Notes on-filmmaking
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Notes on-filmmaking Presentation Transcript

  • 1. Notes on Filmmaking …from transmedia consultant Chester Elijah Branch, Rian Johnson, and others.
  • 2. The audio is from aninterview with Rian Johnson.The screenwriter for…Breaking Bad
  • 3. The audio is from aninterview with Rian Johnson.The screenwriter for…Breaking BadBrick
  • 4. The audio is from aninterview with Rian Johnson.The screenwriter for…Breaking BadBrickand most notably Looper
  • 5. He’s gong to be sharing hisinsights intoWritingandDirecting
  • 6. He starts talking about DCP.
  • 7. The digital looked good.
  • 8. Then I saw a printstruck directly off the negative.
  • 9. Then I saw a print It was beautiful.struck directly off the negative.
  • 10. Then I saw a print It was beautiful.struck directly off the negative. The release print was one generation down
  • 11. Then I saw a print It was beautiful.struck directly off the negative. The release print My favorite format was one was a few generation down generations down.
  • 12. Side by SideFor more on this, check out the movie Side by Side. It goes into greaterdetail about this ‘debate.’
  • 13. The digital film debate bores me. So that ends that. Moving on to ‘indie’ filmmaking.
  • 14. REMEMBERSHORT FILMS CAN LEAD TO FEATURES
  • 15. When I tried tomake a feature, Ispent all my time thinking about money.
  • 16. When I tried tomake a feature, Ispent all my time It detracts from the thinking about entire creative process money.
  • 17. When I tried tomake a feature, Ispent all my time It detracts from the thinking about entire creative process money.Take note. This is the trap most indie filmmakers fall into.
  • 18. When I tried tomake a feature, Ispent all my time It detracts from the thinking about entire creative process money.Take note. This is the I went back to trap most indie making short filmmakers fall into. films, like when I was in college.
  • 19. When I tried tomake a feature, Ispent all my time It detracts from the thinking about entire creative process money.Take note. This is the I went back to trap most indie Writers and making short filmmakers fall into. directors: films, like when Focus on I was in college. doing this.
  • 20. The screenwriting processI use notebooks and sketch out ideas
  • 21. The screenwriting process I use notebooks and sketch out ideasThis is a good way to avoiddistractions on the internet.
  • 22. The screenwriting process I use notebooks and sketch out ideas ‘Writing is 3%This is a good way talent and 97% not to avoid being distracted bydistractions on the the internet.’ - internet. @AdvicetoWriters
  • 23. The screenwriting process Structuring comes first. Dialogue is the last 10% of the process.The less you depend ondialogue the better
  • 24. The screenwriting process Structuring comes first. Dialogue is the last 10% of the process.The less you Dialogue should depend on only be, at thedialogue the max, 3 lines per better person.
  • 25. The screenwriting process Structuring comes first. Dialogue is the last 10% of the process. "The more dialogue IThe less you Dialogue should took away, the depend on only be, at the better thedialogue the max, 3 lines per scenes got" - better person. Paul Haggis
  • 26. The screenwriting processI use notebooks and sketch out ideas.
  • 27. The screenwriting process I use notebooks and sketch out ideas.This is a good way to avoiddistractions on the internet.
  • 28. The screenwriting process I use notebooks and sketch out ideas.This is a good way Neustadter to avoid Has had a similardistractions on the problem with the internet. internet.
  • 29. The screenwriting process One day I can write 60 pages. The next day, I wind up spending 8 hours on Facebook.He wrote 500 Days of Summer and The Pink Panther 2.
  • 30. The screenwriting processI use notebooks and sketch out visuals too. I also,unfortunately,procrastinate
  • 31. The screenwriting processI use notebooks and sketch out visuals too. I also,unfortunately,procrastinate The best writers get up in the morning and write for four hours.
  • 32. The screenwriting process I use notebooks and sketch out visuals too. I also, unfortunately, procrastinate Take note of what he’s saying The best writers gethere. If you just write one page up in the morning and a day, you’ll have a feature write for four hours. script in 3 months.
  • 33. LOOPER was on the Blacklist
  • 34. We rehearsed over and over again.
