This week technicians installing a new furnace and contractors doing renovation estimates distracted me from my writing. Even so, I did manage to make progress on my detective story.
The title for the story is a problem. As it stands, it gives away too much of the story. I think keeping it would help me stay focussed on the story, but then I would have to call it my detective story when I talk to people about it. One title I came up with was “The Smile of Evil”. I’ll stick with “My Detective Story” for now.
In some of my past writing attempts, I found my characters developing too fast. To avoid that this time I came up with the idea that the main character has to come to 44 realizations during the course of the story. By that, I mean that the character needs to move in small steps. Some of realizations are major, while the rest prepare him for the major realizations.
I started by trying to make up a list of the realizations then use those to develop scenes. This gave me a plot outline with 50 scenes. Of those, 43 represent the character’s realizations, while the rest involve what other characters are doing. I came up with a few more scenes since I did that, so I think I’m up to 52 or 53 scenes now.
In the past, I heard that a film should plan for 3 minutes a scene, so you would need 30 scenes for a 90-minute film. However, I have found that I tend to write short scenes. My “Anger Trap” script had 69 scenes for a 97-page script. In “Line of Taxis”, my average scene was less than a minute long. That has me wondering if I have enough material for a feature film.
I am still looking at the film at a broad level, so I haven’t started to ask Mamet’s three questions about them yet.
I selected some photographs to represent the characters. I felt it would help me to visualize the characters. Originally, I wanted to avoid picking actors, but then I found it was easier to go that way. I think the characters are starting to develop personalities. That will help.
I have added a new character. The lead character in the story needed to talk to his wife, so I had to create a wife for him.
Sunday, March 14, 2010
When World’s Collide: Gaia Meets Theia
I posted a new article on-line: When World’s Collide: Gaia Meets Theia
Philip Wylie’s and Edwin Balmer’s 1933 science fiction novel When Worlds Collide, and the 1951 movie based on it, tells the story of the Earth being hit and destroyed by another planet. Scientists have found evidence that something very much like that did happen.
Philip Wylie’s and Edwin Balmer’s 1933 science fiction novel When Worlds Collide, and the 1951 movie based on it, tells the story of the Earth being hit and destroyed by another planet. Scientists have found evidence that something very much like that did happen.
Sunday, March 7, 2010
Starting a New Script
I have decided to focus on writing a single script until I have a first draft.
My goal right now is to write several scripts to hone my writing skills. I learned a lot from writing the script to The Anger Trap and I think that I will learn more from writing some new scripts. I will wait until I have done several before I decide on making one of them into a film.
I have selected as my next script an idea I had while travelling in China last year. It has nothing to do with China, as far as I know. It is the story of a detective on the trail of a psychopathic serial killer. I know that doesn’t sound very original, but the detecting isn’t the main focus of the story. When I made Line of Taxis , I used some of the emotions I was having in my life and transferred them to a different situation. I plan to do the same with this story. I am having mostly good things in my life now, but I do have flash backs to the emotions that inspired Line of Taxis.
I will be trying a slightly different approach than I used for The Anger Trap. Then I developed a detail outline before starting to write the actual script. This time I will organize my out line based on ideas I picked up while reading a book by David Mamet. In particular, his three questions.
For each scene, I will write a one-line overview of what happens in the scene. Then I will have a short description of the purpose of the scene. That is to focus on why I need the scene in the script.
Then for each character in the scene, I will answer the questions: What do they want, what happens if they don’t get it, why now and how have they changed at the end of the scene.
I will complete the outline of each scene with a list of the events within the scene. This is a sort of plot outline for the scene. For each event, I will note what each of the characters is thinking. I think that knowing what the characters are thinking will make it easier to keep the story going forward.
Having distinct characters is important to help the audience identify with them. I used character descriptions in writing The Anger Trap and found them useful when it came to writing.
In addition to a character name, I plan to select a picture to help me visualize the character. Beyond that, I want to note what purpose they serve in the story. For example, are they the protagonist, or the antagonist or comic relief? I will also develop a bit of a biography, so I know where they come from. Most importantly, I want to know how they will change throughout the story.
I expect that my approach will change as I work through this script.
My goal right now is to write several scripts to hone my writing skills. I learned a lot from writing the script to The Anger Trap and I think that I will learn more from writing some new scripts. I will wait until I have done several before I decide on making one of them into a film.
