Directing Notes for the Insane was a thread I started back in the Summer of '04 on another web site
(http://www.amandatapping.com/Scripts/PostNuke/index.php)
The reaction to this thread was pretty amazing.
This thread is dedicated to helping everyone better understand the conventions of "Film Language"
I am a former sound editor, but never a camera operator, so while I know the language, I occasionally have been know to call a ZOOM a push! Alas, perfect I am NOT!
SO with out further ado here is "Point of View" act one!
Enjoy!!!
Gillian
Part one
Point of View Episode 6 Season 3
Directed by Peter DeLuise
Story by Jonathan Glassner, Brad Wright, Robert C. Cooper, Tor Alexander Valenza (<---Story idea)
Teleplay by Jonathan Glassner (<---The actual script)
General notes about the time line:
"Point of View" was the 6th episode aired in season three, it is important to note that in the minds of some fans the "ship" (sexual tension) began in "Out of Mind" from something that Rick and Amanda worked out with Martin Wood on the set. (season 2's clip show and season ender, written by Jonathan Glassner & Brad Wright and directed by Martin Wood) and continued into the season 3 opener of "Into the Fire". (Also directed by Martin Wood.)
The episodes that proceed "Point of View" in season three...
1) Into the Fire (Death of Hathor)
2) Seth (Gou'ald hunt on Earth)
3) Fair Game (Asgard protected planets treaty adds Earth)
4) Legacy (Engineered Gou'ald killing "disease" makes Daniel crazy...)
5) Learning Curve (O'Neill teaches a young girl and her whole planet how to play)
Point of View is Directed by Peter DeLuise who as I mentioned before has these great emotionally ambiguous moments in many of his episodes. In that regard, Point of View is typical of this director! It is also a bit of a pun. PDL is "changing" OUR point of view. Yes, Peter and the writers have been very baaaaaaad boys!
Point of View: Filming notes
In the episode "A Hundred Days" our four heroes are sitting out on a hill top at night waiting for "the show" to begin... Lara, a native of the planet they are visiting has promised them that they will get to see something really cool called "Fire Rain"...
Daniel (looking up at the night sky): Lara we haven't seen anything you can call "Fire Rain" these past few nights, how are you sure its going to fall tonight?
Lara: It begins this night each year.
Carter: Whoa, The same night every year? That doesn't make sense unless the planet travels through a debree field, like an asteroid belt in which case...
O'Neill (to Carter): Please, don't suck the fun out of this.
I don't want this commentary to "suck the fun" out of Star Gate.
Having said this, their is a "language" to film. I hope to add to your enjoyment and understanding by teaching the convention of film and pointing out a few things that might have been missed. I also feel woefully inadequate for the job. The more I learn, the more I realize that I know nothing!
This episode is "emotionally hard". As a first time viewer I remember both loving and hating this episode because it made me "bleed".
Through brilliant directing and powerful acting we the viewers end up identifying with and sympathizing for Dr. Carter and her plight.
Why is this? In the episode "There but for the Grace of God" I remember not identifying with or really even liking much that reality's Dr. Carter. (Though isn't she beautiful?) Why do we love this o*ne so much that the stories end causes us anguish on her behalf? Simple. PDL and Amanda (who's name means "lovable"...) know how to make us love this Dr. Carter!
One trick employed is termed in writing "impression".
Like ducklings just hatched, we have a tendency to bond to the first person we see in a film, or read about in a book.
A careful writer or director knows this and uses it to their advantage. Their is no coincidences that the first character we see in the teaser is Dr. Carter.
Writing, directing, acting performances and choices as well as Narrative and Graphic Control all play their part.
Graphic Control is the framing, staging and composition that elicits our identification and an emotional response. I.E. How and where the actors are standing, where they are looking and what is around them elicits emotion.
Narrative Control. I.E. The editing of the story, how it plays out FOR us the viewers.
"Point of View" uses everything.
Camera Work:
In this first detailed analysis I am NOT going to get much into camera work except for general oft used terms that might crop up on the directors commentary!
