“[A good artist is] one with imagination and the ability to tell a good story. How well a man draws cuts no ice with me, if what he’s trying to express comes out vague and choppy.” ‐ Jack Kirby
(Sherman cited in Morrow (ED.) 2004, (vol.1) p. 181).

Tuesday, July 31, 2012

Week 2: Recap on Tute film clip examples

Nothing too in-depth here, just talking briefly on some of those examples from after the lecture yesterday :)

Chuck Jones's "Feed the Kitty":

Storytelling through storyboarding strong character poses and expressions, clever framing (particularly towards the end of Act 2, where he is locked outside, and forced to look in through the window), timing, editing, and all without any dialogue from the main protagonist (Marc Anthony) at all. Remember my 'Rain Man' example? The Kitty never changes. But with the escalating conflicts that occur, Marc Anthony the Dog  experiences a full range of emotions until the final resolve at the end. Narrative storytelling 101 :D

Inglourious Basterds: Chapter 1

Couldn't find a clip that included the entire 15 or so minutes, but at least this clip above shows a snippet, and the clip below shows the shoot out- the only selection of shots in this scene that changes the plane on which the camera was sitting at, apart from the vertical pan into the floorboards in show the people hiding (which also stands out from the conversation, where the camera's angle is consistent.) The killing is particularly highlighted by not only the music, operatic/tragedy sounds, but also the "bird's eye view" diagonal gun barrels and house beams as dust flies up from the bullet-riddled floorboards. Boy, didn't that conversation change o_O

Think of the chosen low angle shot of the nazi jack boots walking into the house: similar to the imagery from the film "Battleship Potemkin" which no doubt Peter Moyes may have shown you.

Not all the shots I wanted to remind you of, but at least it's something. Lighting, composition (earlier shots where a nice conversation is going on within the house, except the highlighted area of the frame is a open window with SS officers waiting outside by their car. Adds visual tension to an otherwise seemingly friendly conversation about meeting the daughters, and milk.

Dirty Harry:
Storyboards- establishing the scene, and the position of the characters in relation to each other, shots used during the conversation etc.

Take note that you don't have to have the camera on the person talking- in this instance, it shows the thought process of the protagonist/his reaction to what's being said.

This is the first scene in which 'Harry' speaks. Interest and empathy in the character is created very quickly, which seems to comes from the dry humour/attitude, and he exudes a confidence which suggests he's the "smartest", or is someone which the best skillsets to solve the case (no nonsense, lines that shows he cares for the safety of innocent people, despite the gruffness of delivery). Think of why it is that we side with these characters in the first place when watching a film, and how to show this when story boarding a scene, or writing for our character/s. Anyways, more on this point next week when talking camera conventions, and juxtaposition etc.

Dirty Harry: shootout snippet.

Again, take note of the conventions of shots used- similar background/compositional considerations made to  a western for instance. And, the power/submissive roles shown by simply angling the shot, showing Harry in an up shot, and the bankrobber in a down shot.

Unfortunately, we miss out on that frame showing the small pile of cigarettes outside the getaway car- a (at the time) different way to show a passage of time than wasting seconds, film (and ultimately money) on showing the guy checking his watch etc.

High Plains Drifter:
Do you know, almost every friggin' scene of that film is up on Youtube, and yet I can't seem to find the opening credits where he rides into Lago, and trots into town, with the townspeople watching?

Anyway, plenty of traditional western-style shots using plenty of storyboarding rules (composition, rule of thirds etc.) great example of Establishment shots, following the 180 rule, even from POV shots from people watching him ride by (right to left), neutral shots when they (invisibly) switch sides, so not to confuse, and interesting camera position choices (such as from a window in a barber shop etc.)

At least some of the shots from the opening are briefly shown in this cheesy trailer ;P

See you next week! Remember, I want to check out the bulk of your 'Fill in the Gas" progress, and I want to hear about your final assessment idea. Cool :)

No comments:

Post a Comment