| |
DIGITAL DAY TAKE 2: PUSHING THE ENVELOPE (September 16, 2004)
Written by David Geffner and Matt HurwitzIn July of 2003 the Directors Guild celebrated the arrival of the digital revolution with a day long program of seminars, demonstrations, and panel discussions called "Digital Day at the DGA." Hundreds of Guild members gathered to learn more about the emerging technology that has transformed both the business and the art of filmmaking and to hear a keynote address by one of the original seers of the digital age, writer William Gibson.
Based on the success of the initial event, the Guild recently presented a second annual program entitled "Digital Day Take 2: Pushing The Envelope," on July 31, 2004. Over 400 DGA members attended numerous events held at the DGA headquarters and the nearby Laugh Factory and Harmony Gold Screening Room to learn about the latest digital tools, tips and techniques via seminars, workshops and hands-on demonstrations run by executives, technicians and artists who are constantly honing the cutting edge in presented filmmakers with a vast new array of creative possibilities. Attendees were also treated to a keynote address by Jim Moloshok, Sr. VP Entertainment & Content Acquisition of the digital giant Yahoo! Inc.
What follows are some of the day's highlights.
|
| top of page |
 |
|
SEMINARS:
|
|
cursor over photos for alternate views - click photos for larger views
|
|
Kicking off Digital Day was the morning panel on DVD Authoring. The seminar offered a brisk checklist of a digital trend that's already arrived: directors authoring their reels onto DVDs and was led by Warren Heaton and Clive Henrick, Executive VP of Creative Services and Executive VP of Technology for Burbank-based Ractive Media which specializes in DVD production servicing.
The dominant theme that emerged from the seminar was whether directors should author and duplicate DVDs themselves on home laptops, or hire an authoring company, like Ractive Media, and pay more for replication. With the myriad DVD home formats available, Heaton made a strong case for directors opting for professional authoring and replication. Replication (created through a glass master and stamped for identical reproduction) for the most popular format, DVD-5 (denoting roughly 5 megabytes of one-sided storage) runs about $1 per disc, according to Henrick. Replication typically requires a minimum run of 1,000 discs, and will yield DVDs that will play on 99.8% of all DVD-Video players made since 1996. Duplication (burning off one copy at a time on a home laptop system) will not provide copy protection and runs the risk of incompatibility when filmmakers send out their DVD authored reels.
"Authoring your own DVD reel is like one person doing every single job on a film – camera, sound, directing, acting, writing, etc.," Heaton explained. "Having your DVD authored, while clearly more expensive, utilizes a team of creative people – designer, manager, editors, compressionists, graphic artists, programmers, and animators. The common method is to use a flow chart, like a screenplay, as the authoring bible. Footage is acquired, menus are designed, graphics are integrated before the work is checked and functionality is revised for the finished DVD disc."
|
| top of page |
|
|
Beyond the Basics:
Don't Fix It In Post!
|
|
|
|
"Fix it in post" has become part of the filmmaker's everyday lexicon. But how much of that ideology can still be applied in the world of HD? In "Beyond the Basics: Don't Fix It In Post," Visionbox Media Group's President of Post Production Chris Miller and COO Lulu Zezza, along with PlasterCITY Productions Post Production Supervisor Michael Cioni discussed shortcuts that can and can't be taken.
The panel stressed the importance of involving post production staff during pre-production. "Efficiencies taken during production," such as getting low-cost dailies or other shortcuts, explained Zezza, "over the course of production, can end up costing the show a lot more money. They need to be thinking about what the demands for the project are going to be on the product end – if they'll need full film delivery or just video delivery."
With the change to working in HD, some tasks may become outmoded. For example, full-bandwidth audio can now be recorded – synched to picture – in camera, as opposed to recording dual system, explained Cioni. Audio transferred to an editing system with its associated footage can then be edited by the film editor in full-range audio, eliminating re-editing by the sound editor. "You don't need to pay for synching a second time – you've already paid for it," he noted.
Team members' roles may change, as well. HD footage may arrive with full metadata, with script supervisor's notes entered on the production stage, as opposed to at the telecine house. "Your assistant editor now functions as a librarian, organizing bins, instead of spending time loading tapes," said Zezza. EDL and flexfile management is of top importance. "Since you don't have a telecine house created a flexfile, you need to instruct your assistant editor to create that database. It's critical."