Teaser
Area 51
Cool opening crane shot slowly "pans" from the cool red laser light across a "Raiders of the Lost Ark" like storage room, ending o*n the quantum mirror that we first saw in season one...
Dr. Carter: Major come on!
Kawalsky: We gotta to go back for the General
Dr. Carter: I can't shut it down. We wont find this window again, We have to go now!
Kawalsky: Are you sure this is the right one to go to?
Dr. Carter: Anywhere is better then the alternative.
Kawalsky: Guess we'll see about that
Guards: Drop your weapons. Do it now.
Dr. Carter: I'm Dr Samantha Carter from the SGA, this is Major Kawalsky. We need to speak to your commander.
This scene uses a mixture of classic med shots (at the hips) med close shots, close shots (mid upper arms) Wide close ups (at the shoulders), a lovely angles full shot (to show the lay of the room, the soldiers placement and "heighten" the tension as well as look really cool!)
An interesting note in this scene is that Dr. Carter might just be civilian in her world, and she is certainly not use to gun fire, nonetheless she leads the way and its she that does the talking once they get captured! Kawalsky takes a secondary, deferential role despite his rank.
Cut to opening sequence.
Act one: Realities Mix
SGC Infirmary
We see Col. O'Neill walking casually, innocently down the SGC hallway and (Full establishing shot!) walks into a Med Close (or MC) shot at the line...
O'Neill: So what's the big emer... (He sees Dr. Carter in the infirmary bed and stops short)
Whoa, what happened to you?
A wide close up to underscore his astonishment! Notice Rick's characteristic "V" smile and that twinkle in his eyes! O'Neill is anticipating a GOOD story!)
Dr Carter: Jack...
Here we get a VERY tight straight shot (actually called a med close up) full o*n with no angles, which is extremely jarring after the full shot and the looser med shots we've seen to this point!
This is further emphasized by the fact that PDL has asked Amanda to look almost directly INTO the camera. (She actually looking slightly up as O'Neill is standing) The closer the sight line (Where the eyes look) of the actor is to the camera the more intimate the shot, which is why this close up is almost shocking!
"Generally speaking, the closer the line of sight of the player in a close up is to the camera the greater the degree of viewer indentification." (from "Film Directing Shot by Shot" by Steven D. Katz)
This shot is so tight that General Hammond is completely excluded from the frame! This is to underscore Samantha's surprise and emotional distress as is explained further in the story! She is also framed in, and wearing, white, and the shot is "FLAT: (no angles) in comparison to the angled dark gray of the back wall behind O'Neill. He is also dressed in a black leather jacket, black shirt and dark slacks which further serves as contrast to her. At this point of the story, we the viewers are being asked to emphasis with Dr. Carter.
O'Neill: "Jack"? O'Neill's eye line isn't so close to the camera so the shot isn't jarring.
Dr Carter: It's me. It's Sam. Here we get another tight shot of Dr. Carter's face followed by a slightly looser shot of General Hammond.
O'Neill: Uh...Yeah?
At this point O'Neill takes two steps forward and the wide close up tightens into a med close up! Note that PDL did NOT move (or push) the camera forward (or zoom the lens) but lets the performance bring the emotion to us! Now O'Neill's shot is as close as Dr. Carter's, but they are NOT feeling the same emotion.
Watch his eye line here change slightly.
Dr Carter: I never expected this variation.
Basically the same shot as before, her emotion has not changed. She glances down in usual Carter fashion when she is figuring something out... Your alive... At this line she glances up directly into the camera. Again we as the audience feel...well, shocked!
Kawalsky: Don't feel so bad Col. Everyone around here is telling me the same thing.
Looser shot to establish where he is coming from and where he will stand. Also it helps the rhythm of the scene. PDL seems to have a musicians sense of rhythm and his shots often echo each other, like a thematic reframe in a symphonic work.
O'Neill: Kawalsky?
