When words are not enough, we turn to images and symbols to tell our stories. In imagery, things are not linear- there is no beginning and end as in a verbal story.
A painter at one time is showing you one frame, but a film-maker can take you into an experience and an existential atmosphere that may be a trip for you. - Tilda Swinton
"Film-making is it technological fulfillment of our most basic human need, the need to communicate."
Sale's Pitch/'The Hook'
Promo & Ads
(finding viewers by generating reaction and interest through buzz i.e. 'word-of-mouth')
Rule of threes
Function of an "Act" - think of it as a dramatic question introduced into the story, persisting until the question is answered and the protagonist has made a decision/desire that results in sending the question into a new direction
1. Intro: Set-up implies Establishing Themes/Ideas/Argument (shown through action)
- Foreshadowing whats to come
- "Internal Logic" of the Story: Some understanding of this new alternate World/reality (even if it raises more question - later pay-off) and showing and defining, to the audience, each relevant Characters personality-type and believe-able/strong-personal motivations (non-cartoonist). The basic premise has to be believable but not predictable. It can be annoying if its done in an over-indulging/over-done way.
- A character first impression gives important info to the viewer regarding what personality-type they should assume about that character.
2A. Confrontation implies Conflict: Action in order to build-up tension.
2B. Emotional Climax (emotionally build-up reaching the cliffhanger, then release of audience tension)
After all, its the memorable moments created during pressure/failures, as the character is pushed to make his/her choices, that drive the plot forward and not the opposite way around. Its also crucial, for the success of the re-telling of a hero's journey, that the audiences can relate/emphasis when a character as he/she discovers his/her true self.
- "Show don't tell rule" of Exposition (giving dry backstory info to viewers) either though direct action and interesting moments between charismatic characters in which unseeingly the info slips out.
3. Catastrophic Showdown: Resolution implies audience Pay-off victory (or downfall if its a tragedy) during final true test.
2. Royal blood with valour legacy
3. Trying hard to be a Cool dude but with no talent
4. Over-religious man who strictly follows every letter in the book
5. Mega Paranoid
6. A big Lier (hidden fear everyone is judging him/her)
7. A simple-minded villager
8. Cliche bad villain who you laugh at
9. Unhealthy fans
10. My team vs your team rivals
Use the 'Rule of threes' also for:
- Each Act is made of an irreversible emotional choice the main character makes under pressure (during conflict).
- Each Act has to be roughly balanced in length (around 90,000 - 100,000 words) with the rest in order to keep audience's interest alive. A good rule of thumb: Each Act has an average of 60-70 scenes per 10 – 15 sequences i.e. 5 – 7 scenes per sequence.
Composition of the mood/style of a scene
(natural/realistic looking or god-mode/objective looking or attention-seeking exaggerated way)
Execution/treatment of thematically-motivated Mood/tone & Style (using good grammar)
(motivated in order to reinforce viewer's understanding of a point being made)
- Viewer is guided by "eye-line" and contrast and motion.
- Showing a clear image of a character's big 'eyes' makes the viewer subconsciously relate to that character.
- Visual lines and exaggerated emphasis makes it easy to guide the viewer's eyes.
The purpose/function of the energetic burst of A complex-edited Montage
- Budget: The regional film takes 45 days to be completed with a budget of around 35-40 lakhs. (Indie national level digital shoots requires 10x more budget i.e. around 11.5-12.5 lakhs per day)
- Director: The captain who excels in scene construction and its 'break-down sheets', understanding the objective, articulately communicating to the various teams and coordination them to make the story. Continuity, log sheets, details of the 'set design', props, costumes and makeup, which are all thematically-motivated for the right mood/tone and style.
- Actor: Performance that breaths life into the story by making a character and actions believable, without begging the viewers to be emotionally invested in them. They are responsible for the creating good drama within the action and make it feel real and relatable (instead of feeling like choreographed toys). The reaction insert is entirely depended on the actor to convey a character's inner emotions. Technically, actors must be able to recall and repeat, 50-60 times on cue, their expressions and rigidly planned/defined physical movements; and yet, make it look natural.
- Editor: Final innovative execution that gives meaning to the whole story, by structuring the plot (and thematically-motivated mood/tone and style). He's responsible for guiding the viewer in order for them to process the meaning correctly. If the work doesn't resonate and makes profit, it the work is a failure.
- Cinematographer: Helping the Director in pre-visualising his/her interpretation, during planning and capturing, the moments of interactions between people, movement, light and form. Testing tone and composition (of reasonable variety in narrative useful types of cuts and frames/angles) of pieces of moments made in (thematically-motivated) different locations with mood/atmosphere lighting, in the cheapest way.
- Production manager: Reducing the Director's stress and being responsible for budgeting, details of cast & crew, renting equipment, daily scheduling, permission for location/floor and publicity.
- Audio: Mixing sounds is essential as the human psyche is directly effected by it. Very importantly used as a match-cut tool (use of L-cut/J-cut or used for transitioning between two scenes).
- Animation can be Practical or Digital (software-based): 2d, 3d, clay or Stop-Motion.
- Sales: You have to understand the lives of your audience as people, and the price they are willing to pay for what they want or need.
- V.O. of 30 secs contains roughly 10-75 words.
"The philosophers have only interpreted the world, in various ways. The point, however, is to change it."
"The weak willed are afraid of life. Weak willed individuals make otherworldly interpretations because they do not have the strength to face and rejoice in life with all its changes and polarities. The weak willed cannot face the impermanence and what they believe to be the injustice of earthly life. Thus there is only the apparent escape of metaphysics and religion."
We see, however that we have two kinds of unconscious — that which is latent but capable of becoming conscious, and that which is repressed and not capable of becoming conscious in the ordinary way. The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind. A man who has been the indisputable favorite of his mother keeps for life the feeling of a conqueror. God is nothing more than an powerful father. A poor girl may have an illusion that a prince will come and fetch her home. It is possible, some such cases have occurred. That the Messiah will come and found a golden age is much less probable.
- Internet-streaming shows: stop or binge long-series hero's story (Rs.530 to Rs.670 / week)
- YouTube streaming programme: short-videos of 12 mins (has one 30s ad time), 15000 min. viewers / week (Rs.50/week)
- TV broadcast-quality original shows: 20 mins/week (two 3-mins ad time/episode) long format hero's story
- Cinematic (wide-screen film-screening): 60 -90 mins (two 6-mins ad time/show) long format hero's story, communal visual experience