The 1 Minute Film
Nature
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To help us understand how to tell a story in one minute, or on one side of A4 paper, which equates to 1-minute of screen time - we are going to look at some examples.
To help us understand how to tell a story in one minute, or on one side of A4 paper, which equates to 1-minute of screen time - we are going to look at some examples.
The first thing to note is that in the short film format there tend to be two distinct approaches to the nature of the story...
The first thing to note is that in the short film format there tend to be two distinct approaches to the nature of the story...
The 'Joke' or Twist
The 'Joke' or Twist
This format works like a 'joke' in that it takes the audience in one direction in order to set them up for a 'twist' - to provide a reveal or conclusion that the audience doesn't expect, for example, here is a joke:
This format works like a 'joke' in that it takes the audience in one direction in order to set them up for a 'twist' - to provide a reveal or conclusion that the audience doesn't expect, for example, here is a joke:
A man wakes up after a heavy night of drinking to find his wife happily cooking breakfast.
A man wakes up after a heavy night of drinking to find his wife happily cooking breakfast.
Confused, he approaches his daughter for an explanation of what happened last night when he arrived home.
Confused, he approaches his daughter for an explanation of what happened last night when he arrived home.
“You kicked in the door when you couldn’t get your key in the lock,
“You kicked in the door when you couldn’t get your key in the lock,
fell through the table and broke it,
fell through the table and broke it,
then you wet your pants.”
then you wet your pants.”
“Oh my Lord! So why the heck is your Mom in such a good mood?”
“Oh my Lord! So why the heck is your Mom in such a good mood?”
“When she tried to take your pants off to wash them,
“When she tried to take your pants off to wash them,
you slapped her hand away and said,
you slapped her hand away and said,
‘Get your hands off me!
‘Get your hands off me!
I’m married!'”
I’m married!'”
As you can see from this example, the story sets us up to think that
As you can see from this example, the story sets us up to think that
the man is going to get into trouble with his wife
the man is going to get into trouble with his wife
because he got so drunk,
because he got so drunk,
and then caused damage to the house,
and then caused damage to the house,
only to reveal that
only to reveal that
in his drunken stupor
in his drunken stupor
he demonstrated to his wife his true love for her
he demonstrated to his wife his true love for her
and his trustworthiness.
and his trustworthiness.
So let's look at some examples of 1 minute short films with a TWIST:
So let's look at some examples of 1 minute short films with a TWIST:
Status Change
Status Change
Created by Rajesh Naroth
Created by Rajesh Naroth
Loop
Loop
Created by Aritz Moreno
Created by Aritz Moreno
Task 1.
Task 1.
Watch each film again and make a note (as bullet points) of the step-outline for each film's narrative structure -
Watch each film again and make a note (as bullet points) of the step-outline for each film's narrative structure -
A. What happens and how do we see/hear it?
A. What happens and how do we see/hear it?
Note how your understanding is being directed by the film-maker
Note how your understanding is being directed by the film-maker
controlling what information you are being given and
controlling what information you are being given and
when you are given it.
when you are given it.
The 'Personal Passion' Project
The 'Personal Passion' Project
This approach is less formulaic.
This approach is less formulaic.
Due to how easy it is, and how cheap it can be to make a short film, compared to a feature film or TV drama, the short film provides an excellent opportunity to make the film that YOU really want to make - irrespective of whether or not anyone else is going to like it.
Due to how easy it is, and how cheap it can be to make a short film, compared to a feature film or TV drama, the short film provides an excellent opportunity to make the film that YOU really want to make - irrespective of whether or not anyone else is going to like it.
Because it doesn't have to make any money back, it liberates you from the conventions and expectations of the marketplace and allows you to experiment.
Because it doesn't have to make any money back, it liberates you from the conventions and expectations of the marketplace and allows you to experiment.
It also allows you to say what you want, in the way you want, and this can provide a very viable way to demonstrate your originality.
It also allows you to say what you want, in the way you want, and this can provide a very viable way to demonstrate your originality.
Music companies, musicians and ad agencies often keep an eye on short film festivals, as a way to find new and exciting directors for their music videos and commercials.
Music companies, musicians and ad agencies often keep an eye on short film festivals, as a way to find new and exciting directors for their music videos and commercials.
Even with an experimental film the film-maker needs to have an intention (premise) - usually this intention is to emotionally connect the audience with the theme of the film - to make the audience emotionally respond to the film, or to provoke the audience to consider something.
Even with an experimental film the film-maker needs to have an intention (premise) - usually this intention is to emotionally connect the audience with the theme of the film - to make the audience emotionally respond to the film, or to provoke the audience to consider something.
60 sec of regret.mp4Sixty Seconds of Regret
Sixty Seconds of Regret
Writer/Director: Ed Gass-Donnelly
Writer/Director: Ed Gass-Donnelly
For Milo
For Milo
Writer/Director: Matthew D Gilpin
Writer/Director: Matthew D Gilpin
Task 2.
Task 2.
Watch each film again and make a note (as bullet points) of the step-outline for each film's narrative structure -
Watch each film again and make a note (as bullet points) of the step-outline for each film's narrative structure -
A. What happens and how do we see/hear it?
A. What happens and how do we see/hear it?
B. What is the emotional effect on you - or what does the film make you consider by the end of it?
B. What is the emotional effect on you - or what does the film make you consider by the end of it?
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