Issue link: https://digital.copcomm.com/i/1097515
DGA QUARTERLY 5 Dear Members: Visionary. How often do we see that term plastered on articles, bandied about in interviews and, in general, overused practically to the point of meaninglessness? But sometimes it's the only word appropriate to describe individuals who explode traditional paradigms. And as is the case with James Cameron and Jon Favreau, who have created entirely new visual techniques that have literally changed the way we see movies— "visionary" is truly the only appropriate descriptor. The end result of every project Jim or Jon embarks on reveals some new level of visual sophistication and technological innovation—advancing on both what they, and others, have done before. So, what happens when you put these two visionaries in a room together? An incisive, wide-ranging, unmoderated, one-on-one conversation between two forward-thinking minds with an astonishing level of technical and practical detail. Without filters. And with a lot of love and respect for what each other has brought to the art of storytelling. I've often said that our mission as a Guild is to "honor our past, stay flexible in the present and keep a keen eye on our future." Which is particularly relevant when it comes to looking at potential disruptors in technological innovation. As Jon, who is also the Guild's Third Vice President, so aptly points out: "I think it's important for us as directors, not only for the Guild, to figure out how to be relevant in that world. Just because the nature of filmmaking has changed—the spirit of that has to remain. And we have to make sure that those we work with understand that creative rights are important." Whatever you take away from Jon and Jim's conversation, they are only the tip of the spear of great advice shared by members in this issue. The innovative co-directing team Anthony and Joe Russo on why lens choices are dictated by geography vs. emotion when Avengers assemble for a fight, Patty Jenkins' perspective on the effective use of digi- doubles, and Colin Trevorrow's experience lending heart and soul to digital dinosaurs, are just a few of the many filmmakers telling their stories about dealing with technological advances on these pages. But what's reassuring to me is that no matter how future-casting they are in their methodology, it's all wedded to the ways and means we've all been practicing for decades in film and television: how images are captured, framed and lit; how directors relate to actors organically to elicit empathy and emotion; how to tell stories in a way that won't disrupt viewers' engagement. In other words—directing. Enjoy the issue… Thomas Schlamme PHOTO: HOWARD WISE P R E S I D E N T ' S L ETT E R