The role of the Director

The role of the Director is the primary one in any production, even though the Producer might disagree with me. In fact the producer hires and sometimes fires the director, but it is the director's vision which drives the project though filming and editing to its final result. Sometimes directors are replaced during a project, usually due to difficulties between them and the producers, and almost always about budget. Sometimes the director's vision is changed completely during post production by the editors at the producer's insistence, again, usually because the producers think the film will do better financially 'their way'. We often see a 'directors cut' available on a DVD now, and sometimes they can be release years after the original. Ridgly Scott only released his preferred cut of his iconic film 'Blade Runner', many years after it's original release. The producers had insisted on a narrative voice over as they were concerned the audience might not be able to follow the plot. Mr Scotts version had no voice over and was considerably darker and longer. I loved the original with its homage to American Film Noir, but I also enjoyed the director's cut where the audience is left to discover the future world in its own time and without a guide.









When directing episodes for a television show, a director's responsibilities are somewhat diminished, as the visual look and feel of the series is already established, usually by the person billed as the show's creator or executive producer. Those directors who choose or are chosen to work in TV traditionally have had to accept that they will not be as lauded, or as well-paid, as their big-screen counterparts.^[2]

I have yet to really experience directing film, although there was some element of directing with the process of the radio programme. I am really looking forward to next semester when I can get to grips with a camera and a script and really understand the mechanics as well as the art of it.

The role of the Producer

A Producer comes up with the ideas first and foremost. Ideas for programmes, films, or items, or people, pieces of music and subjects for discussion. Then they create the conditions for film, television or radio production.

The Producer initiates, coordinates. supervises and controls matters such as fundraising, hiring key personnel and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from the development of the project to its completion.

Some examples of successful producers are:

David Puttnam is one of the most successful British Film Producers. Hailed as the saviour of British Films in the early eighties, he began his career in advertising. He has produced such films as Bugsy Malone, Chariots of Fire, Midnight Express, The Killing Fields and Local Heros. Discovering directors Ridgly Scott and Alan Parker, also from the world of advertising.

Jerry Bruckheimer is another very prominent film and television producer in the genres of action, drama and science fiction. His best known series are CSI: Crime Scene Investigations and The Amazing Race. His best known films include Top Gun, The Rock, Armageddon, Enemy of the State, Black Hawk Down, Pirates of the Caribbean, King Arthur, Con Air, Gone in Sixty Seconds and National Treasure. Jerry Bruckheimer also started his career in advertising coincidentally.

My experiences this semester so far with production have mainly come from producing a radio programme with Adam, Tom and Aleicia as part of our Sound module with Gill Sargent. Although the project itself was very much a 'group' one, and we all took on multiple roles, I felt I naturally took on the role of executive producer, steering the project and making executive decisions regarding time tables and scheduling, editing and music, and allocating tasks. I don't feel this was in opposition to anyone else in the group and thoroughly enjoyed the role. I was also the main presenter throughout, which I felt worked well, particularly with the flow and the continuity of the piece. I also wrote much of the script, a role that naturally falls to the producer in radio broadcasting.

Jobs within the Broadasting Industry

The BC1001 course we are all taking is really a training course for entry level jobs within the Broadcasting industry. So being able to perform a variety of roles during the term of the course is essential in gaining complete understanding of the business as well as the more creative side of media and broadcasting today.
Although we are being introduced to role of the regulatory framework of the industry, touching on copyright, health and safety and broadcasting standards. The roles I am more interested in personally are the creative, production roles such as writer, director, sound technician and producer.
Since I am more interested in these roles and I will be researching them and detailing them through this blog.

I am very interested in developing my skills and techniques as a writer, so I will begin there.

Robert Macleish says "Writing for radio is the storage of talk. Presentation of a script at the microphone is the retrieval of that talk out of storage. The overall process should give the listener the impression that the broadcaster's talking to him rather that reading at him."

Buddhist Monks, Rangoon October 2007

We were given a picture from the Times newspaper of the Buddhist monks in Rangoon marching in protest to the corruption in the government. We paired up with other students, in my case Simon, and wrote a short descriptive piece for a radio news programme. Mine is below:

"Sunday morning, the main street of Rangoon, usually teaming with day to day life, is today a river of red. The Buddhist monks, pouring through the streets, for centuries the conscience of the country, surrounded by frightened and starving people, standing hand in hand silently protecting them, well aware they could be arrested or shot at any moment by the military police. Hunger and desperation drive this quiet revolution, no food, rocketing fuel prices and mass unemployment, all controlled by a government willing to sacrifice is people for its outdated policy."

I really enjoyed this assignment and Simon and I worked very well together. I wrote the piece and he took on the role of editor. When we read the assignment out loud in the class, the reaction was very good, exactly what I was hoping for. We wanted to put the listener right in the action so to speak, to convey the drama of the moment, but also the solemness and the grace of the Monks and the importance of what they were doing that day.

