Second Unit Director Work - Koc University Hospital

Last December, I have been given the opportunity to do pickup shots for Onur Somer's TVC project. I would like to thank him here in this blog for the opportunity he has given me. It was great to be a part of this project as a second unit director and I am very happy with the result!

Nolan on Following

The Criterion Collection's twenty minute featurette with Christopher Nolan on Following is amazing. Nolan talks about the choices he made during the production of Following in order to create a fictional world within the financial and technical boundaries he had.
This is an important piece for young filmmakers who have similar limitations. Nolan mostly argues that one should benefit from everything he/she has around him/herself. Understanding the limitations and walking around that is crucial.
The piece is highly recommended!

Seaburners

I have had the chance to work in Melisa Onel's feature debut "Seaburners" in the beginning of March, 2013. It was my first work after military service as well as my first AD'ing experience after 4 years.
During the shoot, my responsibilities included prepping and distributing the call sheets, assisting Mira Furlan and working closely with the first AD for scheduling and organising the shoot. I was also responsible for keeping track of the shoot and taking notes for the editor.
Seaburners is out! Go see it and support first time filmmakers!

Eve’s Recipe for success

1. Having recently red Hollywood Drive: What it Takes to Break in, Hang in & Make it in the Entertainment Industry by Eve Light Honthaner, I just wanted to share the author's recipe for success. The book is highly recommended for anyone outside of the film business looking to break in or who wants to switch their careers within the film industry. 
2. 
   

1. •a sincere love of the business
2. •one positive attitude
3. •one winning personality
4. •an array of well-developed people skills
5. •one large network, along with a vast collection of solid industry relationships
6. •endless reserves of energy
7. •huge portions of assertiveness and chutzpa
8. •a touch of humility
9. •heaps of inspiration and creativity
10. •a plethora of determination
11. •a willingness to start at the bottom and pay your dues
12. •an abundance of hard work mixed together with a “can do” philosophy
13. •an impressive knowledge of the business, blended thoroughly with an assortment of well-informed opinions
14. •the desire to keep learning and to give more than what’s expected
15. •the time to have fun and make new friends
16. •at least one unique quality that sets you apart from the crowd
17. •one foot capable of getting into multiple doors
18. •an ability to do well on interviews
19. •a workable plan to get you where you want to go
20. •the conviction that you’re in it for the long haul
21. •the patience and tenacity to get there
22. •enough savings or an alternate source of income to get you through the lean times
23. •oodles of confidence, motivation and self-esteem
24. •the intuitiveness to anticipate the needs and tastes of others and to remain a step ahead
25. •the talent to deliver a great pitch
26. •one teflon coat
27. •ten gallons of shark repellent to ward off all overinflated egos, nasty tempers, annoying back-stabbers and sleazeballs
28. •liberal amounts of schmoozing
29. •the time and effort to keep up contacts
30. •the support and recommendation of others
31. •one sense of humor
32. •at least one helpful and inspiring mentor
33. •the belief that in spite of all the competition, rejection, insecurity, uncertainty, nepotism and politics -- you will work again, sell a project or get a good role
34. •one stellar reputation
35. •generous dashes of passion and excitement
36. •a huge sense of pride and accomplishment for having made it this far!

The Importance of Visual Reference Gathering - 125 Images!

I just came across this great podcast on the ASC website. Michael Seresin, BSC talks with Iain Stasukevich about the making of Dawn of the Planet of the Apes, and his collaboration with the director, producer, production designer, 3D techs and visual effects team as a cinematographer. 
At one point during the session, he mentions the 125 reference images that the director shows him to discuss the look of the film. Photographs, paintings, stills or sequences from other films, films he or the director has shot constitutes this visual book, 125 reference images. 
There is no point in discussing the importance of visual reference gathering yet very few of us really do it.. It is a great way to discuss a project with others, to incubate an idea and a great source of inspiration when one lose tracks of his project.. 

To listen the podcast on the American Cinematographer website, click here.

Eric Kress Lighting Workshop "Dual Close-Ups" by Benjamin B, edited by me

In 2012, I have had the pleasure to edit Eric Kress Lighting Workshop with Benjamin B. The workshop held by Gokinema and moderated by Benjamin B deals with dual close up. Eric Kress meticulously lights the two shots as well as go through with every decision he makes during the process. The footage recorded by Arri Alexa shows how every adjustment, touch, and choices made by the cinematographer affects the shots, the scene and the overall mise-en scene.

