I would just like to briefly touch on the editing portion of the film-making process. I honestly went into this part of my product totally ignorant and blind. I really don't know much about editing software, but I used Adobe Premier Elements and while it doesn't allow for a lot of the flashier graphics and transitions, I found that it was fairly user friendly and easy to use.
The first thing I did while I was editing (after uploading my video into the software) was cut down each scene to just what I wanted to use. This way when I started to put my timeline together it made everything a lot easier. I didn't mention this before, but, for timesake its always best to shoot all shots that occur at one location at one time or if someone only appears for part of the film shoot all of their scenes in one day. You can upload the film and cut the clips apart so you can put the movie together the way you want.
Make use of transitions!
I wanted you to notice how abrupt that was, if you don't transition well your audience will be turned off. Some of this also has to do with timing. Don't bore your audience. I had some difficulty with this mainly due to inexperience and the tight schedule I was on, but next time I know to always shoot some transitional scenes and when it doubt use the transition effects that come with the editing software.
Soundtracks are really easy to do. The one thing that was frustrating was not being able to afford licensing. Do not try to skirt around copyright laws. If your film becomes an internet sensation and Justin Timberlake's "SexyBack" is playing in the background, the Feds can bust down your door and arrest you for copyright infringement (though, JT is too cool to do something like that). There are plenty of websites with free music, downloadable in MP3 format, that are public domain. If you are lucky like me, you know someone musically inclined and can use their music. This works out really well because you can get them to give you their music for free, most of the time they are willing to edit it for your use, and it gives them exposure while making your film sound nice.
Credits are probably the last thing to worry about. With Adobe you simply have to click a button for the style of credits you want and you can edit them like you would any powerpoint.
Last, but not least, SAVE OFTEN! I don't know how many times a quick save prevented my entire project from being destoryed.
Have fun with your film. Once I got to this point, that was my goal and according to the reviews I have received it worked out pretty well.
Monday, May 12, 2008
Pictures of filming!
David Starkel as Dan posing for the camera while Olivia (Cally) was looking over her lines.
Olivia (Cally) on the phone with her mom telling her how filming was going.
Olivia and I reviewing some footage
Me, filming Olivia for the final scene
Filming
In this post I would like to talk about my experience filming. Filming is probably the most fun part of creating a movie.
The key to successful filming is planning. In my previous post, I mentioned planning your shots out while writing your script. The beautiful thing about having a plan is that it can be edited. You'll need to find locations and get permission to film there. For me, I tried to use all public locations so I wouldn't have to try to create a certain schedule based on someone else's time. When scouting locations it is good to visit the area or place when you plan to film so that you can estimate the amount of background noise (crowds, traffic, etc.) and where your light source would be. If outside this is very important because, unlike inside filming, you can not fake time of day by adding extra light sources (if the sun is coming in from the left, but you need it from the right you can not adjust this with a lamp). Something that many people forget about and something I forgot to do--Check the Weather! The light in a couple of my shots varies because it was partly cloudy--clouds would move in and out blocking my light source.
After you have found adequate locations, you'll need actors. Since I wrote my script, I already had a good idea of what I wanted my actors to look and act like. Since my movie was a short, student film, I used my friends which made things a lot easier since I had based my two characters on them. I tried to give the actors a good two week notice, but a series of unfortunate events and a huge theatre production forced me to seriously reconsider how, when, and who to film. It just so worked out that I "planned" filming on a day to day basis (or played it by ear as some would say). Most actors will want to know how long the project will last so you will have to give them an estimate. Always estimate double how much time you think it will take! Since I wanted a film approximately 15 minutes in length, I made sure I had plenty of time (I scheduled an entire morning to film the bulk of it and two afternoon sessions). My mentor told me a good rule of thumb--if you want 10 minutes of film, plan for 100 minutes of filming.
When it came down to the actual filming of the movie, I just tried to have fun. You have to be flexible with your direction. Several times I would have a shot planned out in my head and would try to get my actors into that mold when for them it seemed unrealistic and uncomfortable. Where I listened the shots look nice, but where I didn't...well...the angles are interesting.
But planning was really the key to my success.
The key to successful filming is planning. In my previous post, I mentioned planning your shots out while writing your script. The beautiful thing about having a plan is that it can be edited. You'll need to find locations and get permission to film there. For me, I tried to use all public locations so I wouldn't have to try to create a certain schedule based on someone else's time. When scouting locations it is good to visit the area or place when you plan to film so that you can estimate the amount of background noise (crowds, traffic, etc.) and where your light source would be. If outside this is very important because, unlike inside filming, you can not fake time of day by adding extra light sources (if the sun is coming in from the left, but you need it from the right you can not adjust this with a lamp). Something that many people forget about and something I forgot to do--Check the Weather! The light in a couple of my shots varies because it was partly cloudy--clouds would move in and out blocking my light source.