O'Neill's shot is closer then Hammond's, Dr. Frasiers and Kawalsky's and maintains this closeness as he attempts to sort all of this out. In this scene as through out most of the episode, O'Neill is our POV character.
Hammond: In a manner of speaking.
Dr. Frasier: Actually in a manner of fact, sir. This is Major Charles Kawalsky. In almost every physical respect. Blood work dental records.
Kawalsky: Except I'm not supposed to be alive in this reality anymore then you are in mine. (Dr. Carter lowers her eyes) Sorry Sam.
Dr Carter: Its not the same with us here, is it?
O'Neill: Anyone want to let me know what the hells going o*n here? Anyone??
O'Neill interestingly enough looks from General Hammond to Dr. Carter and back again despite the fact that he knew full well what she was asking but in typical O'Neill form he evaded the question.
Hammond: They appeared a few hours ago in a Nellis high security lock up.
A looser shot is used here for several reasons, o*ne is that you cant keep the tension of close singles up endlessly, and two 'cause they need somewhere to put the credits!
Note that Dr. Carter and O'Neill are the two closest to the camera with General Hammond standing behind her hospital bed and Kawalsky and then Dr. Fraiser standing off to the side of O'Neill. Basically, in this scene the closer you are to camera the deeper your emotions, either loss or confusion, but O'Neill as our point of view character is closer to us then Dr. Carter.
Kawalsky: That Quantum mirror you've got locked up at area 51. You guys never figured out how to use it?
O'Neill: Is he talking about that alternate-reality thing that Daniel futzed with o*n 233?
Kawalsky: Who's Daniel?
Dr Carter: We can't be followed if that's what you're worried about. We brought the remote thru with us.
Hammond: I've ordered the device sent here under heavy guard.
Kawalsky: Where we've come from the Goa'ulds just took over the world, Colonel.
Notice that the camera actually moves for the first time since this scene started. This is to underscore the drama of Kawalsky's statement. Also pay special attention to the musical "sting" which is basically saying the same thing that O'Neill's look is!
More later!
Gillian
(http://www.amandatapping.com/Scripts/PostNuke/index.php)
The reaction to this thread was pretty amazing.
This thread is dedicated to helping everyone better understand the conventions of "Film Language"
I am a former sound editor, but never a camera operator, so while I know the language, I occasionally have been know to call a ZOOM a push! Alas, perfect I am NOT!
SO with out further ado here is "Point of View" act one!
Enjoy!!!
Gillian
Part one
Point of View Episode 6 Season 3
Directed by Peter DeLuise
Story by Jonathan Glassner, Brad Wright, Robert C. Cooper, Tor Alexander Valenza (<---Story idea)
Teleplay by Jonathan Glassner (<---The actual script)
General notes about the time line:
"Point of View" was the 6th episode aired in season three, it is important to note that in the minds of some fans the "ship" (sexual tension) began in "Out of Mind" from something that Rick and Amanda worked out with Martin Wood on the set. (season 2's clip show and season ender, written by Jonathan Glassner & Brad Wright and directed by Martin Wood) and continued into the season 3 opener of "Into the Fire". (Also directed by Martin Wood.)
The episodes that proceed "Point of View" in season three...
1) Into the Fire (Death of Hathor)
2) Seth (Gou'ald hunt on Earth)
3) Fair Game (Asgard protected planets treaty adds Earth)
4) Legacy (Engineered Gou'ald killing "disease" makes Daniel crazy...)
5) Learning Curve (O'Neill teaches a young girl and her whole planet how to play)
Point of View is Directed by Peter DeLuise who as I mentioned before has these great emotionally ambiguous moments in many of his episodes. In that regard, Point of View is typical of this director! It is also a bit of a pun. PDL is "changing" OUR point of view. Yes, Peter and the writers have been very baaaaaaad boys!
Point of View: Filming notes
In the episode "A Hundred Days" our four heroes are sitting out on a hill top at night waiting for "the show" to begin... Lara, a native of the planet they are visiting has promised them that they will get to see something really cool called "Fire Rain"...
