COLLABORATION IN THE MAKING OF THE FILM LUCID

Document Type:Thesis

Subject Area:Education

Document 1

However, if there are strong and valid reasons to participate in the film, then collaboration becomes a reality and this is what happened in the case of “lucid” (Goldsmith & O’ Regan, 2005). Success in filmmaking can foremost be attributed to collaboration, consensus building, and partnership. As stated by (Elder, S. collaboration in filmmaking is where an individual is required to work with people whose ideas and minds might be much more superior to theirs. All the stakeholders have to remain focused on their functions in the filmmaking, respecting and treating each other as equals in the process. For example, the production assistants who hold back traffic for the crew to get clear shots are no less important than the actors, photography directors, production designers and directors. Effective collaboration and partnership in filmmaking can elevate the content and quality of the film to higher dimensions than any one person can deliver (Steiff, J. The foremost step in a film collaboration as “Lucid” is to conduct a work-analysis so as to simplify the prospects of or clarify the need for film collaboration. “ Lucid” was a platform where there was the sharing and collaboration of resources and therefore, the film’s directors began by providing online access to some of the digital versions of the story’s original materials. They included the film’s footage, censorship documents, posters, reviews, previous user requests and the replies thereof to these requests. However, there was also a limited and shared data access as a superficial technique of supporting complicated activities such as analysis, indexing and preservation of the film materials (Asch, T.

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Thus, as a general film collaboration venture, the collaboration accorded (a) an access to resources and materials. The collaboration also (b) enabled both national and international collaborations among archivists and other users of the film’s stored material and (c) it enhanced the archivists’ possibilities in relation to indexing, analyzing, annotating and working with various other films and filming materials (Hertzum et al. The seven stages in Film Production and Collaboration They include: - (a) Development- of the script, the story outline or the book. The director, the writer and the producer had to harmonize their ideas and agree to partner to come up with a superior product. b) Pre-production:- It involved the narrowing down of production. I was one of the directors and therefore, I had to agree to come up with an agreed plan and timelines before the cameras began to roll.

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This was important in the accomplishment of the project’s overall vision. Collaboration at this stage was important so that we could have success in areas such as casting and the working out of the filming locations. It was here that important recruitments were made such as the line and production managers who later created the budget and schedules for the film. Here, the bulk of the work involved footage review and assembling i. e. movie editing. Thus all stakeholders’ contributions were important in regards to the music, visual effects i. e. Also, there were discussions concerning the participants' feelings concerning the progress of the making of the film to which it encouraged awareness and transparency of any power imbalances. g) The teams inculcated a general sensitivity towards concerns on dignity, privacy and culture where all the participants' rights were respected.

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h) All consent throughout the "Lucid" filmmaking was treated as an ongoing consultation process throughout the pre-production, production and post-production. Consent throughout the film was by negotiation (Asch, T. i) During the making of “Lucid” the participants had their rights to veto which was part of the consenting process aimed at overcoming power imbalances. The authors were the intentional creators of the movie's utterance which was an act of communication or expression. Movies communicate a story as “Lucid” does of Zel who is young and lonely. His life changes when an enigmatic neighbor decides to help him so that he can overcome his social anxieties. Therefore, the authors of the film possessed the most-intentionality behind its success (Tregde, D. Therefore, the authorship of “Lucid” was actualized through the mutual interactions between the creators and the world they created.

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The suspension allows the critics to explore the production staff, the performers and the studios backing the projects for the motion pictures. Collaboration as well stands to contradict both the Schreiber and auteur theories of film authorship but collaboration also prevents one from falling for the dogmatic ideas and harsh criticisms faced by other film sellors who are deemed to too simple and narrow in the assignment of authorship (Caughie, J. I also noted that the filmmaking process operated like a sports team. There were instances where certain individuals would leave the project midway forcing the casting manager to look for replacements. In doing so, they who join in had to be totally sold out to the vision and intentionality of the film (Hattfield, M. The second challenge was the determination, measure, and definition of the creative output employed in the film.

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It was not only hard observing but it was also difficult to verify whether each stakeholder in the film, as a writer or cinematographer had contributed his /her best ideas and efforts towards the success of the film, or whether a pair of actors gave it all or they withheld back citing various reasons such as their dissatisfaction with the director’s styles (Casey & Sawicki, 2016). Towards this, the manager was tasked with closely monitoring each of the team members’ input to the movie so as to detect shrinking. Secondly, the EPs also mandated the manager to measure “Lucid’s” team’s grand output and enforce either rewards or penalties depending on whether the obtained output had reached some threshold or not (Hardin, T. This required some level of certainty of what a good and bad film entailed to which the team working with on “Lucid” already had.

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Sawicki, A. The Problem of Creative Collaboration. Coase- Sandor Working Paper series in Law and Economics, 761, pp. Caughie, J. Theories of Authorship: A Reader, London: Routledge. Hattfield, M. Screenwriting: History, Theory, and Practice. Global Media Journal, 3(2), pp. Hertzum et al. An analysis of collaboration in three film archives: a case for collaboratories. Steiff, J. The Complete Idiot's guide to independent Filmmaking, London: DK publishing. Thomas, S. Hope – Towards an ethical framework of collaborative practice in documentary filmmaking. Melbourne: University of Melbourne.

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