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The Director’s Chair Issue # 105 – February 9, 2010 (Creating Creative Working Relationships)

Free Monthly Ezine for Film and Television Directors

February 9, 2010                Scene 11 – Take 2

Published once a month.

Publisher: Peter D. Marshall
Email: mailto:pdm@actioncutprint.com
Website: http://actioncutprint.com
Blog: http://filmdirectingtips.com


Dear Filmmaker,

You are receiving “The Director’s Chair” because you (or
someone using your email address) requested a subscription.

PRIVACY STATEMENT: This Subscriber List is a private mailing
list and will not be made available to other companies or
individuals. I value every Subscriber and respect your privacy.


1. Introduction
2. Two Bonuses for Subscribing to The Director’s Chair
3. Think Outside the Box Office by John Reiss
4. Scene Transitions
5. 10th Annual International Film & TV Finance Summit
6. FEATURE ARTICLE – Creating Creative Working Relationships
7. Write an Article for The Director’s Chair
8. Subscriber Shameless Self-Promotion
9. Subscriber Links of Interest
10. BLOG – Film Directing Tips
11. Are You on Twitter?
12. Filmmaking Workshops
13. Back Issues of The Director’s Chair
14. Subscribe & Unsubscribe Information
15. Copyright Information


Welcome to ISSUE #105 of The Director’s Chair (Feb. 9, 2010)


NOTE: If your country is not represented here, please let me
know and I will add it to this ever growing list.

Algeria, Argentina, Armenia, Australia, Austria, Bahamas,
Bangladesh, Barbados, Belgium, Bosnia and Herzegovina,
Botswana, Brazil, Bhutan, Cambodia, Cameroon, Canada, Chile,
China, Croatia, Cuba, Cyprus, Czech Republic, Denmark,
Dominican Republic, East Timor, Egypt, Estonia, Ethiopia,
Faroe Islands, Finland, France, Germany, Ghana, Greece, Hong
Kong, Hungary, Iceland, India, Indonesia, Iran, Ireland,
Israel, Italy, Jamaica, Japan, Jordan, Kenya, Republic of
Korea, Republic of Kosova, Kuwait, Lebanon, Liberia,
Lithuania, Macedonia, Malawi, Malaysia, Malta, Mexico, Monaco,
Morocco, Namibia, Nepal, Netherlands, New Zealand, Nigeria,
Norway, Pakistan, Peru, Philippines, Poland, Portugal, Puerto
Rico, Qatar, Romania, Russian Federation, Saudi Arabia, Sierra
Leone, Serbia and Montenegro, Singapore, South Africa, Spain,
Sri Lanka, Sudan, Sweden, Swaziland, Switzerland, Syria,
Taiwan, Tanzania, Thailand, Trinidad and Tabago, Tunisia,
Turkey, Uganda, United Arab Emirates, United Kingdom, United
States, Uruguay, Venezuela, Vietnam, Yugoslavia, Zambia,

2) FEATURE ARTICLE – The feature article this month is called
“Directing an Independent Film: Creating Creative Working
Relationships” By Gino Dante Borges, Ph.D. “I want to share
with you an aspect of filmmaking I find rewarding: creating
creative working relationships. I specifically will discuss my
experience as a director in teaming up with other filmmakers
to create the feature film Mismo and working with quality
actors/actresses to manifest Mismo’s characters.” (Read entire
article below.)

gives you an incredible opportunity to get Free Advertising
for your services and your films. So if you want over 4200
filmmakers around the world to know about you and your films,
please send me your Shameless Self-Promotion.

4) FACEBOOK – The Director’s Chair has it’s own page on
Facebook. If you haven’t signed up to Facebook yet, I
sincerely recommend you think about doing it. Facebook is a
fabulous place to meet people who share your passions and it
is one of the top Social Networking sites on the Internet.
Here’s the Facebook home page: http://www.facebook.com

Once you are signed up, type in “The Directors Chair” and
the page should come up. Sign up as a fan and then start to
join the discussion forums, post photos, videos and write on
the Walls. If you are already a member of Facebook, here is
the direct link to the page: http://snipurl.com/923qh

From time to time I will contact you by email to inform you of
certain film workshops or filmmaking products or Online
courses that I feel are beneficial to filmmakers like
yourself. Of course, you are under no obligation to purchase
anything. I only offer this information as a service to
subscribers of this free ezine.

6) SHARE THIS EZINE – Share this Ezine by email and forward
it to your friends and associates.

