D.I.Y.

DIY Class Layout RAW

Nathan Earl House
February 2009

...the Question Corner?

✔ x ★ ∞

Class:

D.I.Y. (Do It Yourself)
or...
the Art of Cinema on Earth
or,
Autodidacticism, an Ironic Lesson in.

“Those who know how to think for themselves need no teachers."

~ Gandhi

Prerequisites:

• Script; Shoot – (EndNote 1
• Films – (EndNote 2
• Essay – (EndNote 3
• Glossary – (EndNote 4

Table of Contents:

• Autodidact ~ pages 1 - 2
  
• Structure ~ page 3 - 4
  
• Influence ~ page 5
• Justice ~ page 5
  

~ Autodidact ~
Human Blueprint

Précis:

Multifacted Study of Earth Cinema,
Fiction & Nonfiction, through Workshops.

In-Class Workshops:

✔ Anthropological investigation of world cultures
& the cinema they produce.

✔ Psychological structure of composing narrative:
the struggle to express humanity;
the curiousity of the voyeur;
the safety of 'someone elses story'.

✔ Philosophical weight of time; cinematic pacing;
perpetual evolution; abstract patience;
reflective cinema; the how & why?

✔ Phenomenological 'experience' of cinema;
perspective, believability & tone;
the potential for 5-senses cinema...

✔ Satisfying the desire for expression in writing.

Students will be asked* to create shooting scripts (EndNote 1
Then film & edit, with consumer-grade cameras, on nanobudget.
They will be asked* to participate in class discussion
& view prerequisite films for course (EndNote 2
as well as all films shown in-class, for discussion.

Students must identify what type of films they wish to produce.
Comedy, Drama, Experimental, etcetera.

For those with varying tastes, they may choose accordingly per project.
Out-Class Workshops are independent as like-minded peers meet.

Work at your leisure, but work everyday no matter what.
If someone on your team gets hit by a car ~ film the ride to hospital.
Student may work solo, for safety's sake,
..individual expression is a good excuse too.
It is asked* to co-operate with others.

* “asked”, not required.


There will be no grading system.
Only constructive criticism & encouragement.


Out-Class Workshops:

Student must ALWAYS carry

Camera (film or digital)
Pens & Notebook

Mandatory everyday In-Class,
& Out-Class especially.
No exceptions.

~ Structure ~


“Satisfaction lies in the effort, not in the attainment.
Full effort is full victory.”

~ Gandhi

Storytelling:

• Architecture of a story;
• Prosody of dialogue;
• Nuance of character.

Memes:

• Each word memetic currency.
• Gestures, patterns, & peers;
• Prosody used as persuasion, deception & trust.

Evolution of a Character

Terms:

Prototype ~ Character ~ Patsiche/Parody ~ Archetype ~ Sterotype


Protoype, Patsiche, or Parody?:

What are You Creating?

Prototype

No Rules.
Create Your Own.
Empathy for, & within, each Character.

Patische

Pastiche – an imitation of an archetype or prototype
by adding another storytelling component.

Example: 'the ill-fated Lovers',
Romeo & Juliet are an archetype of
Pyramus & Thisbe, which is a pastiche of the prototype
Daphnis & Chloe, 'the Lovers' + tragedy.

Conceptual Pastiche ~ Glean.
Use drama you see around you.
Use comedy you hear around you.
Combine motifs in characters you interact with in real life.

Create a Phenotype ~ a True Individual.
Add layers of happenstance, emotion, & therefore, content.
This can be done through environment, interactions, reflection, tonality, etc.

Archetype versus Stereotype
the Delicate Balance of Nuance

Stereotypes:

'Stereotype' = Over-simplification.

'the Strong, Caring Mother',
'the Mask-of-Innocence Child',
'the Wise Old Man',

'Stereotypes' have no Self. No depth.
They are storytelling functions to evoke sentiment or scorn.
'Stereotypes' are a photocopy of a character.

To have a generic Mask Child or Supportive Mother is not enough.
Think of a stereotype as a charicature. There is only one layer.
From the point of view of the audience: Zero empathy.

Only a superficial judgement of character.
No density, value, or deterministic reason to their actions.
Only a series of MacGuffins to further the plot.

Archetypes:

'the strong, caring mother with
doubt & guilt for a significant other'

'the masked child whose innocence was
lost not due to upbringing, but rather
because of the childs' own impulsive temptations,
the learned memes, indirect corruption.
Phenotype born with no role model to lead by example.'

