As you can see, I have especially lovely handwriting. Is it legible? That’s for the audience to decide.

But if you can’t I’ll talk about it here. The characters I’m writing, which I haven’t formally introduced to you all but will in another post, are going along okay.

However, on Thursday we are presenting our idea. IN the next post you’ll find out what that is too.

But anyway, I feel as if these consultations with the lecturer have been quite beneficial, we’ve refined our ideas into a mockumentary, which allows a high level of flexibility creatively, which I’ll also talk about in the next post. This post is basically the Deathly Hallows or Mockingjay Part one. Its whole purpose is to set up the next post.

SO in true ‘Part 1’ style, I’ll end on a a cliffhang-

This second exercise was something which I felt came out a lot nicer and more seamless than my last attempt at editing. In class, I happened to also be the director of this small sequence. But due to the need to be very faithful to the script, and a fairly short time frame, I was’t exactly able to get a full experience of directing people.

Anyway, I have to admit, that when I first saw the constraints within the brief that everybody was given, I got a little bit jumbled up. I saw the constraint of using 4 shots, which we adhered to, as only being able to make 4 cuts in editing, which is why you don’t get any other shots past the first few lines of dialogue. If I could do it again, I’d definitely add in another closeup of both the actors faces as their delivering their final lines, just to bridge the gap between the beginning of the sequence and the end. However, Tom Jones’ shot from behind over both of the character’s shoulders, (which was… not unusual and struck like a… thunderball… sorry those are the 2 Tom Jones songs which vaguely apply to my point), really created a nice mood. I’m happy I chose to use that shot, however again, towards the end I would have rethought and included one more closeup each towards the end.

I think it helps to talk to others about the constraints you’re given and to read briefs properly… Anyway, I feel like on a technical level, there happens to be a better continuity between this second attempt I made, and the first attempt I made. I feel this really helps to create a seamless story and one which audiences feel isn’t jarring.

I feel that my Premiere skills have improved, but I also am starting to get the feeling that through these technical exercises in editing a story, I’m being able to have some decent continuity and flow between different shots.

This first editing exercise was not the segment that our ‘B’ group actually shot, however I felt that I could try to reflect the story with the scene where I happened to be a star. A dumb guy, but a star. I’m the one in the red. Anyway, I found the exercise quite beneficial.

In creating, ‘Heist Guys,’ firstly I found it difficult to get a completely seamless continuity going, especially when the guys turn the corner, as theres a slightly awkward jump in space which I feel the audience may just recognise. Also, the final line of diologue happened to be given incorrectly (I can only blame myself…) and didn’t exactly make as much sense as I thought it would make, so in the editing I feel as if I rushed over the final cut to try and make audiences not realise what I just said didn’t make any sense. It instead made the editing feel rushed and not as considered. We definitely had takes where the dialogue was given in approximately the same location, but editing wise I feel I may have perhaps rushed it all.  However, I felt that overall the experience using Premier was quite beneficial, I hadn’t exactly used it before hand.

So. Heres an update of what I haven’t been telling you all these last few weeks.

Firstly, my group initially decided that we are going to create a series of short films focusing upon Melbournian characters doing their Melbourne things. This is due to the fact the Melbourne has gained acclaim as the most liveable city in the world, and we’d all like to explore characters within our awesome city setting. I think for a start it’ll be really interesting to explore the quirky characters of Melbourne. For instance, I’m currently writing and devising a script of two busker characters, one who would be the main focus of the story. That’s all I’ll disclose to you all, all 40 million of you, but its this idea of devising quirky characters and telling their weird stories is something we think will really add up to telling a quite comedic look at why Melbourne is the way it is, and ‘What makes Melbourne.’

Secondly, after consulting with Jasmine, we discovered that this concept may be better suited to a TV series pilot, instead of being a series of short films, as it would have better cohesion and make our ability to convey genre, which I think will be comedy in the end. I also feel that this allows us to create a Chris Lilley or Little Britain-esque mockumentary feel to our pilot, as we’d be intercutting between multiple, quirky storylines with our quirky characters. Ultimately, I feel like this medium would serve as a better way to convey the strange, yet memorable culture that Melbourne has to offer.

I also missed one lesson due to illness, but there is more to come for sure.

SO, Today I got around to not doing the exercise as asked, but I figured I’d let the world know my grand plans for the 3 shots. And here they are. I’d like to shoot the shots on the lane behind building 9. The rest is written quite messily, good luck reading it. I plan to get this done this work.

New people, new group, new stories, new adventures. Hopefully. This week we were given a new project to work towards, a group project were we are collaborating to make a film. That’s pretty cool, and again, it’ll probably give me some really good experience. I have to say I haven’t had much experience on the technical side of things, such as being a cam operator, but I suppose that’ll happen eventually anyway. What I think I’d like to contribute more in, is writing the actual screenplay. I feel as if so far with the writing exercises have made me think outside the box and be creative.

I haven’t had proper feedback on these in a lot of ways though, so I’m not too sure how my writing style would interpret on to screen. I think in a lot of ways if somebody said, “this isn’t very good, try this” etc. that’d be pretty beneficial for me to get better. Its an obvious thing really but I feel like its pretty valuable thing.