7) SUGGESTIONS & COMMENTS – Send any comments, suggestions,
questions or advice to: mailto:pdm@actioncutprint.com

8) REPRINT THIS EZINE – This Ezine may be reprinted with
permission. Email me at: mailto:pdm@actioncutprint.com


Peter D. Marshall


Thank you very much for subscribing to this ezine.

BONUS #1 – Here is the link to download the first 28 pages of
my 201 page pdf Online Audio Course:, “The Art and Craft of
the Director Audio Seminar.”

BONUS #2 – Here is the link to download the first 24 pages of
my 137 page “Script Breakdown and Film Scheduling Online
Course For Independent Filmmakers.”

3. “Think Outside the Box Office” by John Reiss

“Think Outside the Box Office” by John Reiss is about
connecting filmmakers with audiences and it is the ultimate
guide to film distribution and movie marketing for the digital
age. http://www.1shoppingcart.com/app/?af=1103535

4. Scene Transitions

Making a movie is not just about the scene you are filming
now. As a director, you need to know these five steps to
creating scene transitions:

1) the scenes that come before
2) the scenes that come after
3) the last shot of the scene before
4) the first shot of the next scene
5) the TRANSITIONS between all scenes

5. 10th Annual International Film & TV Finance Summit

The Tenth Annual International Film & TV Finance Summit is
from March 8 & 9 in Los Angeles. This long running event
brings together a senior roster of film finance professionals,
commercial and investment bankers, independent producers,
studio executives, state film commissions and legal and
accounting advisors to share practical experience and
technical knowledge on the complex issues involved in
financing film and television production.

6. FEATURE ARTICLE – Creating Creative Working Relationships

“Directing an Independent Film: Creating Creative Working
Relationships” By Gino Dante Borges, Ph.D.

I want to share with you an aspect of filmmaking I find
rewarding: creating creative working relationships. I
specifically will discuss my experience as a director in
teaming up with other filmmakers to create the feature film
Mismo and working with quality actors/actresses to manifest
Mismo’s characters. I found the extent to which I was able to
create creative working relationships, determined the quality
of my filmmaking experience and subsequently, the quality of

The task of making a feature length film is too big for one
person, so drawing on the energies of other creators to
materialize projects is necessary.  Partnering up with others
not only increases the odds of completion but you inevitably
end up with a better project.

I like the process of reaching out to others because it helps
me hone in on what I’m trying to accomplish—otherwise, it just
exists in my head. Something happens in the midst of
communicating an intention to others that helps me process
what I’m doing.

Besides providing clarity to an intention, teaming up with
talented people exposes me to my own filmmaking and
directorial limitations. The talented people I surround myself
with inevitably expose me to myself. While awkward at first,
these moments serve as growth moments—both as a filmmaker and
more importantly, for me as a person.

I found by partners for Mismo by attending events held by
different San Francisco filmmaking communities, such as Scary
Cow. At the events, I shared my storytelling interests, hoping
others would like my perspective enough to join me. I first
met, Lorraine Flett, who would become the producer of Mismo.
We discovered our skills compliment each other well. Lorraine
and I reached out to her filmmaker friend, Jeff Davis, who
helped out by providing equipment and doing gaffer work on
set. Soon after, we reached out to Danny Baldonado at Lucas
Entertainment. Danny was brought aboard to operate camera,
manage footage, and edit.

Once the team was in place to make Mismo, the next round of
creating creative relationships involved finding
actors/actresses to play in Mismo. That set in motion the
audition process. This can be painstakingly time-consuming but
if you want to get it right, there is no need to hurry this
process, since the people you choose will be your partners in
realizing your story.

At the auditions for Mismo, Lorraine and I had a vision of
whom we’d like to play each character, and while most of the
preconceived visions played out, we accounted for pleasant
surprises. The Rachel character in Mismo is a good example.
Samantha Warnick auditioned for the Toni character, yet she
looked too young for the role. We envisioned somebody older
looking. Yet because of how talented she was, we decided to
not only place her in a different role but expanded the role
so much so that she became one of the primary characters.

Once we found a fit between character and actor, we asked
ourselves: “Can we work with this person?”  If we couldn’t
envision working with somebody, for whatever reason, we
continued to seek until the situation felt right.

Working with actors/actresses involves more than directing
them on set. It’s also about working with them before
production begins. Before production starts, the
actor/actresses and I work together on character development,
character challenges, and character potentials.  Through this
preparation, the goal is to formulate what I call ‘character
muscle,’ so that when ‘action’ is called, the actor can call
forward their intuitive understanding of the character.