After you have found adequate locations, you'll need actors. Since I wrote my script, I already had a good idea of what I wanted my actors to look and act like. Since my movie was a short, student film, I used my friends which made things a lot easier since I had based my two characters on them. I tried to give the actors a good two week notice, but a series of unfortunate events and a huge theatre production forced me to seriously reconsider how, when, and who to film. It just so worked out that I "planned" filming on a day to day basis (or played it by ear as some would say). Most actors will want to know how long the project will last so you will have to give them an estimate. Always estimate double how much time you think it will take! Since I wanted a film approximately 15 minutes in length, I made sure I had plenty of time (I scheduled an entire morning to film the bulk of it and two afternoon sessions). My mentor told me a good rule of thumb--if you want 10 minutes of film, plan for 100 minutes of filming.
When it came down to the actual filming of the movie, I just tried to have fun. You have to be flexible with your direction. Several times I would have a shot planned out in my head and would try to get my actors into that mold when for them it seemed unrealistic and uncomfortable. Where I listened the shots look nice, but where I didn't...well...the angles are interesting.
But planning was really the key to my success.
Sunday, May 11, 2008
Original Script
I thought this would be interesting to post. Enjoy!
Title Screen
Library/Classroom
(tight shot on Cally and Dan working across from each other at a table ; Cally looks dazed or “zoned-out,” but is working mechanically. Dan is leaning back in his chair)
Dan: raises eyebrow and smirks Are you a Robot?
Cally: distracted hmmm? Looks up from work
Dan: Didn‘t think so….ugh, I’ve never been so bored in my life. How can you stand to work like this? I mean, honestly, who cares about Emily Bronte? I really wish you were a Robot so you could go back and time and kill the poor woman and put us out of our misery! Cally looks confused but goes back to work
Cally: Emily Bronte and her sister are important authors in British literature so our opinion of her really has no bearing on the assignment
Dan: Its only because she’s a woman. Gender shouldn’t excuse her lack of talent.
Cally: surprised You’ve read Wuthering Heights?
Dan: laughs and sits up in chair Yeah right, but from the Spark Notes, it sucked. Plus, (getting up) if she’s so great, how come she is only famous for one book? She’s a one hit wonder. walking away
Cally: Where are you going? It’s the middle of class!
Dan: walking away with back to Cally, calls over shoulder Its only study hall. I’m starving, I’m outta here.
Cally: scandalized You can’t leave!
Dan: smirks Watch me
Camera positioned behind the table to the side of Cally and Dan’s, so shot includes both that table and Cally sitting alone at table.
Table Girl #1: I feel so bad for her…
End of Day, Parking Lot
(Cally leaves classroom, walks down hallway, and is seen exiting the building and walking down towards parking lot. Long Shot over Cally’s shoulder reveals Dan leaning on her car drinking out of a fast-food cup. Camera pans back to Cally who looks *slightly* frustrated)
Cally: muttering I can’t believe him, why did I get stuck with him?
Dan: calling out I’ve decided to give Emily a second chance. Want to go grab a bite and get this thing done?
Cally: Didn’t you just eat?
Dan: That’s neither here nor there, my robotic friend. Come on, places to go people to see
Cally unlocks the car and the two get in
Cally: Don’t you drive? Dan shakes his head yes Where’s your car?
Dan: Good Question…
The two drive away
The Next Day--Cally’s House
(Cally and Dan clothing change; Camera inside Cally’s bedroom, shows her on bed reading. Something hits window. Camera outside shows Dan standing in Cally’s yard holding a stone in his hand. Over shoulder shot shows him throwing it at window. Camera shows Cally get up, go over to window and open it. Over shoulder shot shows Dan, smirking, standing in yard below.)
Dan: shouts Come On!
Cally: trying to be quiet What are you doing here?
Dan: Coming to collect you so we can go out
Cally: annoyed And why would I want to go anywhere with you?
Dan: Simple: To celebrate the imitating a snob successful completion of our final project
Cally: No, thank you. begins to shut window
Dan: Why not? Shed you’re A.I. For a while and have some fun!
Cally: What makes you so sure that I will have fun?
Dan: I’m not. Look, you’ll never know whether the cat’s alive or dead until you open the box.
Cally: What is that supposed to mean?
Dan: shrugs shoulders Ask Schrodinger. zoom on Dan The point is: you’ll never know the outcome until you give it a chance.
