Play For Keeps: Treatment

Log line: A young man wants to reclaim his dominance in Galaga.

Grant and a group of friends own the arcade. They are kings. All the little children worship their pro-ness. Whenever Grant or whoever enters the vicinity, all the other children part like the red sea, bowing down to the kings.

One day, they enter the arcade like usual. "Wassup Joe", Grant says to the store owner. "What's poppin' king, someone done beat your high score, bruh". "Oh hell naw." Grant rushes to his dominant machine. No one is acknowledging his presence. The kids have lost interest in the king. Some 'ACE' has beat his high score.

Grant decides to try and find this 'ACE'. He plays the detective one day. Other days, he empties out his pockets on the machine trying to beat the highscore. He cannot. Broke, Grant has only one option. Find the 'ACE' and compete with them.

One day he enters the arcade, sleep deprived, deranged. He sees a girl, who has a keychain - 'ACE' down the lanyard. It leads to one conclusion - ACE IS A GIRL!

He stands, puzzled. Is it right to confront a girl? Can he beat her? What if he loses? Beads of sweat wash down his face. Worst of all, this girl was HOT! Like smoking hot. Sizzle sssszzzzz.

(There's only one thing he can do. HE BUSTS OUT A KAMEHAMEHA and blasts her away.)

(He challenges her. An intense game is spawned. While Grant is sweating profusely, the girl is calm and in control. Losing the game, he drops to his knees and screams is disappointment.)

Instead of the thoughts that he has imagined. He decides that it is useless to try and compete. How often will you ever find a hot gamer gal? This is the only chance he will ever get. He approaches her and asks if the high score is hers. Turns out it is not. He questions about the keychain. She pulls it out, revealing TR(ACE). Ha, her name is Tracey. They hit it off and walk out the shop.

As they leave, a fat boy walks in glasses and everything. He walks into the room and film ends with kids in arcade beginning to bow down...


ALT.
(Come back to his standing stunned. He challenges her. Epic game goes on. As the game is about to conclude, power shuts off. GAME OVER. Grant slams the machine and slaps the screen. The two look at each other. What do they do now? They shrug, make up and walk out together.)

Advanced Editing Concepts

I Erased You
The Departed — MOVIECLIPS.com

This scene in The Departed illustrates the use of classicist editing. Like most of the modern day films, this film is very quick paced as dictated by the short shot length. The longest shot is only about one and a half seconds long. Along with this, the film varies in shots in order to expand the amount of coverage in the scene; it also utilizes a multitude of angles. Aspects are even used from D.W. Griffith's arsenal of film techniques including close ups to highlight intimacy and psychological reasons. In this particular scene, close ups are used to emphasize the fact that both characters are in a rough predicament. One is held at gunpoint, where as the other is an undercover cop who is not even recognized. In this case, close ups intensify this part of the film.

Officer Down
The Departed at MOVIECLIPS.com

At the end of this scene from The Departed, realist filming techniques are used. When the police commander discovers that his men are shooting at the group of gangsters, he stays static for the rest of the scene. He does not say anything, he does not move anywhere, he doesn't even put down the phone. In this example, realist editing is used for dramatic intent. The Matt Damon character is to be analyzed by the audience. He stays static in a wide shot in order for the audience to take in the different aspects of the shot. We see him at a desk where he calls orders. He is in an office - probably in the police station. He has a shelf behind him with government documents and folders. All these pieces of the production design are available for the audience to pick up. Through the use of realism in this film, it not only build up emotion, but also provides context.


Lastly, Formalism is also used in this film in the beginning to establish a setting. Because the city that this film is so large (which also makes the plot so large), a lot of coverage must be used to fully depict the city. The editing cuts from one part of the city to another, from riots to peaceful parts. Formalism is mostly used in this film to build context. By revealing all these different aspects that relate to each other, the audience gets an idea of the setting of the film. Furthermore, not depicted here, the film also uses formalist cutting to reveal backstory about characters. The Leonardo DiCaprio character is shown a lot of times in this way. Because he is an undercover cop, people do not oftentimes know a lot about him. The use of formalism therefore provides information that isn't provided otherwise.

