The chapters in the book 'On Film Making - An Introduction to the Craft of the Director' written by Alexander Mackendrick has helped me to understand how to create a story and how to show this on screen effectively, and how to play with the audience's minds, because ironically, the art of film making and story telling, is not what you see, but what you don't, and to make the audience fill in the gaps in a way in which you want them to, is a accomplishment in itself.
In the book, it states that 'One of the essential components of drama is tension, and may or may not be the result of conflict between the people on the screen. Tension in the imagination of the audience that leads to curiosity, suspense and apprehension'. Therefore I think that the dialogue within a film is at its best when it serves a direct purpose and provides a reaction in the other characters and even audience members, because this is the essence of drama and I think, is at the pin point of tension and enigma.
Reading this, and also having ideas for the coursework trailer, I think it will be important to build up tension, through close ups and imitate sound rather than dialogue and to perhaps not to display the reason for the tension. For example, if a couple are having an argument, perhaps it may be wise in the trailer, not to display why, to create enigma and mystery, to keep key aspects of the plot well hidden. This can be seen clearly in horror movies when characters get intensely scared, and because we don't know what they're scared of, we are also afraid, therefore capturing the audience's full attention.
'On Film Making...' continues to guide readers into what and what not put onto screen - the most important being 'Don't put into a script what the camera cannot photograph in action'. Whilst with the emergence of high quality technology such as CGI and recent developments in green screening and animation, this is becoming ever more avaliable to directors who want to film what is not possible in true-to-life situations, for a very low budget trailer, we will certainly be sticking this concept, and is certainly something to bare in mind when script writing. It also states that 'in a well told story, every fictional story has a network of character interactions. Characteristics of the protagonist and antagonist are revealed only through relationships with others or in circumstances of events.'
In terms then, of making a trailer for my coursework, I think it may be wise when thinking of characters and connections, to draw the characters and link all of their experiences, relationships, their feelings towards each other, in order to have a deeper understanding of the characters we've created, and will therefore be able to display the character's story accurately.
Director's Notes
As a director, 'On Film Making...' suggests that for any film that we're planning to make, there are some key questions we must be able to answer.
'1. How many characters are there in your story? - Select three 'principles', remember that drama and tension is easily created through characters reacting to each other on screen, so try and stay away from 'there is only one main character'. Often it is most effective to have three main characters as there is then a triangular relationship, perhaps a central character who is being pulled in opposite directions by the others. Note - that in films with dramatic scenes where there is only one character present, these tend to be the scenes where the enviroment itself plays the part of the protagonist, and makes the central character react to their surroundings, horror movies is an obvious example.
2. Who is your point of view character? Sometimes it can be difficult to decide between who is the antagonist and who is the protagonist. Ask yourself: by the end of the story, what does your character hope to achieve? And what is required to make this achievable whilst creating a visible result on screen? But there also has to be a negative objective - to try and prevent the end goal from happening - but this too should be a result of an action.' For Example - A girl wants a boy to be her boyfriend (the achievement). But the boy isn't interested, due to the fact that he has a date with the girl's horrible half sister (negative objective), but only because the half sister has found out the girl likes this boy, and wants to spite her (the result of an action).
3. How does the conflict lead to crisis? What is at stake for the main characters? Is there a confrontation scene? In a well constructed story the audience is held in expectation of what is called a obligatory scene brought about by a reversal (or series of reversals). The obligatory scene (the scene that the audience expects and looks forward to), classically expresses the theme and the story's central moral.
'1. How many characters are there in your story? - Select three 'principles', remember that drama and tension is easily created through characters reacting to each other on screen, so try and stay away from 'there is only one main character'. Often it is most effective to have three main characters as there is then a triangular relationship, perhaps a central character who is being pulled in opposite directions by the others. Note - that in films with dramatic scenes where there is only one character present, these tend to be the scenes where the enviroment itself plays the part of the protagonist, and makes the central character react to their surroundings, horror movies is an obvious example.
2. Who is your point of view character? Sometimes it can be difficult to decide between who is the antagonist and who is the protagonist. Ask yourself: by the end of the story, what does your character hope to achieve? And what is required to make this achievable whilst creating a visible result on screen? But there also has to be a negative objective - to try and prevent the end goal from happening - but this too should be a result of an action.' For Example - A girl wants a boy to be her boyfriend (the achievement). But the boy isn't interested, due to the fact that he has a date with the girl's horrible half sister (negative objective), but only because the half sister has found out the girl likes this boy, and wants to spite her (the result of an action).
3. How does the conflict lead to crisis? What is at stake for the main characters? Is there a confrontation scene? In a well constructed story the audience is held in expectation of what is called a obligatory scene brought about by a reversal (or series of reversals). The obligatory scene (the scene that the audience expects and looks forward to), classically expresses the theme and the story's central moral.
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