The presence of a digital intermediate can tempt some filmmakers to depend less on solid filmmaking techniques, Zezza citing a current Visionbox project in which the company is rescuing day-for-night footage. "Shooting day for night is a skill. DI cannot undo a film that's badly shot."
|
| top of page |
|
|
Distributing Outside the Box
|
|
|
|
Digital technology's effect on production is a given these days, but how have the new technologies helped get films to market in such a competitive environment? Case Studies In Distribution was moderated by George Hickenlooper, and featured one of the strongest panels of the day: President/Co-CEO of Slamdance Media Peter Baxter, former Next Wave Films prexy Peter Broderick, Riding Giants director Stacy Peralta, and Freyr Thor, founder of indie home video distributor Vanguard Cinema. Topics included the Baxter-produced documentary, Faster, which had a digital run at the ArcLight Theater in Hollywood; digital micro-cinema in alternative venues like coffee houses, art galleries, and museums; the emergence of the Internet as the best vehicle for niche marketing; and the DVD market yielding the best potential revenue stream.
Freyr Thor described theatrical distribution as purely a "launch vehicle" for home video. "The volume of an independent's audience is in DVD sales and other revenue streams," Thor observed. Stacy Peralta talked about the importance of relationships when choosing an indie distributor. "You have to get very involved with marketing your film because you know its tone best," Peralta noted. "I had much more input on the trailer and one-sheet for Riding Giants than Dogtown and Z-Boys, because I had built up a level of trust with Sony Classics over both films." Peralta noted that the one "trump card" a filmmaker has [in marketing], "is that they need you to go on the road to stump for the film. You are their very best advocate."
Both Broderick and Baxter had firm opinions, based on personal experiences, on using new technologies to find their core audiences. "I advocate a hybrid deal, where filmmakers strike a deal for home video with a large retailer like Blockbuster, while retaining the rights to make sales from their own websites," Broderick said. "There was recently a film called Reversal, about college wrestling, where the director sold 20,000 copies on-line." Baxter said Faster, a documentary about grand prix motorcycle racing, went through a Phase I and Phase II format. "The film was platformed digitally in 10 markets to prove it could make money in the theater," Baxter described. "This film had a strong sub-culture attached which became our marketing partners, in effect, in every city we played."
|
| top of page |
|
|
Commercial Production:
Thomson Grass Valley Viper
|
|
|
|
Mark Chiolis, senior marketing manager for Burbank-based Thomson Grass Valley, moderated a highly technical seminar that revolved around David Fincher's use of the Viper digital camera system on his groundbreaking commercials for Nike and Hewlett-Packard. Editor, Angus Wall, as well as reps from Digital Domain, and digital guru Steve Roach, gathered on the stage to help detail Fincher's experimental blending of all three production phases.
Fincher talked about being attracted to the lightweight versatility of the Viper camera, which captures imagery directly into uncompressed digital media, because it provided an exact, on-set rendering of his final product. "With the HP Constant Change spot, we pre-visualized the whole spot and used the Viper as our motion-control capture device," Fincher explained. "Angus would cut all the data using Avid Express and we'd send it to Digital Domain and they'd start compositing. Having the material available to you on High-Def the second after you shoot it, meant post-production isn't after the fact anymore. It's going on simultaneously as you're shooting."
Digital Domain's Ed Ulbrich and Eric Barba helped break down the DGA Award-winning Nike Gamebreakers spot as it screened in the main theater. "About 99.9% of this spot was created CGI using more than 1,000 elements per shot," executive producer Ulbrich noted. "Start-to-finish time was about 20 weeks," effects supervisor Eric Barba added. "Live action performances of the key athletes were sampled with the Viper via motion control and then David had to go back and gene-splice all the performances to create 46 individuals on the same field that looked like a seamless play from scrimmage. After that was all done, David then was able to shoot the commercial."
Despite the apparent devilish complexities in working in digital layers, Fincher expressed ease with the process. He used computerized pre-visualization on the HP spot to alleviate client anxieties, while also being praised by Digital Domain reps for creating new pre-vis and rendering pipelines DD never had before teaming with Fincher. "There's no voodoo with digital acquisition of images," Fincher noted. "You're looking at your answer print, and when you get the take you want, you're done."
|
| top of page |
|
|
Lighting: How to
Light for HD and DV
|
|
|
|
Veteran cinematographer and DGA member Johnny Simmons reprised last year's similar seminar on lighting for HD and DV, but noted, "Even in that length of time, the technology has changed drastically in HD."
