There are many times when you can show your character, then cut to what she’s seeing, and it will make sense. If the subject is secret, or particularly important, it’s worth staging your shots to make more of the moment.
Never Let Me Go. Directed by Mark Romanek. Fox Searchlight Pictures, 2010. All rights reserved.
11.7
STORY POINTS
The best storytellers can work without dialogue, letting the important details of a scene flow together. In this scene from War Horse, you can see how all the story points are conveyed, with a minimal number of cuts. If you apply this level of efficiency and flair to your scenes, you can become a powerful storyteller.
In the opening frame we see that the horses are locked away behind the gate, because we look through the gate. With that story point established, the camera moves backward and the gate moves toward camera, opening, and we see that people are entering the field.
In the next frame the camera has been placed at a height so that we see the rope in the man’s hand as he walks forward. Another man follows, also carrying a rope, and then the camera has pulled back far enough for us to see the gate being closed and the horses beginning to react.
This shot is nothing more than a dolly back, but tells a clear story: The horses are being approached, and somebody’s going to try to harness them against their will.
Two brief shots follow in which we see the rope harness go over the horse’s nose. Moments later, the horses are being led away. The camera pushes in as they are led away, adding drama to a shot that might otherwise seem pedestrian.
When trying to convey story points, think of ways you can link them with a combination of camera movement, props, and blocking. The key to getting this right is being absolutely clear about what needs to be seen, and in what order. Once you know that, you can start inventing shots.
War Horse. Directed by Steven Spielberg. DreamWorks Pictures through Touchstone Pictures, 2011. All rights reserved.
11.8
SCENE STAGING
Long takes give actors the opportunity to create powerful scenes, but you need to match their efforts with camera work that captures performance and reflects the story.
This scene from There Will Be Blood feels like one continuous take, but is actually comprised of two shots. Actors can become tired and irritated when they are forced to repeat a long scene time after time, so it’s wise to shoot the introduction to the scene separately from the long dialogue section.
The scene opens with movement in the house, and David Willis emerges and heads to frame left. We pan with him until we meet Daniel Day-Lewis and Dillon Freasier. At this point we cut to a shot from another angle. Crucially, the actors remain roughly the same size in the frame at the moment of the cut. This makes the scene feel continuous. Many viewers think they have watched one long take, because the cut is made with the actors appearing the same size in the frame.
The actors now walk up to the house, and the camera gradually crawls toward them, as the dialogue takes place. The family emerges from the house, framed directly between Day-Lewis and Willis. This is symbolic of the issues in the story, and makes us consider the wider implications of the dialogue. Freasier also runs out of frame, briefly, so that we focus more directly on the two men.
As Day-Lewis and Freasier leave, we follow them, but the camera lets them drift to the right of frame. This gives the impression that there is unfinished business here. This is emphasized by the girl running in and joining them for a moment, before they continue on their way.
Long scenes, with no cuts, can be the most memorable part of a film if executed well, but make sure you have a good reason to shoot in this way. If close-ups and tight editing suit the scene better, don’t go for a long take just to be impressive. If a long take suits the drawn-out tension of a scene, it’s worth finding a way to get the visuals to match the acting.
There Will Be Blood. Directed by Paul Thomas Anderson. Paramount Vantage, Miramax Films, 2008. All rights reserved.
11.9
VISUALIZING THE SCENE
When you’re visualizing your scene, think of the viewpoint character. Although the camera will be pointing at your main character throughout the scene, bear in mind that this is her story, and that can help to shape how you shoot.
This scene from House of Sand and Fog is an excellent illustration of this approach to filming. Jennifer Connelly is having her house repossessed, so the film is shot to reflect her surprise and unease, and the sense of invasion she feels.
Having her in a dressing gown is an inventive touch that not only shows her as unprepared, but also emphasizes the feeling of vulnerability and domesticity. This contrasts starkly with the official-looking character seen outside her door. Even when she’s opened the door, she continues to hide behind it. The background is thrown right out of focus, as though she’s trying to conceal the inside of the house from these people.
As Scott N. Stevens pushes in, he dominates the frame, effectively taking over her house. By the time she catches up, we cut to another shot of him. He appears to have moved farther into the house than should be possible in a couple of seconds. This slightly unreal moment underlines Connelly’s disorientation.
Connelly is now framed centrally, but there’s always somebody in the background, or passing in the foreground, to show that she’s effectively surrounded or trapped.
The shot of Stevens leaving also shows a locksmith changing the locks; efficiently revealing a story point and making it feel like everything is happening at an unreal speed. The final shot of Connelly is positioned so that we are almost looking straight into her eyes, to connect with her pain.
By considering your main character’s emotional experience of a scene, you will find it easy to contrast a complicated sequence of shots.
House of Sand and Fog. Directed by Vadim Perelman. DreamWorks, 2003. All rights reserved.
