"Casting Guidelines for Directors" by Peter D. Marshall

The Casting session (actors call it "the audition") can be a
terrifying place for any actor. It takes a lot of guts to walk
into a small, windowless room and have about 10 minutes to
"show your stuff" in front of complete strangers - some of
whom could make or break your career!

But it is just as tough for the Director as well! How can you
decide, in less than 10 minutes, who is right for a particular
part? Because you never have enough time to work with the
actors in a casting session, here are some casting guidelines
that will help you with the audition process.

(1) When casting, you want to look for: acting ability,
physical characteristics, subtleties in style and the
chemistry between actors.

(2) Here are the top three qualities you look for in any
actor:

1. Do they look the part? (The 50% Rule)

2. Do they have range? (Laugh to Cry. Is it believable?)

3. Can they take direction? (Listen to you, process, change)

NOTE: You find out 2 & 3 by making adjustments. Adjustments
are notes you give the actors that change their objective. You
do this by using verbs to change the subtext.

EXAMPLE: If the scene is about a man (or woman) asking their
boss for a raise, you want to increase the stakes for the
character. You do this by changing the character's subtext to
something stronger like:

EX: Try begging the boss for the raise, or
EX: Try demanding the boss give you the raise, or
EX: Try seducing the boss to get the raise

(3) Here are some other qualities you want to look for as well:

1. Is the character type in the actor? (Does he look like a
soldier?)

2. What is the persona/image of the character? (In the script)

3. What is the persona/image of the actor? (What do they think
of themselves?)

4. Does the actor make active choices? (Action - Reaction)

5. Judge the actor by what he does - not what he says

6. What is the actor's rhythm and movement pattern? (Body
Lanquage)

7. Describe the character objective

8. Have the actor play the objective

9. Have the actor up the stakes in the objective (to beg; to
demand; to threaten)

10. Make note of all the negative qualities of the actor

11. Never cast an actor who cannot play the objectives (cannot
find the scene beats - can't take direction)

(4) What to look for in an actor for a Good Performance:

- do you believe them
- do they incorporate changes well
- concentrates
- listens
- gives & takes
- clear sense of character (5W's)
- acts on impulse (not cues)
- reacts well to catalysts & problems
- is a good ensemble actor
- is good at starting & ending scenes
- is good entrances & exits
- knows what is important
- has charisma
- good chemistry
- sense of truth
- knows his environment
- knows his props
- can play the moment
- fits into the skin of the character easily

(5) For Casting Character Descriptions: these descriptions
should explain a bit about the character, but also establish
some conflict so the actor can play with it.

EX: John is a 45 year old dishwasher still living at home with
his mother and step-father who abused him when he was a child.

"The Psychology of Movement and Blocking a Scene" by Peter D. Marshall

The study of movement psychology found that 'movement' is controlled by deeper emotions. This means that 'attitude and emotion can change movement' as well as 'movement can change emotion and attitude.'

This takes us back to Newton's First Law of Motion: "Every object in a state of uniform motion tends to remain in that state of motion unless an external force is applied to it."

In filmmaking terms, this translates into "a character must be MOTIVATED before they will take action." MOTIVATED being the key word!

There are two kinds of movement between
characters: 'toward or away' and 'moving or still'.

1. Toward or Away - when you change the space between characters, you indicate a change in the relationship.

a. If a character walks toward another character, that could indicate anger.

b. If a character walks away from another character, that could indicate fear.

2. Moving or Still - character movement is also a way of expressing opposition and resistance.

a. Moving characters create lots of energy. (Dynamic)

b. Still characters create less energy. (Peaceful)

Basic Blocking and Staging Techniques

To help you begin, I suggest you start thinking of blocking as the choreography of a dance or a ballet - all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.

1. What is Blocking?

a. Blocking is working out the details of the actor's moves in relation to the camera.

b. Blocking is the dramatic use of the camera to help find the truth in a scene.

c. Where the camera is placed is determined by what is important in the scene.

d. Blocking is like a puzzle - keep working at it until the whole scene falls into place.

e. Reveal a character's thoughts or emotions through actions. Actions are more revealing of a character than dialogue. (Doing not saying.)