'the seemingly intelligent old man whose youthful wisdom derided
when his compassion turned to misogony & then misanthropy.'

Emotions are Never as Simple as they Appear.

~ Influence ~

"Man's nature is not essentially evil.
Brute nature has been know to yield to the influence of love.
You must never despair of human nature"

~ Gandhi

Any opinion can be changed with a particular combination of words.
The idiosyncratic, accented way a sentence, synopsis, & story are told.

For each Phenotype,
there are certain intuitive prosodies which flip unknown switches,
at its worst, persuasive language is used to dissuade or deceive,
at its most honorable, garnering trust through openness,
utilizing a tone of reasonableness with a person.

~ Justice ~
Vague Rules

“I realized the true function of a lawyer*
was to unite parties riven asunder.”

~ Gandhi
(: * replace “lawyer” with 'writer' :)

For each/every viewer,
any story with characters is inherently judgemental.
We have our reservations, which will be provoked.

Never give opinions on a film unless
you watched it from start to finish. Ever.
If you did not see the entire movie
one has not earned the rite of criticism.

A work of art must be seen in its entirety or the message is incomplete.
Its truth is therefore not fullgrown in the mind.

While your opinions are still developing
on a particular director, or film,
Refuse an opinion on their work,
or else remain agnostic to their oeuvre.

Expressing no opinion at all is more
honest than an uninformed opinion.

Every director must be given as
many chances as they have films.
By making a new film,
It gives oneself another chance to
enter the memory of an audience,
& therefore, be judged accordingly
by those un/familiar with their work.

Through cinema,
Perspective is judged by
artistic/entertainment value & believability.
Believability is governed by tone. (EndNote 3

~ EndNotes ~

(EndNote 1: Script; Shoot.

Shooting Script 1
Efficient in Post/Production

Students Learn:

★ A short film can be done in a single page;
~ A feature is doable in 10 to 20, sans dialogue.
★ It is beneficial to have locations in mind, before writing.
~ For efficiency in production route. Know your settings.
★ After reading, watch the video (header link)
~ See what had to be altered during production & cut in post.

Mare
| the allure of night |

http://youtube.com/watch?v=LXqdcSf4fh4

OPEN FIELD
1 FS - MAN lies on ground in a deep sleep.
~ MARE slowly crawl up him, IN-RIGHT.
~ MAN begins to awake.
~ MARE grins & crawls backwards OUT-RIGHT.
2 WS - MAN lies FAR-LEFT.
~ MARE is immobile FAR-RIGHT
~ MARE'S head slowly turns as MAN rises.
~ PAN LEFT - to cut off MARE as MAN walks toward her.

FREEMASON HOUSE
3 CU - ZOOM-OUT - from symbol as MARE & MAN walk toward/into the 4th WALL.

90˚ TRIANGLE BRIDGE
4 LS - LEFT BRIDGE - MARE is poised at the bridges' corner, looking UP.
5 WS - BOTH BRIDGES - MAN walks toward MARE.
6 LS - RIGHT BRIDGE - MAN approaches MARE.
7 MS - MAN reaches arm out toward MARE.
8 MCU - MAN touches her shoulder.
~ MARE'S neck jolts around & shrieks at the man, mouth agape & teeth brazen.

WHERE NATURE MEETS WASTELAND
9 RIGHT-THIRD - MARE, head turned rightward.
~ LEFT-THIRD - BEARDED MAN with eyes shut stands motionless, also right.
~ MIDDLE-THIRD - MAN stands entranced behind them, facing 4th WALL.
10 MIDDLE-THIRD - MAN holds his chest & breaths heavily.
~ RIGHT-THIRD - MARE walks IN-RIGHT with hand outstretched toward MAN.
~ LEFT-THIRD - BEARDED MAN slowly opens his eyes as MARE nears MAN.
11 CU - TORSO - MARE'S hand caresses MAN'S chest as his abdomen caves in.
~ MARE's hand pushes down on his abdomen, which balloons outward & deflates.

INDUSTRIAL WASTELAND
12 WS - MARE walks a high-rise along a row of several gigantic oil tankers.
~ MAN walks under high-rise, following behind her; he reaches a ladder & climbs it.

