BLOCKING AND COMPOSITION AS VISUAL STORYTELLING

A Research Proposal Presentation by Caleb Moody

MY PROJECT: SHORTFALL

A crime/drama short film

(Zaric, 2019)

A MAN RISKS LOSING HIS NEWLY FOUND FREEDOM TO RECOVER A

HIDDEN FORTUNE IN ORDER TO START A NEW LIFE WITH HIS DAUGHTER.

MY RESEARCH QUESTION

Making a frame meaningful

HOW CAN I ANALYSE AND EMPLOY STAGING AND BLOCKING METHODS AS A WAY TO ADD SUBTEXT WHICH

ENHANCES THE NARRATIVE

WHY THIS QUESTION?As I have contemplated what question I want to look at this year that would benefit my desire to be an effective storyteller on film, I realised I had not given much thought to the specific staging and blocking of actors within a scene or shot as an aspect of visual storytelling. In my initial research it appears I am not alone in this and is something often overlooked by many modern directors.

It appears that consideration rarely goes beyond face value, with directors choosing to opt for more coverage and more shots to convey meaning.

This is something I want to address in my filmmaking so it at least begins to become a natural part of my thought processes as a director.

(Spielberg, 2002)

(Refn, 2011)

WHY THIS QUESTION (CONT’D)Thoughtful blocking and deep staging informs the audience of each individual’s motivation and emotion as well as the situation as a whole. All this adds visual subtext deeper than what is spoken and creates a sum far beyond the total of each part (Renee, 2019).

I am very interested in ways to add depth and subtextual layers to my films visually. I want to give the audience more information in a way that engages and respects their intelligence. Therefore I need to spend time in research and thoughtful process of visual storytelling through blocking and by extension.

(Welles, 1941)

“BLOCKING AND STAGING A SCENE LIKE SPIELBERG, KUBRICK, AND INARRITU”The importance of this article is that it gives a clear definition of what ‘blocking’ and ‘staging’ mean.

Blocking refers to how any number of actors move around and interact with the space, environment and props during a production (Lannom, 2019). He goes on to say that when it comes to blocking in film, due to more locations or space unlike in the theatre, it can include things such as vehicles and moving props.

Staging refers to the movement and placement of objects within the frame (Lannom, 2019).

Lannom goes on to talk about how Steven Spielberg blocked and staged a scene in Minority Report (2002) full of exposition but is made dynamic and interesting by adding subtext through blocking and staging.

This is an example of how thoughtful blocking can truly elevate a scene.

“3 THINGS KUROSAWA'S 'HIGH AND LOW' CAN TEACH YOU ABOUT BLOCKING”This article by No Film School along with the included video articulates three points about why blocking is so important and how it can just as effective as a storytelling device as camera movement (Renee, 2019).

1. Effective blocking brings attention to a character’s body language. Our internal emotions, motivations and thoughts have a way of expressing themselves through our body language. Blocking utilises this to add subtext to what is or isn’t being said.

2. How characters are arranged in relation to each other within a space can create a coalesced image that expresses an idea greater than the individual parts.

3. Good blocking informs the audience where to look. Many things draw the eye so planning the blocking will help consolidate the image and make sure that the information gets across to the audience without having to use a lot of close ups (which is something I like to avoid).

“BLOCKING PEOPLE”In this article from Videomaker, Kyle Cassidy talks about the blocking from a practical point of view but also shows how practicality and storytelling can go hand in hand.

He takes the example of a table scene, usually one of the more complicated set ups to film. As an example, Cassidy takes a scene from Steven Spielberg’s Jaws (1975) where three characters are in a cabin talking. Chief Brody is standing alone in the corner while two other characters sit behind a table, cheated towards the camera, talking about scars. Spielberg blocks the actors like this for a few reasons.

(Spielberg, 1975)

“BLOCKING PEOPLE” (CONT’D)Firstly, cheating two actors towards the camera enables the capture of their performance is a single shot. However the main reason is that separating Brody entirely from the others emphasises his isolation from the world he is currently in (Cassidy, n.d).

Cassidy also makes a point about blocking and the movement of people: How people move tells us a lot about who they are and creates dynamics, however movement has to be believable and therefore it needs to be motivated by the character.