Cally: back to previous shot, looks around nervously Okay, okay. Camera over Dan’s shoulder, zoomed in on Cally and window, Cally shuts window.
Cally walks out her front door. Dan is waiting parked along the road, leaning up against his passenger side door. As Cally approaches, he opens the door for her. She gets in, he closes the door behind her, walks around to his side, gets in and they drive away. Camera inside back seat of car shows awkward silence.
Park
Next scene shows them at a park. Camera positioned behind car to show them getting out of vehicle.
Cally: What are we doing here?
Dan: Why not?
Cally: shrugs and smiles I just didn’t take you for the outdoorsy type
Dan: Well, you know what they say: Never judge a book by its cover. silence for a few moments. Someone should really print that on the cover of Wuthering Heights
Cally laughs and starts to walk away; for the first time Dan SMILES (not smirks)…Cally doesn’t see smile. Camera is behind them, showing Dan follow behind Cally and walk off. Camera follows Cally and Dan through park. (MUTED) Shows progression from them walking far a part (tension) to warming up (some hand gestures, smiles, smirks) to walking fairly close together, lots of laughter and movement (expressive body language and hand gestures). They reach ruins of old house and climb all over it--making jokes, laughing, playing, having a good time. (2-3minutes) Shot shows light through leaves (passage of time) Cally is sitting on huge fallen tree trunk, Dan is climbing.
Dan: I’m King of the World! Cally is noticeably more relaxed and easy-going, Dan starts to walk back down the trunk towards her. He is standing, she is sitting. Dan is looking proud of himself. You’re glad you came.
Cally: I guess you could say that. Cally and Dan smile at each other.
Outside Cally’s House
Dan’s car pulls up in front of Cally’s house. Dan and Cally get out.
Dan: That wasn’t so bad, now was it?
Cally: Why are you so proud of the fact we went to the park?
Dan: It wasn’t about the park, it was about you acting like a human for once
Cally: What’s that supposed to mean?
Dan: Seriously? sighs You act like a robot at school. No emotion. Nothing.You just mechanically do your work and answer questions.
Cally: That’s not true. Just because I don’t screw around and make a fool of myself doesn’t mean that I am a “Robot”
Dan: I don’t make a fool of myself Cally stares at him in disbelief
Cally: Whatever. Cally turns to walk away. Dan grabs her hand and pulls her to him, puts his hands on her face and forcefully kisses her. Cally “melts” or softens into the kiss.
Library/Classroom
(camera in doorframe of room, scans over seemingly normal children. There are two noticeably empty desks. Angle from back corner of room observes Cally walking into class.)
Angle from side shows Cally staring at Dan, smirking at her from one of the previously empty seats.
Freeze Frame
Reverts back to originally scene showing Cally staring at occupied desk, only this time there is no one
sitting in the desk. She looks visibly upset for a moment, but shakes it off and sits down at a desk. As Cally is gathering her books and preparing for class, other students are looking at her and whispering. The scene continues to depict a classroom setting.
Cally voice-over: Everyday is the same now. I guess he was right. I guess I am a robot. But what else is there for me? There’s no use in being upset. That won’t bring him back, that won’t stop some irresponsible, idiotic, drunk college student from slamming into him head on and taking him from me. I know I should just keep going. I try to rationalize my actions, but it always comes back to me; those short first few days we were together, when Dan taught me what it means to let your guard down, what it means to let yourself love--he taught me the mechanics of life.
The scene and film ends showing life moving on and everything falling into place.
Title Screen
Library/Classroom
(tight shot on Cally and Dan working across from each other at a table ; Cally looks dazed or “zoned-out,” but is working mechanically. Dan is leaning back in his chair)
Dan: raises eyebrow and smirks Are you a Robot?
Cally: distracted hmmm? Looks up from work
Dan: Didn‘t think so….ugh, I’ve never been so bored in my life. How can you stand to work like this? I mean, honestly, who cares about Emily Bronte? I really wish you were a Robot so you could go back and time and kill the poor woman and put us out of our misery! Cally looks confused but goes back to work
Cally: Emily Bronte and her sister are important authors in British literature so our opinion of her really has no bearing on the assignment
Dan: Its only because she’s a woman. Gender shouldn’t excuse her lack of talent.
Cally: surprised You’ve read Wuthering Heights?
Dan: laughs and sits up in chair Yeah right, but from the Spark Notes, it sucked. Plus, (getting up) if she’s so great, how come she is only famous for one book? She’s a one hit wonder. walking away
Cally: Where are you going? It’s the middle of class!
