I always refer back to what happens from 6:36-8:50 in "Tutwiler," the—allusion? prelusion? foreshadowing?—with the specific mama who holds that plastic baby, closes her eyes, stares at it, and then tells you that her real baby son is a week old and with DHS.
As the viewer, you have to be paying attention for the "reveal"—which is a term I hate, perhaps more accurate as the revelation.
Some rockstars get far on notes that are repeated, and some writers throw away sentences and paragraphs for pacing. But I love when you just know every single moment was methodically pored over and is there because the artist wanted it there for you.
I concur with all of this. It’s all storytelling. All of it.
B-roll suggests a shot list to be ticked off.
“What is the conversation this place or time is holding” “how do we show that”
Things I think about a lot
Yes, your films do this well with SCENES
I always refer back to what happens from 6:36-8:50 in "Tutwiler," the—allusion? prelusion? foreshadowing?—with the specific mama who holds that plastic baby, closes her eyes, stares at it, and then tells you that her real baby son is a week old and with DHS.
As the viewer, you have to be paying attention for the "reveal"—which is a term I hate, perhaps more accurate as the revelation.
Some rockstars get far on notes that are repeated, and some writers throw away sentences and paragraphs for pacing. But I love when you just know every single moment was methodically pored over and is there because the artist wanted it there for you.
thanks Brian. That is definitely a great example of "a moment" that could be seen as coverage but holds far more weight than a typical cutaway
Absolutely love your work and that you're sharing your process and thinking here. So inspiring Elaine!
Thank you for reading and subscribing, Paula. AND for supporting Recovery Boys (mentioned here)!
Elaine I read this everyday when I’ m editing something, I know this can only make me a better filmmaking. You have a student once again! Thank you