One of the most important changes Simmons noted was the importance of having a Digital Imaging Technician (DIT)/colorist on set with him. Simmons's DIT, John Kesey, was on hand to demonstrate the variety of controls which can be operated to help set and control the look of the show. Using a Master Setup Unit (MSU), Kesey explained the adjustments to the camera image's exposure curve, its colorimetry, and color difference and luminance enhancement. And, by adjusting overexposure control – typically a problem for HD in outdoor situations – the colorist showed how hot areas can be brought back down to a middle gray. "Nine months ago, that was impossible," noted Simmons.
The DP told how he often tries to sell the production on having a colorist on set, explaining the cost savings in reduction of telecine time and color correction later in post. Both Simmons and Kesey stressed the importance of setting the look in camera/on set. "Because once you go into post, there's only so much you can do," said Simmons.
Simmons discussed depth of field issues with HD camera, HD having an inherently large depth of field. "The way you get around that is through of control of ambience," drawing the viewer's eye towards the subject by creating more shadows by reducing reflected light off of wall surfaces, something less necessary with film. "HD eats up ambient light," he noted. "If you're going to shoot in HD, you have to understand the inherent problems that are in that medium, as well as the advantages, and make use of them."
|
| top of page |
|
|
Keynote Address
– Jim Moloshok –
|
|
|
|
Jim Moloshok, the former president of Warner Bros. online and current Sr. VP of Entertainment & Content Acquisition at Yahoo, is charged with developing relationships with content providers, i.e. filmmakers and studios, for the web's biggest entertainment site. Supporting his case with a Power Point presentation, Moloshok revealed some eye-opening statistics: 88% of all Yahoo users have access to broadband and are able to get a DVD quality film experience over their computer screens; entertainment is the most popular collective Internet activity; young audiences, ages 13-24, spend more time on-line than watching TV or listening to the radio.
"The Internet is the next chapter in this industry for creative expression," Moloshok announced. "It's a media democracy that allows you to touch your consumers directly." Moloshok insisted that the current version of the Internet is not a flashback to the late '90s, when Pop.com, DEN, and Entertaindom all promised more than they could deliver. "We're now at a tipping point where independents have viable revenue streams for getting their films out via the Web," Moloshok said. "Yahoo can narrowly target a niche audience for grassroots marketing better than any other form of media."
Moloshok described Internet user groups and chat rooms catering specifically to indie filmmakers as "new tools." He said the number of entertainment properties Yahoo offers collectively on the Web attracts a far greater audience than all three broadcast networks combined. "The Internet," Moloshok observed, "offers audio, video, text, graphics, game elements, viral elements, databases, animation, and micro-transactions that are changing the creative process. The interactive component of the Internet makes the audience a part of your production and marketing team, 24 hours a day, seven days a week."
|
| top of page |
|
|
Breaking the Mold:
Music Video &
Commercial Directors
|
|
|
|
Lionel Martin and Dave Meyers are two of the top music video directors in the industry. Both have embraced new technologies in their work, albeit at their own pace and style. In an informative one-hour panel, moderated by music video director Millicent Shelton, Martin and Meyers explained how new technologies have impacted their work. Martin said he worked his way up from 16mm to 35mm and fought against working with High-Definition 24P video. "My first experience was terrible," Martin noted, "because I did not have an engineer to steer me through the process."
Having a seasoned engineer on-set to perform what Meyers called "a live telecine", was the overriding theme of the seminar. Both directors agreed that the workflow is different on a high-definition production. Meyers said talking with the engineer through a headset and tweaking the blacks and whites of his image on-set was a new experience. "It affords a high level of control because there are no surprises in the final image."
Whether the digital technologies actually save a music video director time and money was another explored area. Martin confessed that shooting high-def was cost-effective, but only "if a director does his homework. I talk to the effects guy early in the process to see what is actually possible." Meyers said new tools like green screen and compositing has changed the way he works. "I actually have built up a library of different skies I like using my digital camera. I'll email them to the post guys to drop them in. If you go all the way to Cancun to shoot a video with a holiday vibe, and it's overcast the whole time, the money's not there to go back and get the sky exactly the way you want. That's when these new technologies really come in handy."
|
| top of page |
|
|
Post Production Sound:
The Final Mix
|
|
|
|
For those wishing to brush up on post production sound, DGA UPM Cleve Landsberg led a panel on various aspects, accompanied by Supervising Sound Editor Mark Mangini and Re-Recording Mixer Steve Maslow, both of whom had worked on Simon Wells' The Time Machine (2002).
