
http://inceptionmovie.warnerbros.com/
There's another way to make a movie, which is the way that Eisenstein suggested a movie should be made. This method has nothing to do with following the protagonist around but rather is a succession of images juxtaposed so that the contrast between these images moves the story forward in the mind of the audience. This is a very succinct rendition of Eisenstein's theory of montage; it is also the first thing I know about film directing, virtually the only thing I know about film directing.
You always want to tell the story in cuts. Which is to say, through a juxtaposition of images that are basically uninflected image. A shot of a teacup. A shot of a spoon. A shot of a fork. A shot of a door. Let the cut tell the story. Because otherwise you have not got dramatic action, you have narration. If you slip into narration, you are saying "you'll never guess why what I just told you is important to the story." It's important that the audience should guess why it is important to the story. It is important simply to tell the story. Let the audience be surprised.
The movie, finally, is much closer than the play to simple storytelling. If you listen to the way people tell stories, you will hear that they tell them cinematically. They jump from one thing to the next, and the story is moved along by the juxtaposition of images - which is to say, by the cut.
People say, "I'm standing on the corner. It's a foggy day. A bunch of people are running around crazy. Might have been the full moon. All of a sudden, a car comes up and the guy next to me says..."
If you think about it, that's a shot list: (1) a guy standing on the corner; (2) shot of a fog; (3) a full moon shining above; (4) a man says, "I think people get wacky this time of year"; (5) a car approaching.
This is good filmmaking, to juxtapose images. Now you are following the story. What, you wonder, is going to happen next?
The truth is, you never have to establish the character. In the first place, there is no such thing as character other than the habitual action, as Mr. Aristotle told us two thousands years ago. It just doesn't exits...Now, after having red this, I will try to make a shot list of the very first scene of "The Verdict".
...As long as the protagonist wants something, the audience will want something. As long as the protagonist is clearly going out and attempting to get that something, the audience will wonder whether or not he is going to succeed...
How directors learn from each other: Carol Reed has a visual idea, Jean - Luc Godard adapts it and Martin Scorsese modifies it still further.
A situation where one or more of the characters on the screen is ignorant of the circumstances known to us in the audience.The American Heritage dictionary defines irony as "The use of words to convey the opposite of their literal meaning."
Most stories with a strong plot are built on the tension of cause and effect. Each incident is like a domino that topples forward to collide with the next in a sequence which holds the audience in a grip of anticipation. "So, what happens next?" Each scene presents a small crisis that as it plays out produces a new uncertainty.
And this is a description given by Hitchcock about the relation between dramatic irony and suspense:
Let us suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. .The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequences. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it... In these conditions this same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen:"You shouldn't be talking about such trivial matters. There is a bomb underneath you and it is about to explode!"