(Spielberg, 1975)

CHRISTOPHER NOLANNolan is my favourite director who has a distinctive style but one that again is mostly classical in its approach. Nolan also has a preference to realistic, natural lighting and his images have an organic feel to the movement and image quality.

Although not quite so well known for his blocking, Christopher Nolan is a master of his art and does use a lot of specific blocking in his films to convey meaning. Scenes like in the Dark Knight (2008), where the Joker breaks into Bruce Wayne’s party and the moment when Cobb finds Mal in Limbo at the end of Inception (2010) come to mind as well as.

(Le Caer, n.d.)

STEVEN SPIELBERGHaving already mentioned two examples of his work, it shouldn’t come as a surprise that one my chosen contemporary practitioners is Steven Spielberg. He truly is one of the few modern directors who have mastered blocking and uses it to great effect in his films.

He has a classic style to his films which is an aesthetic I really like. He also tends to make exciting thriller and action films, which is something I want to do with my project.

(Buchan, n.d.)

GARETH EDWARDSEdwards is a newer director on the scene. I have chosen him due to the general aesthetic he gives to his films. His style is grounded and not flashy, yet there is an inherent beauty to his work and has (somewhat like Nolan) an organic feel to his images.

(French, n.d.)

Note: All three directors tend to use anamorphic lens which, although not particularly natural, help give an organic feel.

REFERENCESZaric, M (Photography). (2019). “Marija Zaric”. Image retrieved from Unsplash: https://unsplash.com/@simplicity

Refn, N (Director). (2011). Drive [Motion Picture]. United States. Digital Image retrieved from FilmGrab: https://film-grab.com/2012/07/01/drive/#

Spielberg, S (Director). (2002). Catch Me If You Can [Motion Picture]. United States. Digital Image retrieved from FilmGrab: https://film-grab.com/2016/01/14/catch-me-if-you-can/#

Welles, O (Director). (1941). Citizen Kane [Motion Picture]. United States. Digital Image retrieved from FanCaps.net: https://fancaps.net/movies/Image.php?name=Citizen_Kane_Screenshot_609&imageid=2449920

Lannom, S. (2019). Blocking and Staging a Scene like Spielberg, Kubrick, and Inarritu. Retrieved from Studiobinder: https://www.studiobinder.com/blog/blocking-and-staging-scenes/#Staging-Vs-Blocking.

Renee, V. (2019). 3 Things Kurosawa's 'High and Low' Can Teach You about Blocking. Retrieved from No Film School: https://nofilmschool.com/akira-kurosawa-teaches-blocking.

Cassidy, K. (n.d.). “Blocking People”. Retrieved from Videomaker: https://www.videomaker.com/article/c10/15091-blocking-people.

Buchan, D (Photographer). (n.d.) “Steven Spielberg”. Shutterstock. Image retrieved from Variety: https://variety.com/2019/film/news/spire-in-the-woods-steven-spielberg-amblin-1203130679/

Le Caer, V (Photographer). (N.d.). “Christopher Nolan”. Shutterstock. Image retrieved from Deadline: https://deadline.com/2019/05/christopher-nolan-tenet-movie-cast-release-date-1202620596/

French, K (Photographer). (N.d.). “Gareth Edwards”. Warner Bros. Image retrieved from Business Insider Australia: https://www.businessinsider.com.au/star-wars-spinoff-gareth-edwards-2014-5?r=US&IR=T

INTERNSHIP DEVELOPMENT➤ Benn Jae, having met him early last year and because of my film doing well, told me at

the Think And Create event that my internship 'was taken care of' and he had already talked to someone about it. Jae has told me he will get me along to some shoots with him next year, including a week of getting a commercial job. This could include, pitching both the business idea as well as the creative idea for the video. He has been busy over the summer and I don't expect to hear from him until school starts.

➤ There is also a production company in Queenstown called Storyworks with whom I have been in contact over the last 6 months who have said that they may be able to get me onto a few of their projects.

➤ Alix Whittaker is an acquaintance who runs a production company in Auckland, she said she has a number of contacts around the country she can put me in touch with. I have sent her an email but haven’t heard back yet.