As a first attempt at writing script for radio I think it was quite successful. In retrospect I would make sure that the script was written for someone other than myself to read. I would underline the words I felt needed emphasis because the meaning of words and phrases is conveyed in the subtleties of their inflection.

I certainly have learnt more and more about the importance of the script:

To make sure that nothing of the story is left out.

To make sure that the programme runs to time.

To make sure all the information or arguments are presented in the right order.

To make sure that the broadcaster has as little stress as possible, since this would be easy to hear as well as being unpleasant to experience.

Finally, scripts enable other people to communicate our own thoughts for us and to give a permanent form to speech.

Regulation Bodies in UK Broadcasting and Media

There are several governing bodies within the UK broadcasting industry.
They cover TV rules and regulations, Film classification, premium-rate services regulations copyright and licencing.

Ofcom, Office of Cummunications

Ofcom is the regulator in the communications sector. Its role first began in 2003 when the government dissolved the five existing regulators at that time; The Broadcasting Standards Commission (BSC), The Independent Television Commission (ITC), Oftel, The Radio Authority and the Radio communications Agency.

http://www.ofcom.org.uk

It is the principal duty of Ofcom to further the interests of citizens in relation to communications matters and to further the interests of consumers in relevant markets, where appropriate by promoting competition

Ofcom's specific duties fall into six areas:

1. Ensuring the optimal use of the electro-magnetic spectrum
2. Ensuring that a wide range of electronic communications services - including high speed data services - is available throughout the UK
3. Ensuring a wide range of TV and radio services of high quality and wide appeal
4. Maintaining plurality in the provision of broadcasting
5. Applying adequate protection for audiences against offensive or harmful material
6. Applying adequate protection for audiences against unfairness or the infringement of privacy

Ofcom's Regulatory Principles

• Ofcom regulates with a clearly articulated and publicly reviewed annual plan, with stated policy objectives.
• Ofcom will intervene where there is a specific statutory duty to work towards a public policy goal which markets alone cannot achieve.
• Ofcom will operate with a bias against intervention, but with a willingness to intervene firmly, promptly and effectively where required.
• Ofcom will strive to ensure its interventions will be evidence-based, proportionate, consistent, accountable and transparent in both deliberation and outcome.
• Ofcom will always seek the least intrusive regulatory mechanisms to achieve its policy objectives.
• Ofcom will research markets constantly and will aim to remain at the forefront of technological understanding.
• Ofcom will consult widely with all relevant stakeholders and assess the impact of regulatory action before imposing regulation upon a market.

Phonepayplus (formerly ICTSTIS)

PhonepayPlus is the industry-funded regulatory body for all premium rate charged telecommunications services. They are non-profit making and comprise ten remunerated part-time Board members, supported by a full-time Executive.

They regulate services in their entirety - their content, promotion and overall operation - through otheirCode of Practice. Thier role is to prevent consumer harm.

Among other things, they require:

• clear and accurate pricing information
• honest advertising and service content
• appropriate and targeted promotions.

They investigate complaints, and have the power to fine companies and bar access to services if the Code is breached. They can also bar the individual(s) behind a company from running any other premium rate services under any company name on any telephone network for a defined period.

Recent troubles with both the BBC and ITV call in competitions have brought attention to this particular committee and they have worked closely with Ofcom, broadcasters, producers and telephone companies, to introduce changes and additions to their policies.

• A viewer's "chances of acceptance or rejection" must be permanently shown and updated at no more than 10-minute intervals.

• A presenter or voice-over must explain pricing information at least every 10 minutes.

• Participants must receive warnings about costs for every £10 spent in a day.

IPR (Intellectual Property Rights) and Copyrights

Copyright and IPR are an important part of modern life. There is an increasing awareness of the value of intellectual property within the broadcasting industry. Technological changes are also making IPR more and more significant.

IPR

Protecting intellectual property involves a few simple and practical steps.

Any intellectual property should be registered

Copyright notices should appear on all works for which protection is sought

All property should be dealt with in contracts and when possible confidentiality agreements should be used to protect someone's knowledge or inventions from being exploited for financial or other reasons.

Copyright is an extremely relevant right for the information technology sector. It could almost have been designed with computers and the internet in mind. Copyright is the right of the originator of a literary, dramatic, artistic or musical work to control the reproduction and publication or performance of the work. Copyright is governed primarily by statute and the Act now in force is the Copyright, Designs and Patents Act 1988 (CDPA 1988).

Copyright:

•Requires no registration (in the UK)
•Arises as soon as a work is produced
•Costs nothing to obtain protection
•Lasts for a lengthy period without any requirement for renewal; generally the life of the author plus 70 years in the EU
•Is flexible, simple and easy to apply As far as the Internet is concerned, copyright protects most materials on the Internet. It protects computer software and its source code, screen displays and other literary, musical and artistic
works on the Internet. In the EU, database right is a lesser right than copyright which may be the sole protection for some new databases which lack individual creativity.



MCPS/PRS

The MCPS-PRS Alliance is home to the world's best music writers, composers and publishers. Formed in 1997 between two royalty collection societies (MCPS and PRS), it exists to collect and pay royalties to its members when their music is recorded and made available to the public (MCPS); and when their music is performed, broadcast or otherwise made publicly available (PRS).