Maslow noted his first experience of production sound is often at the final mix session itself, at which time he first listens for the quality of the recording. As Landsberg noted, "Sound at the front end is extremely important to what happens at the back end." Sound effects and music also show up at that time, at which point he must begin to piece together what kind of experience the director has in mind.
Directors sometimes provide direction in emotional/experiential terms to sound designers, using metaphors, color or visuals to describe what they're seeking. For one film project, said Mangini, DGA director William Friedkin asked for the sound to "sound like a Jackson Pollack painting. I had to do research and what out they looked like to understand what he wanted."
Early involvement of post production audio during prep can help result in a successful sound design. "It's amazing how infrequently we have discussion and coordination with the production sound team, keeping an eye on what's going to happen in post production," noted Mangini. "Things as simple as what sample rate to set the recorder." And, as with picture image, good quality production sound recording is vital to a successful final product.
|
| top of page |
|
|
VFX/Digital Tech Committee: Spider-Man 2
|
|
|
|
The last three decades of movie special effects have been dominated by a handful of names, and John Dykstra is at the top of the list. Dykstra won an Academy Award for the camera systems and miniatures he helped design for Star Wars; he was a key founder, along with George Lucas and Gary Kurtz, of Industrial Light & Magic. Urged on by moderator Brian Frankish, co-chair of the DGA's Technologies Committee, Dykstra detailed the planning and delivery of special effects for Spider-Man 2. He was joined by Lydia Bottegoni, senior visual effects producer for Sony Imageworks, in a fascinating seminar that punctured more than a few balloons about big-budget action movies.
Dykstra revealed that he and Bottegoni's first pass on the script was to determine if the movie was even possible, given the complexity and costs of the digital effects. "We broke all the effects down into A, B and C budgets," Bottegoni explained, "to get a relative scale of complexity, and assigned a number to each level." Dykstra called the A, B, C budget an "educated guess" prior to meeting with the director and other key department heads. Even though the A, B, C budget is revised throughout the process, Dykstra said his and Bottegoni's first pass was used as the template for the movie to proceed. "Everyone else moves forward based on a level of trust with our abilities to determine what these digital effects will ultimately cost, based on this A, B, C budget," Dykstra said.
Bottegoni and Dykstra talked about "horse-trading" with Spider-Man 2's director, Sam Raimi, and Sony executives, to determine which effects sequences were essential and which could be cut to better allocate resources. Bottegoni described how digital effects operate in two phases: pre-production and post-production. "Post begins the day we are handed the first visual element from principal photography," Bottegoni noted. "Our job is to constantly juggle elements and schedules to keep work in the pipeline for animators and CGI technicians."
That schedule proved more demanding than Dykstra had ever encountered. He and his team completed 836 effects shots in 52 weeks, more than double the amount for Spider-Man in the same timeframe. Dykstra created "complex pipelines" for Spider-Man 2 that included "flesh" for Doc Ock, increasing the sense of vertigo through higher and more detailed CGI buildings, and the use of both computer animation and puppetry to create tentacles for Doc Ock that expressed individual characteristics. "Visual effects supervisors, along with directors and producers, make promises [to the studio] that they don't know how they're going to keep to satisfy the expectation level of these kinds of digital effects movies," Dykstra said only half-jokingly. "You just make things harder when you succeed, because they'll want you to top yourself the next time around!"
|
| top of page |
|
|
Digital Intermediate and
the Digital Workflow
in Feature Film
|
|
|
|
Experts from Technicolor Creative Services, Senior VP Marco Bario and Senior Digital Film Colorist Stephen Nakamura, along with Sound Editor/Post Production Supervisor Larry Blake, explained some of the advances in the digital workflow.
Blake, currently completing Stephen Soderbergh's Ocean's Twelve, shared his experiences with Technicolor's HD dailies system. Even while shooting overseas in Amsterdam, Blake was able to receive dailies from his dailies timer in Rome overnight, via shipment of a small pocket drive, allowing almost immediate feedback. The system also offered the production substantial savings, particularly in shipping and in reprints.
