How to shoot a script for dummies:

If you ever need to shoot a script just call “1800-who’s-that-weird-lady-in-the-background?”

This was meant to be a post about how to shoot a script, because that was technically what this class was about, but I’m definitely much more interested in that weird AF lady in the background. She was the best (because she’s given us this solid gold footage), but also the worst (because she ignored me trying to shoo her out of the frame) (but I’m actually the worst, because I should have had enough foresight to realise, “hey, this is some good ****”).

I was originally going to edit together a string of shot reverse shots as an example of how we intended to complete this exercise, then discuss it. However, after reviewing the footage and remembering the weird lady in the background I realised that it was actually more poignant and revealing to display this excerpt as it’s own unedited stand alone piece – that which reveals a moment in time. Giving insight into our learning process and the hurdles/joys of filmmaking.

This is the annoying part where I talk you through the video you’ve just watched: I like how this video begins as ‘sound’ is being called, making it obvious that we’re only privy to this unfurling scene because someone pushed the record button. As the scene moves along the visuals are also  introduced as we hear ‘video’ being called – and we get to watch the scene slowly play out. We then see this woman enter frame, which no one seems aware of except the director, who then waits til she leaves to call action. Then as the clicker snaps down, the elevator doors open almost instantaneously after.  The scene plays out and the visuals end, but we get to keep hearing the scene until someone eventually presses the record button once more, disabling us from being privy to this scene for any longer.

I had a few major epiphanies after watching this video. The first being the realisation that when your ‘filming’ something or planning to film something your often so caught up in what you ~ should ~ be doing. That you fail to notice the much more interesting things that are unfolding in front of you. This not only disables you from being truly creative, but inhibits the work from being as interesting as it could possibly be. My second epiphany was that you can create a much more interesting scene by having multiple actions occurring in the same scene at once. And you can also relate these seperate actions by timing each action, to work well with another in the frame, suggesting some kind of relationship between the two. My third epiphany was that drawing attention to how highly constructed filmmaking is, can be extremely interesting and it doesn’t necessarily destroy the audiences relationship to the onscreen action, but can actually deepen it.

 

Until next time,

Louise Alice Wilson