leading to audiences being asked to pay $25 a ticket for films such as Iron Man 3 but just $7 for movies such as Spielberg's own Lincoln.

Spielberg told students at USC they were vying to enter the film industry at a time when even established film-makers were struggling to get their projects into cinemas, and revealed that the Oscar-winning Lincoln came "this close" to being premiered on the US pay-TV network HBO. He said that many talented young directors were now considered "too fringey" for a cinematic release. "That's the big danger, and there's eventually going to be an implosion – or a big meltdown," Spielberg said. "There's going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that's going to change the paradigm."

"I think eventually the Lincolns will go away and they're going to be on television," Lucas added. "As mine almost was," Spielberg interjected. "This close – ask HBO – this close."

"The pathway to get into theaters is really getting smaller and smaller," said Star Wars creator Lucas, pointing out that his own passion project, the war drama Red Tails, barely scraped into cinemas last year. "We're talking Lincoln and Red Tails – we barely got them into theaters" he said. "You're talking about Steven Spielberg and George Lucas can't get their movie into a theatre!"

The warning from the two elder Hollywood statesmen echoes comments in recent times from the Oscar-winning film-maker Steven Soderbergh, who has said that he does not expect to work in the cinema again. Soderbergh's latest project, the Liberace biopic Behind the Candelabra, screened on HBO in the US. He will next oversee the 10-episode period TV drama The Knick, starring Britain's Clive Owen, for HBO sister channel Cinemax.

"The worst development in film-making – particularly in the last five years – is how badly directors are treated," Soderbergh told New York magazine in January. "It's become absolutely horrible the way the people with the money decide they can fart in the kitchen, to put it bluntly. It's not just studios – it's who is financing a film. I guess I don't understand the assumption that the director is presumptively wrong about what the audience wants or needs when they are the first audience, in a way. And probably got into making movies because of being in that audience."

WATER GRADING in FCPX

Here's some footage of shot in the Hill Country of Texas on our Hacked GH2.  This camera is currently writing to the SD at 256 Mbps. Thats double the standard for HD DSLRs.

Tell us what you think of this color grading. Do you have any footage you'd like to share? If you have footage share the link in the comments section.

PRODUCTION DESIGNER

The production designer collaborates with the director and the cinematographer to establish the look of a film or television production. Every story is intended to leave the audience with a particular emotion, and the design of the set and scenery is just as vital in that mission as an actor’s portrayal of a character and the music that plays under the images on screen. 

Duties

In the preproduction stage the production designer produces a portfolio of sketches and models that serve to illustrate his or her vision for each set and location. These are a guide for the location scout, set decorator, props master, construction crew, scenics, and greensmen. This person will outline a color palette, period, textures, and tone for all of these artists to reference when pulling together the aesthetic of a movie or TV show. Working closely with the producer, the production designer narrows down a list of shooting locations for the approval of the director and also participates in setting the production’s budget. He or she may also be given the authority to select his or her own art director, set designer, and other art department heads.

During principal photography, the production designer is a coordinator who is charged with maintaining the overall aesthetic vision. This person influences decisions on lighting, wardrobe, hair and make-up, and special effects. He or she is also involved in post-production, advising the artists to ensure that computer-generated material matches and maintains the physical photography’s look and feel. 

 Skills & Education

A successful production designer will be artistically talented, resourceful, and an untamed dreamer—imagination is a prerequisite, and the ability to make dreams tangible is a requirement. A college degree is not required, but an education in film and television production, theater, or fine art is preferred. The production designer should have considerable skills in drawing and painting; sculpting and computer modeling are also helpful to presenting your vision. You should understand color theory and lighting, and how these elements affect photography. Courses in art history, architecture, and world cultures are also useful, as the production designer is tasked sometimes with creating realistic representations of ancient societies, sometimes with imagining vast foreign lands. 

 What to Expect

There is a great deal of artistic freedom in this job, but that freedom is constrained to the extent that the director and producer will let you roam. A production designer who can cooperate effectively, compromise when necessary, and show respect for the ideas and input of others will be go far. Film and television production is a business of collaboration—if you can’t play nice, you won’t work. Production designers can expand their careers to work in theater, concert production, theme parks, and other live entertainment. Extensive experience as an art director and assistant art director can lead to advancement to the role of production designer. To pave your path to this gig, take any job you can get in the art department of a student film, independent project, or theatrical play, then take focused steps to move up the ladder. IATSE Local 800 represents production designers and other related artists. 

