Tom Quinn reports – Last week, I had the honor of being the first American filmmaker to take part in the Toronto International Film Festival Talent Lab. I arrived in Toronto two days before the festival to meet 23 other young filmmakers from Canada and the UK, as well as lab producers Sandra Cunningham and Brad Fox of Strada Films.

The lab is intended as a workshop where beginning filmmakers can interact with seasoned veterans, focusing on the craft and the art of making films rather than the business. To oversee the week, the producers assembled a team of four “governors” who would run the discussions and act as constants. They were UK Producer/Director Stephen Woolley (Stoned, Breakfast on Pluto,The Crying Game), Canadian Actor/Writer/Director Don Mckellar (Last Night, Child Star, Blindness), French Writer/Director Olivier Assayas (Clean, Irma Vep, Paris Je T’aime), and New-York based director Alison Maclean (Crush /Jesus Son).

While the guest speakers were as varied as Brian DePalma, Fernando Meirelles, Samira Makhmalbaf, and the Dardenne Brothers, we often returned to the subject of directing actors, particularly nonprofessional or first time actors. As a low-budget filmmaker, I feel the craft of casting and building nuanced performances from first-time is most essential to my career. By learning to do so I can empower myself as a story teller and make the most of the means available to me.

Brian DePalma kicked off the week by reminding us to always be assertive; to seize every opportunity. He spoke of meeting young filmmakers who complained about their lack of money and studio attention, or worse, filmmakers who did not take charge of their own careers. DePalma feels that breakthroughs in video technology over the past 10 years has erased any lingering excuses. “If you can’t go get a digital camera and get some actors together,” he asked, “why are you here?” However, his best advice was regarding clear communication on set. “Be careful,” he told us, “Not with what you’re saying, but what they’re hearing. Red to one means blue to another.” Solid advice.

Next, Samira Makhmalbaf showed a short behind-the-scenes video detailing her work with non-professional actors on “Two Legged Horse.” The film details her lengthy casting process, waking through the streets of Afghanistan to find faces or personalities that will compliment or challenge the ideas she has of the character. It was amazing to watch the physicality of Samira’s directing – fully acting out scenes from the sideline, running in to engage the actor between takes, performing alongside them. When asked how she finds the best method of communicating with a new actors she suggested it is like falling in love. “When you start you don’t know who this person is or how it will go.” Samira feels a director should have several tools to help the actor respond – sometimes through simple explanation of the scene, other times through complete physical engagement. At one point, a non-professional actor is show running laps and being spun around to get him emotionally exhausted before the scene. Like many directors who work with nonactors Samira has a script, but does not show it to them. Instead, she favors a long rehearsal period where the actors learn the role in their own words.

Filmmaker Deepah Mehta described a rehearsal technique based on the ancient Indian holy book, the Natyasastra, which lists 8 human emotions (love, pity, anger, disgust, heroism, awe, terror and comedy), which build toward peace. During rehearsals, these emotions are part of a floor graphic, like a hopscotch board. As the actors move through them, they adjust their performance. Of course, this brings out all types of surprises – a line that was mean to be comedic is now played with disgust, etc. By moving through the graphic while playing the role, the actor is encouraged to explore the character more deeply. When several actors are rehearsing at once, unexpected combinations may come when one actors plays “disgust” while another plays “pity.” The goal is to keep the lines the same, but to try new readings.

After discussing the craft from the director’s side, it was great to have Ed Harris visit. Harris is known for a string of strong performances as an actor, and has also directed the acclaimed “Pollack” as well as “Appaloosa,” which screened at this year’s festival. Harris was pretty awesome and asked if we could talk an extra 20 minutes when told time was up. He suggested that all aspiring directors take an acting class to better understand the process an actor goes through to build a performance. Harris mentioned that he enjoys the rehearsal process, having spent a good deal of time doing theater, but reminded us that rehearsals are for penetrating the script, not perfecting it. Later, “Hunger” director Steve McQueen would echo this, saying of rehearsals, “It’s like the trumpet. You practice, you practice, you practice. But leave it on the runways so you can come back and take off.”