Dan: walking away with back to Cally, calls over shoulder Its only study hall. I’m starving, I’m outta here.
Cally: scandalized You can’t leave!
Dan: smirks Watch me
Camera positioned behind the table to the side of Cally and Dan’s, so shot includes both that table and Cally sitting alone at table.
Table Girl #1: I feel so bad for her…
End of Day, Parking Lot
(Cally leaves classroom, walks down hallway, and is seen exiting the building and walking down towards parking lot. Long Shot over Cally’s shoulder reveals Dan leaning on her car drinking out of a fast-food cup. Camera pans back to Cally who looks *slightly* frustrated)
Cally: muttering I can’t believe him, why did I get stuck with him?
Dan: calling out I’ve decided to give Emily a second chance. Want to go grab a bite and get this thing done?
Cally: Didn’t you just eat?
Dan: That’s neither here nor there, my robotic friend. Come on, places to go people to see
Cally unlocks the car and the two get in
Cally: Don’t you drive? Dan shakes his head yes Where’s your car?
Dan: Good Question…
The two drive away
The Next Day--Cally’s House
(Cally and Dan clothing change; Camera inside Cally’s bedroom, shows her on bed reading. Something hits window. Camera outside shows Dan standing in Cally’s yard holding a stone in his hand. Over shoulder shot shows him throwing it at window. Camera shows Cally get up, go over to window and open it. Over shoulder shot shows Dan, smirking, standing in yard below.)
Dan: shouts Come On!
Cally: trying to be quiet What are you doing here?
Dan: Coming to collect you so we can go out
Cally: annoyed And why would I want to go anywhere with you?
Dan: Simple: To celebrate the imitating a snob successful completion of our final project
Cally: No, thank you. begins to shut window
Dan: Why not? Shed you’re A.I. For a while and have some fun!
Cally: What makes you so sure that I will have fun?
Dan: I’m not. Look, you’ll never know whether the cat’s alive or dead until you open the box.
Cally: What is that supposed to mean?
Dan: shrugs shoulders Ask Schrodinger. zoom on Dan The point is: you’ll never know the outcome until you give it a chance.
Cally: back to previous shot, looks around nervously Okay, okay. Camera over Dan’s shoulder, zoomed in on Cally and window, Cally shuts window.
Cally walks out her front door. Dan is waiting parked along the road, leaning up against his passenger side door. As Cally approaches, he opens the door for her. She gets in, he closes the door behind her, walks around to his side, gets in and they drive away. Camera inside back seat of car shows awkward silence.
Park
Next scene shows them at a park. Camera positioned behind car to show them getting out of vehicle.
Cally: What are we doing here?
Dan: Why not?
Cally: shrugs and smiles I just didn’t take you for the outdoorsy type
Dan: Well, you know what they say: Never judge a book by its cover. silence for a few moments. Someone should really print that on the cover of Wuthering Heights
Cally laughs and starts to walk away; for the first time Dan SMILES (not smirks)…Cally doesn’t see smile. Camera is behind them, showing Dan follow behind Cally and walk off. Camera follows Cally and Dan through park. (MUTED) Shows progression from them walking far a part (tension) to warming up (some hand gestures, smiles, smirks) to walking fairly close together, lots of laughter and movement (expressive body language and hand gestures). They reach ruins of old house and climb all over it--making jokes, laughing, playing, having a good time. (2-3minutes) Shot shows light through leaves (passage of time) Cally is sitting on huge fallen tree trunk, Dan is climbing.
Dan: I’m King of the World! Cally is noticeably more relaxed and easy-going, Dan starts to walk back down the trunk towards her. He is standing, she is sitting. Dan is looking proud of himself. You’re glad you came.
Cally: I guess you could say that. Cally and Dan smile at each other.
Outside Cally’s House
Dan’s car pulls up in front of Cally’s house. Dan and Cally get out.
Dan: That wasn’t so bad, now was it?
Cally: Why are you so proud of the fact we went to the park?
Dan: It wasn’t about the park, it was about you acting like a human for once
Cally: What’s that supposed to mean?
Dan: Seriously? sighs You act like a robot at school. No emotion. Nothing.You just mechanically do your work and answer questions.
Cally: That’s not true. Just because I don’t screw around and make a fool of myself doesn’t mean that I am a “Robot”
Dan: I don’t make a fool of myself Cally stares at him in disbelief
Cally: Whatever. Cally turns to walk away. Dan grabs her hand and pulls her to him, puts his hands on her face and forcefully kisses her. Cally “melts” or softens into the kiss.