Step Outline

Character

Two possible protagonist whose stories are told in a parallel structure. One may assume the 'misfit' role, but it will not be shown in an obvious way like in dress (e.g. the nerd archetype). Maybe throughout the story, it will be subtly and slowly revealed how he is an outsider. The character himself is of course oblivious to the fact.

Backstory
The character may have had things happen to him that makes him not recognize that he is a misfit. He is oblivious to the fact that he does not act like everyone else. Maybe it was something in his younger years. Maybe the two protagonists will unite at a point in which they realize they are not the brightest bulb in the box.

Goal
The goal is unique to both characters. The should be related so that the stories of each character seem to be related by some magical connection. The universal goal can be used to create meaning or do a social commentary.

Relationship
Relationship is told to further create character. In this instance, the misfit interacts with his surroundings. That is his relationship. Because he does not fit, maybe he has a group of friends that are just as oblivious as himself. As the two parallel stories are being told, it can be alluded to that the two characters will soon cross paths.

Setting
The setting really depends on what the problem of the protagonists are. Maybe the setting will be one single location in which both characters are at the same time or a broader range of settings will be used.

Obstacle
The obstacle is...

Mood 
Mood should be comedic throughout but possibly a dramatic ending that connects all story lines and makes sense of things. Together the separate pieces can be comedic through awkwardness, jokes, but this needs to be executed well.

Time
Time will be manipulated in that pacing will be determined by editing. Maybe the story spans over multiple days or maybe in a few hours. Dramatic intent can be emphasized through rhythmic cuts or even shot duration. The 'content curve' should be acknowledged.

Unknown

The unknown that we will give the audience is why the two stories are being told at the same time. This will have the effect of wonder. The audience should wonder what the relationship between the two are and what the significance is of the two stories being told simultaneously.

Discovery
Discovery will be highlighted in both finding out backstory about the characters as well as realizing the relationship between the character. This is where the narrative must shine. In order to end the film with the impact I want, the character relationship must be alluded to and then revealed. Another alternative is that we reveal so much about the characters that the audience is sure what the relationship is, only to discover in the end they were wrong and misinterpreted little details.


Scratch the whole 'im a misfit, lemme figure out what's wrong with me idea'
Misfit must have a goal more than that - too generic, character can still be 'misfit' but his story must function out of the stereotype.

OUTLINE
1
A. character is introduced - maybe the audience will first see character as cool kid
B. second character is introduced - subtle details to show relationship between the two

2
Relationship is subtly revealed through slight details that the audience weaves together.
One of the two characters is supposed to be going on a date with the second character, but they keep on 'just missing' each other. Some sort of action keeps them from meeting up.

3
characters are revealed to have some sort of relationship with each other.

Character

The character that appealed to my interest is Christopher Johnson from District 9, directed by Neill Blomkamp. Going into this movie, the audience is already characterizing him from his appearance and the negative associations given to his species shown through the trailers. His species, labelled prawns for their mollusk appearance, are alien, shunned, and concentrated in isolated camps. The alien species are trapped on Earth because their spacecraft has been idled and unable to run. Christopher Johnson is one of the more intellectual prawn. He becomes a character of interest once the protagonist, Wikus Van De Merwe, discovers that Christopher Johnson is necessary for achieving of his own goal. But that's not the focus here; Christopher Johnson is the focus.

His goals are pretty straight forward - he wishes to go home and save his people from the cruel treatment of Earth. As the film progresses, the audience discovers another goal that Christopher Johnson needs to achieve: that he much re-power the spacecraft with a rare fuel that has been confiscated by the protagonist Wikus. Eventually, Wikus is contaminated by the fluid and begins transforming into a prawn. Christopher and Wikus come to an agreement that if Wikus helps retrieve the fuel for the ship, Christopher will return Wikus into his human form. Nonetheless, his main goal of returning home and saving his people trumps all others. This distinction is revealed through various aspects.

