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Could anyone here write me a 60-90 second film story based around the following restrictions:
- one set (a sitting room or office)
- a lighting setup that gradually turns from day to night, via sunset
- one actor (male or female, two if I can't do it with just one)
I'm shooting a cinematographic exercise next week on real, live 16mm film (ohsoexpensive) and, while I'll spend most of the time fiddling with technical things, I would like to direct an actor and make it into a "real" film.
Most likely it'll have to be on a theme of something like "Waiting", because the action will take place over 4 hours or so. But waiting for what?
It could be just the first two minutes of a longer story, but it would have to be relatively self-contained too.
Any ideas?
Thanks for taking the time to read this!
David
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Oh, and I'll post it on this board eventually, assuming that the camera doesn't destroy the film or something (it may do, 'cos I've not put real film through it yet).
David
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pimple
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Likes it here |
Location: USA
Registered: March 2006
Messages: 375
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Greetings Deej
I have always thought that a short film shot from the prospective of the security camera/entry buzzer in a large apartment entry hall might be interesting if the conversation were witty enough.
Single camera placement with keyhole or fisheye effect.
Squawk box dialogue with high likelihood of misunderstanding could be fun.
Your thoughts?
Regards-
Simon
Joy Peace and Tranquility
Joyceility
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Simon
I love the idea!
Only problem is, I'm very restricted in camera placement because of the sheer weight of the thing, and I need to use conventional techniques because having only 6 minutes of film (4 after stopping and starting the camera, etc.) is not a good time to start experimenting!
Have you considered making a story out of it?
David
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timmy
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Has no life at all |
Location: UK, in Devon
Registered: February 2003
Messages: 13751
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Waiting for Godot has been done an immense number of differnet ways. I forget which tramp suggests it, but an ending of "hanging one's self" was suggested.
After 4 hours of waiting, that seems like a logical(!) ending
Author of Queer Me! Halfway Between Flying and Crying - the true story of life for a gay boy in the Swinging Sixties in a British all male Public School
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Waiting is perhaps not quite the right word. You can carry out the same task in the same room for four hours and not be waiting for anything (apart, perhaps from yourself to finish whatever task it is you are doing).
The audience would only be able to see 15 second snippets of those four hours; or, alternatively, a few seconds of time passing very quickly followed by a short scene at one particular time -- or vice versa.
David
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Could have the person waiting for something that isn't actually revealed perhaps. Could show lots of pacing and looking at a watch with building frustration. Maybe have a ticking in the background.
Could nix the "waiting for an abstract event: idea and resolve the waiting by having somebody show up at the end, perhaps a delivery boy or a friend person. The resolution could also bring about an instantaneous change in mood that doesn't indicate the previous level of frustration.
In my head this is done with a fixed camera position and grainy black and white film.
Sorry I watch the Independant Film Channel waaaay too much.
It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the sabre and the gun
Tell me is it worth it all
~Phil Ochs "I Aint Marching Anymore"
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>Could have the person waiting for something that isn't actually revealed perhaps. Could show lots of pacing and looking at a watch with building frustration. Maybe have a ticking in the background.
Indeed it could. The problem is, I want more back story than simply "a person waiting for something or someone" (even if we are told at the end). Otherwise the action seems flat and lifeless -- you'd have difficuly empathising. On the other hand, if you know (for example) that his wife is having a baby, or his mother is having an operation, or even (dramatic irony -- the audience knows but he does not) that the person he is waiting for has just been killed in a car accident, then suddenly you have real dramatic tension (provided it is well directed) and not just "film school" tension (ticking clocks, etc., to denote the passage of time).
Unfortunately, there's a reason there are no great one minute films -- you can't get to know the characters properly, and that is what (both dramatically and critically) is key to a good film.
I think I'm getting a bit serious here. Sorry for lecturing to no-one in particular! Thanks for your ideas, David.
David
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David, this is just an idea for you (or anyone else) to play around with.
A person (doesn't matter whether man or woman) is sitting by a telephone, waiting for a call. It transpires that this call is about a life or death situation. The person waiting is torn between the two possible messages that the expected phone call will bring: they can't make up their minds whether they want this person to live or die. The film ends with the phone ringing.
Not the greatest, I know, but I really do want to help you if I can.
Good luck, anyway.
The paradox has often been noted that the United States, founded in secularism, is now the most religiose country in Christendom, while England, with an established church headed by its constitutional monarch, is among the least. (Richard Dawkins, 2006)
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Funnily enough, I'd already come up with almost exactly the same situation on my own. Except, this time, the character was wondering whether or not to make the call -- or, every time he did, the line is engaged, or it leads to an answering machine.
I guess there are only a limited number of things you can do with a single actor in a single room. I suppose comedy works much better for films of that length, because there's a punchline that takes the place of the emotional climax, which would take more time to set up.
David
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"film school tension" summed up my idea quite well.
Your lectures are always interesting. There is no need to apologize.
It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the sabre and the gun
Tell me is it worth it all
~Phil Ochs "I Aint Marching Anymore"
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I like the, "trying t odecide whether or not to make a phone call" idea.
It's always the old to lead us to the war
It's always the young to fall
Now look at all we've won with the sabre and the gun
Tell me is it worth it all
~Phil Ochs "I Aint Marching Anymore"
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Yup, I'm running with it at the moment to see what it brings up.
David
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Good grief... hard to believe I've spent the last six hours developing a one minute script!
Why haven't I gone to bed?
Come to think of it, why am I posting this?
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Guest
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On fire! |
Registered: March 2012
Messages: 2344
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Because your sweet, really cute, and adorable.
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Flattery will get you everywhere with me, Brian. 
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cossie
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On fire! |
Location: Exiled in North East Engl...
Registered: July 2003
Messages: 1699
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... no public declarations of affection in front of your grandfather!
For a' that an' a' that,
It's comin' yet for a' that,
That man tae man, the worrld o'er
Shall brithers be, for a' that.
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Here grandfather have another malt while me and Deeej go play.;-D
I believe in Karma....what you give is what you get returned........
Affirmation........Savage Garden
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