Library/Classroom
(camera in doorframe of room, scans over seemingly normal children. There are two noticeably empty desks. Angle from back corner of room observes Cally walking into class.)
Angle from side shows Cally staring at Dan, smirking at her from one of the previously empty seats.
Freeze Frame
Reverts back to originally scene showing Cally staring at occupied desk, only this time there is no one
sitting in the desk. She looks visibly upset for a moment, but shakes it off and sits down at a desk. As Cally is gathering her books and preparing for class, other students are looking at her and whispering. The scene continues to depict a classroom setting.
Cally voice-over: Everyday is the same now. I guess he was right. I guess I am a robot. But what else is there for me? There’s no use in being upset. That won’t bring him back, that won’t stop some irresponsible, idiotic, drunk college student from slamming into him head on and taking him from me. I know I should just keep going. I try to rationalize my actions, but it always comes back to me; those short first few days we were together, when Dan taught me what it means to let your guard down, what it means to let yourself love--he taught me the mechanics of life.
The scene and film ends showing life moving on and everything falling into place.
Scriptwriting
Originally, I was going to post one massive entry covering three huge topics I have yet to touch on, but I decide to break them down into three posts. Before I begin discussing scriptwriting I would like to make two comments:
1- I am not a professional filmmaker nor even claim to be a good one. This is all new to me. I do not claim to know all there is to know.
2- I know that the last post was marking the first planned day of filming and discussed soundtracking, but I realized I skipped over the most important part of filmmaking: SCRIPTWRITING (you can't make a movie without one)
When I decided that I would create a film, I thought it would be so easy and stressfree. That's not to say I didn't have fun, I had a blast, but for me the most difficult part was writing a script. When I interviewed a local film professor for the research paper part of my project, he stressed the importance of having a concept. I struggled with coming up with a concept for days. I wanted to create something that was believable, intelligent, unique, etc. I didn't realize that in trying to force my script to fit certain adjectives, I preventing it from being just those exact same things. I have lead a very interesting life up to this point and hundreds of people have told me I need to write a book based on it (which I plan to at some point). The problem is, when you write creatively to make something believable you have to write what you know, what you feel. It is very hard for me to put myself on display like that. It makes me feel self-conscious and I worry about being judged. It has taken me a long time just to be able to talk about my mother's illness and I can't discuss it most of the time. I didn't want to write something that could be connected to me because I didn't want to deal with my life and I didn't want to allow anyone else to either. I would sit in front of my computer for hours trying to come up with something, but nothing would come out. I had a story to tell, one I needed to tell, but I chose not to tell that story and I have regretted it since.
I knew that I wanted my film to be a sort of romance. The subjects would be love and loss and the major theme or concept would be: love has the power to transform even the most stubborn or unwilling. I would like to say that I don't think that love is singular. I don't subscribe to the theory that love only happens once--you only have one "true" love, one soulmate. Is there one love that fits more comfortably than the rest? Yes, but love is like a good pair of jeans, there are plenty out there, it just depends on your preference. This, being my belief, plays into the end of the film.
I wanted my main character to fall for someone unlike her, so that he could teach her something, but I didn't want a fairytale ending. I don't believe happy endings are entirely realistic. I also didn't want to be very specific. I find that when you are too specific with a character it becomes harder to write anything that might bring them harm. It is like once you name something, you are connected to it (i.e. a pet or stuffed animal).
I found that in trying to protect myself and express myself, my film has two distinct and very different sections of dialogue--the opening scenes and the ending scenes. The opening scenes contain a dialogue between the two main characters, Cally and Dan, and I find that it is the weakest part of the film. After showing the film to my AP European history class and my family (at two different showings), both agreed that their least favorite part was the beginning. It just didn't connect well to the rest of the film. I was trying to be witty, but the dialogue ended up being more disjointed and almost nonsensical. The closing scenes are a monologue from Cally speaking to Dan after their relationship has ended. To me, this was the most important part of the film because it was bringing everything together and I worked the hardest on it. I rewrote the monologue three times, the last time being on Tuesday night (May 6th) at about midnight. I needed to write something that would make me proud, so I stopped pretending like the film had nothing to do with me and I just wrote and this is what came out:
"Dan, Dan, Dan.
Where are you now?
Are you happy?
