Death at a Funeral<\/em>. What followed was an incredibly candid look at not only the film itself, but also his career overall. In fact, Oz stayed well after the class\u2019 scheduled end time to continue answering\u00a0questions from the curious students.<\/p>\nBefore taking center stage, however, Oz sat in the back of the Cloobeck Screening Room watching the film, laughing along with the students. When it was over, he joined Dutcher up front to begin his talk.<\/p>\n
Oz was very clear that, unlike most directors, he loves having the screenwriter on set alongside him.<\/p>\n
\u201cI love their contributions,\u201d said Oz. \u201cDuring rehearsals, Dean (writer Dean Craig) had lots of new ideas that we worked in, and we changed a lot on the floor.\u201d Oz went on to explain that what is on the page doesn\u2019t always translate to the screen, so having the writer on set helped to work out the kinks.<\/p>\n
Oz also praised Dean Craig for doing a wonderful job of giving every character a motivation, something to strive for.<\/p>\n
\u201cI don\u2019t consider the film a comedy, either,\u201d he said. \u201cIt\u2019s a farce, and it\u2019s my job as the director to make the sad stuff entertaining. You don\u2019t have to be funny all the time.\u201d<\/p>\n
When it came time to cast the film, the script had clear cut descriptions for the types of people to look for, but Oz had other ideas.<\/p>\n
\u201cSometimes, the character on the page is not who you cast. For example, one character was described as this good-looking guy, but that wasn\u2019t as funny to me. So what did I do? I cast someone opposite that, and the role played perfectly,\u201d said Oz.<\/p>\n
Casting Matthew Macfadyen as his lead was a perfect choice also, he believed.<\/p>\n
\u201cMatthew set the tone for this ridiculous world. He was so subtle and underplayed, and everyone had to match him,\u201d said Oz. \u201cI like restraint in comedy\u2026the funny is in the reaction, not the action.\u201d<\/p>\n
Oz also does a lot of prep work for his films, which means he finds the scenes that don\u2019t work before hand to help change them. He spoke of working on The Score<\/em> with Robert DeNiro, Marlon Brando, and Edward Norton, and one scene in particular that just wasn\u2019t working the way he wanted. He spent a weekend with stars DeNiro and Angela Bassett, working on it together, on their own time, to improve it.<\/p>\n\u201cYou can\u2019t do that kind of thing the day of shooting. It never works,\u201d said Oz.<\/p>\n
One of the students asked how much preparation in general he did, and Oz said that work for Death at a Funeral<\/em>, he had 6 weeks, whereas Little Shop of Horrors<\/em>, he had a year.<\/p>\n\u201cI preferred the shorter time frame, honestly,\u201d said Oz. From there, Oz was insanely curious about the student\u2019s prepping process, asking for every step along their way. He was impressed at how massive the productions here at Dodge College are.<\/p>\n
He was also very open about his own process in general, touching upon how he shoots comedies.<\/p>\n
\u201cI time everything out in my head when reading a script, and try to figure out how long each scene will take. I make a list of \u2018non-important\u2019 scenes, and don\u2019t spend as much time on set with them than I would the bigger scenes. This way, the actors aren\u2019t tired from all the takes on a smaller scene, and can give the bigger ones their all,\u201d said Oz.<\/p>\n
He was also cautious about good ideas happening on set.<\/p>\n
\u201cThey are dangerous. Saying no to them is difficult. But when you\u2019re the director, you have to make your own mistakes,\u201d he said. On the other hand, though, he thought that, as a first time director, the biggest mistake he made was thinking he had to do everything.<\/p>\n
\u201cI gave too many orders, and missed too many opportunities to collaborate. There was no need to bark orders\u2026I already had the job, I didn\u2019t need to prove myself!\u201d said Oz.<\/p>\n
He thrives on set and loves the interaction\u2026but resents the editing process.<\/p>\n
\u201cI hate waiting for music, for special effects. It takes forever. But I know it\u2019s needed,\u201d he said.<\/p>\n
The best advice to the students though was that they needed to explore on their own, and see what their own style was.<\/p>\n
\u201cDo what feels right. Make your own mistakes. Otherwise you\u2019ll never learn.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
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