Yeah, we're getting geekier and more dry by the day but I also punch peopel so I can.... Ooops I romised i wouldn't let my lack of "life" to creep its way into this blog.
OK I have done very freaky things in clubs all around the country not to mention various "Spring Break" type events - god I could write a movie about it. Get back on track... ehhh shut up. Listen this post is about serious stuff. ....yeah, yeah, yeah.
Excuse my prsonality - excuse me - banality issues.
At any rate a new frontier has emerged after months of "dialog-action-personality" study we have found that the diverse types of genre require an abstract pattern to accurately represent the desired "scene-emotions." Much of this can be gleaned from the study of the active\reactive patterns of the involved personality but that more so influences description of character action rather than scene - "mise en scene" - description.
The key therefore lies in the use of abrupt, curt descriptive language. Scenes of motion will then become quick cuts
The cars smash together...smashing side to side....pedestrians scream
Because these are not descriptions such as character movement
He drops down amongst them a whirling dervish of blinding speed.
the shortness of the lines denote the pace. This works even when the pace of generated action is horror film limping slow like
The creature growls menacingly.....its flashing eyes reflect in the low light...it approaches on all fours....deformed.....nearly human...Jennifer stops...breathless.....eyes wide....legs immobile
When these lines are analyzed they contain the minimal information, doled out in visual chunks, some rooted in imagination, some rooted in emotional state, others vividly descriptive.
Because the script is merely a visual guide for a film maker it's a tightrope to grab the reader but also give the film maker a map that is direct and FILMABLE AS IS. (Some readers need Godard like thugs need Jesus.)
Some people believe in the multiple draft theory, but that's not the science in the craft. The science in the craft requires due diligence of thought before the draft is accomplished. As a software developer who has daily business in their hands I have learned the discipline of careful architecture. Film making is even more complex than any web site as the only linearity is time. The dialog-action narrative will bump and assuage, turn and rotate, characters adapt, change and are emotionally forwarded by a change in situation and intensity.
That's where creative abstraction can enable a more in-depth picture as it doesn't complicate but isolates traits, reactive emotion, dynamic interaction and overarching thematic construction. There have been millions of visual narratives presented all over the world and this allows for enough diverse comparison that modern film makers need just review their "list of catalogued cinematic examples," some of which may be found in the review of old movies, some may be be found in the various analyses of "the original film makers." Be they right or wrong they started the ball rolling and a true embrace of the tenets of cinema and not the trappings of fame can lead to a freeing of words to emotion.
Welcome to the Revolution.
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