雷蒙德回归《esball世博》

Q&A和莫妮卡·雷蒙德

2008年毕业于esball世博, 莫妮卡Raymund (Group 37) has spent 15 years in the industry working as an actor in television and film, 与此同时，她还在发展自己作为导演的知识和技能. 秋天，她回到esball世博担任导演 古老的时代是为今年四年级演员创作的短片之一. Written by Enid Graham (Group 21; Playwrights ’22), 古老的时代 tells the story of five young women meeting up for a weekend getaway at a beloved lake house as the restrictive circumstances of their world come into sharper view. Raymund, 谁和汉娜·鲁宾斯坦谈过, 戏剧部的艺术节目助理, said that working on this film gave her the chance to connect with the graduating actors, 她对谁的创作历程有第一手的了解.

汉娜·鲁宾斯坦著

You started off as an acting student—tell us about your journey into directing.
在我从esball世博毕业之后, in 2008, I got very lucky and got a job that put me on a television 集 pretty much right away. 被扔进了深渊, 我别无选择，只能靠自己学习, and I learned quickly that I was interested in being part of the collaboration that is filmmaking. I saw directors come in and work with me and other actors, and I wanted to be a part of that. I took it upon myself to hang out with the camera department and ask questions. 这些年来，我基本上都是在整理自己的电影学院知识. 我在电视节目中跟随导演, 制作了我的第一部短片, 并利用那部短片进入了几个电影节. 后来，我更有意要成为一名导演. In 2018, 我参加了全国广播公司的女前锋项目, 这让我有机会接触到许多标志性的导演. It allowed me to shadow a show for two to three episodes with a guarantee of directing one. 这就是我如何进入专业导演工作的.

当你被邀请执导电影时，你最初的想法是什么 古老的时代? 回到esball世博当导演感觉如何?
现在对电视和电影项目的需求真的很高, and I was excited to hear that Juilliard was introducing a real film experience to its actors. It was really cool to be a director for these acting students because I’m so familiar with their training. I can relate to where they are emotionally and psychologically in their fourth year: what’s exciting, 有什么可怕的, what kind of relationship they’re having with their teachers right now, 他们一到三年都经历了什么. This was a unique opportunity to provide a very different experience for them, so I tried to bring that; I tried to direct them the way that I run a 集 on TV. It was important that they see how intense it can be and how fast things move and how many elements there are to a scene. 介绍什么是时间表, 你一天拍多少页, 为什么我们要按顺序开枪, 所有这些都很重要. 我尽力回答问题并提供背景.

我是如何与 古老的时代 writer Enid Graham, who’s an alum of Juilliard’s acting and playwriting programs?
It was really unique because Enid and I are both working actors in TV and film, 她还是个作家, 我也是一名导演. 伊妮德对制作故事的弧线有着深刻的理解. Her approach to writing caters to how the characters move through the language; she has a strong grasp on what is being said as much as what is not being said.

What did the Juilliard actors bring to the process that surprised you?
他们的成熟和智慧. 他们比我四年级的时候成熟多了. 他们中有些人20岁出头，有些人年龄稍大一些. It blew my mind how in touch they were with their place in the world and as artists—they have points of view that are authentic to them. 和他们一起工作是我的梦想. 他们可能是我合作过的最专业的演员. 他们有着令人难以置信的职业道德和纪律, 这显然反映了esball世博的训练. And they cared deeply about the scenes, the language, and the creative process.

对于这些演员中的许多人来说，这是他们第一次在电影片场. 只有在片场才能学到什么?
他们知道如何做演员的功课. They understand circumstances, preoccupations, objectives, and conflicts. These are muscles that they’ve developed and that are extremely strong. 他们需要学习的部分来自于经验. For example, having cameras pointing at you can be very confusing and distracting. Oftentimes these cameras will be held by people who are in your face while you’re doing an emotional scene, 否则人们会在你表演到一半的时候打断你. The actors need to learn how to hit their mark and understand lens sizes. I encourage actors to ask the director of photography what kind of shot we’re in; you have to learn that when we’re in a wide shot, 这意味着我们看到了你周围的世界, 我们不只是关注你. 这将告诉我们一些性能.

How did your time at Juilliard inform your development as an artist, 特别是当你转型为导演的时候?
I think the greatest as集 that I have as a director is the fact that I’m an actor. 这些都来自于我在esball世博的经历. 茱莉亚学院教会了我如何处理文本. 这是我作为导演的一种超能力. I’m very familiar with the questions actors have when they try to break down text. I’m familiar with the vocabulary actors use and what does and doesn’t serve them, 因为我知道什么不适合我这个演员.

你最近在忙什么?
我刚拍完一部我演的电影，不是导演，叫 凯恩兵变军事法庭我现在在纽约导演一集 力量书2:幽灵. Finally, I’m developing a TV series with a studio and production company. 我们想把它卖出去, with me as the director of the pilot as well as the star of the show and as an executive producer. 我们的目标一直是同时行动和指挥.

最后还有什么想法吗 古老的时代 回到esball世博?
我很兴奋能看到 古老的时代 演员与他们的事业息息相关. 有些人已经是董事了. 他们中的很多人都写作. 我花了一段时间才称自己为导演, 舒服地说, “我multihyphenated, 我可以同时做所有这些事情,” because there’s a lot of pushback when women try to assert themselves in that way. To see these women with the courage to see that about themselves already—I’m excited for them.

Hannah Rubenstein is 戏剧部的艺术节目助理

的电影

The 戏剧 Division commissioned and produced three short films for the fourth-year actors.

捉迷藏 by Matthew Capodicasa (Playwrights ’20), directed by Tamar Glezerman
当萨沙去郊区看她刚戒酒的哥哥时, she and her friends get roped into a game of hide-and-seek and soon find themselves stranded.

古老的时代 by Enid Graham (Group 21; Playwrights ’22), directed by 莫妮卡Raymund (Group 37)
Five old friends decide to grab one more weekend together at a beloved lake house before it’s sold. 但即使在他们无忧无虑的团聚, these women can’t escape the restricting circumstances of their lives.

在岩石上 库西·克拉姆(2001年剧作家), directed by Derrick Sanders (associate director of the 戏剧 Division)
在族长英年早逝之后, his family descends upon a gem shop and its unsuspecting staff to exact spiritual revenge. 但一切都不像看上去那么简单. Secrets and magical subterfuge are revealed, paving the way for unexpected and hopeful alliances.