Key Terminology (depends very much on the role you are taking on: Shots, Lighting, Mise-en-scene, German Expressionsim, Noir, suspense, Protagonist, antagonist, 

Sub-plot

Believe it or not, 'chew the scenery' is actually an acting term, and it means to act in a melodramatic, over-the-top manner. This can be a positive or a negative quality of a performance. German Expressionist acting is all a bit over-the-top!

• If the role calls for it, then 'she really chews the scenery' is a compliment.

• If it does not, then 'he chews the scenery' is a fairly damning indictment.

Some sources attribute the origin of the phrase to Dorothy Parker, who wrote in a 1930 review “... more glutton than artist ... he commences to chew up the scenery ...” Others go back even further to an 1894 story by Mary Hallock Foote “Lads, did ye hear him chewin' the scenery, giving' himself away like a play-actor?” Either way, it can be amusing to think of an actor literally going so overboard with his performance that he consumes pieces of the set.

Jump Cut

Okay, go do it.

Pick your setting.

We will be waiting for you right here.

Task 3: Create the characters

Good, you have your setting.

Now create two characters, preferably stock characters that an audience can easily recognize without knowing any backstory.

What is their relationship to each other?

What is the conflict?

Keep it simple, but put the two characters in a position where there is some reason for tension between them. Otherwise you will not be able to build suspense, which, after all, is one of the requirements.

Two guys just having lunch together happens all the time in real life, but we certainly would not want to watch a movie about them.

Two guys, one of whom has just poisoned the other one's soup - now, you have a movie!

Think in terms of what characters want. As soon as one wants something (to poison his former best friend) and the other wants the opposite (to live through dinner), then you are on the right track.

Since this is just a short exercise, your audience may not not get the whole story, but if you know it, then that will help guide you to make more interesting choices.

Once you have a scenario - some characters, a conflict, and a setting - then you can plan your shots.

What are two main ways to pre-visualize your scene?

Everyone, say it loud and proud - a storyboard! (or an animatic).

Now you have to make choices.

Decide on the emotional effects you want to achieve first, and then decide camera distance and angle based on those intentions.

Quick Tip: Camera work

• Although we will talk about it more in a future lesson, you would be well advised to observe the action axis in planning and shooting your shots, even now.

• Draw an imaginary line between your two characters.

• Place the camera for your wide shot that encompasses the whole scene on one side of that line or the other.

• Once you make that choice, do not cross the line.

• Feel free to move the camera anywhere on that side of the line but do not cross over.

• We will discuss why later. Just trust the rule for now.

Assessment Advice

Do not place a camera someplace only because you think it is cool. Coolness, by itself, is a shallow rationale for artistic decisions.

Be a conscious artist.

Make decisions based on what you want your audience to think and feel. Write those intentions down on your storyboard, so you can discuss them later.

What's the Angle?

The Assignment calls for at least four angles in addition to the two point-of-view angles.

Unlike a stage production, you can put your camera (and thereby the audience) anywhere you want.

How will you communicate the story premise and also build suspense?

The possibilities are limitless, so really explore in your storyboards before you set up your equipment.

With all of your pre-production work done, you are ready to shoot your scene.

Gather up everything you need for your Mise-en-scene, handcuff your actors, and buy your crew some energizing beverages.

It is time to make some movie magic!

In general, you want to shoot your establishing shot and master shot (sometimes they are the same shot) first.

Go through as many takes as you need to get the whole sequence of action from beginning to end in a wide shot that shows both characters in the setting.

Once you have a take you think will work, have your actors look at the master shot in the camera's viewfinder.

Make sure they focus on where they have their hands, legs, and other body parts for each moment.

They will need to duplicate this performance as closely as they possibly can.

Otherwise, the continuity will be blown and the shots will not edit together.

Quick Tip

Stage actors are encouraged, within reason, to mix it up a little on stage, and explore new possibilities for each performance.

There is always a little bit of improvisation to a stage play for this reason.

This is one of the aspects that make seeing a play an exciting experience.

A film actor, on the other hand, is prized for their ability to replicate a performance exactly from shot to shot.

If you use stage-trained actors for your film projects, make sure you make them aware of this crucial difference.

Yes, they need to set the glass down in the same place every time. Every time.

That's (nearly) a wrap!

Once you have the master locked down, then go back and get your other angles, as per your storyboard. Check them off on the storyboard as you shoot each one.

With everything filmed, be sure to thank your cast and crew before you wrap the session.

If you used someone else's place for your scene, leave it as good or better than you found it.

The world will be a better place for your courtesy.

Congratulations, production is over!

The final step, of course, is post-production, where you will edit your shots into a final sequence and then add the score.

Follow your storyboard, but do not be a slave to it. If you need to change things to tell a better story, do so.

As with everything else, do not choose a song merely because you like it.

Choose it because it enhances the intended meaning of the scene.

If you have time, see if you can adjust your edits to the beat of the score. This is something we will naturally work on later in the course, but you can certainly be bold and try it out now.

The final film of this project will be due soon.

Have fun and happy filmmaking!

ACTIVITY:

Dinner With... Discussion

As you are continuing to work on the Dinner With... production task, and incorporating a German expressionism element within it, discuss what that element is and how you plan on it helping you tell your story.

 Also, if you have any questions or comments on the assignment, create a post within the Dinner with... discussion.