Blake also utilizes a ProTools audio mixing/editing system, which simplifies changes to the mix by allowing him to store level, EQ, etc., settings. The mix can be conformed easily from preview comments, by simply recalling the mix and making slight changes.
Nakamura demonstrated the range of options available for digital color timing via a digital intermediate, showing before and after clips from Steven Spielberg's The Terminal. He also explained the advantage of utilizing the DI to create DVD masters, creating such masters from the same original digital intermediate files, but filtered through a lookup table to create an appropriate look for home video. "The video timer doesn't have to sit there for another two weeks, having already timed the film for theatrical release, retiming it for DVD." In addition, when creating anamorphic prints from a Super 35 flat negative, the DI can be used to create the anamorphic squeeze digitally – recording out a squeezed image onto negative – rather than optically, maintaining the image sharpness by eliminating that optical step.
|
| top of page |
|
|
Directors & Video
Game Developers
|
|
|
|
Christopher Coppola moderated an intriguing seminar on video games, one of the fastest growing segments of the industry. With panelists like Steven Lisberger, who wrote and directed the landmark computer animated film Tron, the discussion veered into a comparison between movies and video games. Julian Eggebrecht, a Marin County director who realized a lifelong dream when he began creating games based on George Lucas' Star Wars series, and Jordan Mechner, whose Prince of Persia is considered one of the most cinematic video games ever developed, rounded out the panel.
Lisberger cited a "major division" between the physical reality a film director overcomes to tell a story, and the virtual world of games. "Directors who want to work in games have to consider where they get their inspiration from," Lisberger observed. "A filmmaker like James Cameron is well-versed in building large models like the ship in Titanic, and then integrating that with complex digital effects. But when you enter the game world it's all digital - you literally give up physical reality."
Eggebrecht talked about how game platforms like X-Box and Playstation 2 have allowed developers to create visuals that closely approximate motion pictures. "Where we diverge," Eggebrecht explained, "is in the time we're in production. Games take 12-19 months, and for much of that period the director is focused on the interactivity – the controls of how the game is played – and not so much the story or visuals. I would love to be able to do games in six months. That would be a revelation."
Jerry Bruckheimer is turning Jordan Mechner's Prince of Persia game into a feature film. Mechner agreed the lines between video games and movies have blurred, which he saw as depleting the strengths of both mediums. "Games that mimic movies have too much story at the expense of playability. Movies that are all about action and thrills sacrifice character." Coppola noted that game makers have, so far, only been able to tap into a single emotion – fear. "I crave human emotion when I play a game," Eggebrecht replied. "We figured out 20 years ago how to get that adrenaline rush, and more recently with Resident Evil, we brought in fear. What's missing is positive emotions like love. The whole industry is aware of this problem, but so far no one has been able to create a game that taps into the same range of human emotions that a film invokes."
|
| top of page |
|
|
Indie Case Study:
CGI and Virtual Effects
in Human Error
|
|
|
|
Leave it to longtime Guild member and indie renegade, Robert M. Young, to make an indie movie for under $5 million featuring the same ultra high-tech CGI effects studios routinely employ in films costing twenty times as much. IDC (Independent Directors Committee) member Gary Walkow moderated an inspiring end-of-the-day panel about Young's experience working with Visual Effects Producer Chris Healer to create Human Error, a workplace comedy set in a fantastical CGI environment that was, according to Young, inspired by the work of Hieronymus Bosch.
Joining Young and Healer on-stage were the film's actors, Robert Knott and Tom Bower and producer Joel Ehrlich. Young talked about wanting to shoot Human Error in Puerto Rico, and photographing background plates to kick-start the production. When financing fell apart, Ehrlich brought in Healer, a young CGI wizard based in Colorado, to recreate Puerto Rico, albeit with a surrealist digital edge. The "video village" Healer and Young had on-stage included a system that tracked the main camera blue screen feed, and rendered it, in real-time, with the photo plates from Puerto Rico, allowing the actors to step off the stage and see a rough location composite with color, clouds, etc. The system proved distracting in the editing room when Young and his team wanted to shift back to blue screen. But for actors like Bower and Knott, the real-time compositing technique helped them sustain a sense of place and character amidst a bare stage.