Also, this project I’m hoping to get some good experience by watching other people do their thing. I think I’m the only first year in the group so I’m hoping I can watch people edit on Premiere for instance and be able to learn more about that for starters. Anyway, hopefully this should all be fun…

Writing is difficult when you don’t have the knowledge of what or where it is you are going with it. Especially when you start to talk about something that is being graded with a total of 15% of your final grade for the semester. And this isn’t your elective, 12 credit point subject, it’s your 24 credit point studio in which I’m the underdog. I’ve got to get 500 words, or I’m afraid it might cost me my life.

I’ve hired a Hit man to come and get me if I don’t get to the 500 word limit of this exercise. I’ve only got 2 minutes to finish the 500 word limit. I think thats an unfair constraint, but, I was the one who was smart enough to hire the Hit man to come get me. I’m 150 words in, yet – ‘the sound of the downstairs door smashes’ – He’s come early. He’s going to kill me. (Footsteps are slowly approaching, the stairs are creaking under his feet) I type and type faster, that alk hte wordss Im tyipong haev spelling erorrs. I’m barely up to 200 words. Theres no chance for me to finish the 500 words.

I’m not going to have it, I’ve got to defend myself. I stand up and hide behind the door of my bedroom. The hit man runs in, expecting to see a blog post with 500 words. instead he sees one, which ends with the statement ‘I’m barely up to 200 words.’ He was given strict instructions by me, to kill me if I hadn’t finished the 500 words. He is outraged and pulls out his gun. He hasn’t seen me. Before he turns around I dive on him. He is completely unaware, as was I, as up until 25ish seconds ago I was trying to finish my blog post. I dive on top of him and grab his gun from his clenches. I point it at him whilst I’ve pinned him to the ground. He screams out, “Why didn’t you just do this post earlier? You could have made it truly special!” I say, “Because I didn’t know what I was going to write about!”

Then he says, “I was coming here to tell you something.” I scream, “Tell me what?!” He suddenly throws me aside, and stands up and says, “I’m your father.”

END SCENE.

Well that was weird. But as it turns out, its not just any other initiative blog post. This was an exercise I set for myself to come up with a narrative out of nothing. As a screen writer I’m sure there would be many stories that would need to be adapted from nothing. And I feel as if this kind of exercise shows that I was talking about nothing at the start. In a period of about half an hour-ish, (excluding me having a break from this to do some chores) I feel like I created a scene. I realise there are some plot holes, its not formally written and there a fair few cliches, yet apart from the stupid situation I wrote up, I feel like this kind of exercise helps to think on the spot, and in any sort of writing position whether it be screenwriting, copywriting, advertising etc, I’ll have to be writing under the pump. Hopefully this can show you that you can make something out of nothing. I definitely don’t see this as a masterpiece, but I think it’s good for me to write some things that come from just rambling on. This is highly informal, but it’s something that I can do as an experiment just to exercise my writing skills.

And look at that. I got my 500 words.

A man and a woman are sitting across from each other at a small table in a dimly lit restaurant.

PREMISES:

• Alfred is a conman with a bad temper, is 55 and is looking for love. He’s met his first ever con-woman, Elise during a heist in the Coliseum, and while there she asks him out. They both are so annoyed that the bar they chose to have a date is so dimly lit with candles that they decide to set the bar on fire and rob the barman. After this, they will embark on a night of heists, evading arrest, fun, and a nice romance.
• Alfred has agreed to go on a blind date. Little does he know that on this blind date is the woman in charge of capturing him for his world-renowned heists. Awkwardness ensues when they both start to fall in love.
• Alfred has taken his wife out for a romantic dinner. It turns out his wife is a figment of his imagination. His whole world is a figment of his imagination. Alfred wakes up half way through the narrative with his arms bound in a straight jacket, and screams for help. He’s all alone.

Alfred Corner was and is a world-class jewel and art thief, who had never been caught. Only his name was renowned. He’s lived 55 years, and he doesn’t want to stop there. He’d lived life to the full the second he finished his high school. He’d pulled off heists in all corners of the world; he had so many riches, yet he didn’t have a woman to love. Whilst in Rome about to pull off a heist to top all of his others, he decides to go on a blind date. He realizes this might be his final chance to fall in love if his heist goes poorly. He sits down in a pub and sees the woman from across the room.

She and him meet, and immediately begin to hit it off. They both love travelling, they both are tenacious and they both have an interest in mystery/suspense movies. They start to hit it off, and agree to meet again. However, both of them refuse to give each other their names. After exchanging phone numbers and fake names, (something which entertained both of them) they part ways and agree to meet again tomorrow.

Alfred postpones his heist one more day. They enjoy dinner one more time. They are coming closer and closer and Alfred is beginning to question whether he has finally found love. The woman, who called herself Eve, must feel the same way. She opens up and tells him something he wishes he never heard. Eve explains that her name is Elise Morton. At the sound of her name, Alfred stands up and says he has to leave, but arranges to meet again tomorrow. Who is this Elise Morton? She happens to be the woman who is the head detective in charge of catching a world renowned and infamous thief. And that thief’s name is Alfred Corner. This makes things a little bit more complicated.

