Scene of Suspense - Commitment

Director's Reflection:

Overall response (2-3 paragraphs):

In 2-3 paragraphs, write an overall response to your film: Were you successful at achieving what you set out to achieve? What are you proud of? What would you do differently if you could remake this piece? What did you learn? 

            The goal of this film was to tell a suspenseful story that was personal to me that leaves the audience wanting to know what happens next. I came up with the story because there are ethical conflicts facing all of the characters, so the suspense is actually relevant to their feelings and meaning as characters. This felt more suspenseful to me, and made the film into a story I actually wanted to tell, rather than just an assignment to check off. In terms of these goals, I think I was mostly successful. The overall scenario of the story seemed to be clear to everyone, there was suspense (at least in the final scene), and at least some of the audience wanted to know what happened next. In some ways, I was unsuccessful, because a lot of the moments I meant to be suspenseful had less impact than I intended, such as the cross-cutting to the husband, or the scene when Cooper leaves the apartment. Additionally, the tone and pacing of the film felt very off, largely because I didn’t do a great job of establishing geography and exposition, which made some of the emotion of the film muddled or overshadowed.

            I’m proud of the story I came up with for this film, and that it ended up being at least partly successful as a suspenseful scene. I’m proud of the final scene, which had the palpable suspense I wanted to, and which had fewer execution flaws than the rest of the film. Additionally, I’m proud of the acting. I felt like the actors did a fairly good job, even though it clearly wasn’t perfect, and that my ability to direct them improved through the process of making this film. I also received praise for the acting from my classmates.

            If I could do this differently, I would want to use fewer shots, but to also be sure to include shots that were needed to establish the geography of my locations. This would have made the pacing feel more normal, and would have helped the audience to stay involved in the suspense of the story, rather than be confused by things they weren’t supposed to be confused by. Additionally, I’d be sure to frame my shots so that they included the necessary information, such as the (missing) shot of Ella putting her phone on the ground. I learned a lot about geography, continuity, and clarity in this process. I also very importantly learned that, as long as the shot continues to evolve with dynamic information, there is no need to cut frequently—a long take can be more engaging and thrilling than a lot of quick cuts.

Briefly answer the following:

What, specifically, did you want to communicate? Were you successful? Why? Why not?

I wanted to tell the story of a wife who was kind of cheating on her husband, and who was conflicted about the situation, as well as of the husband finding out and not knowing what to do. I wanted the tension and panic that they felt to turn into suspense for the audience, so that the audience is unsure of what each character will do next. I think I was largely successful because the story was simple enough that it was easy to understand, and the acting helped carry the emotions of the characters. I was somewhat unsuccessful as the suspense was often overshadowed by confusion of geography or story due to unneeded cuts or missing information.

How, specifically, did you try to say this? What visual elements, techniques, etc. did you use?

I tried to mainly use space to carry the emotion of the scene. I tried to keep the space of the apartment very flat, while keeping everything outside of the apartment much deeper (or in the case of the stairs, more ambiguous). This was to create tension between the two areas as we realize that the characters in them are at different places of knowledge. I also wanted it to make a powerful and tense transition from deep to flat space once the husband comes home.

In addition, I tried to use slightly warm colors in the apartment and cool ones out of it to heighten the contrast created by space.

What did you learn about storytelling:

I learned that one dynamic shot is more comfortable and sensible than several quick cuts, especially in a very still scene in which all the needed information can be seen in one shot. I also learned the importance of creating and maintaining geography so that the audience isn’t distracted by elements that should be built into the story.

Working with actors and getting performance:

I learned that one of the most important elements of this is to know, as the director, what the characters want and are trying to do. It seems that some actors prefer to work by being told physical actions and some prefer to be told tactics, so it may involve finding out what each actor responds to. In either case, however, motivation is key.

Blocking — camera and actors:

The Black Magic Cinema Camera’s sensor crops so much that very wide lenses are required to make a shot feel wide at all. I also learned that we don’t need closeups for every facial expression—mediums and even medium-wides usually allow these to be read without awkwardly punching in.