His character is represented as an intelectual of his species. We are revealed this through his oddities and attire. Unlike the rest of his species, Christopher wears a salvaged red vest as well as pieces of cloth covering his leg, like shorts. This not only identifies Christopher, but also shows that he is not like the rest of his species - crude and naked. In order to carry out his goal, Christopher feels the need to observe and conform to human patterns. He is also respectful and obedient to the human species. All of his actions are acts that he needs to carry out in order to achieve his goal.

In the final scene of the film, Christopher is trying to get to the ship to return home, but is under heavy fire from military personel. He and Wikus break through, but this physical barrier is not the main obstacle in the scene. Rather, it is the emotion decisions that he must make. The importance of his goal is shown through his hurry to return home. Consequently, he must leave Wikus on earth, promising to return after saving his alien race. This emotional decision is the greatest obstacle because it forces Christopher to make sacrifices in order to achieve his goal: either he abandon the lives of his people for cure Wikus, or he leave Wikus so he can gather resources to save his people. Christopher overcomes this obstacle through making sacrifices in order to save the lives of his race.

10 Themes: 'when you find me'

CHARACTER
In this short film, the narrative focuses on two sisters, Lisle and Aurora. As the short film progresses, we as an audience get a sense of how the characters interact with each other. In this image, Lisle is first introduce in her younger age. She is shown in bright red and blue colors, with a playful undertone. She seems to be the more innocent of the two sisters. Their relationship is a key factor in driving the plot of the film. This aspect will be explored further in later sections. The character aspect of the film is essential for the audience to connect with the protagonists because if properly executed, we as an audience feel a sense of connection to the story.

SETTING
The setting often changes in this short to accomodate the two protagonists. The setting in this still is particularly interesting because it represents the mystical world, the magical and also crosses over to the theme of the unknown. But nonetheless, this setting plays the most significant role in the film because it resolves the conflicts of the characters. With Lisle, she finds her mother as a child. With Aurora, she comes to terms with the argument with her mother and finds forgiveness and bliss. The other important setting is the farm from scene in the beginning. This setting represents the isolation that these characters have with the rest of the world, and in the abstract represent the characters emotional isolation with each other. Lisle cannot communicate her desire for finding her mother, and Aurora cannot communicate her sadness with her mothers death because of Lisle's lack of understanding. Other settings include the hospital, the graveyard, and the diner.

RELATIONSHIP
The relationship portrayed in this short is between sisters Lisle and Aurora. In the beginning, it is revealed that the two have a healthy relationship because they are playing some variation of cops and robbers - they are interacting with each other. It is also communicated that Aurora may be the agressor and Lisle the victim. We see this through not only the older sister, younger sister relationship but also because of the characters they are acting as: a sheriff and a robber. Further in the short, this playful representation comes to reality when the sisters react to the death of their mother differently. Aurora is the angry and takes out her anger on Lisle's innocence. The relationship seems to be breaking apart. What is interesting is how their relationship in the years between the young plotline and the old plotline is not shown. This causes the audience to assume that it is not together. By the end of the film, their relationship is mended, ending in a overcoming of their past.

GOAL
There are many goals in this film as a result of the many parts of the story. Also because there are two main characters, each has their own goals to achieve. One of the main goals is from the character of Lisle; she does not understand death and therefore desires to be reunited with her mother. This is her primary goal. The goal drives Lisle's character because it reveals her innocence as well as her backstory. Her character is further emphasized when she does achieve her goal - reaching her mother. She reunites with her mother in the white, mystical world. Having the setting stay in a magical world ultimately reveals more about Lisle character. The goal in this film is successful because it not only shows character motivation, it also reveals more about the characters

OBSTACLE
The overarching obstacle in this film is the relationship between the sisters. The tensions between them are shown in multiple points of the film starting from the death of the mother. The death is the catalyst for the character's obstacles. The sisters seems to be separating from each other as shown by the different interests of the sisters. The first being the space between the sisters when they are sitting apart on their front yard. The next is the night/graveyard sequence. When the reach the gate, Lisle and Aurora cannot pass the gate because it is locked. This gate is a physical representation of the the barrier between the sisters. When Lisle climbs over the gate, they are separated. The interesting part is how the obstacle represents the sisters' relationship because even when they are grown up, the tensions are still apparent; it is not until Lisle and Aurora explain everything that the obstacle is overcome.

