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#31
07-29-2005, 08:02 PM
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Quote:
__________________
Just listen to this sentence and tell me what it means. I haven't seen Evil Dead II yet? Would you get the impression that i wanted to see it? Oh, well you couldn't have been dying to see it or else you would have already gone. So in your opinion would I definitely see it? How the fuck should I know probably! Why? Because it's a brilliant film, it's so funny, and the soundtrack kicks fucking ass! 
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#32
07-30-2005, 05:16 AM
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the 180* rule - or Crossing the Line...
Crossing the Line
Screen direction and "crossing the line" can cause huge amounts of confusion if not handled properly. Crossing the line is a bit of a complicated issue, and it is a hard and fast rule, but one that is oddly flexible... because the unbreakable line can move, and move a lot. The basic concept comes down to what it would be like if you were watching a conversation in person - say at a party. If two people are talking, you'd expect to be somewhere in between them, with one person on the left and the other on the right, so every shot on a character should be somewhere on "one side of the line". This can be a two shot with both people inside the frame, or on one character, whether it's a super close up, or a super wide, over the shoulder or what not. One of the basic ways to track this is simply "eye-line". If one character is looking to the left hand side of the shot, or "frame left" and is talking to another one who is looking "frame right", you just want to keep them looking off that side "until something changes". This can be a complete profile, or it could be that they are looking a half inch off the lens, but they should still maintain a consistent screen direction. Where is gets complicated, is that this line - the one you are not supposed to cross - can shift. It shifts when actors move (blocking) or when the camera moves. Rarely do actors just square off and unload dialogue. So - every time the camera moves and the actors take a new position, a new line is drawn - that you are not supposed to cross. Add to this, that often scenes have more than two people, which means that each pair of characters have their own line between each other, that must remain consistent as well. BUT - to make it SIMPLE - [and you can do this when "blocking" a scene (deciding where the actors and the camera will be)] Just think of your self as the camera and think of the cutting in real time while you are on set. At any given time *you* (the pov, the camera, the audience) will be in one relative space. Someone comes to the door and it's answered. You are standing there recording the even. You look at the Postman - to your right, and the Housewife - to your left. You keep them there as they chat at the door and then the Housewife invites the Postman in (ooh scary) and then as they move, you have to pick a new line as they move in. And you stay there until they settle. You can have multiple camera angles - but all from the same orientation. Until they reach the kitchen, where the Neighbor's Wife is sitting at a table with a cup of coffee. New lines are set up here. To do this in 'real time'. Block the entire scene. All of the action. Rehearse it with the actors, but have the DP/CamOp watching. Then, once the *action* is blocked, walk it with the Camera in mind and pick your shots. They will naturally make sense. You are bringing yourself as the director through the scene in one natural pov, and you will bring your audience along as well, and this will naturally be along the same line - and you won't cross it. But hey, it's a horror movie! Let's add in a roving POV. As the Mailman passes through the Living Room he looks at the mantle over the fireplace and sees melted red wax. You cut to his POV - and it has a line of it's own Directly from Him to the Object - the wax... And then you Crash cut to a roving POV over his shoulder watching him watch the wax... It has it's own line - and is a bit disturbing because if doesn't match that of the rest of the scene. You cut to another angle - along the line laid down by the roving POV, and you see a little boy watching from the top of the stairs! (ooh - scary) But when you return to the Housewife and the Postman, you need to return to that set of screen directions, consistent to when they arrived in the scene. You can teleport, but you need to maintain your orientation.... Does this make any sense? This also leads into subjects like "matching angles", "eyeline" and "matching frame" - all of which can and should be thrown out the window once you know what you're dealing with.
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#33
08-01-2005, 09:18 AM
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And when you've mastered all this, be sure to make another fucking awful zombie film with shuffling/giggling "undead", lots of running about with capguns, and plenty of sickly homages to Romero and TCM.
It could be called: Zombie Gore Splash, or somesuch. :p
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#34
08-01-2005, 11:39 AM
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Quote:
CK
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#35
08-01-2005, 06:27 PM
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When to start filming...
Good thread.