Why can't I stop thinking about you? There's no use in being upset, in being irrational. I keep telling myself that thinking about it won't bring you back. I can't bring you back. I can't retrieve you like a misplaced sock or some momento that was put in the wrong box. I expect to see you everywhere, smirking at me, laughing at me--school, the hallways, the parking lot, the park--all those places we used to go and you're not there. It doesn't matter whether or not you left voluntarily--you're gone and I'm still here. I'm here, stuck in the moments we had, haunted by the lesson you taught me, the lesson I've paid so dearly for. I'd give anything to give it all back. Whoever said its better to love and lost was a liar, an idiot. Before you, I only knew the mechanics of life--the technical aspects, the hows, the functions, but you taught me what living really is, to appreciate whats around me. I let my guard down and you showed me how beautiful life is and how painful it can be. Its like I've been sleepwalking for 16 years and finally I've woken up. But, I don't know what to do now. You woke me up and then left--I've got no instruction manual, no plan, nothing to guide me. But maybe that's the point. Maybe that was the purpose. Maybe life isnt something quantitative after all. Maybe I should just jump right in and worry about the rest later, after all, isnt that what you always did?"
After my two showings, this was everyone's favorite part. If I had been this honest throughout the whole of my movie, I think it would have been phenominal.
A few technical notes on scriptwriting: there are several scriptwriting publishing programs that format it correctly for you, but for my purposes and because time was a factor, I did not use one of these programs. Also, I find that if you incorporate the scene direction and the camera angles and shot descriptions into the script it makes filming easier because the actors know exactly what is going on.
Just to wrap this post up: when writing anything, just be true to yourself.
1- I am not a professional filmmaker nor even claim to be a good one. This is all new to me. I do not claim to know all there is to know.
2- I know that the last post was marking the first planned day of filming and discussed soundtracking, but I realized I skipped over the most important part of filmmaking: SCRIPTWRITING (you can't make a movie without one)
When I decided that I would create a film, I thought it would be so easy and stressfree. That's not to say I didn't have fun, I had a blast, but for me the most difficult part was writing a script. When I interviewed a local film professor for the research paper part of my project, he stressed the importance of having a concept. I struggled with coming up with a concept for days. I wanted to create something that was believable, intelligent, unique, etc. I didn't realize that in trying to force my script to fit certain adjectives, I preventing it from being just those exact same things. I have lead a very interesting life up to this point and hundreds of people have told me I need to write a book based on it (which I plan to at some point). The problem is, when you write creatively to make something believable you have to write what you know, what you feel. It is very hard for me to put myself on display like that. It makes me feel self-conscious and I worry about being judged. It has taken me a long time just to be able to talk about my mother's illness and I can't discuss it most of the time. I didn't want to write something that could be connected to me because I didn't want to deal with my life and I didn't want to allow anyone else to either. I would sit in front of my computer for hours trying to come up with something, but nothing would come out. I had a story to tell, one I needed to tell, but I chose not to tell that story and I have regretted it since.
I knew that I wanted my film to be a sort of romance. The subjects would be love and loss and the major theme or concept would be: love has the power to transform even the most stubborn or unwilling. I would like to say that I don't think that love is singular. I don't subscribe to the theory that love only happens once--you only have one "true" love, one soulmate. Is there one love that fits more comfortably than the rest? Yes, but love is like a good pair of jeans, there are plenty out there, it just depends on your preference. This, being my belief, plays into the end of the film.
I wanted my main character to fall for someone unlike her, so that he could teach her something, but I didn't want a fairytale ending. I don't believe happy endings are entirely realistic. I also didn't want to be very specific. I find that when you are too specific with a character it becomes harder to write anything that might bring them harm. It is like once you name something, you are connected to it (i.e. a pet or stuffed animal).
I found that in trying to protect myself and express myself, my film has two distinct and very different sections of dialogue--the opening scenes and the ending scenes. The opening scenes contain a dialogue between the two main characters, Cally and Dan, and I find that it is the weakest part of the film. After showing the film to my AP European history class and my family (at two different showings), both agreed that their least favorite part was the beginning. It just didn't connect well to the rest of the film. I was trying to be witty, but the dialogue ended up being more disjointed and almost nonsensical. The closing scenes are a monologue from Cally speaking to Dan after their relationship has ended. To me, this was the most important part of the film because it was bringing everything together and I worked the hardest on it. I rewrote the monologue three times, the last time being on Tuesday night (May 6th) at about midnight. I needed to write something that would make me proud, so I stopped pretending like the film had nothing to do with me and I just wrote and this is what came out:
"Dan, Dan, Dan.
Where are you now?
Are you happy?