MOOD
The mood in this film is much melancholy. The two sisters are in a stage of distress in both time period. As children, they have to face the death of the mother; as adults, they face the separation between their relationship. The mood often affects the film through dramatic light and the character's emotions. For example, in the above still frame, Aurora is dimly lit with very dramatic fall off on her face. This darkness is apparent throughout the entire film. The mood is established through the darkness that is strung throughout the film. Furthermore, the emotions shown by Lisle and Aurora further emphasizes this melancholy mood.

TIME
Time is expressed in this film through the two different time periods. This highlights the gap between the sisters because in the film, we learn that they became distant due to the different feelings towards the mother's death. The different times shown emphasizes the sisters' separation. We do not know if they have made up with each other or are still apart - this adds suspense and wonder to the main plot line. Another aspect of time used in the film is the techniques of editing. Strung throughout the film are different shot lengths which are held out to emphasize certain points or highlight things of significance. This manipulation of time affects how the audience interprets the film because the editing or lack thereof, dictates the speed and time of the film.

BACKSTORY
This short is interesting because of how the backstory is woven into the narrative. The death of the mother is, as the audience probably concludes, from some sort of terminal illness or cancer. The audience then wonders how long the sisters have lives without their mothers. Because of the lack of a mother figure in their life, this significantly strengthens how the audience perceives the sisters - they stay close to fill the void of their mother. However, immediately after the hospital scene, the sisters are bitter to each other. Another aspect of how backstory translates into the short is the gap between their childhood and their adult life. The audience wonders what has happened in between these years and have to create a conclusion of their own.

UNKNOWN
The helps set the mood for this film. The unknown is included in various parts - from the cartoon spaceship sequence to the white magic world. The use of the unknown can reveal character, specifically for Lisle. Through the space sequence, we visualize how childish she really is. Her youth gives her innocence. The white sequence with Lisle also shows that she strives to connect once again with her mother. It is interesting how this aspect of 'unknown' is shared between the two sisters. In this sense, the unknown plays a role to unite the sisters.

DISCOVERY
Discovery in this film provides a sense of closure, a solution to the problem, a climax to the film. The sisters discover a part of the other that they have no understood before. It provides a sense of closure in that they understand the emotions that they each were feeling at the time of the death of their mother. Reuniting with the mother, even in the magical realm relieved Aurora, the older sister. The realization that her mother was not upset about the last words Aurora said made her feel less regret. Being able to encounter her mother one last time provided a rewarding resolution to the short film.

The Film World

ORIGINAL ARTICLE

In this article from Photofocus, it outlines for up and coming photographers or just those interested how 'breaking the rules' of photography isn't always a bad thing. It outlines a set of questions a photographer should ask themselves in making a stylistic choice. They should understand the 'rule' they are deciding to break and why and for what purpose. It is interesting in this article that the author, scottbourne, refers to the 'rules' loosely because when you look at it, they are not 'rules' at all, but more rather - guidelines.

10 Themes of Storytelling

1. Mood - a state of quality or feeling at a particular time. In this particular photo, it seems to be a simple picture of the symbolic golden gate bridge, but it conveys much more that just that. The lighting shows rays of hope is closer within the frame whereas the darker undertone from the clouds are more in the distance. The effect of the bright yellow dominates the blues, causing the mood of hope to shine through the golden gateway.

2. Goal - the result or achievement toward which effort is directed. In this photo, a dog is static on a path that stretches along the Z-axis. The depth of field stretches all the way down the frame into what seems to be a forest. This photo exemplifies goal in the the road represents a long journey for the dog to enpart on. For me, I think this photo would have benefitted if it used a more selective focus because it would represent the obstacle aspect of goal a little more, but who am I to critique?

3. Backstory - a narrative provided a history or background context. This photo exemplifying backstory is very interesting because of its use of shadows. The shadows already represents something, that when framed right, can tell an entire story as this photo does. It shows a silhouetted person, slouched with multiple shadows gesturing at him. The shadows are perhaps disappointed with him or maybe the shadows are a manifestation of his own thoughts, revealing that he is disappointed in himself.