DP.. Shhh creative at work

The camera serves as the audience’s eye into worlds that are strange, dramatic, and fascinating. Through film and television the viewer suspends disbelief to accompany the cast on an adventure—to end in catastrophe or celebration. The director of photography is perhaps most responsible for guiding our eye on the journey the director has designed.

 Duties

The director of photography (also known as the DP or cinematographer) is hired at the start of preproduction, and is typically hand-picked by the director. This person will supervise the camera, lighting, and grip departments, and is tasked with selecting the cameras, lenses, filters, film, and other accessories required for principal photography. She or he will also have input on hiring camera operators and assistants and grip and electrics crews. The first task is a thorough read of the script and consultation with the director. The two work out storyboards, consult with the production designer, and plan a shooting schedule and budget.

Under the International Cinematographers Guild (IATSE Local 600) basic agreement, the director of photography is not permitted to operate a camera during production. Instead, the DP instructs the camera operator in framing, focus, aperture, and movement. She or he directs the key grip and gaffer in the setup of lighting and other effects to achieve the shot to match the director’s vision and portray the proper mood and emotion of the scene. The DP also makes suggestions to the director concerning how to capture complicated action sequences and tracking shots, the use of cranes and dollies, and the actors’ blocking. At the end of each shooting day, the director of photography sits down with the director to review dailies and take notes. After principal photography has wrapped, the DP oversees the digital grading and film development process. She or he will also participate in any necessary reshoots and the addition of visual effects in post.

Skills & Education

A director of photography needs expertise in lighting, color theory, camera operation, and the techniques of cinematography. It is possible to pick up a general knowledge by studying under a mentor on the job, but a college degree in film and television production is the most comprehensive education toward this career. As a supervisor of the camera, lighting and grip departments, this person must be proficient in each area. Prior professional experience in one or more production departments is required. The most successful DPs, however, are artists, not simply experienced technicians—visual maestros like Sven Nykvist, Haskell Wexler, Roger Deakins, and Lance Acord create moving paintings out of light and shadow.
What to Expect

The camera department is still the standard proving ground for future cinematographers, but it is becoming more common to see DPs who have graduated from the lighting crew as gaffers. To work on projects for major film and television studios, a director of photography must become a member in good standing with the International Alliance of Theatrical Stage Employees. If working on independent productions, the specific scope and duties of this position can vary widely. Cinematographers are both skilled technicians and talented visual artists. It is important to practice your craft, familiarize yourself with the camera at the component level, and continue to stay abreast of the innovations and inventions in camera technology, but also to nourish your eye: Visit museums and art galleries and keep up-to-date with contemporary art trends. You should be prepared to work for many years to rise to the senior-level role of the director of photography. This is a freelance career that requires long hours, substantial travel, willingness to adapt to changing conditions, and the patience to work with personalities from diverse backgrounds.

I AM THE DIRECTOR,,, HEAR ME ROAR!!!

The director is the ultimate creative voice of a film; he or she holds the core vision of the project and leads the cast and crew through preproduction, principal photography, and post-production. Like a general on the field of battle, the director sees the whole picture, and is the one who plans strategy, delegates tasks, and inspires the troops to achieve the goal.

Duties

In most cases, the director selects crew heads like the DP (an important hire, and often the person who works most closely with the director to achieve his vision), assistant directors, second unit directors, and an editor. These staffing decisions must be approved by the producer and may be written into the director’s deal memo. Likewise, the director is usually given the discretion to fire and replace crewmembers as needed.


During preproduction the director is provided with the shooting script, any pertinent supporting material, and a detailed budget. She or he may have the authority to make changes to the script and works with the producer, DP, unit production manager (or line producer), to establish a shooting schedule, determine locations, and hire production crew. The director also collaborates with a casting director to cast the actors, usually subject to the producer’s approval. Decisions on costume and set design, cameras, and all other creative elements fall to the final approval of the director and are determined during preproduction.


In addition to directing action in front of and behind the camera, this person is responsible for rehearsing the actors, establishing their blocking, and coaching their performance. During post-production the director supervises editing, dubbing, looping, and any pick-up shots that must be added. He or she is ultimately charged with delivering the finished product on time and on budget.