2. Whenever you start blocking a scene, you must know these five things:

a. When (and where) were the characters LAST SEEN? (EX: Before Scene 7)

b. What is the LAST shot of the previous scene? (Scene 6)

c. What is the FIRST shot of the scene you are on? (Scene 7)

d. What is the LAST shot of the scene you are on? (Scene 7)

e. What is the FIRST shot of the next scene? (Scene 8)

3. Your blocking plan (or shot plan) is determined by:

a. Whose POV is being expressed at the time? (The writer's, the character or the director?)

b. What distance are you from the subject? (The size of shot - are you close or far?)

c. What is your relationship to the subject? (The angle of view - choice of lenses.)

4. The opening position of a character is where the characters start in a scene and is a very important element of blocking

a. Use your knowledge of the characters to help you imagine their opening positions.

b. Different character types tend to move to different places in the room.

- Strong characters could move to the middle of room

- Weak characters could move to the side of room

5. Two ways to stage space

a. Staging across the frame

- Left to right

- Right to left

b. In-depth staging

- Foreground to background

- Background to foreground

6. Two methods for staging groups and individuals

a. Zone coverage - when you stage the coverage of groups in the same location. (Like battle scenes/sports events/crowds.)

b. Man-to-man coverage - when you stage the coverage of individual characters according to their movement in relationship to others.

7. Four staging techniques

a. Static camera (The camera doesn't move)

- Subjects can be still

- Subjects can be moving

b. Moving camera (The camera moves)

- Subjects can be still

- Subjects can be moving

c. Static subjects (The subject doesn't move)

- Camera can be still

- Camera can be moving

d. Moving subjects (The subject does move)

- Camera can be still

- Camera can be moving

8. Four basic reasons to move the camera

a. Move for emphasis. (The camera moves into an actor.)

b. Move to emphasize a subject in a group. (Pan or dolly.)

c. Transfer attention from one subject to another. (Pan or focus.)

d. To connect movement from one space to another. (Pan from the door to a desk or go from room to room.)

9. Subjective and objective camera angles

a. A subjective camera angle is a shot taken close to the 180 line. (You can see the face and eyes more clearly)

b. An objective camera angle is a shot taken perpendicular to the 180 line. (It is wider - more profile to the actor)

10. The dramatic circle of action is determined by the size and shape of the space that the action covers.

a. Any space is divided into three parts:

- Foreground

- Middle ground

- Background

b. You can place the camera IN the action. (Action flows around the camera.)

c. You can place the camera OUTSIDE the action. (Keep a distance from the action.)

11. Camera height is used to show the physical relationships (or status) between people.

In real life, there are two kinds of status relationships:

a. Equal to equal. (Good cop and bad guy. Doctor and doctor)

b. Superior to inferior. (Judge and defendant. Teacher and student.)

Director Questions for Blocking

1. Do I understand the writer's intentions? (Story & themes.)

2. When was the last time the character's were together? (How many scenes ago?)

3. Reveal a character's thoughts and emotions through actions as much as possible.

4. What normal activities (business) would the character's be doing at this time?

5. What is the character's emotional state at this time in the scene?

6. Where is the focus of interest (main emphasis) at each moment in the scene?

7. What is more important: business or dialogue? (Show or tell.)

8. What is the intention of the scene? (Create tension? For laughs?)

9. What kind of coverage do I need?

10. How much time should I allow to shoot this scene?

When you first start directing, blocking a scene can be one of the hardest (and most embarrassing) parts of your job. If you get it wrong here, you could waste valuable shooting time trying to get out of the mess you created!

NOT FOR LOVE: The Story of a Child Bride

Josphat Keya, Victor Ombogo and Clarence Ilavonga from Hot Sun Foundation/Films set out to shoot the trailer concept for the documentary Not For Love. Josphat was the Local Producer/Director, Victor the D.O.P and Clarence was the Asst. Cameraman.

We had spent almost two weeks preparing for the shoot which was to take place in Isiolo approximately 400kms from Nairobi. The concept of the trailer was initiated by Sha’ Givens. Josephine Kulea a child bride rescuer was our contact person for in Isiolo.

On Friday 1^st October we set to Isiolo for the shoot. It took approximately 4 hours for the first stop at Nanyuki approximately 250kms from Nairobi. We met Josephine, who accompanied us to Isiolo town.