Daniel (looking up at the night sky): Lara we haven't seen anything you can call "Fire Rain" these past few nights, how are you sure its going to fall tonight?
Lara: It begins this night each year.
Carter: Whoa, The same night every year? That doesn't make sense unless the planet travels through a debree field, like an asteroid belt in which case...
O'Neill (to Carter): Please, don't suck the fun out of this.
I don't want this commentary to "suck the fun" out of Star Gate.
Having said this, their is a "language" to film. I hope to add to your enjoyment and understanding by teaching the convention of film and pointing out a few things that might have been missed. I also feel woefully inadequate for the job. The more I learn, the more I realize that I know nothing!
This episode is "emotionally hard". As a first time viewer I remember both loving and hating this episode because it made me "bleed".
Through brilliant directing and powerful acting we the viewers end up identifying with and sympathizing for Dr. Carter and her plight.
Why is this? In the episode "There but for the Grace of God" I remember not identifying with or really even liking much that reality's Dr. Carter. (Though isn't she beautiful?) Why do we love this o*ne so much that the stories end causes us anguish on her behalf? Simple. PDL and Amanda (who's name means "lovable"...) know how to make us love this Dr. Carter!
One trick employed is termed in writing "impression".
Like ducklings just hatched, we have a tendency to bond to the first person we see in a film, or read about in a book.
A careful writer or director knows this and uses it to their advantage. Their is no coincidences that the first character we see in the teaser is Dr. Carter.
Writing, directing, acting performances and choices as well as Narrative and Graphic Control all play their part.
Graphic Control is the framing, staging and composition that elicits our identification and an emotional response. I.E. How and where the actors are standing, where they are looking and what is around them elicits emotion.
Narrative Control. I.E. The editing of the story, how it plays out FOR us the viewers.
"Point of View" uses everything.
Camera Work:
In this first detailed analysis I am NOT going to get much into camera work except for general oft used terms that might crop up on the directors commentary!
Teaser
Area 51
Cool opening crane shot slowly "pans" from the cool red laser light across a "Raiders of the Lost Ark" like storage room, ending o*n the quantum mirror that we first saw in season one...
Dr. Carter: Major come on!
Kawalsky: We gotta to go back for the General
Dr. Carter: I can't shut it down. We wont find this window again, We have to go now!
Kawalsky: Are you sure this is the right one to go to?
Dr. Carter: Anywhere is better then the alternative.
Kawalsky: Guess we'll see about that
Guards: Drop your weapons. Do it now.
Dr. Carter: I'm Dr Samantha Carter from the SGA, this is Major Kawalsky. We need to speak to your commander.
This scene uses a mixture of classic med shots (at the hips) med close shots, close shots (mid upper arms) Wide close ups (at the shoulders), a lovely angles full shot (to show the lay of the room, the soldiers placement and "heighten" the tension as well as look really cool!)
An interesting note in this scene is that Dr. Carter might just be civilian in her world, and she is certainly not use to gun fire, nonetheless she leads the way and its she that does the talking once they get captured! Kawalsky takes a secondary, deferential role despite his rank.
Cut to opening sequence.
Act one: Realities Mix
SGC Infirmary
We see Col. O'Neill walking casually, innocently down the SGC hallway and (Full establishing shot!) walks into a Med Close (or MC) shot at the line...
O'Neill: So what's the big emer... (He sees Dr. Carter in the infirmary bed and stops short)
Whoa, what happened to you?
A wide close up to underscore his astonishment! Notice Rick's characteristic "V" smile and that twinkle in his eyes! O'Neill is anticipating a GOOD story!)
Dr Carter: Jack...
Here we get a VERY tight straight shot (actually called a med close up) full o*n with no angles, which is extremely jarring after the full shot and the looser med shots we've seen to this point!
This is further emphasized by the fact that PDL has asked Amanda to look almost directly INTO the camera. (She actually looking slightly up as O'Neill is standing) The closer the sight line (Where the eyes look) of the actor is to the camera the more intimate the shot, which is why this close up is almost shocking!