11.10
CREATING ON-SET
Some directors like to create on-set, just before they shoot. Others like to plan months in advance. Whatever approach you prefer, you will probably find there are times when you have to make up new shots on the spot. Learning to respond quickly and inventively is one of the key skills you need to develop as a director.
When you have to come up with shots at short notice, begin by getting the actors to play out the scene in the most obvious way. Let them position themselves in the scene, and see how it looks. As the scene runs, see where your attention is drawn, and you will begin to get a feeling for what you want to emphasize. Let the actors’ creativity feed yours, but if their ideas contradict your overall vision, find a way to guide them back to the film’s journey, rather than their own.
This scene from Melancholia shows how a scene could be developed in this way. By opening with a close-up on Charlotte Gainsbourg’s panic, we engage with the emotion of the scene. The following shot is a series of rapid camera moves back and forth, between her and Kirsten Dunst, until Dunst stands and follows her. This handheld style, with the camera searching for the interest in the scene, does not suit many films. This overall approach, however, of observing the actors to see where the performance shines, can certainly give you a starting point for generating shot ideas.
The two final frames, from Melancholia, could have been storyboarded exactly, or it could be that the director came up with these framings once the actors were in place. The truth is probably that a strong vision meshed with a willingness to change.
When planning your scene, imagine clearly. Dream up the best shot that you can, but when you get to set, remember that you are a storyteller. The camera should be used not to capture, but interpret, a scene. Enter every scene with a strong vision, but an open mind.
Melancholia. Directed by Lars Von Trier. Nordisk Film, 2011. All rights reserved.
CONCLUSION
When you read a script, you picture a scene. When you cast your actors, the scene becomes clearer. Once the set is built or the location found, it’s impossibl
e to keep your imagination from firing.
Use the knowledge you gain from this book to give intelligence and craft to your inspiration. Aim to make the best movie you can.
Refusing to compromise doesn’t mean becoming overly indulgent. I sometimes despair when I see new filmmakers working five hours longer than scheduled to get that perfect shot. If they ever become paid to be directors, that can’t happen.
Working to schedule is good practice, and you have to discipline your imagination, so that it can give you the solutions you need without delay. When there’s only half an hour left to shoot, you’ve got to come up with a shot that solves all your problems. You can’t wait for perfection.
Armed with the secrets you’ve gleaned from this book, you will find it easier to create new shots at short notice. When you do that, you become a director that people want to hire, because you can create at speed. Some will call you reliable, others will think you are a genius, but everybody will know that you can be trusted to come up with great shots. Combine that with a little luck, and you may never be out of work.
ABOUT THE AUTHOR
Christopher Kenworthy is the creator of a new series of Master Shots e-books (with HD video and audio) including Master Shots: Action, Master Shots: Suspense, and Master Shots: Story. He has worked as a writer, director, and producer for the past thirteen years. He directed The Sculptor’s Ritual, which played to sold-out screenings in Australia and received strong reviews. Christopher works on music videos, visual effects tutorials, and commercial projects. He’s the author of the best-selling Master Shots Vol 1 and Master Shots Vol 2, with Master Shots Vol 3: The Director’s Vision released in 2013. He’s the author of two novels and many short stories. Born in England, he currently lives in Australia with two daughters and the actor Molly Kerr.
www.christopherkenworthy.com
www.thesculptorsritual.com
[email protected]
MASTER SHOTS VOL 1 - 2ND ED.
100 ADVANCED CAMERA TECHNIQUES TO GET AN EXPENSIVE LOOK ON YOUR LOW-BUDGET MOVIE
CHRISTOPHER KENWORTHY
BEST SELLER
Master Shots gives filmmakers the techniques they need to execute complex, original shots on any budget. By using powerful master shots and well-executed moves, directors can develop a strong style and stand out from the crowd. Most low-budget movies look low-budget, because the director is forced to compromise at the last minute. Master Shots gives you so many powerful techniques that you’ll be able to respond, even under pressure, and create knockout shots. Even when the clock is ticking and the light is fading, the techniques in this book can rescue your film, and make every shot look like it cost a fortune.
Each technique is illustrated with samples from great feature films and computer-generated diagrams for absolute clarity.
“The camera is just a tool, and anyone who thinks making a movie is about knowing how to use a camera is destined to fail. In Master Shots, Christopher Kenworthy offers an excellent manual for using this tool to create images that arouse emotional impact and draw the viewer into the story. No matter what camera you’re using, don’t even think about turning it on until you’ve read this book!”
— Catherine Clinch, publisher MomsDigitalWorld.com
“Though one needs to choose any addition to a film book library carefully, what with the current plethora of volumes on cinema, Master Shots is an essential addition to any worthwhile collection.”