We reached Isiolo 80kms from Nanyuki at around 4pm. Now it was raining in Nanyuki but the climate was totally different at Isiolo, it was hot. We went for some refreshment at a local restaurant while planning for our transport to our destination-Kipsing Village/Town.

Now here came the thrilling news, from Isiolo town to Kipsing our destination it was approximately 60kms. The road to Kipsing is bumpy rocky and dusty, not to mention risky. The previous three days two warring communities in the region were at it again. The road to Kipsing cut through one of the communities. Josephine had organized for us transport from the town to Kipsing. She had called the local driver from Kipsing. This guy had the only vehicle in the entire Kipsing. It was an old Army Land Rover. The driver and his colleague were attacked on the way, by a group of young men wielding guns. Luckily no one was badly hurt except for his colleague who had some small bruises on his arm. It took them exactly 12 hours to get to Isiolo. One thing to mention is that there is no telephone network, 200metres from Isiolo town and onwards to Kipsing.

The land Rover arrived Isiolo at 11pm. With the driver half drunk. He later told us that you had to drink for you to drive that route, just incase you met an armed gang.

Now in terms of production, our budget for transportation to Kipsing shot up 13 times. We had under budgeted for that, as we didn’t know the distance from Isiolo town to Kipsing. But I managed to take my crew that very night to Kipsing. It wasn’t easy because that driver had just narrated the fate that had befallen them while they were coming. This freaked everyone out, even me I felt death waiting for us. But the other side of me kept me strong, as the producer/director I had to make sure that my mission is carried out in due time. So if we spent another night in Isiolo as the other had suggested that meant, extra expenses, and not beating my shooting deadline.

Our journey to Kipsing turned out to be adventurous, and fun to. Yes fun, the bumpy ride. The area is semi arid, we crossed 19 dry rivers.

We reached Kipsing at around 4am. We spent the night at Josephine sister’s place. That came to be our accommodation for the rest of our stay

Saturday 2^nd October, our first day in Kipsing starts early with my crew waking up at 5am to capture the rising sun behind the hills of Kipsing. As we are rolling the camera we are greeted by some of the locals who’ve come to see what “these strangers” are doing. They are very friendly. After having our breakfast, we set out to one of the manyattas that is going to be our main location. The sun is scorching. We carry our equipment and set out to an almost 3km walk; yes we wanted to walk and experience the area. The area is dry and dusty. We walk through the dry river but amazingly the locals have found out a way to get water from the dry river. They dig within the riverbed not so deep and water comes out. Clean pure water.

We reach our main location a compound with 5 manyattas. We find some of our cast ready waiting for us inclusive of two old men. We start our shoot. It becomes so challenging, to have the old men back to take as many different shots as we can. They can’t speak Swahili, so we use the help of Josephine and her sister who translates to them. It becomes difficult for them also to explain why they have to keep on redoing what they had done earlier, but it ends well. Our next scene also takes place there, our driver arrives and we set out to the next scene at the river, some kilometers. Before we leave one of the girls mother is angry, she quarrels that we are working her daughter out. Josephine intervenes and explains to her, she commands a lot of respect as we later realize.

We wind up our shoot at the river and head to our host’s place to have lunch. The sun is now very hot, we are not used to this kind, but we must complete the shoot. After having lunch we start having the interviews. We finish with Josephine. Now the two girls we have to look for suitable locations, as we do this the sun is setting very” fast”. Though we manage to shoot, but we realize that the lighting s not good. So we schedule a reshoot the next day.

After the long day of shot we are taken to the other end of Kipsing to visit Josephine’s grandmother. We also learn that it is in the same family that Josephine rescued two young girls who had been subjected to early marriage. She doesn’t even fear how she will be received there.

Sunday 3^rd October, We are up early this day we have a lot to do being the last day of our shoot. Our driver is waiting for us. We set out to one of the girl’s manyattas to have our interview with her. This time she does it very well my crew is happy, we come back to Kipsing town for the second girl interview, she is a bit shy but we manage to get her interview.

What is left is preparing to depart form this wonderful community. We have hard our best experience with the people. They were already part of us and we were like a family to them in the short period that we were with them.

We board our vehicle nicknamed “Zion Train”. Accompanying us is the mothers of the two girls that Josephine rescued. Since the rescue they have never visited their daughters who are in Isiolo town in a child welfare society. In our company is our security guy just incase we encounter armed youths on our way. We depart Kipsing at around noon. Our ride is the same bumpy and dusty. On our way we encounter zebras and ostriches, hyenas are the common things. There.