Skills & Education

Numerous notable directors have been quoted regarding their notions of the necessity of film school; reviews are mixed. Yes, a certain natural talent is required, but if you’re not related to Ron Howard or the Weinstein brothers, a college degree in film and television production is a valuable addition of skills to that inborn talent. This education will give you the necessary technical expertise in the operation of production gear (cameras, lighting, audio recording, grip equipment), as well as the theoretical knowledge of the art and technique of filmmaking. Courses in still photography, literature, and theater can also be worthwhile to someone who is expected to direct and interpret story, images, and performance. As for on-set skills, directors need to inspire their troops to perform—an ability to delegate efficiently while managing to keep an eye on all the moving parts is a necessity.
What to Expect


Membership in the Directors Guild of America is a requirement to work for signatories of the organization, which most major studios are. Rarely does one fall into the director’s chair without significant prior experience in the film and television industry, but a talented few find success with independent productions that leverage their life savings against a risky dream. Tarantino gained fame from his appearance at the Sundance Film Festival with his self-written project, Reservoir Dogs; Steven Spielberg was an assistant editor (not credited) on Wagon Train; and James Cameron worked as a miniature model-maker at Roger Corman Studios. The trick is to get noticed, either by rising through the ranks of the production crew or through screenings of your own independent work. Passion is of the utmost importance; it will push you through the uncertain times and inspire your ability to create.

EVERYONE WANTS TO BE ONE...... THE PRODUCER!!!!

This title must be one of the most misused and misunderstood in the film industry—so much so that, after the stampede of producers that took the stage to accept the Best Picture Oscar for Shakespeare in Love, the Academy instituted a three-person limit to the nomination credits.

Duties

On major motion pictures, producer credits are sometimes handed out like party favors; one to the guy who wrote the big check, another to the lead actor, and a couple more to long-suffering personal assistants and the guy who offered the shooting location for free. This is a common practice, but one that the Producers Guild of America is trying to change. In its effort to standardize credit guidelines, the guild recognizes a producer as the individual who is most responsible for the film’s production; this includes securing financing and holding “significant decision-making authority” over development, pre-production, principal photography, and post-production. The producer conceives of the initial concept, hires the writer and director, and sometimes staffs other key positions. He or she is also heavily involved in final casting decisions and contract negotiations. With the help of the UPM or line producer, this person must establish the production budget and shooting schedule, and may participate in scouting locations.


During principal photography, the producer trades time between supervising activities on set and coordinating logistics in the production office. He or she provides continual support to the director and is responsible for approving weekly cost reports. Creative decisions are ultimately at the discretion of the director, but the producer will consult on matters involving costume design, art direction, stunts, and mechanical effects. In post-production the producer collaborates with the director to hire a composer to score the film, supervises editing and visual effects, and facilitates necessary logistics for marketing and distribution upon completion of the final cut. In short, the producer is on the line for getting the movie in the can and shipped out to theaters before the money runs out. Some of the best-known directors work with the same producers over and over; producer Brian Grazer and director Ron Howard have made more than a dozen films together, from 1984’s Splash to Apollo 13, A Beautiful Mind, Frost/Nixon, The DaVinci Code, and many more.

Skills & Education

Richard Zanuck is frequently quoted as having said, “The producer is like the conductor of an orchestra. Maybe he can’t play every instrument, but he knows what every instrument should sound like.” The producer is not required to know how to set the F-stop on a camera or check the gate, but he or she should know the difference between the two. A formal education is not required, though a college degree in film production and entertainment business is beneficial. A producer must understand the complete filmmaking process from development to post-production, distribution, and overseas licensing. She or he also needs to be extremely familiar with the negotiated stipulations of the Screen Actors Guild, IATSE, Directors Guild of America, and other pertinent associations and unions.

What to Expect

There are essentially two ways to become a working movie producer: Work your way up the ranks from production assistant, or put up the cash to make your own independent film. Either way, the road ahead is not an easy one and requires an opinionated individual ready with a take-charge attitude. If you take the entry-level route, concentrate your efforts on learning as much as you can about what goes on in the production office. Do not pass up opportunities to work on set, but you will not get to the producer’s chair by chatting up the grip. After you’ve put several credits under your belt, look for advancement as a production coordinator, line producer, and associate producer. Once you have landed your dream job, you can expect more than a few headaches and emergencies. On the upside, you will have the freedom to make the movies you are passionate about, and have significant creative control.