  • 35. Rehearsal with actors helps the scenes feel more naturalWe rehearsed over and over again.
  • 36. Rehearsal with actors helps the scenes feel more natural We rehearsed over and over again.This is more important than spending your little energyon fight/chase scenes and fx.
  • 37. Rehearsal with actors helps the scenes feel more natural We rehearsed over and over again.This is more important than spending your little energyon fight/chase scenes and fx. This is why you have a 2nd Unit DP. More on that later.
  • 38. For more on outsourcing Spfx check this out…Rian Johnson will talk a little about this but go here formore on atomic fiction and there use of the AmazonCloud.
  • 39. StoryboardingIt helps you see the big picture.
  • 40. Storyboarding It helps you see the big picture.It also helps youcommunicate it to your DP.
  • 41. Storyboarding It helps you see the big picture.It also helps you Overheadcommunicate it diagrams are to your DP. the best forms of storyboarding.
  • 42. Storyboarding It helps you see the big picture.It also helps you Overhead It keepscommunicate it diagrams are continuity as to your DP. the best forms you write of your shot list. storyboarding.
  • 43. Storyboarding It helps you see the big picture.Honestly, if you can work out the logistics of each scenewith overhead diagrams and a clean shot list, you’ll be goldwhen you walk on the set.
  • 44. Storyboarding It helps you see the big picture.There will beoccasional bumpsin the road.
  • 45. Storyboarding It helps you see the big picture.There will be But listening to why changes areoccasional bumps happening, and leaning into thein the road. change, could improve the scene.
  • 46. The first thing youdo is talk with the actors.
  • 47. The first thing youdo is talk with the actors.At the end of the day, what the actors are doing in front of the camera is all that matters.
  • 48. The first thing youdo is talk with the actors. Some great moviesAt the end of the day, only have, basically, what the actors are 2-4 locations. But doing in front of the they also have camera is all that good acting. matters.
  • 49. The first thing youdo is talk with the actors. My Dinner With AndreAt the end of the day, what the actors are doing in front of the camera is all that matters.
  • 50. The first thing youdo is talk with the actors. My Dinner With AndreAt the end of the day, Cast Away what the actors are 12 Angry Men doing in front of the camera is all that matters.
  • 51. The first thing youdo is talk with the actors. My Dinner With AndreAt the end of the day, Cast Away what the actors are 12 Angry Men doing in front of the Lifeboat camera is all that matters.
  • 52. The first thing youdo is talk with the actors. My Dinner With AndreAt the end of the day, Cast Away what the actors are 12 Angry Men doing in front of the Lifeboat camera is all that Rear Window matters. The Breakfast Club
  • 53. The first thing youdo is talk with the actors. My Dinner With AndreAt the end of the day, Cast Away what the actors are 12 Angry Men doing in front of the Lifeboat camera is all that Rear Window matters. The Breakfast Club Buried Source Code
  • 54. The first thing youdo is talk with the actors.At the end of the day, what the actors are doing in front of the camera is all that matters.
  • 55. The first thing youdo is talk with the actors.At the end of the day, This is why, for the what the actors are sake of time, many doing in front of the indie directors camera is all that employ 2nd Unit DPs matters.
  • 56. You do end upneeding to havesomeone shoot thingssimultaneously.
  • 57. You do end upneeding to havesomeone shoot thingssimultaneously. For more on the 2nd Unit DP go here. and here for filmmaking iPhone apps
  • 58. Rian cut out 45 minutes ofextended scene material.
  • 59. Rian cut out 45 minutes ofextended scene material.
  • 60. Rian cut out 45 minutes of extended scene material. All in all, The more scenes you can keepbetween 1-2 pages, the better.
  • 61. Rian cut out 45 minutes of extended scene material. All in all, The more scenes you can keep The next slide showsbetween 1-2 the best method for pages, the writing scene better. structure.
  • 62. Temp-score reallyhelps develop the tone.
  • 63. Temp-score reallyhelps develop the tone. I’ll use temp stuff in the rough cut.
  • 64. Temp-score reallyhelps develop the tone. It helps to start talks about score early on in the script I’ll use temp stuff phase. in the rough cut.
