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By midlandsmovies, Sep 30 2019 07:00AM



A Day in the Life of director Jordan Dean


In the final entry of our 'A Day in the Life' features, we follow the hectic schedule of Leicester-based film director Jordan Dean. Take a read of the very long day for one of the most crucial roles in local film production.


06:00. Wake up, shower, get ready. I then go through the schedule for the day, look over the shot list that I will have finalised with my DOP in pre-production. This allows me to focus my mind on what has to be done during the day so I can arrive to set and go through the day with my DOP and AD without having to run through paperwork which will slow things down.


07:30. Arrive on set, make a coffee and walk the set with my DOP and AD. This initial walkthrough allows the three of us to get on the same page for the first scene. This frees me up to work solely with the actors when they arrive as the DOP will communicate with their department what we have discussed, and they can begin to light the set and mark up camera positions.


08:00. I sit down with the actors and go through the 1st scene with them, this is a brief meeting and we touch on where this scene fits within the film, what has come before and what is coming after. The actors then head to hair and makeup.


08:45. My AD will bring the actors to set so we can begin blocking the scene. For this I usually have my AD and DOP close by so we can discuss any potential changes to shots, lighting etc. The gaffer and camera operators usually watch this blocking session to allow them to prep any camera moves and potential lighting changes. I like to allow my actors to play the scene out as they see it first, there are 2 reasons I do this. One, it allows the actors to take ownership over their surroundings and their characters. Two, I have a clear idea how the scene plays out in my mind but when you turn it over to an actor to make decisions without direction, they have a tendency to do something you had never thought of that could improve the scene. Once they play it through themselves, I then come in and change things that didn’t work and discuss some of the more interesting decisions they made. Once we have the blocking set the actors go back to their dressing room whilst I tweak a few things with the DOP.


09:15. Everything is in place; the first shot is set up and lighting is perfect. The actors are brought to set, we quickly run through the scene again and get them in position. We then run a final rehearsal followed by last looks from the hair and make up team. Now we are ready for the most exciting part of the day, first turnover. I sit by my monitor with my script supervisor and shout ‘Action!’. After we cut, I let my AD know if we need to go again or if are moving on, I then head straight to the actors whilst my AD lets everyone else know what’s going on. If we are going again, I let the actors know and we may tweak performance or if the reason for another take was a technical problem, I let them know that, so they don’t feel we are just going again for the sake of it. Once we have the shot, I will have a quick talk with my DOP about the next set up and then I go and work with the actors. This all repeats until the scene is wrapped.


12:00 – 13:00. Lunch (or dinner since I’m Northern). The majority of the cast and crew break here; however, I will have a meeting with my DOP and AD about the first scene after lunch so they can go straight to work after lunch. I grab something to eat and go over the shot list for the afternoon.


13:00 – 13:30. Get a fresh coffee, go through the morning with my script supervisor and ensure we have shot everything we intended.


13:30. Back on set with the actors for blocking. Same procedure as the morning, I try to stick to a similar routine as it allows everyone to be comfortable with what they are doing and limits the stress on set. Go through final tweaks with my AD and DOP.


14:00. Final rehearsal with the actors. Last looks. I head back to my monitor to find some fruit and fresh water as my script supervisor knows I won’t have had a proper lunch. Now it’s time for the first turnover of the afternoon.


18:00. That’s a wrap! Well, for most of the crew anyway. Whilst the crew pack down I spend some time with the actors reviewing the day and discuss the next days shoot. I give them some things to think about for the scenes coming up the next day and we discuss some initial ideas for the scenes.


18:30. I meet with my AD and script supervisor; we review the day and make sure we have shot everything we wanted to and that we are still on schedule. If we ran behind slightly, we might be discussing adding an extra scene into the schedule for the next day.


19:00. Everyone has gone home but I stay with my AD, script supervisor, DOP and the producer and we watch the rushes from the day. This is an exciting and nervous meeting as we get to watch back what we have shot which gives us an idea of what the final film may look like.


20:00. Leave set, head home and go over the schedule for the next day. I re-read the scenes for the next day and then go through the shot list in preparation for another long day on set.


By midlandsmovies, Sep 18 2019 01:03PM



Crosscut Media launch new creative arm, Fishbulb Films with help from Creative England.


Leicester-based video production company Crosscut Media have been awarded a start up grant from Creative England to help launch their new creative brand.