We reach Isiolo town at around 6pm, I get to learn that the driver was fast. We pass by the rescued girls centre where the meeting is so emotional.

We spend the night in Isiolo town. As we wake up the next day we are all looking forward to Nairobi another 6-hour journey.

Mama

Mama from Josphat Keya on Vimeo.

Kibera Hamlets

Kibera Hamlets from Josphat Keya on Vimeo.

Silent Battle

Silent Battle from Josphat Keya on Vimeo.

Directing the Film Actor

What do actors want more than anything from a Director?

TRUST!

If actors feel they cannot trust the director to know a good
performance from a bad performance, they begin to direct
themselves: in other words, they become "Director Proof."

For many director's, the technical mechanics of filmmaking is
far safer than dealing with actors. These directors feel safe
with machinery and technical people because their discussions
are about objective issues.

When dealing with the acting process, Directors need to focus
on feelings and emotions. And when dealing with actors and
their feelings, many Directors are uncomfortable and unsure of
themselves.

To find a character they are playing, actors must surrender
completely to feelings and impulses. As a result, actors want
to work with Directors who understand them and their
vulnerabilities and who create a safe place for them to
perform.

Actor's who trust a Director will have an easier time "getting
out of their heads and into their bodies" - which makes for
more believable performances.

TED x KANGEMI

It was another moment of sharing ideas worth sharing at the Ted x forums. This time we were at Kangemi, the outskirts of Nairobi. I presented a talk on Hot Sun Foundation. Immediately after the presentation i got people wanting to know more about what we do at Hot Sun an indication that my talk had already started having an impact. This is very encouraging. I am waiting for the next talk, which will be taking place in Mathare. This time round i want to make my presentation more crisp and clear.

DIRECTOR TIPS

(1) The Director

"The prospect of directing a film is overwhelming. Not only is
it not very clear or even agreed upon as to what a director
does, but there are very few guidelines for the learning
director. There is no particular structure or manual that
comes with the job." Mark Travis (Directing Feature Films)

To be a film director today, you need to know what is expected
of you when you begin pre-production, when you step on the
set, and when you are in the editing room. And to do this
successfully you need to:

1. Understand the business and politics of the film and TV
industry

2. Have complete confidence in yourself and faith in your
talent and ability

3. Have the courage and tenacity to stick it out "no matter
what"

4. Have a relentless focus on what is possible rather than
what's not possible

5. Never cease searching for your unique style and expression

6. Stay true to yourself: it will guide you to the right
people and the right choices

The film director is responsible for overseeing every creative
aspect of a film. They develop a vision, guide the actor's
performance and determine what tone the film should have and
what an audience should gain from the cinematic experience.

The film director is, in short, the storyteller, and to be a
good storyteller you need to:

1. Have a good knowledge of your craft

2. Know as much as you can about everyone's job

3. Listen to the people who know more than you do

4. Always ask questions

5. Be able to "listen for the truth"

6. But most of all, you need to have PASSION!

(2) Understanding the Script

There are many facets of a Director's prep on any film or TV
show - from location scouts and creative meetings to casting
and scheduling. But the first, and most important part of your
job, is to understand the script - what the story is about;
the themes; the story points; the characters.

A director is a storyteller and to be a good storyteller, you
need to understand every detail about the story you are
telling.

Your script breakdown will be a never-ending process.
Understanding the story requires a lot of work on your part
because you need to take the script apart scene by scene to
find out what it is about, what works and what doesn't.

Your prep time with the script is a "process of discovery"
because each time you read the script, you find out something
new about the story or the characters.

When interpreting the script, a director should know the
answers to these questions:

1. What attracted you to the story?

2. What is your POV?

3. What do YOU want to say?

4. What are YOUR themes?

5. What is your STYLE?

(3) The Classic Three Act Structure

ACT ONE (Set Up) (Ex: Boy meets girl)

- Who is the main character?

- What is the premise or theme?

- What is the story about?

- What are the main character's needs and goals?

ACT TWO (Confrontation) (Ex: Boy loses girl and fights against
impossible odds to get her back)

- What are the obstacles facing the main character?