Why can't I stop thinking about you? There's no use in being upset, in being irrational. I keep telling myself that thinking about it won't bring you back. I can't bring you back. I can't retrieve you like a misplaced sock or some momento that was put in the wrong box. I expect to see you everywhere, smirking at me, laughing at me--school, the hallways, the parking lot, the park--all those places we used to go and you're not there. It doesn't matter whether or not you left voluntarily--you're gone and I'm still here. I'm here, stuck in the moments we had, haunted by the lesson you taught me, the lesson I've paid so dearly for. I'd give anything to give it all back. Whoever said its better to love and lost was a liar, an idiot. Before you, I only knew the mechanics of life--the technical aspects, the hows, the functions, but you taught me what living really is, to appreciate whats around me. I let my guard down and you showed me how beautiful life is and how painful it can be. Its like I've been sleepwalking for 16 years and finally I've woken up. But, I don't know what to do now. You woke me up and then left--I've got no instruction manual, no plan, nothing to guide me. But maybe that's the point. Maybe that was the purpose. Maybe life isnt something quantitative after all. Maybe I should just jump right in and worry about the rest later, after all, isnt that what you always did?"
After my two showings, this was everyone's favorite part. If I had been this honest throughout the whole of my movie, I think it would have been phenominal.
A few technical notes on scriptwriting: there are several scriptwriting publishing programs that format it correctly for you, but for my purposes and because time was a factor, I did not use one of these programs. Also, I find that if you incorporate the scene direction and the camera angles and shot descriptions into the script it makes filming easier because the actors know exactly what is going on.
Just to wrap this post up: when writing anything, just be true to yourself.
Thursday, April 17, 2008
First Day Filming
This afternoon I am going to start filming! I am very excited. For me, the mere act of completing my script was a huge step. I constantly start new projects--novels, short stories, plays, etc., but I never finish them. This reminds me of a song by one of my favorite bands, Bright Eyes:
"First Day Of My Life"
This is the first day of my life
I swear I was born right in the doorway
I went out in the rain suddenly everything changed
They're spreading blankets on the beach
Yours is the first face that I saw
I think I was blind before I met you
Now I don’t know where I am
I don’t know where I’ve been
But I know where I want to go
And so I thought I’d let you know
That these things take forever
I especially am slow
But I realize that I need you
And I wondered if I could come home
Remember the time you drove all night
Just to meet me in the morning
And I thought it was strange you said everything changed
You felt as if you'd just woke up
And you said “this is the first day of my life
I’m glad I didn’t die before I met you
But now I don’t care I could go anywhere with you
And I’d probably be happy”
So if you want to be with me
With these things there’s no telling
We just have to wait and see
But I’d rather be working for a paycheck
Than waiting to win the lottery
Besides maybe this time is different
I mean I really think you like me
The song also fits my work-in-progress: "Mechanics."
Here is a snapshot of what the film is about:
Dan and Cally are polar opposites, but are force to work together on a project. Throughout the short span of completing the project, they become attracted.
I don't want to give the ending away, but if I were able to acquire the licencing rights to the Bright Eyes song above it would work perfectly in the context of the film. This brings me to a very important topic when discussing film-making:
Soundtracking
Soundtracks can add an extra layer to scenes within a film. To prove this I would like to discuss two recent Academy Award winning films: this year's Best Picture winner, "No Country for Old Men," and this year's Best Original Screenplay winner, "Juno."
In case you haven't seen it, "No Country for Old Men" features no added soundtrack or score within the film itself (during the ending credits there is part of the score written for the film playing in the background). You would think that this wouldn't make such a difference but it is amazing how much added suspense this creates. There is one scene in particular that this brings to mind: this pyschotic killer, Anton (played brillantly by Javier Bardem), is stalking the main character Llewelyn. Both are staying in the same hotel, within just a several rooms from each other. Before, a Mexican gang had been trying to murder Llewelyn but their shoes had given them away. While still inside his room, Anton removes his boots and preceeds to carry his weapon with him and go to the room the gang is in. Now, remember, there is no added soundtrack so as Anton is walking, there is no noise. When he busts down the door all you hear is the crack of the wood; each gunshot is heard with bloodcurdling clarity. If there had been some sort of added score, I don't think the seriousness or calculating nature of Anton would have as clear. It was absolutely incredible how well thought out this movie was.
Now moving to a film on the opposite end of the spectrum--Juno.
Most of you reading the blog have watched Juno (if not, go out and rent it and watch it this very instance!). The overall feel of Juno is very upbeat, hip, independent, and free-spirited. This is how the music in the soundtrack behind it is. The placement of the songs is almost ironic in that the lyrics heard behind the camera work are so literal that in any other film or done in any other manner they would be obsurd or laughable. One scene where the lyrics are almost this odd way of storytelling is the scene where, Paulie Bleaker, the father of Juno's baby, is getting ready for his morning run. In the background the Kinks' song "A Well Respected Man" plays. As he dresses, with almost obsessive precision the lyrics playing are: "and he wakes up in the morning and he goes to work a 9..." The music itself acts as a weirdly melodic narration of the thoughts, feelings, and actions of characters in the film. It adds another dimension to the film that makes it so much more unique and expressive.