I remember watching “City of God” for the first time and being floored by the first scene, when the kids steal the chicken in the market place. The editing, camera work, and performances were so dynamic and deeply emotional. Because of this we all had questions for director Fernando Meirelles regarding his casting and shooting process, as well as his shooting approach. When working with first time actors it is important to create a space where the technology of the production does not interfere on their performances.

For “City of God” Fernando looked at 2,000 kids saying their name and some information about themselves on videotape. He then selected 250 and broke them into 6 groups. Rehearsals would run from 8am to 9pm, giving him 2 hours with each group. Initially, he worked on making them less self conscious in front of the camera and building their confidence. While the entire film was scripted, the actors were never given anything to read. Instead, Fernando would give them a scene and have them go work on it as a group. Once they prepared, he would meet with them and shape it, slim it down and feed them lines from the script to throw in. During the shoot, he will often say “keep going” instead of “cut” because actors will often think they are improvising, but resort to the scripted lines making them sound more natural than the initial performance.

His shooting approach is designed to maximize coverage so that the story and performances can be shaped during editing. He continued this working method on “Blindness,” often using four cameras even though there was a professional cast. The A camera would be the 35mm main shot designed to tell the story as decided by himself and the cinematographer. The 35mm B camera is operated by the cinematographer, now freed to try riskier ideas and capture small details because the A camera is their safer shot. The C camera was super 16mm shot by the cinematographer’s girlfriend to gather interesting images that were not necessarily story-related. Fernando also mentioned the importance of mixing male and female operators to bring a more well-rounded look. Finally, the D camera was a small Aton A-Minima which was in a fixed position, often overhead, to get random images and “off” framing. Because of the intense coverage, his cinematographer keeps the lighting flat and shapes it in post production to add contrast and shape.

Of all the incredible guests the lab producers had arranged, I was most excited about the Dardenne brothers. I have only seen a fraction of their work, but am always inspired. Their working methods and story telling process is very pragmatic for low-budget filmmakers. Fortunately, they described this process in detail. They were sure to note that this was a process they discovered by making films, and that it is still developing for them. They described this as a journey to reduce the technological between them and the production – making it leaner and freeing the creative and emotional aspects of filmmaking. Here it is, as they described it:

1. Work with a small budget and produce their own films because they want control. They stated that while they have small budgets, what they invest is time. They often do 7-10 drafts of the script together, working out the structure, before showing anyone. After getting feedback from trusted friends, they do 2 more drafts and begin looking for funds.

2. They cast both non-actors and professionals “as long as they are good.” The find it is easier to find nonprofessionals for younger roles.

3. Rehearse for 4 to 6 weeks alone with the actors, often on location so that potential problems or ideas can be worked out. One of them will play the role opposite of the actor. They also begin dressing their characters during rehearsal – shaping the look over time as the character develops. Both brothers shoot the rehearsals on video.

4. Work with a small crew of friends, many of which they’ve worked with for years.

5. Shoot in sequential order. If a later scene takes place at the same location, break down the set and re-dress it when they return. Their last film shoot was 12 weeks.

6. They usually watch dalies around once a week. If they come up with new ideas or find problems, they go back and reshoot previous footage.

7. Every morning on set, they work alone with the actors to rehearse and block the scene. There is no shot list, instead they find the best camera placement to cover the action. Once the actors are set, they call in the crew. It was important to them that the crew comes to visit the director and actors, and not vice versa.

8. The crew then collaborates to improve the shot idea. The crew works very quickly to keep momentum.

9. The actors have enough flexibility in their movement to create tension between the blocking and camera, there are no set marks.

10. They have begun to bracket the pacing of their takes, which is especially important because they often work in long take sequence shots that are uncut.

The best closing advice the Dardenne’s gave was to be wary of enthusiasm during rushes. They emphasized the importance of keeping distance so that you make strong choices throughout the production and do not get carried away.

All in all, the lab was an amazing experience – overwhelming, exhausting, and completely inspiring. A huge thanks to all of those involved.

Tom Quinn grew up in Bucks County, PA, where he directed his first feature, Lusting for Dust Words, several shorts, and freelanced as a camera assistant. His film, Via Bicycles, was a 2006 Eastman Scholars finalist and received a Motion Picture Association Award. His current feature film, The New Year Parade, was one of ten projects selected for the 2007 IFP Narrative Rough Cut Labs. He is currently working toward his MFA at Temple University.

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