It took around 9 months to edit and finish this documentary as I and Benjamin were busy doing other projects. We collaborated online, sending each other our own edits, brainstorming and thinking for a clear and simple approach to document Eric Kress's approach to lighting. Needless to say, I am very proud of this collaboration.

To read more about the documentary as well as the event, please visit the article in American Cinematographer's website.

Synopsis for INDIA - Self-initiated Project

This is a project that I have been thinking and dreaming for some time but due to my daily busy life as well as procrastination, I have not been able to work on this project for further development. Since I have some free time at the moment, I sincerely think that I should start thinking about how to develop this idea into a much more concrete proposal. I have prepared a small synopsis for On the Bridge, a workshop where I will have the possibility to present it. Hopefully by the end of next week, I will have a much more concrete synopsis.

"I'll not date in August" (working title)

Premise: Peace leads to a happy life but does peace come easy? Adaptation from I.N.D.I.A, a short story written by Dana Dutch

This is a proposal for a ten minute short film for a younger generation about a girl who meets a boy when in her life she gave up thinking about romance. She finally decides that she really cannot dictate anything to her own heart and wonders how funny little circumstances brought major changes in her life.

The purpose of producing this film is to give the viewer the experience that sometimes we are so fed up with out busy lives, we really have hard times understanding what is really going on around us. This is the story of a girl who happens to meet somebody when she expects the least from the opposite sex. 

Moreover, by adapting a short story from a comic book written by Dana Dutch, I expect to reveal the glossy aesthetics from the melodramas of the 50s as well as capturing and interpreting the sudden emergence of the boy and the girl. The story deals with the inner life of its characters and to visualize it in a cinematic manner is the purpose of the film. 

 

Verna

in 2010, I was offered a place at the Helsinki Film School as an Erasmus student. During my time in the film school, I had a chance to observe Finnish film students producing short films. Verna was one of them and I worked in the production to document the process. Here's the video.

Filmmaking Has No Boundaries

"Telling stories, communicating through images is what this profession is about. Today the film industry is a global sector and filmmaking has no boundaries. A project may launch in France, the pre- production part may be done in Italy, the production may be handled in Middle East and post - production in England. Within the international working environment I think it is crucial for any young filmmaker to have advanced social skills. I believe studying at the University of **** will provide with an invaluable social experience: to work, collaborate and create with people from different backgrounds who share the same passion for films and filmmaking."

That's what I wrote in my letter of intent last year for my application for graduate degrees. And finally, I am experiencing what I said. A friend of mine from Turkey is about to finish his graduate degree in England, Westminster Film School and he just completed the principal photography of his thesis project in London. He is still there fighting to get a decent post - production company to get the timings and gradings of his picture and I am sitting in my room at Sabanci University, editing his thesis project. It is incredible how technology evolved and became what it became today. It is just extraordinary. I am just editing a short film that was shot by a Turkish director with British actors and actresses and with a British team. I mean of course, we knew that from big productions of Hollywood that we were led to a work flow without the boundaries of space and time but I never imagined that I could be a part of a film project just sitting in my room. If I am lucky and if I am good at what I am doing (first of all you have to know what you are doing, right!) in the future, I may even edit the new film of Tom Cruise that was just shot in L.A. which has to go all over the World within the virtual space to complete the post - production. The future is full of opportunities and it is a god damn fair play!

How Does One Take an Action as a Filmmaker?

I don't know about you but aren't you sick of hearing the same advices from the filmmakers you admire so much? Why is that? Are there some kinds of things that they have to say in interviews of stuff like that in order to promote a certain product? Or may be we are caring to much about what they say and we ideolize them and this is something that we shouldn't be doing!
I was reading another article or interview by Roger Deakins and I am sick of hearing the same phrases.
Here one for exemple:
"A lot of people say it's nicely photographed, and I think it is," he says. "And I think it's the simplicity that makes it well photographed. ... It's not like these are necessarily fantastic images; it's really about the content. It's not about making great images."
Or:
"When you move the camera, or you do a shot like the crane down [in Shawshank] with them standing on the edge of the roof, then it's got to mean something," he says. "You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story."
In a way, I am obsessed about reading interviews. But doesn't seem to be improving anything in me. Or may be I am wrong but I just can't make it anything out of it to really understand their choices and of course when I am in action (producing something) doesn't really make it easier for my choices and my dilemmas. For me they are saying to much and at the same time, they are saying anything. It really doesn't answer any of my needing as a person who wants to do that job. I guess you just have to find a way to answer all these questions and that is something that has to come from within. And that's really the point when you really understand the craft and this profession and actually all the answers are already in yourself. You just have to look for it. In that way, I am trying to be as much optimistic as I can.
"There's nothing worse than an ostentatious shot," Deakins argues. "Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story."

