Now I've got them sitting on the couch so I can use the closeups (which are comprised in the first half of the same conversation as when they are trying to sit on the couch). The problem is that these shots show more of the akward “connection” though not as funny. They are also composed georgously, filmicly even. I may have to scratch the last five hours of editing and just get them to the couch before they talk. Again I'm reminded of the writing process involved in editing video.
Fell aslep contemplating next move. Time to pack it up and go to sleep.
Started back up around 7am. Was worried at one point about them having no connection whatso ever show up on screen but then I had a hapy accident. Some footage overlapped while I was trying to figure out the next shot and we see and hear kelli say, “so you repair computers?” and it was followed by her voice saying “that's cute”. The line is one she ad libbed while shooting from the unicorn's POV and the unicorn is what she was talking about. But with a little magic and some help from pre-“action” shy and figity smiles, I was able to make it look like it slipped out of her after he said, “yes”. So then it made it cute-funny when he starts to ad lib and ramble about working on “some laptops and PC's and some Macs – but I'm not really certified” Then another ad lib she gave was to ask him which which was better. It made the question go from good “yes-and” skills to brilliant. Because now it's clear she's asking because she thinks it's cute.
The only problem? The stupid director got in my way AGAIN! I actually cut them off as Mike started to explain and Kelli is really listening. I thought it was funny but didn't think I could use it. Looking back, maybe I sensed the real chemistry happening that goes along with good acting, and then I started feeling shy-akward – because that's what I'm seeing now on screen. Next time I need to wear a shirt that says, “Get out of your way, Jake”.
There's an “Oh” that could go anywhere. I can't figure out where's the best. For some reason I don't want to lose it. It's sort of a strange shot to hold on to.
These closeups are so much better than the full shots. That could be because the full shots don't look filmic. I intentionally left them as full shots, eye level, on tripods, in order to stay true to the film's spine - “Silent Film”. But the problem is that film gramar has evolved so much that this shot has become the mark of the amatuer. And that's a big problem in a short film from a nobody. It could get away with looking like a sitcom, but really I would have had to light it brighter. Or do a lot of timing on the colors. But that would take it away from the warm 16mm film look I had in the beginning.
I'm really thinking about scrapping all the work from yesterday and starting over to get them to sit without saying their lines.
It's interesting how LESS blocking can make something seem more filmic sometimes.
I just found another take with a few more GREAT lines. I'm going to have to get them in but that means going backwards for a bit. It shouldn't be too hard or too time consuming though. It should definitely be worth it.
Okay. Not sure it's worth it. Maybe it slows all that momentum down.
It actually did. Way better without it where I had it but it is perfect for slowing down the momentum just as Mary (Lauren) bursts through the door. I forgot to really push for the surprised “Buster Keaton-esque” reaction from Mike to the door, but I think we have enough to work with to keep it surprising and funny.
Made it to Lauren's entrance. Time for a break.
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