Visuals — composition, framing, visual elements:

Deep space can be very hard to create without a lot of movement. Additionally, it is crucial to make sure the frame captures all vital information, even at the edges.

Design & Art Direction:  

Be prepared. Make sure the location has what you need, or bring what you need. I was expecting my location to have a coffee table, but it didn’t, so we ended up using the floor, and it wasn’t very effective. Next time I will try to be more prepared.

The Production Process — collaboration with crew, the logistics of making this piece:

I ironically found that my crew frequently goofed off, but then were annoyed at how long things were taking. I realized that it was better if I just said something to get them to pay attention and keep them from being distracted. In the moment they might have felt annoyed, but in the long run they would have thanked me.

                  

What was it like to watch your film with an audience? Did they understand it? Miss the point? Why did they respond the way they did?  

I felt awkward because there were a lot of little issues that built up to make the film viewing just feel plain weird. I felt it, so I knew that others felt it, and that made me uncomfortable. However, despite that, the audience seemed to understand the film and to feel the purpose of it.

Other observations:

Trying to make parallel editing feel natural and motivated is hard.

Photos Four: Flat Space

I like the kind of flat space created by this photo--making a fairly deep space feel flat because there are no clear size, texture, tone, shape, or perspective cues. Although the trees (and sky, for that matter) in this photo go several hundred feet back, their texture doesn't seem to change clearly enough for that to be understood by the viewer's eyes. Instead, it feels like a fairly small space. I think the composition of this one is surprisingly dynamic, and it could set the tone as an establishing shot in a different way than many different pictures of a forest might.

The flat space in this photo is fairly straightforward, seeing as it depicts a flat plane. The vertical and horizontal lines reinforce the flatness, as does, I think, the symmetry (which is also somewhat disorienting). This photo, as an establishing shot, would immediately create a tone of awkward social cues (an inability to be read) about whatever character lived here.

This photo is flat in a similar way to the previous one, but it is significantly more dynamic in its shape, color, texture, and subject matter. Unfortunately, there are slight depth cues as we can see the beginnings of the sides of the shelf, but it is still fairly flat considering the strong horizontal and vertical lines. This could be an interesting characterizing detail shot of a character's home.

Photos Three: Deep Space

This photo is easily my best example of deep space. The perspective is obvious and takes up a significant portion of the image. The movement from light to dark also gives it depth, as does the diminishing of detail as your eye moves from the right of the image to the center. The cars on the left side get smaller and smaller as they go back, and they also aid the perspective, while not being nearly as powerful as the building. I think it's interesting and gives at least a little emotion, even if it doesn't portray a ton of it.

This is probably my favorite image this week, although it's also the one that probably uses deep space the least well. There is some perspective, primarily created by the cars on the right side of the image, but much of the perspective is blocked by the subject in the middle. The overlap that is clear from the trees help (as does the overlap of the subject on the trees). Fortunately, this image has a pretty deep depth of field which helps its depth a lot, as does the diminishing size of cars as the viewer's eyes move back. Still, there are a couple variables that flatten the space. The consistency of tone (her shirt is fairly similar to the tone of the trees) aren't doing the depth any favors. The texture of the trees also flattens the image somewhat. Still, I think what depth is here does something helpful, which is draw your attention to the subject.

I wanted to try to get deep space inside a room, and I think I was pretty successful, because of the two-perspective. The darkness of the small room to the back also adds depth. I think this photo could definitely communicate the emotion of a space if it was used the right way in the right sequence, but, unfortunately, alone, it's kind of ugly.

Film Two Statement of Intent and Shot List

FILM 2: THE CHASE OR SUSPENSE SCENE

DIRECTOR’S STATEMENT OF INTENT

This statement of intent is designed to train your mind, eye and heart to shoot purposefully. You should prepare it well before shooting. After reading the assignment on the last page, briefly—but thoughtfully and specifically—answer the following questions.

