New Webisode - adventures in assisting

Adventures ,,, is a amazing new webisode really really funny , watch out for this , where yours truly is the Director of Photography

wow are we into sept 9th day already

how did that happen

almost seems like this year is going so fast that I have lost 10 weeks , how could I have gone without shooting for so looooong ? OH wait, I made20 odd movies thats were the time went ,

ok not to worry then I guess :)

WHILE SCREENWRITING:

Who wants what from whom?

What happens if they do not get it?

WHY now?

Screenplay has to have

1. PURPOSE

2. VISUAL INTENT

3. ADVANCE SCENE - character revealed

Advance the scene

Beginning - middle - end

What is the scene accomplishing?

At end of scene do reader want to read the next scene?

Something needs to happen between two people or more in scene (or it is a side or a shot, not a Scene)

WHERE TO START A SCENE:

Start with conflict

Do not be passive

Go to heart of a conflict

A. Whose scene is it? Who has more desire? Conflict? Need? And there is something in the way?

B. Inner conflict - want something but guilty to say it,

Start with impact, even if it means deleting the beginning, and just have the middle and the end.

Create atmosphere based on whose scene is it?

Let the viewer be in the scene, be more visceral then visual even.

IS THE SCENE OVER

Nowadays scene is not longer then 3 pages, attention span is shorter.

When curiosity has been raised and viewer wants to know what happens next?

Cinematic compelling conflict

Story – a unique character in cinematic conflict leading to an end related to the character.

Eg: a 52 yr. old grandmother going to Iraq in the war is more interesting then a soldier in the war

ELEVATING A SCENE

SURPRISE IS ALWAYS GOOD, BUT HOW DO YOU DO THAT

Conceptual approach is: from outside coming inwards

Intuitive approach is “: inside to outside, that’s is to say, follow the character and see what develops.

A mix of both together makes it more interesting.

The intuitive approach is more interesting and has more organic a feel.

Withhold information, so curiosity is generated

Keep questions alive in the audience’s mind

Less in dialogue and more in action is better

Surprise by giving new information, e.g.- OH mom is a hooker, takes one by surprise.

DO NOT:

CONFUSE THE AUDIENCE

BE UNNATURAL

BE A BORE

Write material where the actors can be committed

Push emotions of characters.

LIKABILITY OF CHARACTER:

One likes when one can care for the character

It is an external judgment

Characters should want something badly

Signature scene early on of the character

CHARACTER QUALITIES: humor and/or best of bad lot, and/or needs something badly

WHAT IS THE CHARACTER DESIRING ? WHATS STOPPING THEM ? KEEP THIS IN MIND FOR EVERY SCENE .

de coupage

DECOUPAGE - one scene shot straight

Cross cutting

Establishing

Breaking

Reassembling

Is editing editing to multiple perspective MS / cu / ,,,

Alternative to cross cutting

M – time code 2000 – mike figs

M – Thomas crown affair

M – blow out

M- anything else (2003 – woody Allen)

In camera cross cutting

One from the heart – 1982 – cappola

Alternate to decoupage

INSIDE THE SHOT

DEEP FOCUS

CHARACTER MOVEMENT AND POITION

LONG TAKE

INTERACTION OF MIS-EN – SCENE AND CAMERA MOVEMENT

LONG TAKE – CAMERA RECORDS MORE THEN 25 SECOND

M – good fellas

M – paper moon

Long takes involves audience and draws them in

Bazin was of opinion – essence of cinema is realism

M – nanook of north is an example of good long takes, which draws the viewer with the realism

While

Louisiana story is more dramatic, but does not seem real (1948)

Decoupage is more dramatic and less realistic.

Brazin also went on to say – editing should be avoided in

Documentaries

Nonrealistic movies

Narrative storytelling- comedies that involve relationship with human and things .m – Mon uncle 1958 by Jacques tati

Bernardo belelucci felt, long takes are more expressive