— Scott Essman, publisher, Directed By magazine
CHRISTOPHER KENWORTHY has worked as a writer, director, and producer for the past ten years. He directed the feature film The Sculptor, which played to sold-out screenings in Australia and received strong reviews. Recent works include sketch comedy for the BBC’s Scallywagga, a title sequence for National Geographic Channel, visual effects for 3D World, music videos for Pieces of Eight Records and Elefant Records, and an animated wall projection for The Blue Room Theatre in Perth, Australia. Kenworthy is the author of the best-selling Master Shots, two novels: The Winter Inside and The Quality of Light, and many short stories. Current projects include screenwriting, several directing assignments, and the development of additional Master Shots applications.
$26.95 | 362 PAGES | ORDER NUMBER 179RLS | ISBN: 9781615930876
MASTER SHOTS VOL 2
100 WAYS TO SHOOT GREAT DIALOGUE SCENES
CHRISTOPHER KENWORTHY
Building on the success of the best-selling Master Shots, this book goes much deeper, revealing the great directors’ secrets for making the most of the visual during the usual static dialogue scene. A strong scene is determined from where you put the camera and how you position and direct your actors. This is especially true when shooting dialogue. The techniques in Master Shots, Vol. 2 ensure that every plot point, every emotion, and every subtle meaning is communicated clearly.
This is the first book to show how important it is to shoot dialogue well. What’s the point of opening your scene with a great camera move, if you then just shoot the actors like a couple of talking heads? Master Shots, Vol. 2 gives you control of dialogue scenes, whether you’re shooting two characters or a room filled with multiple conversations.
Using examples from well-known films, the book gives 100 techniques, lavishly illustrated with movie frame-grabs, and overhead diagrams, to show exactly what you need to get the required result. At all times, the techniques have been broken down to their core points, so they will work on a fully equipped Hollywood set, or with the most basic video camera.
“A terrific sequel to the first Master Shots. If there’s a cool way to move the camera, Kenworthy has explained it to us. I can’t wait to get this book into my students’ hands.”
— John Badham, director, Saturday Night Fever, WarGames; author, I’ll Be in My Trailer
“Master Shots, Vol 2 will inspire every filmmaker to think carefully about placement and movement of actors as seen through the camera lens. This book increases the reader’s appreciation for the critical work of the cinematographer and the director as they speak the language of film through images.”
— Mary J. Schirmer, screenwriter, screenwriting instructor, www.screenplayers.net
CHRISTOPHER KENWORTHY has worked as a writer, director, and producer for the past ten years. He directed the feature film The Sculptor, which played to sold-out screenings in Australia and received strong reviews. Recent works include sketch comedy for the BBC’s Scallywagga, a title sequence for National Geographic Channel, visual effects for 3D World, music videos for Pieces of Eight Records and Elefant Records, and an animated wall projection for The Blue Room Theatre in Perth, Australia. Kenworthy is the author of the best-selling Master Shots, two novels: The Winter Inside and The Quality of Light, and many short stories. Current projects include screenwriting, several directing assignments, and the development of additional Master Shots applications.
$26.95 | 240 PAGES | ORDER NUMBER 167RLS | ISBN: 9781615930555
CINEMATIC STORYTELLING
THE 100 MOST POWERFUL FILM CONVENTIONS EVERY FILMMAKER MUST KNOW
JENNIFER VAN SIJL
BEST SELLER
How do directors use screen direction to suggest conflict? How do screenwriters exploit film space to show change? How does editing style determine emotional response?
Many first-time writers and directors do not ask these questions. They forego the huge creative resource of the film medium, defaulting to dialog to tell their screen story. Yet most movies are carried by sound and picture. The industry’s most successful writers and directors have mastered the cinematic conventions specific to the medium. They have harnessed non-dialog techniques to create some of the most cinematic moments in movie history.
This book is intended to help writers and directors more fully exploit the medium’s inherent storytelling devices. It contains 100 non-dialog techniques that have been used by the industry’s top writers and directors. From Metropolis and Citizen Kane to Dead Man and Kill Bill, the book illustrates —
through 500 frame grabs and 75 script excerpts — how the inherent storytelling devices specific to film were exploited.
You will learn:
• How non-dialog film techniques can advance story.
• How master screenwriters exploit cinematic conventions to create powerful scenarios.
“Cinematic Storytelling scores a direct hit in terms of concise information and perfectly chosen visuals, and it also searches out . . . and finds . . . an emotional core that many books of this nature either miss or are afraid of.”
— Kirsten Sheridan, Director, Disco Pigs; Co-writer, In America
“Here is a uniquely fresh, accessible, and truly original contribution to the field. Jennifer van Sijll takes her readers in a wholly new direction, integrating aspects of screenwriting with all the film crafts in a way I’ve never before seen. It is essential reading not only for screenwriters but also for filmmakers of every stripe.”
— Prof. Richard Walter, UCLA Screenwriting Chairman
JENNIFER VAN SIJLL has taught film production, film history, and screenwriting. She is currently on the faculty at San Francisco State’s Department of Cinema.
$24.95 | 230 PAGES | ORDER NUMBER 35RLS | ISBN: 9781932907056
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