On my own film, I have procured the rights to use several of Cynthia Ossowski's original songs. Being a huge fan of the sound and feel of the Juno soundtrack and indie and anti-folk, I wanted something that had a bit of a garage band, old-school teenage angsty folk feel. While not all of that decribes Cynthia's work, I think it will work beautiful with some of the longer, dialogue-less scenes.
I would like to end this post saying this: When making anything, its important to look at it as a whole, not as parts. This eases your workload and it gives the project a greater cohesion when completed.
"First Day Of My Life"
This is the first day of my life
I swear I was born right in the doorway
I went out in the rain suddenly everything changed
They're spreading blankets on the beach
Yours is the first face that I saw
I think I was blind before I met you
Now I don’t know where I am
I don’t know where I’ve been
But I know where I want to go
And so I thought I’d let you know
That these things take forever
I especially am slow
But I realize that I need you
And I wondered if I could come home
Remember the time you drove all night
Just to meet me in the morning
And I thought it was strange you said everything changed
You felt as if you'd just woke up
And you said “this is the first day of my life
I’m glad I didn’t die before I met you
But now I don’t care I could go anywhere with you
And I’d probably be happy”
So if you want to be with me
With these things there’s no telling
We just have to wait and see
But I’d rather be working for a paycheck
Than waiting to win the lottery
Besides maybe this time is different
I mean I really think you like me
The song also fits my work-in-progress: "Mechanics."
Here is a snapshot of what the film is about:
Dan and Cally are polar opposites, but are force to work together on a project. Throughout the short span of completing the project, they become attracted.
I don't want to give the ending away, but if I were able to acquire the licencing rights to the Bright Eyes song above it would work perfectly in the context of the film. This brings me to a very important topic when discussing film-making:
Soundtracking
Soundtracks can add an extra layer to scenes within a film. To prove this I would like to discuss two recent Academy Award winning films: this year's Best Picture winner, "No Country for Old Men," and this year's Best Original Screenplay winner, "Juno."
In case you haven't seen it, "No Country for Old Men" features no added soundtrack or score within the film itself (during the ending credits there is part of the score written for the film playing in the background). You would think that this wouldn't make such a difference but it is amazing how much added suspense this creates. There is one scene in particular that this brings to mind: this pyschotic killer, Anton (played brillantly by Javier Bardem), is stalking the main character Llewelyn. Both are staying in the same hotel, within just a several rooms from each other. Before, a Mexican gang had been trying to murder Llewelyn but their shoes had given them away. While still inside his room, Anton removes his boots and preceeds to carry his weapon with him and go to the room the gang is in. Now, remember, there is no added soundtrack so as Anton is walking, there is no noise. When he busts down the door all you hear is the crack of the wood; each gunshot is heard with bloodcurdling clarity. If there had been some sort of added score, I don't think the seriousness or calculating nature of Anton would have as clear. It was absolutely incredible how well thought out this movie was.
Now moving to a film on the opposite end of the spectrum--Juno.
Most of you reading the blog have watched Juno (if not, go out and rent it and watch it this very instance!). The overall feel of Juno is very upbeat, hip, independent, and free-spirited. This is how the music in the soundtrack behind it is. The placement of the songs is almost ironic in that the lyrics heard behind the camera work are so literal that in any other film or done in any other manner they would be obsurd or laughable. One scene where the lyrics are almost this odd way of storytelling is the scene where, Paulie Bleaker, the father of Juno's baby, is getting ready for his morning run. In the background the Kinks' song "A Well Respected Man" plays. As he dresses, with almost obsessive precision the lyrics playing are: "and he wakes up in the morning and he goes to work a 9..." The music itself acts as a weirdly melodic narration of the thoughts, feelings, and actions of characters in the film. It adds another dimension to the film that makes it so much more unique and expressive.
On my own film, I have procured the rights to use several of Cynthia Ossowski's original songs. Being a huge fan of the sound and feel of the Juno soundtrack and indie and anti-folk, I wanted something that had a bit of a garage band, old-school teenage angsty folk feel. While not all of that decribes Cynthia's work, I think it will work beautiful with some of the longer, dialogue-less scenes.
I would like to end this post saying this: When making anything, its important to look at it as a whole, not as parts. This eases your workload and it gives the project a greater cohesion when completed.
Subscribe to:
Posts (Atom)