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Conceptualisation
Conceptualisation
A strong sense of idea may be based on real occurrences, written works, personal experiences, or historical events in the Western filmmaking process, and these inspirations are often complemented by the director's awareness of the audience. The bulk of the Western audience is drawn to community heroes, those who are courageous enough to speak up for what is wrong in their lives and demonstrate their bravery. In other words, they want a decent, uncomplicated storyline and gorgeous settings above everything else. After agreeing on the format of the story, the director asks permission from the original source that inspired him to collaborate with others. (Weinstein)
It is typical for Westerns to depict the plot as 'black and white,' with the directorial crew brainstorming between the roles of hero and nemesis, for example, by conjuring up future situations and conversations, including imagined traits of the characters. Traditional values produced in the classic western genre represent the idea that people stay family-centered, that everyone can appreciate the meaning of family, and that it sometimes stems from the theme of hope. The director then starts outlining the tale and identifying big and small plot points depending on how the film's theme influences the audience's interests or social values. (Weinstein)
Pre-production
Pre-production
Knowing where, how, and why to shoot westerns on a budget is critical for the directorial team. Traditional Westerns are produced using cost-effective ways outside of the studio system, resulting in cheaper budget costs. Following the development of a business plan and the approach of investors to finance the film, the entire film team will establish a company and open an account to build a budget, purchase insurance, and secure permission to film after identifying locations and contacting local government officials. (Weinstein)
The setting for a western necessitates open space, as well as resources such as waggons, horses, and wranglers. Directors frequently choose locations based on the aesthetic and personal feel of the terrain, despite there are some unavoidable downsides. The camera crew had to deal with a number of access points open to visitors during the production to maintain a consistent flow of images. Furthermore, the western's intrinsic spaciousness and strong visual effects keep it fresh and set up certain time periods to transport the audience away from reality. (Weinstein)
Cinematography
Cinematography
The director will select a director of photography of choice to combine the director's vision and production with the realities of scheduling equipment availability to agree on the style and look of filming a western. The cinematographer in the Coen brothers' The Ballad of Buster Scruggs, for example, uses a great amount of shots of the horizon in a three-quarter perspective to reflect the vastness of the West. And the portrayal of the human position on the horizon reveals a personal heroism perspective.
The western palette is dominated by warm yellow tones in the photographic shoots, which play on the natural reality of the western world, and the technique of photography emphasises the aesthetic and ideographic functions of colour. Also, during the production, the Coen brothers' photography will make use of scale contrasts, a good blend of the openness of the western lands, and will pay special attention to some famous western icons, such as the cowboy's horse.
Characters
Narrative
Evolution
Structure
Bibliography:
Weinstein, Max. “Making a Western? Here’s How to Max Out Your Locations and Find an Audience.” No Film School, 25 Sept. 2020, https://nofilmschool.com/making-westerns-insp.
Weinstein, Max. “Making a Western? Here’s How to Max Out Your Locations and Find an Audience.” No Film School, 25 Sept. 2020, https://nofilmschool.com/making-westerns-insp.
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