Embed Size (px)
DESCRIPTION
notes on filmmaking
Citation preview
Notes on Filmmaking
…from transmedia consultant Chester Elijah Branch, Rian Johnson,
and others.
The audio is from an interview with Rian Johnson. The screenwriter for… Breaking Bad
The audio is from an interview with Rian Johnson. The screenwriter for… Breaking Bad Brick
The audio is from an interview with Rian Johnson. The screenwriter for… Breaking Bad Brick and most notably Looper
He’s gong to be sharing his insights into Writing and Directing
He starts talking about DCP.
The digital looked good.
Then I saw a print struck directly off
the negative.
It was beautiful. Then I saw a print struck directly off
the negative.
It was beautiful.
The release print was one
generation down
Then I saw a print struck directly off
the negative.
It was beautiful.
The release print was one
generation down
My favorite format was a few
generations down.
Then I saw a print struck directly off
the negative.
Side by Side
For more on this, check out the movie Side by Side. It goes into greater detail about this ‘debate.’
The digital film debate bores me.
So that ends that. Moving on to ‘indie’
filmmaking.
REMEMBER SHORT FILMS CAN LEAD TO FEATURES
When I tried to make a feature, I spent all my time
thinking about money.
When I tried to make a feature, I spent all my time
thinking about money.
It detracts from the entire creative process
When I tried to make a feature, I spent all my time
thinking about money.
Take note. This is the trap most indie
filmmakers fall into.
It detracts from the entire creative process
When I tried to make a feature, I spent all my time
thinking about money.
Take note. This is the trap most indie
filmmakers fall into.
It detracts from the entire creative process
I went back to making short
films, like when I was in college.
When I tried to make a feature, I spent all my time
thinking about money.
Take note. This is the trap most indie
filmmakers fall into.
It detracts from the entire creative process
I went back to making short
films, like when I was in college.
Writers and directors: Focus on
doing this.
The screenwriting process
I use notebooks and sketch out
ideas
The screenwriting process
I use notebooks and sketch out
ideas
This is a good way to avoid
distractions on the internet.
The screenwriting process
I use notebooks and sketch out
ideas
This is a good way to avoid
distractions on the internet.
‘Writing is 3% talent and 97% not being distracted by
the internet.’ - @AdvicetoWriters
The screenwriting process
Structuring comes first.
Dialogue is the last 10% of the
process.
The less you depend on
dialogue the better
The screenwriting process
Structuring comes first.
Dialogue is the last 10% of the
process.
The less you depend on
dialogue the better
Dialogue should only be, at the
max, 3 lines per person.
The screenwriting process
Structuring comes first.
Dialogue is the last 10% of the
process.
The less you depend on
dialogue the better
Dialogue should only be, at the
max, 3 lines per person.
"The more dialogue I
took away, the better the
scenes got" - Paul Haggis
The screenwriting process
I use notebooks and sketch out
ideas.
The screenwriting process
I use notebooks and sketch out
ideas.
This is a good way to avoid
distractions on the internet.
The screenwriting process
I use notebooks and sketch out
ideas.
This is a good way to avoid
distractions on the internet.
Neustadter Has had a similar problem with the
internet.
The screenwriting process
One day I can write 60 pages. The next day, I
wind up spending 8 hours on Facebook.
He wrote 500 Days of Summer and The Pink Panther 2.
The screenwriting process
I use notebooks and sketch out
visuals too.
I also, unfortunately, procrastinate
The screenwriting process
I use notebooks and sketch out
visuals too.
I also, unfortunately, procrastinate
The best writers get up in the morning and write for four hours.
The screenwriting process
I use notebooks and sketch out
visuals too.
I also, unfortunately, procrastinate
The best writers get up in the morning and write for four hours.
Take note of what he’s saying here. If you just write one page
a day, you’ll have a feature script in 3 months.
LOOPER was on the Blacklist
We rehearsed over and over again.
We rehearsed over and over again.
Rehearsal with actors helps the scenes feel
more natural
We rehearsed over and over again.
This is more important than spending your little energy
on fight/chase scenes and fx.
Rehearsal with actors helps the scenes feel
more natural
We rehearsed over and over again.
This is more important than spending your little energy
on fight/chase scenes and fx. This is why you have a 2nd Unit DP. More on
that later.
Rehearsal with actors helps the scenes feel
more natural
For more on outsourcing Spfx check this out…
Rian Johnson will talk a little about this but go here for more on atomic fiction and there use of the Amazon Cloud.
Storyboarding
It helps you see the big picture.
Storyboarding
It helps you see the big picture.
It also helps you communicate it
to your DP.
Storyboarding
It helps you see the big picture.
It also helps you communicate it
to your DP.
Overhead diagrams are
the best forms of
storyboarding.
Storyboarding
It helps you see the big picture.
It also helps you communicate it
to your DP.
Overhead diagrams are
the best forms of
storyboarding.
It keeps continuity as
you write your shot list.
Storyboarding
It helps you see the big picture.
Honestly, if you can work out the logistics of each scene with overhead diagrams and a clean shot list, you’ll be gold when you walk on the set.
Storyboarding
It helps you see the big picture.
There will be occasional bumps in the road.
Storyboarding
It helps you see the big picture.
There will be occasional bumps in the road.
But listening to why changes are happening, and leaning into the change, could improve the scene.
The first thing you do is talk with the
actors.
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
Some great movies only have, basically,
2-4 locations. But they also have good acting.