- What is the dramatic action?

ACT THREE (Resolution) (Ex: Boy gets girl)

- How does the story end?

- What happens to the main character?

- What happens to the other characters?

(4) Script and Scene Analysis

Script analysis is finding out who the characters are and what
happens to them.

1. What is the INTENT of the scene (what is the scene needed
for dramatically?)

2. What are the MAIN ELEMENTS of the scene (points to get
across to the audience?)

3. What is the EXPOSITION (what are the characters "doing"?)

4. Where is the CLIMAX (what is the turning point of the
story?)

5. What is the RESOLUTION (how is the theme resolved?)

6. What is the CONCLUSION (how does the scene end?)

7. Where is the CLIMAX / TURNING POINTS / CONFLICTS?

8. Where does the IDEA CHANGE? (beat or unit change)

9. What are the important LINES OF DIALOGUE?
(story/character/plot)

10. Which character CONTROLS (pushes) a scene?

(5) Scene Beats

1. A good way to find the event of a scene is by breaking the
scene down into its BEATS which are moments in the script when
the scene changes direction.

2. The simplest way to identify beats is by subject - when the
subject changes, that's a new beat. For actors, this beat
change is usually a change in the objective.

3. Every beat change is often punctuated by some physical
movement plus a change in the character's action verb. (The
action verb is what the character is doing to get what he
wants.)

4. By looking at each scene as a series of beats (smaller
units) the director can focus on the details. Scene beats are
an excellent way to design your blocking plan and figure out
your shots for any scene.

(6) Text and Subtext

1. TEXT is what is said (it is the outer world of the
character.)

2. The text is what we get from the screenwriter. Text is what
forms the script - it is the dialogue and the stage
directions.

3. The Text in a script is like a map: we use it to find out
where we are going - but the interpretation is up to the
director and the actors.

4. SUBTEXT is what is thought (it is the inner world of the
character.)

5. People don't always say what they're thinking. Subtext is
what your characters really think or believe: it is the
content underneath the spoken dialogue.

6. What characters are really thinking has a great effect on
how actors move and how they deliver their lines.

(7) Working with the Script

1. Work with the script and tailor it to your view

2. Be absorbed in the story (research everything about it)

3. Understand story structure (the 5W's)

4. Find out what is really going on

5. Do you believe the characters? If you don't, neither will
the audience

6. Understand story structure. Any weakness in script will
show up on set

7. Always know where you are going in the story

8. Take the main question and translate it throughout the film

9. What is the problem to be solved then make sure many
obstacles are in the way

10. Get inside the character (create a world under the text)

(8) The Actor-Director Relationship

1. What do actors want from this relationship? TRUST!

2. If actors feel they cannot trust the director to know a
good performance from a bad performance, they will begin to
monitor their own performances. And when actors begin to watch
themselves, they begin to direct themselves. They become
"Director Proof."

3. Actors want to work with someone who understands them and
their vulnerability.

4. To find a character they are playing, an actor must
surrender completely to feelings and impulses. A good director
understands an actor's vulnerability and creates a safe place
for them to perform.

(9) Character Objectives

The Director's Mantra: "Motive (Our Thoughts) Determines
Behavior (Our Actions)"

Once you know what motivates a person to achieve their daily
needs, you will have the knowledge to better understand the
story, and you will feel more confident about helping actors
achieve believable performances.

1. HOW TO CHOOSE OBJECTIVES

- Ask yourself "What does the character want in this
situation?"

- A character's objective should create obstacles for the
character in the story

- Look at what the character does rather than what he says
(his behavior)

- Look at what happens in the scene and how it ends

- Look at what people want out of life (some things we will
sacrifice everything for)

2. SUPER OBJECTIVE ("Power Over People")

- What is the primal motivation of the character?

- What are the main needs of the character?

3. OBJECTIVES ("To Dominate X")

- What does the character want (motives)?

- What are his active choices to achieve the super objective?

4. MAIN ACTIONS ("What They Do To X")

- What the character DOES...

- To get what he WANTS...

- To fulfill his NEEDS!

