DIR1 S10 Wkshp 2 - DIRECTING FOR FILM 1(FIL 2480 LECTURE...

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DIRECTING FOR FILM 1 (FIL 2480) TEXT AND SUB-TEXT Professor: Lori Ingle [email protected] NOTES DEFINITIONS Text : The surface meaning. The literal meaning of the words. Subtext : Content underneath the spoken dialog, or the literal text. The unspoken implication of the words. The emotion or objective underneath the words. The meaning as created through previous set ups. Subtext controls: Performance: inflections of the words, the timing of the gestures, the length of the silences, etc. Blocking: the subject’s movement, trajectory, speed, props, etc. Camera: the angle’s size, composition (OTS/Single/2S, 3S, etc/POD/EOA), relative position, etc. Editing: multiple shots order, timing, composition, etc. Writing: dialog and action juxtaposition and order Context : The set of circumstances or facts that surround a particular event or situation, influencing its meaning or effect. DEFINING QUESTIONS The following questions define the decisions made by the Writer, Director, Editor, and Actor about the text, subtext, and context of a scene and each internal beat. What is the scene about? Who is the scene or beat about? Clip: “As Good As It Gets” – Crazy F. Scene JEHLINGER’S BEAT PowerPoint Lecture: Jehlinger’s Beat (Available on the SkyDrive) Jehlinger’s Elements • Emotion • Objective • New Information or New Event Jehlinger’s Principles • Stay with one objective and one emotion until something occurs to change it. • Only two things can “occur” to change objectives and emotions: New information or a new event Additional Elements • Transition • Decision Example: Beat Breakdown as Grid CHAR A EMO CHAR A OBJ A’s DECISION/ACTIO N (Becomes an EVENT for B ) CHAR B EMO CHAR B OBJ B’s DECISION/ACTIO N (Becomes an EVENT for A ) DEGREE Rev. 1/10 1 of 11
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DIRECTING FOR FILM 1 (FIL 2480) TEXT AND SUB-TEXT Professor: Lori Ingle [email protected] Example: Micro-Beat Breakdown on Script Page In the scene below, the breakdown has been applied to a script page, noting the character emotions, objectives, and decisions as they occur to each character. The events are circled with the names of the characters noted who are affected by the new information. The scene objectives have been noted for overall focus in the narrative analysis. Excerpt from Glengarry Glen Ross , D. Mamet Rev. 1/10 2 of 11
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DIRECTING FOR FILM 1 (FIL 2480) TEXT AND SUB-TEXT Professor: Lori Ingle [email protected] Example: Variations of the breakdown grid Relationship Between Three Characters CHARA EMO CHARA OBJ DECISION / EVENT CHARB EMO CHARB OBJ DECISION / EVENT CHARC EMO CHARC OBJ DECISION/ EVENT Relationship Between Two Characters and an External Event Relationship between Two Characters where Decision and Event are Not the Same CHAR A EMO CHAR A OBJ DECISION EVENT CHAR B EMO CHAR B OBJ DECISION/ EVENT POINT OF VIEW AMOF Pg 197-199, 222-225 Invisible imaginary ubiquitous winged witness – the audience (the Director for the audience). “Every single decision related to camera position, image size, and editing pattern is determined by the
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DIR1 S10 Wkshp 2 - DIRECTING FOR FILM 1(FIL 2480 LECTURE...

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