Via Whitest Fan You Know.
Earlier today, Gabe Adelman sent me a note re a supercut he’s just uploaded to his Dreamscience Vimeo site. Called “Subconscious Cinema,” it’s an excellent visual exploration of dreams in movies. Check it out!
Here is a list of the film excerpts featured in the supercut:
Sherlock Jr. 0:00
8 ½ 0:07
Little Nemo in Slumberland 0:09
The Big Lebowski 0:14
Eternal Sunshine of the Spotless Mind 0:16
Blade Runner 0:20
A Nightmare on Elm Street 0:24
American Beauty 0:27
Inception 0:30 0:55
Vanilla Sky 0:32
Un Chien Andalou 0:35
Waking Life 0:38
The Wizard of Oz 0:46
Take Shelter 0:50
Scott Pilgrim vs. the World 0:59
Alice in Wonderland 1:03
The Matrix 1:06
Waltz with Bashir 1:12
The Cell 1:14
Shutter Island 1:22
Terminator 2 1:30
The voice-over narration used in the video comes from Waking Life, Spellbound and Inception.
Gabe’s supercut reminds us that dreams have a long history in filmmaking. Several reasons for this:
* They are visual which plays to the cinematic strength of this narrative form.
* They can reveal a character’s backstory and do it in ways ranging from mystery to unvarnished truth.
* They can physicalize in images a character’s deepest fears.
* They can show us a character’s secret desires and needs.
In other words, they are a visual way of tapping into a character’s subconscious self, exposition relying on images rather than dialogue, entertaining as well as revelatory due to their kinetic, even chaotic nature. When used well, dreams are a valuable asset in a filmmaker’s arsenal of storytelling tools.
For the Dreamscience site, go here.
Takeaway: As screenwriters, we need to be mindful of our script’s opening image and last image. Not only grab their attention as they start the script. Not only to leave the reader with a specific emotional state at the end. A first and final image can visualize the nature and degree of transformation on the part of key characters, most notably the Protagonist.
Via Jacob T. Finney.
Ava DuVernay is one of the brightest, most talented filmmakers I have ever had the opportunity to interview. She is the first African-American woman nominated for Golden Globe and Critics Choice Awards for Best Director for Selma, in addition to Independent Spirit and NAACP Image Award nominations. She won the Best Director Prize at the Sundance Film Festival in 2012 for her acclaimed feature Middle of Nowhere. Her previous narrative and documentary work includes I Will Follow, Venus Vs., My Mic Sounds Nice and This is The Life. Prior to her directorial career, DuVernay worked as a film marketer and publicist for more than 14 years.
It’s a rousing speech focusing on this theme: The intention of our attention.
For my June 2013 interview with Ava, go here.
The only screenwriter to win three Academy Awards for his movies: Marty, Hospital and Network. Here in a 1969 appearance on “The Mike Douglas Show” with Jack Lord, star of of “Hawaii 5-0,” which probably explains the leis.
Filmmaker IQ has been running a recurring series of videos on the history and development of movies. Their latest offering is excellent: “The Origins of Auteur Theory”.
The very idea that the director is the “author” of a movie, ushered in during the French New Wave movement, and its acceptance by film critics and promulgation by university cinema professors was a massive blow to screenwriters, a battle we are still fighting to this day.
Yes, directors go off and make movies. They can do anything they want to the script. However unless they write the script, it is specious to claim they are the “author” of the movie. Moreover filmmaking is a collaborative effort involving dozens or even hundreds of people. The notion is simplistic.
Anyhow the mentality still exists, more or less, and if you wish to work in Hollywood, you would do well to understand the historical context out of which the auteur theory arose. The video above does a good job in presenting that history.
For the rest of the videos in the Filmmaker IQ series, go here.
To the sounds of Donovan’s song “Hurdy Gurdy Man”:
Via Invenire Films.
Via Hollywood Reporter.
Patton Oswalt pitches a trilogy for the M. Night Shyamalan movie Unbreakable in a Screen Junkies segment:
Of course, this brings to mind Oswalt’s incredible performance on “Parks and Recreations” in which he goes on a Star Wars filibuster:
Oswalt is a cinematic savant. He even has a book to prove it: “Silver Screen Fiend”.
HT to Indiewire.