1.     What is the story--the beginning, middle, and end--of this film in three or four sentences? In other words, what happens in this scene as it starts, as it progresses, and as it ends?

A woman cheats on her husband at their apartment while he is on a night shift at the hospital. He gets off early and begins to come home while she is still with her lover. She doesn’t see the text he sends her, informing her that he’s coming home early until it is nearly too late. He arrives home, and while outside the door, realizes that she is with a man, but does not let them know he knows. The man leaves, the husband comes in, and acts like everything is normal.

2.     What is the backstory of this scene? Why is this happening to these characters? What does each person want? Why do they want it?

Ella and Mark (the wife and husband) have been married for about two months. Everything has gone fine, but as time in has passed in the marriage, Ella has begun to get anxious about how permanent the marriage is, fearing that she made the wrong choice, or that she could have made a better choice. She began reaching out to Cooper, an old long-term boyfriend from college, to get advice and seek comfort when these thoughts would arise. She was afraid of Mark knowing about her commitment fears this early in the marriage, so she would only call Cooper when Mark (who is a nurse) had night shifts at the hospital. Pretty soon, Cooper began coming over to offer better, more personal consolation. Cooper began making advances, and Ella didn’t resist—more out of the fact that she found comfort in doing something promiscuous (because it could make her feelings of commitment feel less present) than out of feelings she still had for Cooper.

In this case, the only reason there is any danger for Ella and Cooper is because Ella doesn’t notice her phone one night when Mark texts her. But they have put themselves into this situation.

Ella wants to resolve her anxieties about her marriage without Mark finding out she has them. More urgently and tangibly, she doesn’t want Mark to find out about Cooper.

Cooper wants things to go well with Ella. He doesn’t want Mark to find out about their relationship.

Mark simply wants to come home. When he finds out about Cooper, he wants to keep Cooper and Ella from knowing he knows, because he is hurt and scared, and worries that he will lose the upper hand in the situation if they know.

3.     What, specifically, must the audience understand to engage in the story? How do you intend to communicate that narrative (not emotional) information?

The audience must understand that Ella and Mark are married, that Mark doesn’t know about Cooper, that Mark is coming home, and that Cooper and Ella don’t know that Mark is coming home. I plan to communicate this in a variety of ways. I will use cues to show that Mark and Ella are married (such as wedding rings and Mark calling Ella pet names in a text), as well as having Ella and Cooper talk about it. Ella will say a line like “Mark doesn’t know,” in reference to Cooper. The rest of the information will be communicated visually and through the characters’ behavior and tone (everyone will be fairly relaxed).

4.     In mainstream media, some scenes are simply chase scenes or scenes of suspense. However, for the goals of this class, there should be more going on than that. Assume that this scene is from a larger film. Explain the narrative, emotional and thematic purpose of this scene in the larger story:

In the end of the scene, Mark will know what is going on between Cooper and Ella but will act like everything is normal. As such, this scene will set up that tension. Thematically, I would hope the rest of the story would deal with the choices that face the characters after this. Does Mark love Ella but fear losing her in such a way that he will choose to keep his mouth shut in hopes that it will just blow over, or does he confront her calmly or aggressively? Does Ella tell Mark on her own, or does she decide to break it off with Cooper before he finds out (as she thinks)?

5.     What emotions do you want the audience to experience as they watch this scene? How do you intend make this happen?

I want them to, obviously, experience suspense. I want them to go through a range of emotions, thinking at some points that they want Mark to get there in time to find out, but at other times hoping Cooper gets out in time so that there is no confrontation. I really hope they empathize with Ella instead of just hating her, as well, hoping that she manages to figure out what she should do. I plan to convey the range of emotions by cutting back and forth between characters, giving time for the audience to understand the wants and desires of each character as the scene progresses. Additionally, we will see Ella and Cooper not know as Mark is getting closer, upping the stakes the entire time.

6.     What is the first image of the scene? What is the final image of the scene? Why are you choosing these specific images?

