Day 6

I'm excited about screenwriting. In class we went over the basics of the process of writing a screenplay (complete with character dialogue, camera notes, and action) and it actually didn't seem all too complicated. The only thing that kinda makes me nervous is how we must know exactly how each scene will play out (with the camera notes). I know the director will "man" the exact set up of the shots but still, it's the screenwriter's job first to pen the film.

I wonder how the screenwriter comes up with ideas about the way a scene will play out. Does she see the film play out as a finished movie in her head or use her "mind's eye" to record the film? I find intriguing how people can envision something in their head and then just record it (whether on paper, film, canvas, etc.). Film especially strikes me as a terribly demanding form of expression in that you must create a whole situation for the viewer with dialogue, camera movement, plot, conflict, action…and all this starts with the screenplay.

After all our workshops and movie-making discussions we are now at the stage in class where we must put our new knowledge to use in creating our own short film. The class is split into six groups with about four or five people in each group (and each with a different job). The assignment is to create a five minute film based on an assigned genre. And of course, there are some other fun requirements such as the film must include a mime/clown, skull, cheese grater, a guitar, and the lines "Why is this happening to me today of all days?” and "It would be better for us not to talk about that." I'm not worried about these requirements too much, it'll be fun.

I can’t decide whether my film group was blessed or cursed with the genre of comedy. On one hand, there are so many different forms of “funny” which can help us in that we’ll have a lot from which to choose. However, so many different types of humor could make deciding on a specific idea difficult. I’m up for the challenge, don’t get me wrong, but I am very indecisive. Hopefully with five people in our film group we can come up with a really good idea that we all feel comfortable with. Also, I hope everyone can find a middle ground on an idea that we think everyone will find funny, since people have very different ideas of what is and is not funny.

During our short discussion in class, we tried to list a few things that are funny in every situation and to nearly everyone. We came up with people falling (nothing too serious though, no one wants to see something fall do their death from a cliff…or I don’t), people farting (you can’t deny that that noise is funny, maybe it’s the child in us), and butts (yeah). Granted this is JUST A START. I've been stewing over some ideas the past few days, writing down what makes me laugh (which probably looks interesting to people around me because every time I write down something funny I end up laughing to myself, again) and any other particularly interesting ideas.

I think the main decision our group has to make is deciding the source of the humor in our film, that is, if the comedy will be character driven (we'll need to recruit some funny actors...or funny looking HA), situation driven, a little bit of both, or maybe "off the wall" random (which I kinda like from time to time, but it can get a little risky). Personally, I'm leaning away from the character driven comedy just because our pool of established comedic actors may not be as accessible as creating a funny situation. We're in funny situations every day right? I can usually find something to laugh at anyway. We'll see. Maybe I'll run into Steve Carell on my way to class and he'll agree to be the lead in our film for the price of a Hot Pocket. It could happen.

Until then, I plan on rewatching all of my favorite funny skits and movies…to get ideas of course.

Dignity, always Dignity

This week we watched Singing in the Rain, which I must confess I had never seen before that night, and I loved it. After the movie I just felt happy. The movie has all the ingredients to put you in a good mood (well, me anyway): bright colors (Technicolor could make mud look exciting), upbeat tongue-twister songs, fun dance numbers, quippy dialogue, and then there's all that cinematography, screenplay, and sound editing stuff that helps too.

The cinematography and editing in Singing in the Rain seems to focus on making everything as smooth and seamless as possible to enhance that comfortable, entertaining, show-like quality surrounding the story. The techniques that really stood out to me are the way the dance numbers are filmed in that we (the viewer) are automatically transported to a theatre seat. The spectacular dances are performed as if on a stage and we are watching the show not a screen but on a stage.

Donna mentioned an interesting contrast in class between musicals of this time period (50's) and now. Modern musicals are filmed more like music videos than the theater show style of earlier musicals. I've noticed before how movies like Moulin Rouge and Sweeney Todd have song and dance numbers that have a lot of cuts and editing either to add excitement or to keep the story line going. However, sometimes I get frustrated (this goes for Moulin Rouge more than Sweeney Todd) that I can't just see what's going on. The cuts and flashes and angles and music...I just want to see what they are doing. In saying this, I recognize that the effect behind the sometimes frenzied film editing is to create excitement and emphasize some aspect of the story, but every now and then, I just want to watch someone dance and know that they are dancing rather than doing a lot of quick poses.

I didn't have to worry about seeing dancing in Singing in the Rain. I appreciated the continuity of the dance numbers and even though I only saw a 180* view (of the implied stage) I still felt that I could see everything pertaining to the story. The use of the dolly shots (to the point of going through walls so we don't miss one second of the action) adds to the comfortable flow of the performance scenes.

Along with the show quality of the performances, the fun and light atmosphere the screenplay creates is why I think this movie is loved. The little quips here and there from Cosmo, the playful banter between Kathy and Don on their first meeting, and the jokes floating just above the gorgeous but unfortunate voiced Lina kept me smiling throughout the entire movie. Between the perfectly timed dialogue (unrealistic but whatever) and the happy ending for the happy couple, I couldn't help but feel good after watching it.

