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November 13th, 2020, 10:40 AM | #136 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Oh okay, I was thinking of setting it where I live, Canada, but maybe I could the US. But I have him there for other business, and then the witness is conveniently there, wouldn't this come off as a convenient coincidence in the plot though?
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November 13th, 2020, 11:02 AM | #137 |
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Re: How do you get this type of blue sunlight cinematography?
Films are full of coincidences, if they weren't they'd take forever to tell the story. Real life is full of them as well.
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November 13th, 2020, 06:51 PM | #138 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Yeah that's true, it's just I was just advised not to use them before.
So when you say it sounds like daytime TV, I am just trying to understand, it's not like there needs to be chases or shootouts all the time, or what is it that there should be instead of dialogue driven scenes, or are dialogue driven seens, just not exciting enough? |
November 13th, 2020, 07:40 PM | #139 | |
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Re: How do you get this type of blue sunlight cinematography?
Quote:
For me, when I watch a movie, I want to be taken on an unexpected journey with characters I care about. Last edited by Pete Cofrancesco; November 13th, 2020 at 10:01 PM. |
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November 13th, 2020, 10:22 PM | #140 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Oh okay. Is it just because of past actors and dialogue in past projects, or is there something about the description of this scene and this script particularly that seems made for TV? Or that makes it seem you do not care about the characters? Or am I doing something specific in this description of the script that seems on the nose?
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November 14th, 2020, 02:13 AM | #141 |
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Re: How do you get this type of blue sunlight cinematography?
From what you've been saying, it's pretty much both.
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November 14th, 2020, 02:28 AM | #142 |
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Re: How do you get this type of blue sunlight cinematography?
Ryan, you have trouble contextualising. Remember we’ve told you dozens of times not to take specific advice as rule setting. Clearly, from the number of times we’ve told you our opinions, only to have them resurface wrongly, means you can’t do this. You say you were advised, but you have misunderstood the advice and done your thing, crested a rule for your very thick book.
Frankly, everything you are saying shouts loudly to me that this script is truly dire. Awful. Bad. You have no skills in story telling. Everything is confused and you’re tampering with everything to make it fit and it’s just unreal, artificial, trivial, complicated, but above all it’s BORING. If you put the best bits in a trailer, nobody will watch. Brian has tried and tried and we’re all watching you reject every positive and focus again on trivia. What makes you even think there is something that a typical distributor would find a box office hit? It’s the basis for a terrible movie. Here, even when you explain we scratch our heads, the audiences will treat it like a bad daytime tv drama, and you don’t even have the actors or locations, let alone crews. Sorry, but I have to say it. The script is just dead in the water. |
November 14th, 2020, 03:07 AM | #143 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Oh okay, but what I don't understand is, what is it about a scene where a detective talks with a prosecutor over a case, that is so bad? What are the specifics? You say it's bad, but there are lot other movies, where this happens, so what is so bad about it specifically?
What about it is unreal, or artifical, trivial, etc. It seems that the advice is very broad, and no one is putting their finger on it exactly, unless I am wrong? I mean all I did was describe a scene where a detective talks to a prosecutor about the case, which builds into the next plot point. Can anyone pinpoint, what is so trival, or unreal about that But as far as dialogue being boring goes, what is it about it that's boring? I can't have chases and shootouts for the entire thing. There has to be story and dialogue, to drive some of it, doesn't it? Or do I have to have chases and shootouts for all of it, if that is what you and everyone else is expecting? Also, if I cut the scene because it is boring, I am worried that the audience will not understand the pay off later unless there is no set up. Unless audience does not need set up, and it's all about pay off? Now I know I don't need physical action such as chases and shoot outs for the whole thing of course, but why can't I have dialogue driving the plot in some sections, without it coming off as trivial, or unreal? |
November 14th, 2020, 03:29 AM | #144 |
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Re: How do you get this type of blue sunlight cinematography?
Drama is about conflict, that's why you have bosses who the main protagonist has problems with and in rom coms the couple who get together at the end can't stand each other that the beginning of the film.
It's about overcoming difficulties and involves struggling to overcome these. Each scene has to be good or bad in the protagonist achieving their goal, but there needs to be an element of struggle within it. If there isn't. you need to question why it's there. If the phone call just involves conveying some information, you need to ask if there's a more dramatic way of doing this. Don't ask us, it's something you need to ask yourself, because the answers lie in your script and the characters you've created. Conflict doesn't just mean fights, its how the characters make their power plays. . |
November 14th, 2020, 03:31 AM | #145 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Oh okay, well I felt there is a new development in the victim's testimony in which the prosecutor now had to make a big decision, which is make or break, on a ticking clock before the hearing tomorrow. So I thought it was dramatic, or so I thought.
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November 14th, 2020, 03:52 AM | #146 |
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Re: How do you get this type of blue sunlight cinematography?
If this is the first time that the audience have come across the prosecutor and the cop is informing him about new testimony, that an expositional scene, there's no drama in it.
If the audience already knows that the prosecutor doesn't like dealing with rape cases (e.g. because of the high failure rate) and want to drop this one, so the cop has to turn the prosecutor's view of the case with this new testimony. That's where the drama lies. |
November 14th, 2020, 04:13 AM | #147 |
also known as Ryan Wray
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Re: How do you get this type of blue sunlight cinematography?
Oh okay, well it's just that the cop tells the prosecutor of a new development and this causes the prosecutor to make a decision, If I cut it, the audience will not know what development caused the prosecutor to make such a decision. So I feel like the audience needs to see it for the pay off later, but that's just me...
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November 14th, 2020, 04:51 AM | #148 |
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Re: How do you get this type of blue sunlight cinematography?
Yes, but in drama, you need more, without being melodramatic about it. Especially, if this is the first time that the audience comes across the prosecutor. Having the cop persuade the prosecutor against his initial decision (which he wants to hold onto) to this new one is what would make the scene more interesting.
The conflict and struggle reveals more about the characters, that's why in films conveying a vital piece of information is made difficult. Last edited by Brian Drysdale; November 14th, 2020 at 05:58 AM. |
November 14th, 2020, 06:39 AM | #149 |
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Re: How do you get this type of blue sunlight cinematography?
Ryan the way you describe your movie/script is akin to reading an owners manual who’s purpose is to inform rather than entertain. You’re characters don’t behave naturally, instead they’re follow this overthought tedious rigid plot you’ve carefully constructed. You’re telling the audience a series of facts and events. All movies need plots but if one were to relate them directly to the audience it would be uninteresting.
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November 14th, 2020, 09:16 AM | #150 |
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Re: How do you get this type of blue sunlight cinematography?
Why don't you give us two or three pages of the dialogue for the scene, so we can be accurate. It could be that it reads really well and we will form opinions on the character - we're endlessly discussing ABOUT the dialogue, without actually being able to see it? Maybe it's your descriptions that are making us think it's not good? That's possible? Just give us an example of the words in the performance context.
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