REFLECTION:

• The exercise was quite useful in thinking outside of the box and thinking of different ways in which to construct the story around specific traits of the characters.
• I found it worked out fine in fitting characters into each different genre, Alfred stayed the same initially but in each genre (action for the first premise, rom-com/action for the second and drama for the third) he’d develop differently and that was a bit of a challenge in thinking of a premise where
• I found it fairly okay to have 3 different (2 were kind of similar) premises as each one allowed for the character to fit slightly differently within the genre they were placed in. For instance, the more action based one allowed for the characters to fit very comfortably, as the whole story would include them being con artists/thieves. My second one was more of an action/comedy and finally the last one was more of a drama which would have Alfred questioning identity etc. In each genre the characters were initially similar but they’d change in different ways over the course of the narrative.
• Yeah I think this exercise was quite valuable as with the changing genres it creates different situations for the my character Alfred. I feel like it also allowed for me to think outside the box and to try to get a feel of how a character would react to different situations that each genre would call for.

I recently watched the 1940’s classic ‘Casablanca’ starring Humphrey Bogart and Ingrid Bergman. Seeing as many including the Writers Guild of America have voted this as having the best screen play of all time, and the studio I’m in happens to have a lot of screen play writing in it, I figured I’d give it a watch. Coincidentally it was the film we had to watch this week for Popular Cinema… Anyway, its interesting to see the development of character within this script. You’ve got Rick, cool with a tough exterior but ultimately sentimental deep down. You’ve got Sam. Cool piano player, cool dude with loyalty and integrity to his pal Rick. You’ve got Ilsa, she’s cool too. My point is that, as all these characters collaborate, it flows. You believe their story a little more than you tend to believe others, the character each one plays is flawed yet have integral qualities. Casablanca was one of the biggest movies in its year, winning Best picture, tripling its larger than usual 1942 budget of $950,000 domestically. It has some of the most memorable characters and lines in film history.

Now, some of the most memorable movie characters like Luke, Han and Leia, Indiana Jones, Marty McFly, Frodo, Aragorn and Gandalf to name a few from my childhood, all are complex, fun and characters with integral qualities which make a movie click, just like in Casablanca. These are all from the last 40 years within cinema (more if you count the books.) But more modern, we’ve had different movies with characters who are cool on different kinds of levels.

We’ve got Katniss, who is cool based on her being a tragic survivor, one who’s been through a lot but keeps on going for what’s right. We’ve got Captain America, and Thor, and to be honest a lot of the superheroes who are constantly on the screens, who have been through a lot but keep on going and doing the right thing and being superheroes. You’ve got Elsa and Anna who aren’t you’re everyday princesses, Woody and Buzz who aren’t your everyday Toys. You’ve got Shrek, who’s not your everyday, villainous ogre. The cool thing about today, is that kids have got a broad range of characters to watch, many of which are cool and memorable. Making good characters within a film is important for everybody watching them, not just kids.

And perhaps this is something I want to do. In the best movies I’ve seen its been a lot about the characters, as well as the way the film has been made, how it’s music is etc and of course the story. But again, seeing as this course is about being creative in writing a script and adapting that to film, I’ll focus on whats written for now. I think it’d be something I’d like to have is write about and film cool characters. I realise its not the main focus for this course, as it probably would be for the character studio, but I think its important to think about the elements of the script which people will be experience the movie with. The characters. And watching a movie like Casablanca, where they are written to a high quality, its some inspiration to try to make a better script thus a better movie. Using creative decisions above this, like camera angles, editing and music all elevate this, but I figured it’s good to focus on the basics too and helping audiences enjoy through characters.

REFERENCES:

http://www.imdb.com/title/tt0034583/trivia?ref_=tt_trv_trv

Aim one: flattery. Aim two, something else.

I think this course has a lot of potential for me to grow in my creative skill sets. I think within this course I’ll be able to get a good perspective of the process of script to actually filming and working on preproduction and such. Within high school, I found that a lot of the time I would get impatient with it’s elements, especially storyboarding. Seeing as this course is literally doing all stages of production, I’d like to be able to get some more skills adapting a script to becoming an enjoyable.

I’d also like to get some experience of script writing. I’ve already dabbled in writing a scene, and I have found that fun. I think its an interesting experience forming characters and mannerisms in my mind and trying to adapt that to paper. I think I’d like to learn a lot more about incorporating more filmy techniques into the script. I’ve already found a lot of the shots can be planned, but on the day that can change. I suppose adaptability (I think that could be a word…) is key here. But I’m looking forward to trying to incorporate creative ways to make scripts enjoyable.

Finally, I really would like to get my technical expertise up. Apart from industry jargon, which I’m sure I’ll pick up on by listening to other, more savvy people as they do their thing, I’d like to be able to fine tune my editing ability, my handling of a camera and so on. Basically I’d like to be able to look like I know what I’m doing with equipment. It’s a little thing, but some expertise would go down pretty well in a future job of some sort, whether it be directly related to this or not.

Anyway, I suppose we’ll see how things go.