(10) Casting

When casting, you want to look for: acting ability, physical
characteristics, subtleties in style and the chemistry between
other actors. Here are the top three qualities you look for in
any actor:

1. Do they look the part? (The 50% Rule)

2. Do they have range? (Laugh to Cry. Is it believable?)

3. Can they take direction? (Listen to you, process,
change)

Here are some other qualities you want to look for as well:

1. Is the character type in the actor? (Does he look like a
soldier?)

2. What is the persona / image of the character? (In the
script)

3. What is the persona / image of the actor? (What do they
think of themselves?)

4. Does the actor make active choices? (Action - Reaction)

5. Judge the actor by what he does - not what he says

6. What is the actor's rhythm & movement pattern? (Body
Language)

7. Have the actor play the objective

8. Have the actor up the stakes in the objective (to demand;
to threaten)

9. Never cast an actor who cannot play the objectives or can't
take direction

10. Make note of all the negative qualities of the actor

(11) The Director's Visual Concept

1. What is the first image in your film?

2. What is the last image in your film?

3. What do you want the audience to feel at the end of the
movie?

4. What is your Visual MOTIF? A motif establishes a mood and
recurs often to help develop the theme. (Ex. Film Noir) Repeat
a motif and it becomes a STYLE.

5. What is the audience is going to see? (What is your POV?)

6. What is the pacing and mood of the film?

7. What dialogue is the most important to be heard?

8. What is the RHYTHM of the story / scene / act? (What is the
"heartbeat"?)

(12) Understanding Camera Techniques

As a film director, you need to know and understand the
various camera techniques that can influence and enhance the
structure of your film.

You don't have to know how to work all the technical equipment
on a film set, but this knowledge is crucial because it will
help you to communicate more efficiently with the DOP, camera
operator, sound mixer, editor etc. Remember, the more
correctly you can explain a technical detail to the crew, the
better chance of getting it.

1. Shot size (TCU - WS)

2. 180 Degree Rule (Line of action)

3. Composition (Frame balance)

4. Over-the-shoulder shots (OS)

5. Point-of-view (POV)

6. Profile shots

7. Wide angle lenses

8. Long lenses

9. Focus

10. Depth of field

11. Camera angles (high/low, eye-level/dutch)

12. Moving camera

TED x KOROGOCHO

I had my first TEDx presentation at Korogocho today. I have been preparing for this in the last 3 days. I had to build my presentation from scratch. On stage i was just my self giving a talk as if i had done the same talk before. All my colleagues of Hot Sun Foundation and others gave me support one way or another to help me make it today-thanks to all.

I still have two more presentations to make in the coming two Saturdays.

BROADCAST & FILM AFRICA

I had the privilege once again to attend a two-day conference at KICC on Broadcast & Film Africa. It's organisation saw a number of media/film practitioners coming together and sharing some of the challenges they faced while growing up in the industry and also some of the measures that can be taken to improve the industry. Delegates came from as far as West Africa. I was representing Hot Sun Films, with Martha Kisaka, Nathan Collett and Mercy Murugi who aslo was a speakr at the conference.

Such occasions serve as a networking platform and i can say they expose me to the "gurus" of this industry.

ENTREPRENUERSHIP CLASSES

I've never thought i'd be in class learning theory after my high school education level again. yes today i was in class, but this time it was a different subject, but related to what i'm doing-filmmaking.

This is my first day in this eight or so weeks (i'll confirm later) on this Creative entreprenuership course that is taking place at the British Council facilitated by Strathmore University. I hope to transform myself to a business person in filmmaking

BRIAN SEND-OFF

"Bye bye Brian, love go with thee..." that's the humm we sang to him as he cut the cake.

This was his last day, actually this was his last minutes he was having with us. Brian Ekdale from Wisconsin USA, was a volunteer with us at Hot Sun Foundation. He has been with us for the last seven months, and he has been of great help to us. Personally i've got his help technically while doing my projects and also i was able to use his equipment.

My first projects, i used his still camera for continuity. I also got his feedback while editing the projects.

My recent project, Voice From The Womb, he was part of my crew on set-he was the continuity person. He gave his video camera for the behind the scenes. I would not forget to mention that he was part of the team that gave me feedback while i was developing the script.

VOICE FROM THE WOMB

Kenyans are about to go into this process of voting once again. This time round it's not about electing new people to parliament but its about the law of the land, the constitution.