Having produced video content for the likes of Leicester Comedy Festival, LOROS Hospice and Curve Theatre, Crosscut Media has grown over the past 3 years whilst being based at De Montfort University's Innovation Centre.


At the start of 2019, the team applied for a grant from Creative England's 'New Ideas Fund' to help them launch a new brand, Fishbulb Films, aimed at clients wanting to produce high-end branded films and TV adverts as well as being a name under which to produce short films for the film festival circuit and music videos.


After a successful application, the team have been busy producing the new brand which they are thrilled to now unveil.


“We saw the fund from Creative England and thought that we fit the criteria perfectly. We'd been itching to produce some more narrative based content and had found that we were receiving more and more enquiries about producing 'film style content' which didn't particularly fit within our corporate brand, Crosscut Media.”, Dan Flanders, Co-Director said.


“The new Fishbulb Films brand will allow us to focus on two sets of very different clients and their different requirements. Crosscut Media will look after things like event coverage, video testimonials, live streaming and promotional videos whilst Fishbulb Films will focus on narrative-based projects where larger crews are required.”


The grant covered start up costs such as web design, and a small amount of equipment as well as a number of reusable branded flasks to help reduce the amount of waste produced by the film making industry.


“Having a production company that causes the least harm to the environment is our goal. We have implemented an environmental strategy for all of our projects, to make sure they’re as green as possible.”, Duncan MacLeod, Co-Director said.


“For each production we have a designated environmental officer. The officer ensures that during each project we are being as conscious about our impact on the environment as possible.”



Jordan Dean, who has been working at Crosscut Media for the past 18 months has also been instrumental in pushing forward the new brand.


“The film industry is such a difficult industry to get into, so from completing my MA in International Film Production last year to co-founding Fishbulb Films this year will allow me to continue to hone my craft as a director by working on a wide range of creative projects.” Jordan added.


For more information about Fishbulb Films and their latest projects, please visit their website:


www.fishbulbfilms.co.uk



By midlandsmovies, Apr 10 2018 05:23PM



Midlands Movies Interview - Going Behind the Lens with Jordan Dean


Local filmmaker Jordan Dean came to Leicester’s De Montfort University from Hull at the age of 22 and grew up like so many did with Spielberg and Star Wars as his first foray into film. We speak to this exciting new local filmmaker about his influences, film music and the uncomfortableness of watching audition tapes.


Midlands Movies: Hi Jordan. Glad you could join today. You mention you got into film via Spielberg?

Jordan Dean: Yes I did, but as a kid I was always asking how they managed to create these fantastical worlds!


MM: And getting older how did you end up in your current position?

JD: Well my love for film as a youngster developed into working for Bizarre Culture where I was their film and media editor. I wrote articles and reviews before studying film at DMU in Leicester. It was a very academic weighted degree but at a very highly regarded film university.


MM: And what did you learn during those years?

JD: Well, I made some terrible and awful stuff in my first year [laughs]. But by my third year I had learnt a lot so chose to make a film rather than do a written dissertation. By doing that I tried to prove to myself I could handle a larger production. I actually had 27 cast and crew for a 7-minute short. This included costume designers, extras, fashion models and the like. It really helped me learn different skills, got me a first in my degree and then played at 5 festivals winning a cinematography award at one of them. That was when I thought - I can do this!


MM: I went to the same University funnily enough from 1998-2001 and we only had video in year 1! It moved very quickly to digital.

JD: Ha ha. I would love to shoot on film but producers say think about the money!


MM: So where are you now in your career?

JD: Well now I am undertaking an MA in Film Production with DMU and Pinewood Studios which is exciting. I get to work every week with Terry Bamber (first assistant director on films such as Gulliver’s Travels and World War Z), Chris Kenny and Iain Smith, producer of Mad Max: Fury Road. It’s a real high calibre of people to learn from.


MM: Sounds very rewarding. What projects have you made?

JD: I worked on Not Alone which was actually a film to test equipment but has recently won a short film award at the Direct Short Online Film Festival. In addition I’ve been working with Rhys Davies on his upcoming feature Acid Daemons (click here for info on that film).



MM: You also made Behind the Lens which was nominated for a Midlands Movies Award in 2018 for best score for Peter Flint (click here). What were your influences for that film?