I have selected as my next script an idea I had while travelling in China last year. It has nothing to do with China, as far as I know. It is the story of a detective on the trail of a psychopathic serial killer. I know that doesn’t sound very original, but the detecting isn’t the main focus of the story. When I made Line of Taxis , I used some of the emotions I was having in my life and transferred them to a different situation. I plan to do the same with this story. I am having mostly good things in my life now, but I do have flash backs to the emotions that inspired Line of Taxis.
I will be trying a slightly different approach than I used for The Anger Trap. Then I developed a detail outline before starting to write the actual script. This time I will organize my out line based on ideas I picked up while reading a book by David Mamet. In particular, his three questions.
For each scene, I will write a one-line overview of what happens in the scene. Then I will have a short description of the purpose of the scene. That is to focus on why I need the scene in the script.
Then for each character in the scene, I will answer the questions: What do they want, what happens if they don’t get it, why now and how have they changed at the end of the scene.
I will complete the outline of each scene with a list of the events within the scene. This is a sort of plot outline for the scene. For each event, I will note what each of the characters is thinking. I think that knowing what the characters are thinking will make it easier to keep the story going forward.
Having distinct characters is important to help the audience identify with them. I used character descriptions in writing The Anger Trap and found them useful when it came to writing.
In addition to a character name, I plan to select a picture to help me visualize the character. Beyond that, I want to note what purpose they serve in the story. For example, are they the protagonist, or the antagonist or comic relief? I will also develop a bit of a biography, so I know where they come from. Most importantly, I want to know how they will change throughout the story.
I expect that my approach will change as I work through this script.
Sunday, February 28, 2010
First Things First
My biggest challenge in creating a new film is deciding what to do first. I have a lot of ideas for stories, articles and movies. I want to do them all. Lately I have been bouncing back and forth between them, and not getting much done.
I really should know better than flitting about from project to project. It is a lesson I have learned many times.
When I made my films Line of Taxis and My Most Difficult Case , I had to make deliberate decisions to stop working on other projects until they were done. Even so, I some times let these projects lag because I got side tracked by other ideas I wanted to pursue.
When I wrote my first feature script, The Anger Trap, I set aside all my other projects. I only wrote for about six hours a day from Monday to Friday, but I had the first draft done in three weeks. I went back later and did another couple of weeks work on the second and third drafts. I think it wasn’t so much the amount of time I put it, but that it was my top priority until I had it done.
Having many project ideas is only part of the problem. There is just so much interesting stuff to read or watch on the internet.
I really should know better than flitting about from project to project. It is a lesson I have learned many times.
When I made my films Line of Taxis and My Most Difficult Case , I had to make deliberate decisions to stop working on other projects until they were done. Even so, I some times let these projects lag because I got side tracked by other ideas I wanted to pursue.
When I wrote my first feature script, The Anger Trap, I set aside all my other projects. I only wrote for about six hours a day from Monday to Friday, but I had the first draft done in three weeks. I went back later and did another couple of weeks work on the second and third drafts. I think it wasn’t so much the amount of time I put it, but that it was my top priority until I had it done.
Having many project ideas is only part of the problem. There is just so much interesting stuff to read or watch on the internet.
Sunday, February 21, 2010
Now, where did I put that shot?
I am re-editing my film "My Most Difficult Case" and over the last few days, I have been going over the materials. I started on this re-edit quite some time ago, but dropped it for a couple years. I have been trying to work out just what I have before I can start finishing it.
Days of going through notes and checking files reminded me just how important good record keeping is. Or rather, they would be if I had been more diligent in my record keeping.
I keep promising to do a better job next time. I really mean it this time. ;-)
I find record keeping a rather mundane and boring exercise, but when it comes to putting your film together, good records make life a lot simpler. I find it hard enough to keep track of all the material for an 11-minute film. I can imagine just how much more difficult it would be for a 90 minute film.
I do have logs of the shots on each of my camera rolls. However, the records for the negative cut fell somewhat short of ideal. I had to re-watch some of the original camera rolls to work out which shots I used in the final film. While reviewing my logs, I realized that I hadn’t bothered to log any of my audio. I will be redoing the sound, so that is going to be a problem for me.