"Generally speaking, the closer the line of sight of the player in a close up is to the camera the greater the degree of viewer indentification." (from "Film Directing Shot by Shot" by Steven D. Katz)
This shot is so tight that General Hammond is completely excluded from the frame! This is to underscore Samantha's surprise and emotional distress as is explained further in the story! She is also framed in, and wearing, white, and the shot is "FLAT: (no angles) in comparison to the angled dark gray of the back wall behind O'Neill. He is also dressed in a black leather jacket, black shirt and dark slacks which further serves as contrast to her. At this point of the story, we the viewers are being asked to emphasis with Dr. Carter.
O'Neill: "Jack"? O'Neill's eye line isn't so close to the camera so the shot isn't jarring.
Dr Carter: It's me. It's Sam. Here we get another tight shot of Dr. Carter's face followed by a slightly looser shot of General Hammond.
O'Neill: Uh...Yeah?
At this point O'Neill takes two steps forward and the wide close up tightens into a med close up! Note that PDL did NOT move (or push) the camera forward (or zoom the lens) but lets the performance bring the emotion to us! Now O'Neill's shot is as close as Dr. Carter's, but they are NOT feeling the same emotion.
Watch his eye line here change slightly.
Dr Carter: I never expected this variation.
Basically the same shot as before, her emotion has not changed. She glances down in usual Carter fashion when she is figuring something out... Your alive... At this line she glances up directly into the camera. Again we as the audience feel...well, shocked!
Kawalsky: Don't feel so bad Col. Everyone around here is telling me the same thing.
Looser shot to establish where he is coming from and where he will stand. Also it helps the rhythm of the scene. PDL seems to have a musicians sense of rhythm and his shots often echo each other, like a thematic reframe in a symphonic work.
O'Neill: Kawalsky?
O'Neill's shot is closer then Hammond's, Dr. Frasiers and Kawalsky's and maintains this closeness as he attempts to sort all of this out. In this scene as through out most of the episode, O'Neill is our POV character.
Hammond: In a manner of speaking.
Dr. Frasier: Actually in a manner of fact, sir. This is Major Charles Kawalsky. In almost every physical respect. Blood work dental records.
Kawalsky: Except I'm not supposed to be alive in this reality anymore then you are in mine. (Dr. Carter lowers her eyes) Sorry Sam.
Dr Carter: Its not the same with us here, is it?
O'Neill: Anyone want to let me know what the hells going o*n here? Anyone??
O'Neill interestingly enough looks from General Hammond to Dr. Carter and back again despite the fact that he knew full well what she was asking but in typical O'Neill form he evaded the question.
Hammond: They appeared a few hours ago in a Nellis high security lock up.
A looser shot is used here for several reasons, o*ne is that you cant keep the tension of close singles up endlessly, and two 'cause they need somewhere to put the credits!
Note that Dr. Carter and O'Neill are the two closest to the camera with General Hammond standing behind her hospital bed and Kawalsky and then Dr. Fraiser standing off to the side of O'Neill. Basically, in this scene the closer you are to camera the deeper your emotions, either loss or confusion, but O'Neill as our point of view character is closer to us then Dr. Carter.
Kawalsky: That Quantum mirror you've got locked up at area 51. You guys never figured out how to use it?
O'Neill: Is he talking about that alternate-reality thing that Daniel futzed with o*n 233?
Kawalsky: Who's Daniel?
Dr Carter: We can't be followed if that's what you're worried about. We brought the remote thru with us.
Hammond: I've ordered the device sent here under heavy guard.
Kawalsky: Where we've come from the Goa'ulds just took over the world, Colonel.
Notice that the camera actually moves for the first time since this scene started. This is to underscore the drama of Kawalsky's statement. Also pay special attention to the musical "sting" which is basically saying the same thing that O'Neill's look is!
More later!
Gillian
Pardon me whilst I edge away from the insanity lest I fall victim to it. hehe
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