Write something less than 15 pages. Focus on setting, plot, two characters (maybe three), one or two locations and one big special effect that you know you can pull off. Make sure its the best you can write and has a Beginning, Middle and End. Start "In Media Res" or as far into the action as you can while still making sense. Like was mentioned before, storyboard your shots. If you need to read up on this I suggest "Film Directing Shot by Shot" by Steven Katz. It explains all. (see amazon.com) Once cast, spend 2 to 3x as much time in rehearsal as you would filming. Believe me, rehearsal is everything! Filmmaking is a team sport and you want to encourage your actors to explore their characters. They will be able to show you if something doesn't work. Be flexible, rewrite on the spot if necessary. Once the actors are happy (in the moment) you can start your camera blocking (checking your shots and camera motion through the lens) Your production time will become short and sweet, allowing for thoughtful adjustments. "Getting it in the can" will be a whole lot easier. Most of all, have fun! If you're uptight and irritable, imagine what your crew must be feeling. (Don't worry, they'll let you know) Enjoy the process and start small. Hook up with your local college drama group or film club. You will be amazed at how many people will want to help any way they can. If you want to read a sample of a **short** horror script, email me and I'll send you one to read.
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#36
08-01-2005, 06:44 PM
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also another great hint, and this one is for you are writing your script, screenplay:
write in the genre you know best, your posting here, so obviously the genre you know best would be horror (duh) also it's easier if you write what you know..ie: take characterisitcs from yourself and your friends and make a character out of them just another 2C
__________________
Just listen to this sentence and tell me what it means. I haven't seen Evil Dead II yet? Would you get the impression that i wanted to see it? Oh, well you couldn't have been dying to see it or else you would have already gone. So in your opinion would I definitely see it? How the fuck should I know probably! Why? Because it's a brilliant film, it's so funny, and the soundtrack kicks fucking ass!
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#37
08-01-2005, 06:45 PM
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i'm also currently working on a zombie western, the title: 'The Dead and The Dead'
__________________
Just listen to this sentence and tell me what it means. I haven't seen Evil Dead II yet? Would you get the impression that i wanted to see it? Oh, well you couldn't have been dying to see it or else you would have already gone. So in your opinion would I definitely see it? How the fuck should I know probably! Why? Because it's a brilliant film, it's so funny, and the soundtrack kicks fucking ass!
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#38
08-05-2005, 08:59 AM
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just a few small suggestions from experience:
don't forget the little details like continuity - its good to have some anal retentive friend who can be a script supervisor and keep scene continuity (a good polaroid was always helpful in snapping shots of scenery before a break in shooting - I guess a digital camera would work as well). Nothing screams amateur schlock like items jumping around a scene (or hair style changing) at each edit. do lots of read-throughs and walk-throughs before even thinking about picking up the camera. and, I think the most important thing in indie horror films, remember that sometimes less is more - especially in terms of SFX and "creatures" - a hint of a demonic figure is usually much more frightening than a full-on shot with zippers and duct tape showing!
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#39
08-08-2005, 10:45 AM
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Here are a few good ways to become a good filmmaker/director/writer:
1.) Watch as many good movies/tv shows as possible, they will give you a better sense of what works well and what doesn't, watching low-budget crap won't get your standards higher. 2.) Write as much as you can! If you have an idea for a movie write it down, and work on it when you have time. Writing will help you visualize your movie, and the better you become at writing the better you become at seeing the movie you want. 3.) Read! The more you read the better your vocabulary becomes, and the better you can describe things in your script. 4.) Never stop learning, when you stop learning, you're in trouble. Being artistic isn't enough, you need to be technically sound as well as artistic. 5.) Write logically! The biggest problem in most movies (especially low-budget horror) is that things just don't make any sense, or happen for no reason at all. Think of what you would go pay to see and make sure that you make something you would be willing to spend your hard earned money to watch.
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#40
08-28-2005, 11:34 AM
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Quote:
as far as tips go, all I have is: Use a tripod. that's it, sorry i'm useless. :p Mister Sadistro knows a lot about this, so listen to him. I will be checking this thread often. Last edited by Angelakillsluts; 08-28-2005 at 11:37 AM.
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