Video: “Subconscious Cinema” (Supercut)

March 23rd, 2015 by

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
Spellbound 0:04
8 ½ 0:07
Vertigo 0:08
Little Nemo in Slumberland 0:09
The Big Lebowski 0:14
Eternal Sunshine of the Spotless Mind 0:16
Blade Runner 0:20
Aliens 0:22
Brazil 0:23
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
Eraserhead 0:43
The Wizard of Oz 0:46
Dumbo 0:47
Take Shelter 0:50
Paprika 0:57
Scott Pilgrim vs. the World 0:59
Alice in Wonderland 1:03
The Matrix 1:06
Cache 1:09
Waltz with Bashir 1:12
The Cell 1:14
Shutter Island 1:22
Watchmen 1:28
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.

Video: “First and Final Frames”

March 19th, 2015 by

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.

HT Mental Floss.

Video: Ava DuVernay’s Keynote Address at SXSW Live 2015

March 18th, 2015 by

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.

Video: Paddy Chayefsky in 1969 “The Mike Douglas Show” appearance

March 17th, 2015 by

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.

Video: “The Origins of Auteur Theory”

March 13th, 2015 by

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.

Video: “20 Best Slow-Motion Movie Scenes”

March 12th, 2015 by

To the sounds of Donovan’s song “Hurdy Gurdy Man”:

Via Invenire Films.

Video: Hollywood’s 100 favorite films – in 4 minutes

March 11th, 2015 by

Via Hollywood Reporter.

Video: Patton Oswalt’s “Unbreakable” Trilogy

March 9th, 2015 by

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.

Video: “BLACKBIRD: Comparing Birdman and Black Swan”

March 6th, 2015 by

More visual and thematic than plot specifics, but still an intriguing comparison:

Via Miguel Branco.

HT Indiewire.

Video: The “Before” Series: Inside Every Moment Is Another Moment

March 5th, 2015 by

Last week, I posted this featuring the video: “Richard Linklater – The Works”. That prompted Joseph Brunetta to head to comments and provide a link to an excellent video he edited: The “Before” Series: Inside Every Moment Is Another Moment. Here it is:

If you check out the recent GITS Script Reading & Analysis series on Boyhood, you will see a discussion about a key theme in the movie. One of my comments in that conversation:

This is a movie about moments. The very last lines of the film lay that out on the line: How life is not about seizing the moment, but the moment seizing us.

In Joseph’s video of the “Before” series, we see this theme at work, too. Here are some thoughts in that regard from Joseph:

I sometimes wonder if Linklater making “Boyhood,” the “Before” films and “Dazed and Confused” from a distance is what gives him the grace and mastery to tell these stories. “Dazed” seems autobiographical because it takes place at a time when he himself would have been Mitch Kramer, but told over 17 years later, giving Linklater the time to consider being 14 and also of the perspectives of the people around him to inform his story, not just his experience. Linklater is 10 years older than Jesse and Celine in the “Before” series when he made those films, and 10 years older than Olivia and Mason Sr. in “Boyhood” as well.

Where some filmmakers tell personal stories about their lives around the time they make their films Linklater’s personal stories are never specifically about the time he’s making them. It’s funny since “Boyhood” and the “Before” series are often about being in the moment. Yet “Before Sunset” is partly about how it took years of writing on and off for Jesse to write the book of that one night with Celine. I suppose to Linklater one should always strive to live in the moment, and if one wants to tell the story of that moment then allow time to pass and illuminate the moment for all that it was.

To which I responded:

I think your analysis of Linklater in relation to his storytelling is spot-on. He seems to have the ability to both dwell in the moment of his stories, yet also have the requisite distance from them to give him a perspective on them, especially important when telling personal stories that reflect on his own life.

Which reminds me of that observation from author Anne Beattie: “People forget years and remember moments…”

Joseph Brunetta: Facebook, Twitter, Vimeo.