‘In this clip screened in the lecture from the Coen brothers’ ‘Blood Simple‘ describe what is happening in terms of the edits specifically in terms of the audio and video. Also name the different kinds of audio you can hear.

The comprehensive combination of audio and video editing is the source of all suspense within this particular scene. The scene hinges on the use of both diagetic and non-diagetic sound to propel narrative event and heirachises the volume of sound effects and pieces of dialogue  as they relate to the action unfolding in the visual aspects of the scene. In many ways, the scene is structured so that sound is significantly more descriptive than vision, as it relates to event or development within the scene. Indeed, it could be said that vision serves largely to depict character reaction to event which is established through sound. This is most evident when considering the gunshot sequence, while many movies would linger on, almost fetishising the action of shooting  a character, or the gory wound which ensues, the shooting itself is communicated entirely through sound, the visual elements of the scene concerning itself with quick cuts of the sweaty faces and shellshocked expressions of the characters. This is such that audiences are initially unsure which character has been shot. A similar effect is achieved as non-diagetic vomiting is heard when a character exits a scene having seen a photo of the person he has put a hit on, a dramatic contrast to the onscreen visual of his bemused partner. Visual metaphor features heavily within the scene as it frequently cuts to a bundle of dead fish on the table, oftentimes replacing or bookending sections which would traditionally feature images of graphic violence. A complex soundscape similarly contributes to a sense of tension in the scene, with sound effects: the rustling of papers, scraping of furniture and urgent footsteps being woven between character dialogue, each gaining dominance through volume control as they become pertinent to narrative event.

‘Consider Sandra’s lecture “Directing Actors” and describe at least a couple of points that you took away from it (even if you’re not the director).’

As the director of my group’s project, Sandra’s lecture was particularly useful to me, largely as she directly answered a number of significant questions I had with regard to preparing for and running a shoot in order to best accomodate the film’s actors. Sandra stressed the importance of rehearsing actors prior to shoot day and specifically detailed the manner in which this should be undertaken with an action based script. As our film contained minimal dialogue, I had not considered rehearsal a priority prior to the lecture, upon Sandra’s suggestion that movement should be discussed, mapped out and practiced, the film’s cinematographer and I went on to meet with actors in the area we planned to shoot the film, detailing the route that would be taken in the film’s running sequences and the physical dynamic which would exist between the characters. Furthermore, at various points on shoot day, when we were short on time, our group found ourselves considering the method Sandra discussed in which shot lists are modified so that large sections of action may be covered in as few shots as possible. Lastly, I was able to speak with Sandra directly with regard to maintaining continuity in scenes, which had been a concern of mine, while she stressed the process was a challenge, she clarified the notion of ‘crossing the line’ and how important it is that cinematographers and directors be alert to this.

Select from one of the readings from week 5, 6 or 7 and describe two points that you have taken from it. Points that excite you, something that was completely new to you.

Malkiewicz, K. Film lighting : talks with Hollywood’s cinematographers and gaffers, (p. 99-115, 128-135). New York: Pretence Hall, 1986.

While Malkiewicz largely concerns himself with lighting an indoor scene or soundstage, many of the notions established in the reading prove both interesting and valuable with consideration for my group’s own film. Only some small portion of the film’s events occur indoors, however time of day is of considerable significance with regard to the narrative events of our project. As such I found it particularly exciting to read the section he had written on establishing temporal significance and accuracy through the selection and positioning of key lighting. As Malkiewicz writes, early morning and late afternoon light enters a room at a low angle, the glow of sunrise or sunset can be simulated by the placement of an orange gel over the light source. furthermore, when lighting a daylight interior scene, where possible it proves most realistic to light through windows, these being the primary light source in a regular room, this proves particularly convenient to bear in mind as the setting we have selected to shoot our project contains several interior windows.

Completely separate from the work my group and I have been considering, are the notions regarding character lighting Malkiewicz discusses in a later point of the reading. While I was familiar with this in the most melodramatic sense, initially being reminded of film noir, I was surprised to learn the technique was still actively and subtly employed to the present day to infuse characters with certain traits and motivations. Naturally as Malkiewicz outlines, this comes with its own set of challenges, character lighting must accomodate the moving subject as well as taking into account the contraints which accompany the specifications of setting.

First and foremost, shooting a Lenny reminded me of the importance of establishing clear boundries between  the roles within our film group. This of course proves challenging as no single position exists in a vacuum, while for example it is predominantly the director’s job to coach actors, cinematographers and sound designers must be consulted on their performances  in order to achieve optimal results. Similarly, effective scheduling will be essential in order shoot a scene with as little tension or confusion as possible, this proves particularly evident as both the lenny exersise and the final project are shot to time constraints. Furthermore, while the excersize allowed us to explore to some extent the variety of shots available to us using the ‘shooting to edit’ method, it highlighted the importance of ensuring continuity throughout, a task I must admit I am dreading.