By Laura P. Valtorta
Stories
are like cinnamon buns. They unfold into sweetness.
As
I continue filming my third film (a documentary about water service) and
planning my fourth (a dance film), the need for storytelling becomes clearer.
Before
filming begins, the director needs to write a storyboard. A storyboard maps out
the look and feel of the film so that shooting time is not wasted. A storyboard
might include drawings of film angles, descriptions of dialogue, or notes about
the action in a scene. Through storyboarding, the producer or director may be
able to find the arc of the story – the beginning, middle, and end of the tale,
or a progressive chain of events leading to a big climax!
As
my musical colleague and I began brainstorming for our dance movie, we
discovered the need for another story – a fable illustrated by the dance we
want to create. What sort of message do we want our dancers to convey? Since
I’m the writer in this mix, I decided to devise the story myself, based on what
the music says to me and fables about our subject matter – an Australian bird.
The
choreography will end up being the story within the story when our film is
finished.
Some
innovative filmmakers, such as Simon Tarr at the University of South
Carolina , are able to make their films with no
evident narrative. Tarr has a 2009 film called Giri Chit, recently shown at Tapp’s Art
Gallery , that gives a clear picture of
the look and feel of Tokyo
in various locations around town, including a rooftop garden and
colorfully-dressed teenagers. The film is the art form, and this 14-minute
piece seems more like an abstract painting than a film. It features mysterious
camera tricks. Tarr’s work is beautiful, but I don’t know how to manipulate the
camera like that.
For
now, my work must rely on storytelling.
1 comment:
Man! We can't spell
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