Given Young's background making neo-realist films like Alambrista! and The Ballad of Gregorio Cortez, Walkow wondered about directing a film that yielded, prior to digital post, not much more footage than 50 hours of actors against blue screen. "You're not sure how it will all fit together," Young admitted. "So you ground everything in a psychological reality that honors the screenplay and story." Young called Healer "provocative" with his visual suggestions once the indie production moved into post. "Chris gave me a virtual camera on the computer screen which I used to design or change the way I shot stuff on the stage." "Everything is a variable with this technology," Healer noted. "It's come far enough along that if you know how to put it together yourself, you can achieve the same kinds of effects ILM, Digital Domain and everyone else does, for a tenth of the cost."
|
| top of page |
|
|
Choosing the Right
Camera Package
|
|
|
|
With the incredible variety of digital video cameras on the market, how can a filmmaker know which is the right device for his/her project? Marker Karahadian, President of Plus8 Digital, one of the industry's top digital equipment providers gave a comprehensive overview.
"You have to start at the end," he told the seminar audience. "You have to first decide on what your planned release medium is, what aspect ratio you want, as well as what your secondary media will be, for future releases."
Karahadian described the various formats available, detailing both capturing technology and recording technology, explaining the differences between DV, DVCam, DVCPro, HD, HDCam and HDCam SR. The basics of NTSC, PAL and HD were explained, Karahadian delving into the differences in frame rate and resolution on the various formats. He also clarified the variety of HD formats, from 720p, 1080i, and 1080p, explaining their uses both in broadcast and feature films. Both Standard Def DV and HD Digital cameras were compared, with particular emphasis on description of the variety of color capture, built-in filtering and line resolution among the different HD cameras on the market.
The various types of compression were explained, Karahadian noting that compression isn't necessarily a bad thing. "There are reasons both for and reasons to avoid compression," he said, recommending applying as little compression as possible, within the limits of the project, at the time of image acquisition.
|
| top of page |
|
|
Directors & Cinematographers:
Working Together
to Push the Envelope
|
|
|
|
In the "Directors and Cinematographers," panel moderated by director Alain Silver, three DPs, representing the full range of budget and project size, discussed their experiences working with digital media.
Allen Daviau, ASC, talked about his experience using a digital intermediate on Stephen Sommers' Van Helsing. Daviau, known for his work on such films as Steven Spielberg's E.T. The Extra-Terrestrial and The Color Purple, showed Van Helsing's opening black and white sequence, an homage to the Universal horror films of the 1930s and 1940s. The sequence was shot on color film stock with standard processing, but printed on black and white stock, with a process developed by Deluxe Labs, and scanned in for DI in black and white. The clip shown was on color print film. "I remember the battles they had on Schindler's List for that inserted color sequence – today it would be nothing at all."
Of the digital intermediate, Daviau noted its ability to ease the process along, particularly for effects-heavy films. "As always, effects shots come in rather late in the game, and you have the ability to change the shot before it, the shot after it, and the shot itself."
Robert Primes, ASC, discussed his work on Mario van Peebles' Baadasssss!, a tribute to the making of van Peebles' father's 1971 film, Sweet Sweetback's Baadasssss Song. The project had only a $1 million budget, eased by the generosity of such firms as Panasonic, which provided a pair of F900 HD cameras, and Laser Pacific.
Nancy Schreiber, ASC, showed clips from Greg Harrison's November, Best Cinematography winner at this year's Sundance Film Festival. Schreiber shot the film, starring Courteney Cox, on Panasonic DVX-100 mini-DV, in 15 days. "I loved the Panasonic – it handled the highlights well, better than any other camera in its price range," she said.
The footage was up-rezed to HD and color corrected at Laser Pacific on a 30" screen. "The main thing with mini-DV is that there's no black level, and I was able to bring the blacks back."
The panelists were asked if, other than cost, is there any reason not to use a digital intermediate? The answer was emphatically, "No." "It's the tool of the future. It'll be on films of all sizes, all budgets," said Daviau. Added Primes, "We'll look back to the days we didn't have DI and say, 'Oh, my God, how could we have worked?'"
|
| top of page |
|
click images above for larger views and details
|
Related Items:
|
click on links for more information about the directors in this story courtesy of IMDB.com
|
|
|
|
|
|
|