QUANTUM TREE BRIDGE
13 TS - MARE'S profile walks upright, up a tree;
~ halfway up her head slowly turns LEFT.
~ MAN begins crawling up the base of the tree, his nails ripping off bark.

WHERE NATURE MEETS WASTELAND
14 FS - MARE facing 4th WALL, head turned RIGHT, looking DOWN.
~ MAN crawls toward MARE, reaching for her ankle.
~ His eyes close as he looks up at her.
15 POV MAN LOOKING UP - MARE stares into 4th WALL
~ as her mouth opens, emitting thick plasma.

STONE PILLARS
16 FS - MARE & then MAN walk facing RIGHT
~ as they appear both infront of & behind the pillars.

FENCED CLYDESDALE PASTURE
17 FS - LEFT-THIRD - MARE stands at fence
~ facing the clydesdales before facing 4th WALL.
~ CU - RIGHT-THIRD - MAN'S shoulder enters
~ as MARE looks back at clydesdales.

BURNT SHED WASTELAND
18 CENTER-THIRD - MARE stands staring at shed;
~ her arm outstretched toward MAN.
~ LEFT-THIRD - MAN, on bended knee, kisses the back of her hand.
19 MCU - MAN releases his lips & smoke bellows out his mouth.

WHERE NATURE MEETS WASTELAND
20 FS - MARE lays nude, an arm covering her chest;
~ her back curved over a large object.
~ MAN approaches IN-RIGHT & lays his head on her stomach.
~ MARE begins to smile as his eyes close;
~ she silently shrieks, bearing her fangs.

Shooting Script 2
Efficient in Pre-Production

'the letter B'


http://youtube.com/watch?v=i6ESpjP-ya0


fade in

* a Guy & a Girl sits silently on the ground next to a lamp & a fan; they adjust lamp
* they slowly stretch & bend until they lay on the ground
* there is a knock at the door
* the Guy gets up as the girl continues stretching
* the Guy returns, holding a white ball
* he shows the Girl the white ball
* she becomes amazed by it as they pass it back & forth
* they begin to kiss passionately
* the white ball is dropped & begins to melt
* as it melts the Guy begins choking the Girl
* at first she smiles but soon she begins gasping as he kills her
* the Guy drags all but the Girl's hand out of frame
* he then begins to collect what has melted & is able to mold it back into a ball
* he sits, enamored by the ball as it melts in his hand
* there is another knock at the door

fade out



(EndNote 2: Films to be Viewed, Prerequisite & In-Class.

Prerequisites

2001: A Space Oddesey – Structure, Mood, Provocation & Patience.
Chinatown – Structure & Character Development.
La Jetée – Structure, Mood, Provocation & Patience.

In-Class

Tonal

Comparison:
Killing of Chinese Bookie (both versions)
– Structure, Mood & Character Development.

Comparison:
B and Mare – Mood, Provocation & Patience.

Beau Travail – Structure, Mood & Patience.
Anatomy of Hell – Mood, Provocation & Patience.
The Fall – Structure, Mood & Free Expression Narrative.

Transcendental

by Brakhage, (selections) – Free Expression.
Hukkle – Documentary & Free Expression.

Comparison:
Earth City, Antonio Gaudí and Phantom India
– Documentary, Patience & Free Expression.

Comparison:
Celine & Julie Go Boating and Daisies
– Structure, Mood, Patience & Free Expression.

Verité

Innocence – Documentary, Subtlety & Provocation.
God's Country – Documentary, Subtlety & Provocation.
Punishment Park – Documentary & Provocation.

Comparison:
Midnite Rainbow and Happy Justice
– Documentary, Subtlety, Provocation & Patience.

Structure

Scenes from a Marriage – Structure
& Documentary Character Development.
Hannah & Her Sisters – Structure
& Comedy Character Development.
Romeo + Juliet – Structure
& Tragedy Character Development.
L'intrus – Mood, Subtlety, Provocation,
& Experimental Character Development.

Transgressive

Persona – Structure, Provocation
& Deconstruction Character Development.
Dogville – Structure, Provocation
& Deconstruction Character Development.
Alphaville – Structure, Provocation & Deconstruction Narrative.
F for Fake – Structure, Provocation & Deconstruction Narrative.



(EndNote 3: Prerequisite Essay

http://neuroglyphix.blogspot.com/2008/10/cinema-is-essay.html






(Endnote 4: Glossary

~ enjoy yourself ~

NEH, 2009