So today we met with our constructive peers. We did this once before but I completely forgot to write about it. But anyways, today we met with them. I was with Miguel and Camy Orr. Both of their projects are stellar. I knew Camy's movie was going to be great right from the get-go. Her script is really well made, her dialogue is going to be on-point, and her idea is relatively easy to shoot. The last line "Hi my name is Shawn Rivers, ..." Well I don't want to spoil it, but the ending of her Intro will really capt the essence of her movie. And Miguel's magazine is coming out great, wether he decides to go with androgyny or street style, it'll be an A+. On top of laughing for the majority of our meet, I got some really helpful suggestions; Camy said it might be easier to throw the flashbacks into our film during the dialogue, and try to reduce the dialogue as much as we can. I thought about it for a while but I feel like the best way to promise suspense and have it peak at the end is how we had it originally. I asked if they had tips for the second part of our intro, and Miguel pointed out the fact that it would be so much easier to fill part two if I knew the full story arc of our film. Our group had been toying with a couple ideas but we turned them down, or rather,
I turned them down. I told my constructive group that (and this will come back later in the blog) I would like to promise the audience something during the intro and then during the actual film I'll over-deliver, i.e. "Hey audience you're in for a treat" with the buildup of suspense and the climax of the intro and then during the actual film we'd completely destroy their expectations and show them something even better. Like in the sixth sense when we discover what Dr. Malcolm Crows (Bruce Willis) is just finding out. Throughout the duration of the film the movie the movie is constantly telling the audience, "Just wait, something
big is coming" and then when we find out what the big thing is at the end, we are
shocked. I would like to have something similar, where in the intro we hook the audience and almost flat-out say "You're gonna want to wait" and then if our film were to be produced, the actual climax would throw the audience back in amazement. This idea means quite a lot to me for some personal reasons, but I honestly thought we would have had quite possibly
the best project our teacher had ever seen. I wanted to create the same sense of "What?!?! No way!!" that my friend Daniel Cooke did last year. Perhaps I was aiming a bit too high, because our group had, well, difficulties today. It was pointed out that my ideas
were "absolute trash, garbage" weren't the best , and while maybe it could've been said in a nicer way, I also maybe was resenting this person for sometimes not staying quite on task. I thought our, or as it was pointed out to me,
my, idea was good. Apparently not everyone did. I was told I don't work well with others which, being honest, might be true. I really wanted to go with the original idea we had, the promise and the over-deliver. But maybe I was caught up too much in my own world. Maybe it just wasn't explained as well as I could've done. I felt bad for the third member of our group during the, erm, altercation between unnamed group member and I, because this third member said she felt like a child who must choose between his/her divorcing parents.
Alessia proposed we do a film about some girl who follows her "heart" that's basically a string wrapped around her finger and it'll lead her to her soul-mate? or every person she'll ever encounter in her life? I don't remember, but it was based on a Japanese myth and I thought,
and pointed out that it was a really good idea, I'm really not doing it justice the way I'm explaining it. And although I would still like to stick with the original idea, I told her that if,
if we decided to do that as our project (we are a group after all, democracy reigns - majority rules) it would be a really cool way to end the intro with her following the string to a pier of sorts, seeing the string leads straight down and having the audience question wether or not she jumps down into it. Obviously building up her desperation to follow it through the duration of the film. So basically, she had no idea what she wanted to do with it, I feel like maybe she was just proposing an alternative so as not to say my idea was bad, instead she could sort of replace it, but I asked if she could make an outline - just like a first half of the intro and second half and after her several refusals to do so, and my several perhaps not so nice pleas to get her to do one, we fought and left things on pretty rough terms. I'm obviously going to text and apologize, I tried to see her during lunch, (I'm writing this eight period after I finished my work) but she couldn't. But anyways...
Until next time, this has been your tour guide to the wonderful journey of (Once Again Unnamed), A Beauty in the Making, signing off.
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