DIR1 S10 Wkshp 4 - DIRECTING FOR FILM 1 (FIL 2480) LECTURE...

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DIRECTING FOR FILM 1 (FIL 2480) BLOCKING Professor: Lori Ingle lingle@mail.ucf.edu Workshop Due Monday 9am, Ingle’s Film Office Box, Com 121) NOTES BLOCKING AS NARRATIVE The goal is to make physical what is internal to the character with Props and Movement. This means driving the blocking with the emotions, objectives, and decisions. Blocking and narrative usually come together during rehearsal with the director and the actors, in response to their individual analysis of the underlying motivations (subtext). Props, their placement, and the character’s reaction to them can often tell the audience more than the dialog. Some simple questions to ask about a given moment: Movement Where does the character want to go? What does the character get by moving there? What would drive the character to leave this spot? What makes it hard for the character to get where it wants to go? How does the character feel about the other person? Whose scene (or moment) is it? Who do we want the audience to empathize with? What narrative beat elements are driving the character (emotion, objective, event, decision)? Props What props would cause conflict? How do the characters feel about the props? What do they do about their feelings in terms of action? When do they “do” their action? At what line? How does the character feel about the other subject (such as a person)? Whose scene is it? Who do we want the audience to empathize with? BLOCKING AS A SHOW OF AGGRESSION Thinking of one of the characters as an aggressor and the other character as the one who retreats can help parse the scene into motivated blocking. These roles can shift within the scene to increase dynamism. Look for places in a scene where one character pushes emotionally and the other character retreats. Perhaps one of the characters needs to hide. How would this manifest in behavior, movement, and use of props? BLOCKING AS A MAGNET Another way to think of blocking is to think of the relationships between characters like a magnet. The internal forces within the characters can create dynamic movement. Like a magnet, characters can be standing apart and come together when the need arises. Likewise, characters can be together, and as the
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DIR1 S10 Wkshp 4 - DIRECTING FOR FILM 1 (FIL 2480) LECTURE...

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