One of the things I wish I had done was keep a project diary. I found multiple copies of similar files, and it wasn’t clear which was the “good one” and which were experiments that I didn’t use in the end. A related problem is finding which file is the original file. When I worked as an engineer, I used to keep a project diary that was very useful when I had to trace back what I had done. So, I really should have known better. It would have only taken a few minutes to write up notes on what I did.
I am currently switching from shooting film to shooting digital. One bit of advice I got, from Mr. Garbutt believe, was to continue using slates. In shooting film, you need to slate all your shots so you can link the image and audio later. In the digital world, you record both on the same medium, so you don’t need slates to synchronize the two. But, when it comes to post production, slates to identifying each shot will make the work much easier.
Days of going through notes and checking files reminded me just how important good record keeping is. Or rather, they would be if I had been more diligent in my record keeping.
I keep promising to do a better job next time. I really mean it this time. ;-)
I find record keeping a rather mundane and boring exercise, but when it comes to putting your film together, good records make life a lot simpler. I find it hard enough to keep track of all the material for an 11-minute film. I can imagine just how much more difficult it would be for a 90 minute film.
I do have logs of the shots on each of my camera rolls. However, the records for the negative cut fell somewhat short of ideal. I had to re-watch some of the original camera rolls to work out which shots I used in the final film. While reviewing my logs, I realized that I hadn’t bothered to log any of my audio. I will be redoing the sound, so that is going to be a problem for me.
One of the things I wish I had done was keep a project diary. I found multiple copies of similar files, and it wasn’t clear which was the “good one” and which were experiments that I didn’t use in the end. A related problem is finding which file is the original file. When I worked as an engineer, I used to keep a project diary that was very useful when I had to trace back what I had done. So, I really should have known better. It would have only taken a few minutes to write up notes on what I did.
I am currently switching from shooting film to shooting digital. One bit of advice I got, from Mr. Garbutt believe, was to continue using slates. In shooting film, you need to slate all your shots so you can link the image and audio later. In the digital world, you record both on the same medium, so you don’t need slates to synchronize the two. But, when it comes to post production, slates to identifying each shot will make the work much easier.
Sunday, February 14, 2010
Having Something to Say
Last week I wrote about the technical aspects of making films. While this is important, I believe it is even more important to have something interesting to say.
I started making films when I was in high school, but I stopped after I finished University. I didn’t make another film for another 15 years. Partly this was because I was busy with other things, but mostly because I felt I had nothing interesting to say. I only began to create films again when I felt I had something to say.
The film business is getting more competitive because digital technology has removed most of the barriers to entry. Just about anyone can make a film now, if they want to. If you want to stand out from the crowd, you need to give people something worthwhile. That is why I believe that having something to say is so important.
I find that ideas for stories often come while I am not thinking about films. As I contemplate the problems of the world and the challenges in my life, I begin to think about how I would explain my thoughts. This very often leads to a concept for a story.
In the last couple of years, I started to write articles and stories, and then post them on the internet. I was more interested in getting practice writing than making money. I have been doing many more articles than stories. I have found that articles are generally more successful than stories, so I started to write more articles.
More recently, I have started to rethink what I write. I only write articles about subjects where I think I have something worth saying. It may be better for me to take that message and use it as the basis for a story. Stories are a more subtle way to communicate.
One of the stories I am doing now, “Tom and His Incredible Traffic Model” came about when I decided to give up on an article I was writing on transportation planning. I worked for 30 years as a transportation planner and felt I had some valuable things to say. I decided it would be better to do that as a story rather than an article.
I just published a new story today. A Woman Alone in a Cruel World is a story that came to me while I was travelling through China last fall. It came from an event in Chinese history that I heard about. It is mostly about the emotions that people feel, rather than any specific message.
I started making films when I was in high school, but I stopped after I finished University. I didn’t make another film for another 15 years. Partly this was because I was busy with other things, but mostly because I felt I had nothing interesting to say. I only began to create films again when I felt I had something to say.
The film business is getting more competitive because digital technology has removed most of the barriers to entry. Just about anyone can make a film now, if they want to. If you want to stand out from the crowd, you need to give people something worthwhile. That is why I believe that having something to say is so important.
I find that ideas for stories often come while I am not thinking about films. As I contemplate the problems of the world and the challenges in my life, I begin to think about how I would explain my thoughts. This very often leads to a concept for a story.
In the last couple of years, I started to write articles and stories, and then post them on the internet. I was more interested in getting practice writing than making money. I have been doing many more articles than stories. I have found that articles are generally more successful than stories, so I started to write more articles.
