Generating Idea & Feedback
Changes
Before going into detail about my new ideas and what will happen with these ideas, one change (or addition rather) made to our group is that Troy Smith will be joining as our Director of Cinematography, his job will be to collaborate with the Director, Josh Bayly, by help making artistic and technical decisions on what will be seen on the screen.
Generating Idea
As mentioned in a previous post, our focus has shifted onto new ideas, ideas that hold a greater identity and are more authentic in concept.
In generating new ideas, we quickly realised how often we would shift towards the plot of the film, rather than the story. Whatever this idea would be, it will need a goal and direction before plot points are put in place. As inspiration, I began looking into every day scenarios with potential obstacles to overcome for the protagonist. This could be anything from a job interview to public speaking. In order to come up with potential morals, I looked at a number of different idioms and fables. One idiom I looked into was Let Sleeping Dogs Lie
Away from idioms and fables for a moment, I came up with the story of a man who is due for a job interview, and the only way he can get there is by public transport at peak times. The issue is, he is afraid of crowded spaces, and he really wants this job. A story such as this will see a character with a goal, an obstacle preventing him from reaching this goal and inevitable change.
However the idea I decided to carry forward into my feedback session was an idea loosely based off the fable, The Shipwrecked Imposter. The story would follow a dinner party involving two couples. Two of these characters once went to school with one another, however only one of these characters remembers the other and therefore does not know his name. The character who does not remember plays along, managing to avoid ever actually having to say their name. Eventually one of the characters catches on and exposes the other for not remembering, ending the dinner party.
In generating new ideas, we quickly realised how often we would shift towards the plot of the film, rather than the story. Whatever this idea would be, it will need a goal and direction before plot points are put in place. As inspiration, I began looking into every day scenarios with potential obstacles to overcome for the protagonist. This could be anything from a job interview to public speaking. In order to come up with potential morals, I looked at a number of different idioms and fables. One idiom I looked into was Let Sleeping Dogs Lie
Do not disturb a situation as it is - as it would result in trouble or complications.Ideas began to spark about how disturbing a situation can lead to a greater story. For example, one man bumps into another man while walking on the street and does not acknowledge the other mans presence even after making contact and continues. The man who was bumped into then reacts and shouts at the other man. Had he just let the situation be, neither man will have had to face any real consequence, however by reacting in such a way, either one of the men, perhaps even both, may have to deal with a potential consequence of the other mans actions, whether this be an argument or even a fight. While this particular scenario is rather short and doesn't leave the audience much to take away, by applying this mind set to larger situations with more story to it.
Away from idioms and fables for a moment, I came up with the story of a man who is due for a job interview, and the only way he can get there is by public transport at peak times. The issue is, he is afraid of crowded spaces, and he really wants this job. A story such as this will see a character with a goal, an obstacle preventing him from reaching this goal and inevitable change.
However the idea I decided to carry forward into my feedback session was an idea loosely based off the fable, The Shipwrecked Imposter. The story would follow a dinner party involving two couples. Two of these characters once went to school with one another, however only one of these characters remembers the other and therefore does not know his name. The character who does not remember plays along, managing to avoid ever actually having to say their name. Eventually one of the characters catches on and exposes the other for not remembering, ending the dinner party.
Feedback
While Simon was okay with the general idea, some key changes needed to be made in order to make the story work. While the moral is clear, the conclusion is not. The idea of having two couples doesn't really offer much to the story and there needs to be a motive for dinner party that could lead to a greater consequence. One example Simon offered was that the wife invites her boss round, and the husband doesn't remember the boss from school. This one change in character can offer so much more to the story. Could this dinner lead to a possible job opportunity? A promotion perhaps?
Away from the idea, I have been advised to look closer at my role in terms of what I will be doing on this film over the course of the pre-production unit. This also goes to Josh and Troy. For me, this will include looking into the story and plot in more depth, doing some research on these characters and scenarios similar to this. I should then look at how to script a potentially dialogue heavy short film and liaise with Josh and Troy to find out how we can make it look interesting visually.
Away from the idea, I have been advised to look closer at my role in terms of what I will be doing on this film over the course of the pre-production unit. This also goes to Josh and Troy. For me, this will include looking into the story and plot in more depth, doing some research on these characters and scenarios similar to this. I should then look at how to script a potentially dialogue heavy short film and liaise with Josh and Troy to find out how we can make it look interesting visually.
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