The first thing I noticed was the constant change in lighting so I presume that the white balance was not adjusted properly. I imagine the script could be done with more visual humour and could play around with television tropes since the overall concept of nervous guy meets/likes hot girl seems cliche. The casting was fine, however, I found the female lead’s character to be a little unusual because she kept smiling the whole time. This made me think she was a little creepy to be honest. The camera movement was very smooth and static when it needs to be. I also liked how there were motifs in the film with both props and camera technique which gave me a general idea about what the film was about and gave the film its own “style”.
March 26, 2014 by kimberlyteoh
March 25, 2014 by kimberlyteoh
Sound and visuals must not support each other. Instead, they are to compliment each other. They must never engage in a relationship where one is reliant on the other.
It took a while for me to wrap my head around Bresson’s notes of cinematography and the conclusion I’ve come to is that sound and visuals must never be equally important in film. Through a personal anecdote, it slowly made more sense to me. Imagine, watching a film while playing an app on your iPad thinking it will be fine because you can listen to the audio assuming that in some way, it will help you understand what is going on in the film without using your eyes. However, what will happen when the sound’s role is diminished and more importance is given to visuals? Answer is, you would be lost because you did not watch what happened in the film.
This leads to the second point, “an eye solicited alone makes the ear impatient” and vice versa. Appealing to sound and visuals at the same time may make the viewer bored. There needs to be a balance, a relay, so that the viewer is kept interested in the film both visually and aurally.
March 23, 2014 by kimberlyteoh
The use of silence and diegetic sounds at the beginning of this film initially made it feel not terrifying which, to me, conveyed the man’s reaction/emotions to his situation however, later on they were transformed into sounds used to create tension. When the man notices the clown, a non-diegetic sound pops up, hinting that he feels less comfortable and indirectly tells the viewer to feel uncomfortable as well (this was what I interpreted). It pops up again when we are shown the clown which suggests that this is no ordinary clown you should be laughing at but a clown that could potentially harm you. If these sounds were not inserted in the film, I would probably think otherwise. When the clown sits near the man, a barely audible music starts playing to intensify the feeling of horror during their conversation. All in all, the sounds in the film were used to amplify the feeling of fear, especially the unnerving silence which I thought was the dominant sound throughout the whole film.
If memory serves, the Japanese version of The Grudge felt almost similar to this film in terms of sound.
In this scene from the movie, silence was also the dominant sound along with the use of diegetic sounds to create tension and the feeling of terror leading from it (1:34). The non-diegetic sounds were also used to amplify the character’s reactions/emotions.
March 20, 2014 by kimberlyteoh
From the darkness, a hero of light cometh!
…I’m sorry, I couldn’t help it.
March 13, 2014 by kimberlyteoh
Here are the six videos for this week’s lab:
Nothing special with this one.
Even if we are different, we all serve the same purpose.
Man, that sounded corny. Anyway, I was hoping to make it look like the bottles were of the same size from above.
This was difficult to do. It was very hard to keep my phone from falling or shaking while trying to maintain this level.
This would have looked so cool if I could get the shadow on the right to be like the one on the left.
Nothing special with this one.
March 9, 2014 by kimberlyteoh
1. In 200 words or less please outline your goals, desires – what you want to get out of this semester. You will review this later in the course. Many will rethink this dramatically – this is a good thing.
Currently, I do not have an extensively list of what I want to get out of this semester but I do know that I want develop and improve my screenwriting skills and to understand to the best of my abilities about the filming process since I am (or I consider to be) quite new to this. On the technical side, I’d also like to work on my camera techniques, lighting, editing and all that jazz.
2. Consider Jasmine’s lecture on Screenwriting and briefly describe one point that you have taken from it. A point that excites you, something that was completely new to you, perplexes you or even one you take issue with.
There was one point that I took issue with which was the one about how protagonists cannot be a wallflower, an introvert, or a nice guy even though I understand that it is not to be taken generally.
The protagonist cannot be in isolation and a story with JUST the protagonist and antagonist would be quite dreadful. That being said, it is understandable how a wallflower would be an unfavourable nature for a protagonist simply because they are shy and most likely fade into the background. This normally puts them into the position of a side or supporting character. It is just difficult to put them in the position of a protagonist, I suppose.
Introverts however, are a different story. Unlike extroverts, introverts recharge by spending time on their lonesome. This does not mean they are shy which many people falsely perceive them as. There are also plenty of introverted protagonists that exist in literature, films, and t.v. shows such as Dexter, Sherlock Holmes and Katniss Everdeen.
As for nice guys, I agree. More often than not, the genuinely nice guys are killed off to better the protagonist or are entitled to some other horrible fate. Simply put, they always get the torture card.
3. Select from one of the readings from week 1 or 2 and briefly describe two points that you have taken from that reading. Points that excite you, something that was completely new to you.
I very much enjoyed reading the “The Director and the Actor” by Mackendrick A. this week. It was very straight to the point and clear cut.
The relationship between a director and actor must be one with mutual respect and patience. As I understand it, the actor is not a tool that the director can control but a human. Therefore, showing the actor “what” or “how” to do a scene will lead to disastrous results (reducing the scene/film’s impact). The best and most helpful way to help the actor is to inspire them by evocating emotions that they are trying to recreate and by asking questions that relate to the
Another point I found interesting was how the use of props can make actors perform more naturally. I had always thought that props were used for the sake of relevance so that was definitely something new.