Missing the Camera

It has been quite a long time since I didn't shot anything. I am dying to shoot something. Anything. Short film, documentary, music videos whatever I can get. The reason why I haven't shot anything for a long time is because recently I have decided to take part in big projects that I could only work as an assistant director or assistant editor. But now, I have the confidence to take full responsibility as a cinematographer or director to realize projects. The other reason why I stopped working as a cameraman is my thesis project that I have mentioned before. After my thesis project, I felt like I lost my ability and I didn't have what was required for this profession. But I was wrong. I am not going to listen any criticize and I will not be afraid of making mistakes. And I will not apologize because I am using the latest camera, sorry middle age old fashioned cinematographers located in Istanbul but this is the future and you are already too behind.

Another Shark in a Suit

Everybody loves you. Pisses me off.

Jerry Maguire: I'm finished, I'm fucked. Twenty four hours ago, man, I was hot! Now... I'm a cautionary tale. You see this jacket I'm wearing, you like it? Because I don't really need it. Because I'm cloaked in failure! I lost the number one draft picked the night before the draft! Why? Let's recap: Because a hockey player's kid made me feel like a superficial jerk. I ate two slices of bad pizza, went to bed and grew a conscious!

Okay. I am going to talk about a film which I think it will give me the opportunity to fully describe what I enjoy seeing and what I intend to do. Actually I am very much interested about male characters fighting for their goals, fighting to earn money, earning respect from the others, get a decent powerful career... If possible conquer the world. I am interested about smart characters who want it all.
The film, Jerry Maguire may seem cheesy to many but I think it is a very powerful film in case of written character and its strong visual storytelling. Jerry is a successful sport agent, he is strong, funny, dependable. He is working in a major company called Sport Management International. "Everybody loves him" is one of the tag lines of the film. But at the age of 35, after a nervous breakdown, he starts writing a mission statement in one night "The Things We Think and Do Not Say: The Future of Our Business", proposing "Fewer Clients, Less Money" but a better personal support to the clients. He delivers it to everyone in the company but of course in the next day, he is fired.
Once he is alone, he becomes the boss of himself, Jerry is so frighten that he instinctively tries to get all his clients back with his new company as opposed to his mission statement that he is about to start but like a destiny, he can only convince two of his ex-clients.He is now confronting with his writings, "Less Clients, Less Money" even he doesn't want to because he just wants to get to back to business to get a revenge from his ex-bosses. One of clients is a very young promising football player and the other one is a black, in his mid-thirties who thinks only about money to support his big family.
At the same time, Jerry who was never alone in his life breaks up with his fiancée and another challenge awaits him. Loneliness.
But the main conflict starts when the young promising football player which he was his only savor decides in last moment to make a deal with Sport Management International, Jerry is now with only one client who doesn't promise a potential as a football player, he is difficult to work with, he is aggressive and everybody finds him a pain the ass in the team. But as oppossed to Jerry, he has a very strong respect and caring for family values which Jerry in the end will learn a lot from him.
So Jerry, in his journey, will have to continue with the most difficult football player to get back in the business and will have the chance to really understand and go through all that he wrote before. In a way, now he has the chance to prove whether he was right or wrong to himself and to really understand what really matters in life. Like his mentor would say "Personal relations are the keys to this business."

Jerry Maguire: I will not rest until I have you holding a Coke, wearing your own shoe, playing a Sega game *featuring you*, while singing your own song in a new commercial, *starring you*, broadcast during the Super bowl, in a game that you are winning, and I will not *sleep* until that happens. I'll give you fifteen minutes to call me back.