Now the politicians have not been left behind this process, they have divided themselves inti two camps, one supporting the raft constitution, the other opposing it. They've brought this division to the people, and now there are traversing the whole country, each campaigning for his side. In their campaigns each camp states "reasons" as to why they are defending their stand.

Now in the draft constitution, there have been a number of clauses that have brought controversy, and now the clergy have joined in rejecting the document. One of the thing they are not comfortable with is the clause on abortion-that it is allowable in case a doctor sites the life of the mother is in danger. The church says by allowing this clause into the constitution it will be like legalizing abortion, while the other side says that its better of to save the life of the mother than the unborn child.

Now having heard all this, i wondered which side was telling the truth and that it'd stand by it no matter what. I'm not sure if everybody that would remain on his stand.

As a filmmaker, i thought that this is an issue people need to really ponder and make that if the situation changed and became like their own, like it is them who are at this juncture...will they still remain in the same stand?

I came up with a short film on that-Voice From The Womb.

In the film, Dr Mark (the main character) is married to Alice. The setting of this film is during the era where abortion is legalised. Dr Mark being a registered Doctor, also performs the procedures. Alice has genetic fibrosis, this means that she can't have children, but somehow luckily she is three months pregnant with a son. The couple is happy.

Now this day when Dr Mark is called that his wife is admitted due to heart complications and the doctors at the hospital have to perform an operation to save her wife. Now there is a problem, for the abortion procedure, first they'll have to abort the baby. This is sad news to Dr Mark. He's told that if they try to save the baby, time wouldn't allow them to save the wife, so he has to chose between saving his wife or child. In the moment he calls his mother, the mother not knowing what to tell her some she narrates a story of a girl about to have an abortion but eventually changed hare min=d on that. Dr Mark comes to learn that the story is about his mother and him, he was the child about to be aborted but the mother decided to keep him.

What choices does Dr Mark have? That's the question the film ends leaving the audience to answer.

As the writer-director of the film, i did not want to force a choice to people, i left it open ended for people to pit themselves in that situation of Dr Mark and see, would they still remain in there current stand on abortion if faced with similar incident Dr Mark faced? Well, I'd love to hear the responses....

MEETING WITH VOICE OF KIBERA

Today i've just attended a workshop organized by Voice Of Kibera, a commuity news initiative that collects news about Kibera in form of short message service. Being part of the editorial board of the programme i had to help the participants in understanding the process which the news pieces take before being posted on the site.

A Big Day

Yes it has happened. I just shot (filmed) my first and greatest project since graduating. Since the conception of the script i have been planning for the shoot which happened today. Throughout the pre-production plan i have been getting support from my colleagues here at Hot Sun Foundation. The feedback i started getting for the script from draft one of the to draft five was reallly helpful that it build the whole story.

Thanks to the following: Mercy Murugi, Nathan Collette, Martha Kisaka, Victor Oluoch, Victor Otieno, Gabriella Operre, Anne Mwaniki, John Ngaruiya, Evans Kamau, Brian Ekdale and the Kibera Film School 2010 Trainees.

MEETING WITH CAST AND CREW OF VOICE FROM THE WOMB

Today we've just had our cast and crew meeting and it is a memorable moment in my life. If you do not by now what am talking about, yes am talking about my first biggest project, Voice From The Womb. I did write it and today we were meeting and rehearsing for the shoot that will take place tomorrow. Though am excited about it, i know that i'll meet challenges tomorrow, i believe i'll be ready to take them.

WHAT A BUSY WEEKEND!

This past weekend was not a resting time for me. I had to accompany the Kibera Film School trainees of 2010 in making of their first project. They had Sunday 4th as the deadline of shooting and with little experience they needed someone to assist in them. Though so tiring i had to play different roles in almost all the shoots they had, a director, camera person, principal character, supporting character and also i was there to give them motivation when things did not go as they had planned.

I just appreciate the trust they had in me in letting me take part in this first step/project they are doing as upcoming film makers.

MONDAY 28TH JUNE 2010

It has been quite a busy day at school. I attended meetings for planning at Kibera Film School and Voices of Kibera as one of the Editorial board members.

Still planning with my second fiction short movie-Voice From The Womb. I've just got feedback from the to-be cast and crew and that will be making my fifth and final draft of the script. Am really hoping it to be a big thing that am going to do. Tomorrow am to meet with my cast and crew to plan ahead.