Tag / picture this!

by harrietread

Picture This wk5

In an earlier class, for homework, we all sent in examples of scenes in films that use visual storytelling without dialogue. One that had a big impact on me was a scene from Children of Men (2006), when Kee and Theo are trying to escape a housing complex that is being fired upon with Kee’s newborn baby.

This scene gets me emotional every time I watch it. I think that one thing that gets me every time is watching all the grown men, all the hardened soldiers, going stock still at the sound and sight of a newborn baby for the first time in years. I think that it goes another level deeper than that; I think that the film as a whole takes many artistic influences from both classical and contemporary art, and Alfonso Cuaron uses all these artistic cues masterfully to make the audience feel intense emotion. That is definitely something that I want to be able to pull off in my writing, being able to use vision and audio, not necessarily dialogue, to convey emotion, intense or otherwise.

Something else that I think I could be working on is considering and conveying what I want the cinematography should be through a screenplay. Children of Men has beautiful cinematography, particularly full of shots that linger away from the protagonists and scrutinise the world of the film. This includes the social and political state of the film’s world, and allows the viewer to reflect on the state of humanity in the film and perhaps also in real life. I think that in my own writing, I can do a better job of conveying the actual visuals of the film. But even more so, I should improve my understanding of sound and aural storytelling. I think that this is something I should work on because I am not confident with sound and music in film.

by harrietread

Picture This! reflecting on exercises

For one of our screenwriting exercises, we were given a prompt and had to practice our visual storytelling skills. In this interpretation that I did of one of the prompts we were given, I went all in full literature student mode. The main constraint was that we could not use dialogue.

I think that what I did well here was convey a sense of the story through physical action and space. I wanted to focus on the characters’ emotions and relationships through their physical movements and behaviour.

I think that I could have had a little more confidence writing this. I knew that we’d most likely have to read these to the class so I think I was holding myself back a bit. Also, this wouldn’t be appropriate as a screenplay used in industry, since it’s a bit long and waffly. This would probably be something I wrote as a novel, or wrote really early on as the foundation and then trimmed down super hard for a final script.

by harrietread

Picture This!

As of late, what has been really important to me in how screen stories are crafted is the way that women are written in their respective stories.

 

For example, in Blade Runner 2049, I feel that women take on very 2 dimensional and backseat roles. Firstly, I felt that it gave very little credit to the actresses’ abilities as performers. Secondly, I felt that it was a boring cookie cutter film, where the female characters take a serious backseat in screen time and active speaking moments. [[SPOILERS]] One of my biggest issues with the film was the scene where Officer K (Ryan Gosling)’s hologram girlfriend, Joi (Ana de Armis) initiates sex with him with the help of Mariette (Mackenzie Davis). It felt less like a scene with actual character, relationship and plot development and more like some male fantasy of a girlfriend initiating a threesome.

 

In direct contrast to this film, Alien (Ridley Scott, 1979) shows a compelling, 3 dimensional female with flaws and strengths that an audience likes and wants to succeed. Ellen Ripley, played by Sigourney Weaver, was originally written by the screenwriters, Walter Hill and David Giler, to be a man. By writing a character without being blinded by stereotyping qualities such as sex, race or age, Ellen Ripley is a character without any wasted screentime, action or dialogue. This is something that I also admire in Denis Villenveuve’s films Arrival and Sicario. In both these films, like Alien, the female protagonists are crafted and driven by their own personal, independent motivations and desires, as opposed to only being plot devices to their male counterparts.

 

What I want to get out of this studio is more ability to write characters as unbiased from their stereotypes as I can. I want to be able to fixate less on their personal qualities such as sex, race or age, and instead learn how to craft interesting and compelling characters and relationships.