Film Issues
When I was a kid I used to do athletics. As we all know, pacing is important in a running race. In a sprint we will run as fast as we can, but a longer race requires a slower pace, interspersed with bursts of speed, plus a strong finish. One of the competitors in my weekly 1500 meter race was a guy named Alan Swanberg. He would invariably sprint like a man posessed for the first 500 meters, after which the rest of us would pass him as he lay puffing and panting beside the track. Alan Swanberg never learnt the art of pacing himself.
*Repeating Information: Give the viewer credit for some intelligence and ability to understand the motivation of a character. Repeated information is usually one of two things: fodder for the cutting room floor, or an indication that the script needs re-working.
*Taking Detours: Although pleasant during a vacation, are usually a distraction in film. Long winded exposition or detour into unrelated territory can slow the heartbeat of a movie, detaching the audience from the main story.
*Dialogue Overuse: Use action to explain events whenever possible. Dialogue may also be used, but preferably in an active rather than passive role. 'Show not tell'.
*Rework Backwards: Be clear about the climatic scenes first, then work back to a natural beginning.
*False Starts: Introduce the major characters at the beginning of the film. The earliest memories imbue the viewer with greater bonding.
*instigation: Invite the viewers attention by providing a frame of reference. Many methods are employed, eg: atmospheric location, sympathetic markers, or story catalyst.
*Prune the Story: Examine each scene to determine the most powerful beginning and ending. Prune away at both ends and anything in between that may be wasteful filler.
*Keep the Arc Intact: Scene one is generally the place for set up and expository scenes. Scene two focuses on relating and dialogue. Scene three generally sees a quickening of tempo as crisis points intersect in climatic fashion.
The pacing of a film can be compared to that of a musical composition, which may build up in sparse or intense arrangements. In modern music we have drum machines which have as a downside, a steady and unwavering pace. A real drummer on the other hand, will be ever alert to subtle nuance in synchronisity with fellow musicians and audience. The pacing of a song will vary according to the passion and intensity of the players and the prevailing mood. These subtle changes of pace in a movie context, if properly formatted, will create corresponding emotional effects on the audience.
A movie that is well paced will give the audience plenty of small peaks on the way to the summit, but also provide plateau for the audience to catch their breath. A film with constantly racing heart beat will burn out long before the credits roll, and a film with a catatonically slow heartbeat will ensure that patrons walk out before the credits roll. The primary purpose of the film heartbeat is in keeping the audience engrossed for the duration, and in feeling that they are part of the journey as well as the destination.
*Repeating Information: Give the viewer credit for some intelligence and ability to understand the motivation of a character. Repeated information is usually one of two things: fodder for the cutting room floor, or an indication that the script needs re-working.
*Taking Detours: Although pleasant during a vacation, are usually a distraction in film. Long winded exposition or detour into unrelated territory can slow the heartbeat of a movie, detaching the audience from the main story.
*Dialogue Overuse: Use action to explain events whenever possible. Dialogue may also be used, but preferably in an active rather than passive role. 'Show not tell'.
*Rework Backwards: Be clear about the climatic scenes first, then work back to a natural beginning.
*False Starts: Introduce the major characters at the beginning of the film. The earliest memories imbue the viewer with greater bonding.
*instigation: Invite the viewers attention by providing a frame of reference. Many methods are employed, eg: atmospheric location, sympathetic markers, or story catalyst.
*Prune the Story: Examine each scene to determine the most powerful beginning and ending. Prune away at both ends and anything in between that may be wasteful filler.
*Keep the Arc Intact: Scene one is generally the place for set up and expository scenes. Scene two focuses on relating and dialogue. Scene three generally sees a quickening of tempo as crisis points intersect in climatic fashion.
The pacing of a film can be compared to that of a musical composition, which may build up in sparse or intense arrangements. In modern music we have drum machines which have as a downside, a steady and unwavering pace. A real drummer on the other hand, will be ever alert to subtle nuance in synchronisity with fellow musicians and audience. The pacing of a song will vary according to the passion and intensity of the players and the prevailing mood. These subtle changes of pace in a movie context, if properly formatted, will create corresponding emotional effects on the audience.
A movie that is well paced will give the audience plenty of small peaks on the way to the summit, but also provide plateau for the audience to catch their breath. A film with constantly racing heart beat will burn out long before the credits roll, and a film with a catatonically slow heartbeat will ensure that patrons walk out before the credits roll. The primary purpose of the film heartbeat is in keeping the audience engrossed for the duration, and in feeling that they are part of the journey as well as the destination.
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