How do you avoid clichés?

--Yirssi

A good place to start is this website, which lists some of the most egregious offenders.

Beyond that, I try to look at every scene and ask myself whether it feels movie-like in the bad way. That is, does it feel like the kind of moment that often happens in movies, and only happens in movies? If so, here are some suggestions if you find yourself staring down a cliché:

Actors of the past used to say that they "never watch the rushes," saying that seeing their own performances clouded the next day's work. Today, you can see all kinds of actors running to the video screen immediately after a take, looking for good and bad, discussing with the director, etc. In your opinion, does the "instant daily" help or not, or is it just a convenience but really doesn't change anything substantial?

-Mitch

It is your right as director to decide whether or not you would like for the actors to view the dailies. Different actors have different preferences; some find it valuable, some find it takes them off track, some find it inconsequential. What you don’t want to happen is that some actors are allowed to watch the dailies and others are not. And that’s always difficult, because where do you draw the line? All the stars? All those with major parts? All those with even one line? Can an actor that was not in a certain scene watch the dailies anyway? There are lots of considerations. So, in the beginning of the shoot, you should decide if you want them to see the dailies or not. In previous times, the dailies were screened on film in a room so it was easier to control. Now, with DVD dailies, it’s a whole ‘nother story.

My particular preference is that the actors DO NOT watch dailies. For years, I allowed those who wanted to attend to do so but then one snotty little actor decided he wasn’t getting enough close-ups and without saying anything to me first, complained to the studio Production Executive. My response was that I did not do any more close-ups than I had done previously with him and that I told the other actors it was his fault that they were no longer able to watch dailies. I hate being the bad guy, but when the process is not working, it’s got to be fixed. There are occasions when an actor may be doing something on screen that you find inappropriate for the role, or conversely perhaps the actor has “found” a trait that you would like to encourage. In such instances you may want to sit with the actor and discuss the work. Some actors really love watching themselves on screen and others have a distinct aversion to it. I think the real pros just know what they are doing, do it well, and find no reason to watch take after take.

I have become obsessed with the outdoor city shots used in the remake of Solaris, specifically where George Clooney is walking in the rain. What were the techniques used to achieve this look?

My guess was that it was high frame-rate film and high contrast with low brightness, but would love to know the technical aspects of achieving this look.

-Nordic Snoopy

Since Steven Soderbergh shot this movie himself I can’t really find an answer for you!

All I know is that it was shot on Panavision Anamorphic and probably went through a DI process judging by the length of the technical credits. I am sure Stephen did quite a bit of manipulation of the image in post as shortly after this he started shooting in digital. Anyone else help?

John August's screenwriting credits include Go, Big Fish, Titan A.E. and both Charlie's Angels movies. His current projects include Charlie and the Chocolate Factory, Tarzan, and Corpse Bride. He also maintains a screenwriting-oriented website at johnaugust.com.

Born and raised in Boulder, Colorado, John earned a degree in journalism from Drake University in Iowa, and an MFA in film production from the Peter Stark program at the University of Southern California. He lives in Los Angeles.

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