JD: Both of us were influenced by Drive and Neon Demon composer Cliff Martinez. I also love John Carpenter and got great feedback from Terry (Bamber) that Not Alone was Carpenter-esque which was fantastic to hear.


MM: It’s great to have recognition from someone who has been in the industry for a long time. I have seen in the Midlands that those connections and recommendations can really help (and inspire) local independent filmmakers move forward in their work.

JD: Yes and also give you the feeling that you do know what you’re doing. I’m not the best at networking and its great to be at Pinewood to meet people but also at the Midlands Movies film awards where I met likeminded filmmakers from the region.


MM: With local filmmakers like Gareth Edwards, who jumped from editing Monsters in his home to Godzilla and then to Star Wars, is he an example of how low budget can spiral to the big time no matter how unlikely? Does that help motivate you?

JD: It’s really inspiring to see those journeys, of course. I also love sci-fi. E.T. is one of my all -time favourite films. I’d love to make a film in that genre but I feel I would need the resources to do justice to the ideas I would want to convey. My main focus right now is horror. I’m obsessed with scary films since seeing The Texas Chainsaw Massacre when I was younger.


MM: I definitely noticed a Neon Demon influence in Behind the Lens

JD: My biggest influence right now actually is Nicholas Winding Refn. I know he’s not for everyone but I love his films. Over the last few years I’ve also enjoyed a variety of horrors such as The Babadook and It Follows. I’m not a fan of the current jump-scare style movies though.




MM: I found the recent version of IT a surprise success for Hollywood horror but its musical stings were warnings which gave away the approaching scares. Do you like foreign horrors though?

JD: I think you feel more vulnerable watching a foreign horror giving the investment you have to make. I am a huge fan of Asian extreme horror and my next film is heavily influenced by Park Chan-Wook’s The Handmaiden.


MM: Are there any other genres you would like to dip your toe into?

JD: I don’t want to be a genre filmmaker as such. As a fan of Refn, if you showed Neon Demon to someone they may not consider it a horror. I would like to do similar and mix genres up but I was also exhausted by the end of The Witch as it built up tension without giving the audience a release. I wouldn’t mind trying a straight-up drama and tell a simpler story as well.


MM: Where do you get your ideas from?

JD: Behind the Lens is very much influenced by the photographer character from the Neon Demon and realised I had alos met those type of creepy, really intense characters.

MM: Voyeuristic?

JD: Very much so. I can get uncomfortable myself looking at audition tapes that I get sent given the nature of it.


MM: And where next for you?

JD: The next film is The Nail That Sticks Out whose title is taken from a Japanese proverb. It’s the first film I’m directing that I haven’t written. Rebecca Whelan has written a great script and I was instantly attracted to it as it has a tone and themes I can relate to myself.


MM: And what’s the story of the film without giving too much away?

JD: It’s about a Japanese artist living in England and her girlfriend is a failing English actress. It’s about culture clashes and how far different people are willing to go to produce their art. The two characters go in very different directions.


MM: And how far into production are you?

JD: We're making the crowdfunding promo this week and it’s the most ambitious project I’ve ever been involved in. We’re shooting at the end of July in the Midlands at Scene Studios in Nottingham and location shooting at DMU as well. It also has an all Midlands based crew and we're looking to raise an £8000 budget which feels ominous but we’re hoping for success once we launch.


MM: And what’s changed for you on all of these projects?

JD: It’s a scary thing to undertake these different films. Especially when you can’t always pay people when you are starting out and there are very difficult thing to manage on small productions. Now we’ve got a group of people involved – including a producer – there’s a move away from checking the sound and lighting etc yourself. There’s people you can trust in all the roles within the crew. And Peter Flint will be again working with me on the score so we’re discussing that right now.


MM: That must be a relief?

JD: To an extent. My first real production (Acid Daemons) I was working with others and I took the advice that if I had a full understanding of how film works – not just your own role – then you understand the departments and their processes. By having a little bit of knowledge about each department you can respect their craft.


MM: Thanks Jordan. Any final thoughts or help for other local filmmakers?

JD: Don’t be scared of feedback. I have a weird thing as I think I encourage criticism as it’s the only way you learn. Friends and parents will go “it’s great” but you can’t ride that for long otherwise you won’t get anywhere.


Follow Jordan Dean for updates on all his projects on his Twitter feed here: https://twitter.com/Jordandeanfilm






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