Ten years since joining forces, the MCPS-PRS Alliance is one of the world’s most efficient combined rights collecting operations. Offering its members more money, more often, at less cost and its customers the most efficient means by which they can use music.

If you play music in your business or want to include it in your product you need clearance to do so from the owners of that music. PRS and MCPS represent the owners and can get you the clearances you need. They are a not-for-profit organisation, enabling access to the world's music in the most efficient way.
If you don't obtain clearance for your use of copyright music, you could face legal action for copyright infringement and may become liable to pay damages and costs.

Where does MCPS collect its money from?

Money is generated (through licence fees) from the recording of our members’ music on many different formats, including CDs, DVDs, television, broadcast and online.

Where does PRS collect its money from?

Money is due for any public performance of music, whether live or recorded, that takes place outside the home and from radio and television broadcasts and online.

What do MCPS and PRS do with the money collected?

MCPS and PRS pay money collected to their writer, composer and music publisher members. Both organisations are ‘not for profit’ and only deduct a small admin/commission fee to cover operating costs.

British Board of Film Classification (BBFC)

The British Board of Film Classification is an independent, non-governmental body, which has classified cinema films since it was set up in 1912, and videos since the passing of the Video Recordings Act in 1984.

Cinema

The British Board of Film Censors was set up in 1912 by the film industry as an independent body to bring a degree of uniformity to the classification of film nationally.

Statutory powers on film remain with the local councils, which may overrule any of the Board's decisions, passing films they reject, banning films they have passed, and even waiving cuts, instituting new ones, or altering categories for films exhibited under their own licensing jurisdiction.

Video

In 1984 Parliament passed the Video Recordings Act. This act stated that, subject to certain exemptions, video recordings offered for sale or hire commercially in the UK must be classified by an authority designated by the Secretary of State. The President and Vice Presidents of the BBFC were so designated, and charged with applying the new test of 'suitability for viewing in the home'. At this point the Board's title was changed to British Board of Film Classification to reflect the fact that classification plays a far larger part in the Board's work than censorship

Hello and welcome!

Hello.
My name is Samantha Simmonds, but most people call me Sam, whether I ask them to or not.
I feel compelled to tell you a little about myself, sparing you the more gruesome details of course.
I am 40 (an oddly calming thing to write). I have two children, Josh who is 15 and Lily who is 10. They are both equally wonderful and annoying, as are most people you spend every minute of your life with. I have traveled quite a bit, initially by sea as I worked on yachts as both cook and crew in my early 20’s. I jumped ship, almost literally, in Antigua and decided to meet up with some friends in LA, tired of the politics of boats. Yes, politics and ego are everywhere, even in the middle of the Atlantic.
In LA I really felt at home, which wasn’t at all expected. Or maybe I was just ready to settle for a while, who knows. I married and had kids, divorced and generally worked all the time. The downside to the American dream, and one not readily publicised, is that holidays are non existent and 6 days a week commonplace. As for maternity leave? Ha, whats that?
Anyway, we lived there for almost fifteen years, so I suppose it couldn’t have been that bad.
My life was pretty wonderful actually, full of friends and love and fun as well as work.
I managed a large luxury apartment building and I have books fulls of stories from that time I can tell you. I certainly learned a lot about myself and my limits. I met many weird and wonderful people some of whom I will always remember, and others I would really rather forget. I had some pretty extraordinary experiences and met the love of my life, so no complaints really.
Coming back to England was something I wasn’t completely sure I would ever do. But I felt so strongly that I wanted to go back to education and America is so expensive frankly. I just couldn’t work and go to school, and there really is very little help financially over there. So I returned to England and my family, who had long since tired of asking “when are you coming home then?”
My father was living in Weston, so I came here first, just to get my bearings a bit. But after discovering that Weston College ran a music course, it became the perfect place for us to be. I took the BTEC in music practice which I adored doing and even managed to get a triple distinction, much to everyone's surprise, mostly my own!
I also began recording and singing my own music and working with a local band Dr Sax on an album, The Gospels According to Dr Sax which is available through itunes now.
You can listen to some of my music on myspace at myspace.com/samsimmonds or follow the link in the music link.
Having heard about the Broadcast Media course during my last year at college, I applied last year, but although I was accepted I wasn’t able to take the course due to the ridiculous 3 year residence rule, which only applies to British Citizens and no one else, ludicrously!
Ultimately I would love to write, produce and direct my own films. I have already worked on a couple of very low budget films while I was in LA and have several stories and scripts in development right now.

During this first semester we have covered quite a lot, so I have decided to include one job description for each entry, because it seems to make more sense that way. I will also give outlines of work completed with excerpts from scripts and some podcasts with samples of recording and editing work I have done.

It seems logical to begin where most projects, either for radio or film begin, with the writer.
With the Hollywood writers strike showing few signs of resolution, it also seems particularly relevant.