Our interview with Jacob Medjuck (writer/director of Summerhood) continues as he spills his trade secrets regarding working
with children and allowing authenticity to emerge.
Tags:Jacob Medjuck Talks About Directing,director of Summerhood,Jacob Medjuck,movie Summerhood,The Film Lab,medjuck,substream,summerhood,thesubstream
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Jacob Medjuck: Because we’re talking film making I am actually going to let you know what little line up. I think that some tips from this one, doesn’t use the word action as the whole crew on radio, I never called action and never called cut during the guys screams action they comes right up and you know I did some stuffs on second and the director say okay how are your feeling still good? What is your emotion, where are you and what are your feelings and what do you want? You want her? Alright where other and some are— alright scream— and then they go action. It shutters, shutters the egg why set so much up with the actor and then destroy it and what the bells and the screaming keep the acting and we call action, we don’t call cut and what we do and walk up and I’d say okay cut whatever but we keep the camera is rolling and I am say, great what’s did you do different? What do you do and what you say different and the kid goes oh what I meant to do is this I’ll go and show you what thing. What the guy would do it I was that’s great and it’s like I don’t wax the monitor, except by the camera and sometime I didn’t watch the same I’m just hearing it because they stare at someone and sometimes awkward. [Movie Playing] The many young characters in Jacob Medjuck’s Summerhood are authentic and charming thanks to his flexible directorial style and casting choices. Having directed a film that relies so much on performances of young, inexperienced actors, Medjuck tell us about the pursuit of authenticity in telling this very personal story. I made a lot of choices to keep the show fluent. There are that many professional children athlete what you get to your children when your looking for kids you just looking for authentic kids you they are shy on camera and that’s not like working with child actors factors, we are children and my parents are children and there someone’s children and everyone wants you know listen to them they want to know your watching them and the actors of all age and work with them the same had to explain to an 8 year old sadistic you know stop voting got it you slept it. There were couple professional the rest were just classic kids and I saw that couple of thousand kids and we look in Chicago, New York, Los Angeles, Florida, Vancouver, Montreal and Toronto we set that 2000 find 14 for names and then some background and they’re brilliant and there were some kids we draw and we rewrite seems around and we did the location go and that’s logistic to see what we took with Jennie the generator and how we fix some things and the we are going to make this kid brilliant so I don’t skip written with that and no, no we are going to make this one kids and kids comes to shower and use four feet in every direction, that’s adorable. He’s got a two inch towel in order to cover the front and the back which ever when you choose and a kid comes up and they go want to meet this kid dude your cover with the soap. Oh bubbles, he drops into the mud and ruled in some paddle liquid get out and get back in shower and they get now and dirty too. So we come up with this character mud. [Movie Playing] Sometimes to reach the gross of market they have to keep it clean but you don’t have to nurture the moral impression that kids are giving I mean let’s— is your just, just respecting there trauma. I want to make a horror film, the horrors of being tend, you don’t have to stub someone to make it worthless you can stub with there ambitions but kids are just out there for the first time beating themselves and other movies to have to be something jus about the child is. The child is four feet and feels that way, and the kids they’re not going to feel that way but they need made too because that’s what you say I am we are pressing the children. It’s not just the pretty pictures in the magazine but the pretty character reporting on screen and to what everything you do you take with you to something that is relevant an animation we free out of the films to the story board thoroughly and you know sure that through the crop of this spill and then you get the set will of that and you are ready and then you scroll that out because the kids want something and that’s right because that’s authentic and when you seen that we’re raw was and that it was authentic for example if it was out of focus, that real we use it if it’s sharp but put on we draw it. The things in the movie that we got to focus but they’re better they’re better put performances genuine than the sot that was sharp and my feeling is this. there are things that you are going to put your energy in terms of you run out of all time and then you put your drink stuff and make sure it’s somebody acting and there is a lay way, there is a lay way and when you press for film making there is lay way with your, with the new there is a lay way with your what’s your in focus as long as your art is in focus the audience will— they’re involve, they’re involve emotionally and that’s to keep them to forgive you.