More recently, I have started to rethink what I write. I only write articles about subjects where I think I have something worth saying. It may be better for me to take that message and use it as the basis for a story. Stories are a more subtle way to communicate.
One of the stories I am doing now, “Tom and His Incredible Traffic Model” came about when I decided to give up on an article I was writing on transportation planning. I worked for 30 years as a transportation planner and felt I had some valuable things to say. I decided it would be better to do that as a story rather than an article.
I just published a new story today. A Woman Alone in a Cruel World is a story that came to me while I was travelling through China last fall. It came from an event in Chinese history that I heard about. It is mostly about the emotions that people feel, rather than any specific message.
Sunday, February 7, 2010
Reverse Engineering Films
I recently read some postings on Stacy Park’s blog ( http://independentfilmblog.com/) about what she calls “reverse engineering” films. She talks about understanding the film market, both what people what and what they will pay for it.
I have been thinking about similar concepts for some time now, as you can see in my review of Rick Schmidt’s Feature Filmmaking at Used Car Prices.
Many years ago I read an article about filmmaking in Scientific American that touched on the same subject. The article was about how digital technology was changing the business of filmmaking. They said that traditionally filmmakers developed a vision, and then looked for the money to make it. The new trend was for filmmakers to look at how much money you had, and then develop a movie that they make with that money.
What are the rules you should follow when making a film on a very low budget? I feel it is better to think of them as constraints rather than rules. I see constraints as a challenge to use your creativity, while rules are things you have to do. When you write a sonnet, you are constrained by the standard form of the sonnet, yet poets have created many great sonnets.
I have compiled a few constraints here. I will add more as I think of them. If you have any suggestions please post them.
Small cast. Every additional character adds complexity and cost to the project. It is more of a challenge to maintain flow and interest when the number of characters is small. A film like “Before Sunrise” shows that a good filmmaker can work with this constraint.
Small crew. Again, every extra person on set adds complexity and cost. However, a small crew will limit the types of shots you can get, and can slow you down. When you are developing a project, you need to keep this in mind, since some types of scenes and shots can’t be done with your budget.
Few locations. Moving from location to another adds time and cost to a film. I’ve heard people talk of the “six fuse box rule”. One of the worries about this constraint is that having the same location appear over and over could become boring. Lately I have thought that this constraint can be overcome using green screen. The cost of green screen is getting lower and it is already being used to reduce the need for location shooting. http://vimeo.com/8337356 has some examples.
Shoot digital. While I love film, shooting digital saves a lot of money at the front end. That can make the difference between going ahead with a project, or dropping it.
I have been thinking about similar concepts for some time now, as you can see in my review of Rick Schmidt’s Feature Filmmaking at Used Car Prices.
Many years ago I read an article about filmmaking in Scientific American that touched on the same subject. The article was about how digital technology was changing the business of filmmaking. They said that traditionally filmmakers developed a vision, and then looked for the money to make it. The new trend was for filmmakers to look at how much money you had, and then develop a movie that they make with that money.
What are the rules you should follow when making a film on a very low budget? I feel it is better to think of them as constraints rather than rules. I see constraints as a challenge to use your creativity, while rules are things you have to do. When you write a sonnet, you are constrained by the standard form of the sonnet, yet poets have created many great sonnets.
I have compiled a few constraints here. I will add more as I think of them. If you have any suggestions please post them.
Small cast. Every additional character adds complexity and cost to the project. It is more of a challenge to maintain flow and interest when the number of characters is small. A film like “Before Sunrise” shows that a good filmmaker can work with this constraint.
Small crew. Again, every extra person on set adds complexity and cost. However, a small crew will limit the types of shots you can get, and can slow you down. When you are developing a project, you need to keep this in mind, since some types of scenes and shots can’t be done with your budget.
Few locations. Moving from location to another adds time and cost to a film. I’ve heard people talk of the “six fuse box rule”. One of the worries about this constraint is that having the same location appear over and over could become boring. Lately I have thought that this constraint can be overcome using green screen. The cost of green screen is getting lower and it is already being used to reduce the need for location shooting. http://vimeo.com/8337356 has some examples.
Shoot digital. While I love film, shooting digital saves a lot of money at the front end. That can make the difference between going ahead with a project, or dropping it.
Subscribe to:
Posts (Atom)