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
My Dinner With Andre
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
My Dinner With Andre Cast Away 12 Angry Men
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
My Dinner With Andre Cast Away 12 Angry Men Lifeboat
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
My Dinner With Andre Cast Away 12 Angry Men Lifeboat Rear Window The Breakfast Club
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
My Dinner With Andre Cast Away 12 Angry Men Lifeboat Rear Window The Breakfast Club Buried Source Code
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
The first thing you do is talk with the
actors.
At the end of the day, what the actors are doing in front of the
camera is all that matters.
This is why, for the sake of time, many
indie directors employ 2nd Unit DPs
You do end up needing to have someone shoot
things simultaneously.
You do end up needing to have someone shoot
things simultaneously.
For more on the 2nd Unit DP go here. and here for
filmmaking iPhone apps
Rian cut out 45 minutes of
extended scene material.
Rian cut out 45 minutes of
extended scene material.
Rian cut out 45 minutes of
extended scene material.
All in all, The more
scenes you can keep
between 1-2 pages, the
better.
Rian cut out 45 minutes of
extended scene material.
All in all, The more
scenes you can keep
between 1-2 pages, the
better.
The next slide shows the best method for
writing scene structure.
Temp-score really helps develop the
tone.
Temp-score really helps develop the
tone.
I’ll use temp stuff in the rough cut.
Temp-score really helps develop the
tone.
It helps to start talks about score early on in the script
phase. I’ll use temp stuff in the rough cut.
I came up with all these rules of the
sci-fi world.
I came up with all these rules of the
sci-fi world.
I felt like if I had to explain it… it
would be one of the movies where everyone is always
spouting off exposition.
I came up with all these rules of the
sci-fi world.
I felt like if I had to explain it… it
would be one of the movies where everyone is always
spouting off exposition.
Inception much?
I came up with all these rules of the
sci-fi world.
I felt like if I had to explain it… it
would be one of the movies where everyone is always
spouting off exposition.
Inception much?
Do you think how the sci-fi world works takes
away from audience interpretation?
I came up with all these rules of the
sci-fi world.
I felt like if I had to explain it… it
would be one of the movies where everyone is always
spouting off exposition.
Inception much?
Do you think how the sci-fi world works takes
away from audience interpretation?
Story-wise, just provide all the info you need to know.
I wanted the first viewing of the film to be from Young Joe’s POV, so linear would
not work.
Using year markers helped a lot with
the non-linear narrative confusion.
I wanted the first viewing of the film to be from Young Joe’s POV, so linear would
not work.
Using year markers helped a lot with
the non-linear narrative confusion.
I wanted the first viewing of the film to be from Young Joe’s POV, so linear would
not work.
The voice-overs were more about
EMOTIONAL impact.
Using year markers helped a lot with
the non-linear narrative confusion.
I wanted the first viewing of the film to be from Young Joe’s POV, so linear would
not work.
The voice-overs were more about
EMOTIONAL impact.
“To write good dialogue, pay as much attention to feelings as words.” – D.
Swain
Using year markers helped a lot with
the non-linear narrative confusion.
I wanted the first viewing of the film to be from Young Joe’s POV, so linear would
not work.
The voice-overs were more about
EMOTIONAL impact.
“To write good dialogue, pay as much attention to feelings as words.” – D.
Swain
Aside from this purpose ‘avoid voice-overs’ -
Patricia Cooper
I tossed out the back 60 pages and
borrowed from the movie Witness.
I borrowed from Casablanca to get
Young Joe’s character arc.
I tossed out the back 60 pages and
borrowed from the movie Witness.
I borrowed from Casablanca to get
Young Joe’s character arc.
I tossed out the back 60 pages and
borrowed from the movie Witness.
Take note here on how sci-fi writers will borrow from
very straight-forward drama.
I borrowed from Casablanca to get
Young Joe’s character arc.
I tossed out the back 60 pages and
borrowed from the movie Witness.
Take note here on how sci-fi writers will borrow from
very straight-forward drama.
“If you want to write sci-
fi, read everything but sci-fi” – Michael Moorcock
I guess the trick is not to think about storytelling as making as many film references as possible.
You have to be driven by a genuine
desire to say something.
I guess the trick is not to think about storytelling as making as many film references as possible.
You have to be driven by a genuine
desire to say something.
I guess the trick is not to think about storytelling as making as many film references as possible.
‘Most screenwriters who
don’t make it… don’t have
anything to say.’- D. Goddard
You have to be driven by a genuine
desire to say something.
I guess the trick is not to think about storytelling as making as many film references as possible.
“have something to say
and say it as clearly as you can” – M. Arnold
‘Most screenwriters who
don’t make it… don’t have
anything to say.’- D. Goddard
You have to be driven by a genuine
desire to say something.
I guess the trick is not to think about storytelling as making as many film references as possible.
“have something to say
and say it as clearly as you can” – M. Arnold
‘Most screenwriters who
don’t make it… don’t have
anything to say.’- D. Goddard
“I can teach you to write better but I can’t teach
you how to have something to say” – A.
Patchett
About Me
I'm a transmedia story consultant. I consult
screenwriters, novelists, filmmakers,
video game developers, and film festivals. I've also guest lectured at several universities.
My Free App
You can download the
android version here.
You can also download
my iPhone version here.
My Parables Today site reaches 2,000+ views daily, 20,000+
monthly and it has reached 220,000+ since 2010.
To contact me, schedule an online
workshop, or in-class lecture, you
can send an email to:
