NIA DACOSTA on Pizza Film School Season II PT. 1
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- เผยแพร่เมื่อ 14 พ.ย. 2024
- In this episode of Pizza Film School, Joe and Anthony Russo talk to the very talented Nia DaCosta. They discuss their respective experiences with film school, DaCosta’s upcoming Marvel project and her modern rendition of the supernatural horror-slasher, Candyman. #PizzaFilmSchool
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ABOUT THE SHOW:
Created and hosted by Anthony and Joe Russo, Pizza Film School is a video podcast that demystifies the filmmaking process and spreads some love to the Russo Brothers’ favorite films, filmmakers, and local pizzerias. Class is in session with the Russos as they dive deep behind-the-scenes with some of the industry’s top filmmakers, all while enjoying a slice or two of pizza. An AGBO Production.
Season I focused on the craft of screenwriting, Season II picks up right where we left off, but this time, it’s all about the art of directing. Also new this season, both the pizza tasting and the discussions are recorded in person at the AGBO headquarters in downtown Los Angeles.
ABOUT THE EPISODE:
Candyman is available on TH-cam, Paramount+, Philo, AppleTV, Vudu, Prime Video, Roku, Google Play, and Redbox. Nia DaCosta is an American film director and screenwriter. She wrote and directed the crime thriller film Little Woods, winning the Nora Ephron Prize at the Tribeca Film Festival. She also directed the hit horror film Candyman. DaCosta is currently in post-production on The Marvels and has actually broken the record for being the youngest filmmaker to direct a Marvel film.
ABOUT AGBO:
AGBO is an independent studio focused on developing and producing intellectual property universes spanning film, TV, audio, publishing, and gaming. Founded in 2017 by award-winning and record-breaking directors Anthony and Joe Russo, along with producer Mike Larocca, AGBO’s mission is to innovate and advance the next generation of storytelling to entertain and inspire worldwide audiences. AGBO’s “Gozie Agbo” banner is geared toward championing exciting visionaries in independent film. AGBO is based in Los Angeles.
Candyman was killer. Hope she’ll come back to horror at some point
GET JORDAN PEELE On the Podcast guys!
I loved the first captain marvel movie, audiences gave it an A cinemascore and it made a billion at the first attempt... yes it was sandwiched between infinity war and endgame but so was antman and the wasp..... Anna boden and Ryan fleck did a great job. "You have this Kree part of her that's unemotional, that is an amazing fighter and competitive. Then there's this human part of her that is flawed but is also the thing that she ends up leading by. It's the thing that gets her in trouble, but it's also the thing that makes her great. And those two sides warring against each other is what makes her her." reminds me of the Samuel l Jackson movie called the long kiss goodnight
The biggest thing in your workography within films (primarily your filmography as a director) is honing your instinct and learning how to communicate what you want to do instinctually and trying to understand what that means through the you make look like or feel like, not as a brand but via the choices you want to do, what they mean and why you want it. Trusting that voice as well.
Going into film school/acting classes to understand the vocabulary, language of actors and talking to them in that way. Writing and breaking down the script or vica versa are two sides of the same coin.
Be super sure of your vision.
So how they hire or approach directors to helm projects:
When you have an agent, tracking projects, for you, they will approach you asking if you wanna direct it as another director will/would not probably want to direct it or they aren't interested in it. You are then on the short list to direct it and you meet up with the executive to pitch it. Then whether or not they like you and like your idea they will hire you. Then (if a director is producing a film) they will also meet you. Pitchdeck, pitching your film - keynote.
With the keynote (pitch deck), break it down into various sections e.g. story, vision, how you would do the script, change it or empathise/dempathise character or just moments, this is where and how I want to shift it to, the aesthetic, camera angles moments (give examples I.e. scenes), references from other films, score, ideas as to who to hire the production/costume design artists. Basically include any part that comes to you whilst reading the script or pitch, you should try to get in there. Have texts and images. Include genre conventions you would use to enhance that, making it more horror or mystery. They, the studio, will ask you if you wanna write.
The biggest part of directing is the technology and communicating to hundreds of people through heads of departments. Seeing the big picture. That's how you are able to do the job. The better able you are to communicate your vision, being more specific, to all your crew and executives for your movie, that will help you at every stage of down the line as they will know where you're coming from, should they sign onto it which is essential.
Let thematics be important to you and but also character (characterisation).
Director's Cut: how it works
With every movie, the director does a 1st cut as they are the director. They do a cut of their/the film and then present it to the studio. And the studio, (who are afraid of making any decisions) put the film out, in order for it for be tested to audiences, privately. Focus groups, the audience come in, watch then fill out a form to ask how they found the movie, what they liked and didn't like about it and then depending on the reception, it starts to et changed or trimmed down.
Some directors hate it as it ruins the films and others, there are benefits and saves their film through reshoots or additional footage/photography pickups.
Omg I want her Marvels beanie!!!
3 years of this film school imma gonna put on weight ;) Love all ya vids guys
Great interview. Fantastic Talent. Nia's on fire!!
Monica was forcibly named CM, due to the need to retain copyright on the CM title.
In addition, Carol was created in 1968 and Monica in 1982.
Carol is the true heir to Mar-Vell and the title of CM.
In Marvel mythology, Captain Marvel is the legacy of Mar-vell.
Carol was his girlfriend and got her powers straight from him, becoming Ms Marvel.
Monica Rambeau had nothing to do with him, and was named CM only for retaining copyright on the name.
Carol was the right choice.
I was one of the last years to shoot on 16mm at Swinburne. Its still so beautiful
Have one director, one timeline, streamlined over-arching story, a guided principle, bible. Making sure that every film can stand upon its own, has a certain artistic style, tone and a certain artistic vision and that it can loop back into the main universe seamlessly. Each film will have a specific artistic vision, making sure that they all work accordance with each other without losing sight of the characters. Make sure that when your directors are creating their own films, that they feel like their own films, with their own voices but also that it fits into the larger universe (their own trilogy universe within a universe that fits).
Work on your films as films 1st then sort out the meta narrative 2nd. focus on character, relationships and introduce the world then go big and explode (mid in the sequel then elevate in the 3rd film but incorporate what the character has learnt, let it be a test but in a different form) but do it slowly.
Writing sets up how much budget you will need and will need to have, where you need to go location. How easy it will be when thinking about what you will writing.
Character study: focus on one character in a bigger world or a character. Take him or her out of that world and truly put him or her in theor own story reacting to their surroundings. But still be the central focus where the story serves the character. An analysis of the traits of the character. (Focuses on) Internal struggles, specific desires and trajectory. of a/the main character rather than external (plot). Internal feelings are the drive for the film. The character's storyline is the filmmakers primary focus.
TV Series -
Episodes 1 to 3 - Act 1
Episodes 4 to 9 - Act 2
Episodes 10 to 13 - Act 3
Trilogy:
First movie introduces the/your main character. Introduces the world that he/she is in. Who are they? What are they like? Their beliefs, wants and needs likes/dislikes, abilities - if it's a superhero film but can also apply its not. Weaknesses. Their relationship with other characters. Also introducing the world. Tone. Atmosphere. Setting. Villain? Sacrifice their past or could do it in the sequel.
Second movie: blow the world of the first film wide open, but do it smartly. Expand the world and the universe. Show layers which we didn't know was there. don't ever change the personality of the character but change their surroundings. Their settings. It's about their weakness. Trials. Add more characters, brand new ones that are/have only now emerged. but don't forget about the existing ones as well. Get a bigger budget. Utilise the budget. Don't play it safe (Better Go big or bigger than reaching small and not attempting at all), But maintain focus.
Escalate the conflict. Raise the stakes. Take them to new directions and put them in New situations. Expand on the themes and create new ones or associated ones.
Or you could do the sequel like Godfather Part 2: splitting the movie into 2. One flashback in the past with one of the characters and one with the present with a different person.
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(If it's a superhero - make the second film about their weaknesses and strengths. Make it personal. About their lives, as a hero and off. Social wise. Make them learn throughout the movie. Sacrifice. Train. You could still do a flashback but with the villain or make it a villains movie half with the hero? Don't know.
Third movie: end trilogy with a verbal but controversial topic? Battle of ideologies (could do it in the sequel or do them in both). Pass the mantle or job to another/sidekick character
(If superhero movie - make them go through various tests.)
By the end of the movie, your character is changed. Matured. Has learned alot. Or could be a jump time forward where he goes on an adventure or suits up for the last time.
Escalate. Tie up any loose threads or other/side plotlines you have for other characters or the main character. It's a full stop. Resolution. (Don't overcrowd or put in too much villains in a movie). Make the previous film better. Move forward.
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Decide what you want your pace and tone of the movie and script you want it to be. How you want your film to be edited, fast or slow.
Put some respect on Carol Danvers. And Monica rambeau shouldn't be sharing a title. How about giving her a solo movie!
Just say u hate black women
Monica rambeau also was captain marvel.
@@mutalemwananshiku4098 In Marvel mythology, Captain Marvel is the legacy of Mar-vell.
Carol was his girlfriend and got her powers straight from him, becoming Ms Marvel.
Monica Rambeau had nothing to do with him, and was named CM only for retaining copyright on the name.
Carol was the right choice.
Upload that Zack Snyder video please!!!!!
brie larson stunts interview before chris hemsworth ... No, it really all came out of ignorance, to be honest. I didn’t realize that you don’t actually do your own, most people don’t do their own stunts in these movies. I thought you did, and I’ve never been a particularly elegant or athletic person. I’m just an introvert with asthma and felt like I needed to be able to do that. I just thought, “I don’t wanna be on set, and they ask me to do things, and I don’t know how to do it.”
So I started training as soon as I could, which was right after I wrapped, so it basically started right as I wrapped picture, I locked picture on the film that I directed. I then went into that, which then turned into nine months of training. And nine months of just training-training, and three months of stunt training with the stunt team. We spent two hours every day, five days a week.
And it wasn’t until … everyone just went along with it, and was like, “Cool.” It wasn’t until we started shooting, and I started doing all my own wire work stunts, and flips and stuff that people were like, “You know nobody, now we’ll tell you, nobody actually does this. We just didn’t want you to stop. But now that you’ve kind of accomplished this thing, we don’t normally do this.” And I was like, huh?
Candyman was such a misfire. It got pretty good reviews from the critics because of the overt political commentary made them feel righteous, but for average movie goers who just wanted to see a good horror movie, it was horrible, and everyone I spoke to thought it was amateur, pretentious crap. The original Candyman was actually scary, and while still politically bold, it wasn't as pretentious about it.
It did well at the box office. So moviegoers must have liked it.
@@mutalemwananshiku4098 Horror/slasher movies are almost a guarantee to make money at the box office these days, no matter how shitty they are.
@@ed1rko17 i dont know about that.
@@mutalemwananshiku4098 That's a fact
Does she have the creative freedom in a major film studio?
And also, may be the theme/story determines the movie title.