The realism of the film, how every character has perfect timing and knows every dance, doesn't bother me like it does in some movies. I think the fun tone of the film recognizes the need for some escapism every now and then.

Day Four

After learning about the mechanics behind the different techniques used in film to create emotion and tone, I don’t feel so overwhelmed with the whole “create your own film” thing. The film making process doesn’t seem so daunting now that I know how the filmmakers do some of the little tricks they use to create a given effect. I’m sure I can use some of the tools Eric showed us in our short film at the end of the semester.

I’m particularly interested in the use of the camera in perspective shots. I like how point of view shots give the audience the eyes of the character—I think it adds another, more interactive, element to a film and the story. I feel that point of view shots gives the audience an opportunity to be involved in the story more so than being a looker-onner. Over the shoulder shots are also interesting in that it feels more secretive to me. It’s like you’re seeing the character’s reaction to another character or action that no one else is seeing. Overall, I like the idea of seeing things from many different angles, especially if the shot gives us a perspective not humanly possible (like an aerial or clear underwater view). The pool scene in Sunset Boulevard as I said before is one of my favorite examples of a really interesting and thoughtful use of perspective. Also the scene in Almost Famous in which William sees Penny off at the airport on her way to Morocco is a good example of point of view shots creating emotion. William Miller watches Penny’s plane leave through the airport windows and Penny watches William run with the plane through her little round window. The juxtaposition of these two point of view shots emphasizes the emotional connection between the characters. I like how the perspective lends film meaning and emotion. I don’t think I would be shy about moving the camera around and trying different angles in our film.
Now the image effects as far as shutter speed, aperture, ISO, and focal length are still a little intimidating. Anything to do with buttons on the camera I’m still a little touchy with (so hopefully I won’t be the one to operate the camera). I still feel apprehensive when it comes to which camera settings to use and in what combinations to create the best shot. Maybe all it will take is some playing around (the very careful kind) with the camera to find the best look.

Lighting seems really fun to me however. I think with more research and experience I can come up with some cool lighting effect ideas. Eric’s tips about using cardboard cutouts and reflective insulation panels inspired to look at things around me for their reflective/light bouncing potential. I think light is one of the most creative elements of a film when utilized properly. Again, Sunset Boulevard is a brilliant example with the play on spotlights and creepy shadows/harsh lights over faces to heighten stress and of course, drama. I really enjoy movies that play with light almost as another character.

I think I already have a start on the “eye for lighting” as well (I like to think I do anyway). Austin made a comment just tonight about how testy I get if I don’t have the right light in my room while doing homework or watching a movie, etc. And I must agree. Lighting is important to me. I hope I don’t turn out to be really bad at film lighting.

Day Three--I'm ready for my close-up Mr. DeMille

Sunset Boulevard is a brilliant movie first of all. I found it a very creative and interesting work of art. One of the first scenes stood out to me the most: a dead man floating in a pool surrounded by police and investigators, all seen from the bottom of the pool. The perspective of this one shot set the tone for the entire movie. The fact that we could see Joe's (as we later find out is the dead man) face and the flash of the investigator's cameras through the water eerily resembles a grotesque stage on which Joe Gillis's floating body is the star. The whole movie seems to follow the tone set by this image in that Norma (played by Gloria Swanson) is performing within her own creepy world throughout the entire film. Her mannerisms, voice, and attitude are dramatic and grandiose (elements only emphasized by the harsh lighting and bursts of playful yet eerie music).

I thought Max was an especially interesting character. I knew he was a little "off" when he shouted at Joe the first time with that Lurch-like posture and entitled/rude attitude. I just felt that he played a more important part in Norma's life than just the butler. While he is the liaison between reality and Norma's delusional world, he also performs. He plays the role of Norma's butler while he continues to watch over Norma (his ex-wife) and "protect" her from the harsh reality that her once-famous face has been all but forgotten. He is the selfless mastermind behind Norma's life and seems to truly love and care for her--especially in that he sticks around to see her marry multiple times and throw herself at Joe. I just wonder why he feels so connected to her. I suppose at one time she was a vibrant and youthful young woman and he feel in love with her spirit (all that crap) but you'd think he would run whenever she started the whole crazy, fame-starved, delusional thing. I think he may derive his meaning of life by keeping her life (however crazy) going.

Joe gets a taste of the twisted life of an "actor" when he plays the role of Norma's lover/companion while trying to continue to live a normal life in the real world. He dresses up in costumes and puts on a character to please his "sugar momma."

Overall, I learned a lot about film noir from this movie and the discussion afterward. The point about which "world" is more believable was particularly interesting. I didn't think about that aspect of the film before Donna brought it up. I found it intriguing that the real world (outside of Norma's house) was less believable than the world within the lavish mansion's walls. I think I wanted to believe the real world so much simply because it was a relief from the eerie atmosphere of Norma's world that I didn't notice the "hokey-ness" (as Donna put it) of it.