The first image is of Ella and Cooper sitting on the couch, with Ella lying down and Cooper playing with her hair. The final image is of Ella and Mark doing the exact same thing (only Mark has replaced Cooper). I really like the first image because it will feel calm and right. It will not be until later, when I introduce Mark, that the audience will realize it’s something they probably disagree with. As such, beginning with something so apparently calm will create an immediate spike in tension as soon as we figure out what’s really going on. I want to end with a final shot that mirrors this one because it will be “right,” but because of Mark’s new knowledge (that Ella doesn’t know about) it will actually be quite intense. It will fix everything wrong with the first image, but instead of being calm and resolved, will hopefully be at the highest moment of tension.

7.     Why is this scene personal to you? (Please don’t answer, “Because I’ve always wanted to make a chase scene!”) What personal experience(s) does it remind you of? Ask yourself, “Why do I need to make this scene?”

I’ve never really been in a relationship. However, I’ve come close, and as I’ve approached them, the anxieties and questions and obligations that come along with that have raced through my mind. It seems like a very difficult thing to get right. I thus think everyone makes mistakes in relationships, and so forgiveness and learning seems to be the most important element of a relationship to me. Additionally, although they have not been in regards to romantic relationships, I have definitely made choices that I knew were wrong when I made them, because they satisfied some anxiety I was having. As such, I understand that vulnerability that comes with that (Ella’s predicament). I think that that situation is very scary and very difficult, but also deserves to be criticized (because, obviously, there is a wrong choice involved). As such, I want to show the tension of being in that situation. I also really like Mark’s situation because being in the hands of that kind of knowledge puts him in a position of great power (he could help Ella out of her predicament by trying to understand her, or he could scold and condemn her, and there are good reasons to do both). I think the tension of knowing that you can, but not knowing whether you should, calmly forgive or ask to help someone, is another great thing.

8.     Review the 11 subcomponents of space. What are the overall rules for how you will use space in your film? (For example, will one character exist primarily in flat space while the other exists in deep space?) How will use contrast and affinity within shots and from shot to shot? For each rule, articulate why will you use space in this way.  Be specific.

I plan on keeping Ella and Cooper in primarily flat space as long as they are calm (until they realize that Mark is coming home). As their anxiety increases, their space will become bigger and more complex. Additionally, in moments of high suspense (such as when Cooper opens the door to leave), there will be quick changes (such as camera movements within one shot) in which the space will change from flat to deep (or vice versa). For most of Mark’s trip home, I hope to use deep space, showing that he is always moving forward, closing the gap between him and the others. Once he is at the apartment complex, I will show him in flat space, leaving out depth cues so that what is known and what is unknown feels more restrictive.

9.     What focal lengths will you use? Why?

In shots of deep space (or flat space turning into deep space), I will use wide lenses (shorter than 35mm) to open up the focal length and make the space feel more present. In medium to wide shots of flat space, I will use normal lenses (around 35mm or 50mm) to avoid drawing attention to the fact that anything is off. However, in moments of high tension and anxiety, I will use longer lenses (80mm and longer) to shorten the space and blur the background to draw attention to key emotion images (faces, rings, doors).

10.  In a bulleted list, articulate two or three potential obstacles to creating a successful film. How can you be prepared to overcome these? Be specific!

·       Locations will be a big factor this time. I want to find an apartment complex with indoor hallways to make the feeling of Mark’s knowledge more claustrophobic. However, it could be difficult to find one that will let me shoot in its halls. To overcome this, I have already begun looking, and I think I might have a location lined up that will let me shoot there. In case it falls through, however, I will continue looking until I have something locked.

·       One other factor that will be tricky for me is directing the actors. I think the acting will be hugely important here, and I want it to feel meaningful and emotive, rather than contrived. As such, I am going out of my way to cast actors (early) who I have seen in other productions and who I believe have the chops for this scene. Additionally, I will read articles and chapters on directing actors to hone my skills (at least conceptually) before the time comes for me to direct them.

SHOT LIST