Now, another thing which I would like to discuss here has got nothing to do with Jerry Maguire, but something that I shot two years ago as an exercise. I love working with maquette, small figures and stuff because it gives me the chance to experiment things that I really can't in real life because it is expensive. Therefore I like to work with actions figures, light them, direct them and creating a living environment for them. I think the most difficult part is creating the environment, for example this saloon doesn't really look to real because there is really no detail, no traces of past, time, doesn't really look like it is living. And to do that, you really have to work really detailed in order to create a living environment. And it is really a craft. It is what production designers do actually.

What I would really like to do as a long term project is actually combine both. A very well written character and a story with a very strong sense of visual storytelling. But isn't that every filmmaker wants to achieve at the end?

Failure?

I hate myself when my answer is "I don't know" when someone older and more experienced than me asks me something about what I want to do in my life and what I expect from the future. I don't think I have ever been lazy in my life. Actually what is lazy? Is it when you are good in your studies in high school or whatever and that makes you a hardworking person? I don't think so. When I was a teenage, I was distracted by many other things. Girls, Stanley Kubrick, Robocop and my grades were average but I was always interested in something. I did theater, acting because I just loved to act and to be on the stage in front of everybody. I was interested in learning other languages, I had additional classes to learn Italian and English at the weekends. But there was one thing that was very obvious. Film. Now people ask me everywhere this question. "What are you going to do?" And I say I don't know. Actually I know it. I know it from the age of 13. But I just don't know how to do it. There is one thing that I cant figure it out that blocks me do it. Or maybe I am just impatient. Or maybe I wasn't lucky enough to find the right companion so far to share my ideas with or to work with all the time. Or maybe I didn't made the right decisions at some point in my life. But that's okay I think. I am in this road now, and I dont have the intention to shy away from the hard work.
I hate when people criticize me because of my choices. Or I hate when people find me not appropriate for my choices. I exactly know what I am doing and believe me, I have thought about it just last night more that you did in your entire life.
I was very lucky to be in a workshop in Budapest last month where I had the chance to meet with film students from different places who share the same passion for films and filmmaking. Anthony Dod Mantle came to visit us and told us he didn't know what to do until the age of thirty but he never stopped trying and forcing himself to find what he is actually looking for in life. It is a path actually and it is a very long path. Last year, he won an Oscar for his work Slumdog Millionaire.
Now, people who know me very well, know that I was trying to get in a school for two years but I was unfortunate because I missed my interview for the application process. God, I worked so hard to get in that film school! Believe me, I did everything. Sometimes things just happens and you cant control it. There is nothing you can do about it.
I am now in a art school and I feel strange. People ask me "Do you want to become an artist or stay in the mainstream?" My answer is obvious. Mainstream!. It was decided before I was born before the time of the Alexander the Great before all the myths were created. But then they ask me this question. "Is there anybody you can work with at this school?" And my answer is I don't know.
Scottish born british director Alexander Mckendrick was a great film director. But in some point in his life he just couldn't work anymore. Because he just didn't like the way film directors had to start to promote themselves in Hollywood to get a job and he just didn't make any films until the day he died for twenty years. But in his second part of his life, he started teaching at the famous film and art school Calarts, in California. His teachings were absolute, sharp, fascinating and inspiring. He taught so many young filmmakers and he inspired them. I wish I could be his student. David Mamet, in some point in his life taught at Columbia. And we all know about Terence Malick who is a very famous professor in Harvard who contributed a lot to the motion picture making business only with his four groundbreaking films. Why do I tell you this? I don't know.
I was also very impressed when I met film students in this workshop. They didn't have any fear or they weren't stressed because of their choices. They were just happy to be in that profession and didn't really care about more than that. I mean how do you do that? Is it only me who thinks about everything to much more and feels stressed and I just can't handle it anymore.
I think I will have to finish this writing some other time but I don't know how to end it. By the way, Mckendrick used to say, if you have a great beginning for a story but don't have an ending, there is probably a problem in the beginning...

What Makes This Shot Believable?

   

I love production design. Actually, I love production designers. Production designers are the best and sometimes worst friends of cinematographers. Just look at this shot, from Coen's film "No Country For Old Men" which was shot by Roger Deakins ASC, BSC. If you look closely you will see the details of the wall which is dusty, dark and sticky. This kind of work done by production designers makes the visuality of the film much stronger and gives much more space to cinematographers to play with.
This is the first time that I am writing to this blog and I just wanted to share a certain shot from a film which I love and to show why particularly I love it. I will try to share more stills from certain films to discuss certain area of filmmaking and also just to talk and think about it.