All told, no movie is made alone, it takes others, but more
than just others, it takes creative and willing people. People
you can believe in, people you can trust, and people who
believe in the larger goal just as much as you do.

Gino Dante Borges, Ph.D. has produced and directed
documentaries, visual essays, and dramatic narratives,
including the feature film Mismo. Visit
http://www.mismothemovie.com for more information. Gino Borges
and Lorraine Flett, Producer of Mismo, are currently seeking
distribution for Mismo. mailto:gb25_99@hotmail.com
7. Do You Want to Write an Article for The Director’s Chair?

If you would like to contribute articles, tips, links of
interest, industry news, interviews, special event dates or
other resources to The Director’s Chair, please email me at:


Each month, I give two subscribers an opportunity to promote
themselves, their company or their productions in this
section. If you are interested, send your “shameless
self-promotion” to: mailto:pdm@actioncutprint.com.

Please limit your promotion to less than 200 words. I also
reserve the right to edit the promotion for length, spelling
and formatting.

1) My name is Myrna Petersen and while I am an aspiring
Canadian writer-director, I cannot hope to ever direct all the
scripts which I have written. There are those passion projects
which I hold dear to my heart to direct, but other stories in
my vault that might be of interest to others.

So if you are looking for a project to direct or produce,
email your preference (half-hour, feature, comedy, true story)
and let’s see if we can make a match. mailto:mpeters@accesscomm.ca

2) Representation of Film & Television and Game Composers

For nearly 20 years, SMC Artists has taken pride in
representing international film & Television and game
composers who are classically trained, and who have a
significant and award-winning scoring history.

Why should this be important to filmmakers and television

When attaching a composer to a project, the creative decision
should be based upon what the director/producer can extract
from the composer.  What is the breadth and depth of music
competencies of the composer?  What is the composer capable of
contributing to the production?  These classically trained
composers are accomplished at writing virtually anything from
“Bach to Rock,” yet each has their own individual signature
and are willing to serve the story, evoking the so important
emotions that can only result from years of study and

Additionally, many of the composers are foreign nationals
residing either in Los Angeles or in their native countries,
which may provide filmmakers with significant economic

With their respective professional training and experience,
all of these artists continue to write across the music
spectrum and entertainment genre.

“I ask for your consideration of these fine artists and their
qualifications when preparing for your next production.”  —
Otto Vavrin II, president



“Subscriber Links of Interest” is where you can further
promote yourself, your company or your productions by having
your information displayed on a special links page at:

If you are a subscriber to this ezine and you want me to put
your self-promotion on this page, just send an email to:

Again, I also reserve the right to edit the promotion for
length and formatting.


Please take some time to look through the many blog postings
on my filmmaking blog, FilmDirectingTips.com and make some
comments on the posts – your feedback is important to me
because they will help me decide on the content I will add to
this blog.

RSS – http://filmdirectingtips.com/wp-rss.php
FEEDBURNER – http://feeds.feedburner.com/FilmDirectingTipsAndResources

Here are the latest 5 blog entries as of Feb. 9, 2010.

1. Floating in the Digital Experience

2. Film vs. Digital Cameras – a Comparison in Filmmaking

3. How Do You Get Your Indie Film Listed on ITunes

4. The best/worst filmmaking trends of the year and decade

5. Film Execs look at the state of Indie Distribution


Twitter is a free social networking and micro-blogging
service that allows users to send and read other users’
updates (otherwise known as tweets), which are text-based
posts of up to 140 characters in length.

Twitter is one of the best and quickest ways for friends,
family or people with common interests to stay in touch.

It’s also becoming one of the best ways to promote yourself
and your films on the Internet!

If you have a Twitter account, let’s follow each other. You
can follow me at http://twitter.com/bcfilmmaker.

I also suggest you follow my partner Trilby Jeeves at

12. FILMMAKING WORKSHOPS – Peter D. Marshall

I have worked in the Film and Television Industry for over
35 years – as a Film Director, Television Producer, First
Assistant Director and Series Creative Consultant. I’ve been
asked many times to share my Film and TV production
knowledge with others. As a result, I developed several
workshops that I have successfully presented over the past
15 years.

To find out more about these workshops, just click on the
link below. If you are interested in any of these four
workshops for yourself or your organization, please contact
me to discuss how we can bring these workshops to you.


To read back issues of The Director’s Chair, visit:


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Peter D. Marshall
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