  • 65. I came up with allthese rules of the sci-fi world.
  • 66. I felt like if I had toI came up with all explain it… itthese rules of the would be one of sci-fi world. the movies where everyone is always spouting off exposition.
  • 67. I felt like if I had toI came up with all Inception explain it… itthese rules of the much? would be one of sci-fi world. the movies where everyone is always spouting off exposition.
  • 68. I felt like if I had toI came up with all Inception explain it… itthese rules of the much? would be one of sci-fi world. the movies where everyone is always spouting off exposition. Do you think how the sci-fi world works takes away from audience interpretation?
  • 69. I felt like if I had toI came up with all Inception explain it… itthese rules of the much? would be one of sci-fi world. the movies where everyone is always spouting off exposition. Do you think how the sci-fi world works takes away from audience interpretation? Story-wise, just provide all the info you need to know.
  • 70. I wanted the firstviewing of the film to be from Young Joe’sPOV, so linear would not work.
  • 71. Using year markers I wanted the first helped a lot withviewing of the film to the non-linear be from Young Joe’s narrative confusion.POV, so linear would not work.
  • 72. Using year markers I wanted the first helped a lot withviewing of the film to the non-linear be from Young Joe’s narrative confusion.POV, so linear would not work. The voice-overs were more about EMOTIONAL impact.
  • 73. Using year markers I wanted the first helped a lot withviewing of the film to the non-linear be from Young Joe’s narrative confusion.POV, so linear would not work. The voice-overs were “To write good dialogue, more about pay as much attention to EMOTIONAL impact. feelings as words.” – D. Swain
  • 74. Using year markers I wanted the first helped a lot withviewing of the film to the non-linear be from Young Joe’s narrative confusion.POV, so linear would not work. Aside from this purpose ‘avoid voice-overs’ - Patricia Cooper The voice-overs were “To write good dialogue, more about pay as much attention to EMOTIONAL impact. feelings as words.” – D. Swain
  • 75. I tossed out the back 60 pages and borrowed from the movie Witness.
  • 76. I borrowed fromI tossed out the back Casablanca to get 60 pages and Young Joe’s borrowed from the character arc. movie Witness.
  • 77. I borrowed fromI tossed out the back Casablanca to get 60 pages and Young Joe’s borrowed from the character arc. movie Witness. Take note here on how sci-fi writers will borrow from very straight- forward drama.
  • 78. I borrowed fromI tossed out the back Casablanca to get 60 pages and Young Joe’s borrowed from the character arc. movie Witness. Take note here on how sci-fi writers will borrow from very straight- forward drama. “If you want to write sci- fi, read everything but sci- fi” – Michael Moorcock
  • 79. I guess the trick is not to think about storytelling as making as many film references as possible.
  • 80. You have to beI guess the trick is not to driven by a genuine think about storytelling desire to say as making as many film something. references as possible.
  • 81. You have to beI guess the trick is not to driven by a genuine think about storytelling desire to say as making as many film something. references as possible. ‘Most screenwriters who don’t make it… don’t have anything to say.’- D. Goddard
  • 82. You have to beI guess the trick is not to driven by a genuine think about storytelling desire to say as making as many film something. references as possible. ‘Most screenwriters who don’t make it… don’t have anything to say.’- D. Goddard “have something to say and say it as clearly as you can” – M. Arnold
  • 83. You have to beI guess the trick is not to driven by a genuine think about storytelling desire to say as making as many film something. references as possible. ‘Most screenwriters who don’t make it… don’t have anything to say.’- D. Goddard“I can teach you to write better but I can’t teach “have something to say you how to have and say it as clearly as you something to say” – A. can” – M. Arnold Patchett
  • 84. About Me Im a transmedia story consultant. I consult screenwriters, novelists, filmmakers,video game developers, and film festivals. Ive also guest lectured at several universities.
  • 85. My Free App You can download the android version here. You can also download my iPhone version here.
  • 86. My Parables Todaysite reaches 2,000+ views daily, 20,000+ monthly and it has reached 220,000+ since 2010.
  • 87. To contact me, schedule an onlineworkshop, or in-class lecture, youcan send an email to:parablestoday@gmail.com