@@CitizenHenry-tc1vn yeah, I think it’s that but also it’s the way we consume content now on much smaller screens. The best way for a performance to read is in closeup (obviously not the case but maybe that’s the subconscious justification) than in the sides of the past that were 60 feet across

🤣

See I would categorize that as a producers breakdown, where the shortlist or shot selection is more what this accomplishes as well as helping organize the parts of the scene to run on the day in what set up.

@@jackbynum isn't that called a shooting order? What you are shooting on what day?

@@jackbynum Anyhow... it looks more like a shotlist what you did there, isn't it?

@@Leprutz im not sure to be completely honest, the biggest questions I get asked when I’m directing is “what are we shooting” and “what is the blocking for the scene” and “how many shots is this scene”. So, I find this method easiest to answer those questions specifically.

@@jackbynum Yeah exactly. That is why I have a shot list and a shooting order in which it is written which shots are getting done on this day, so I don't get bothered with these questions. Lol. But in the end it is exactly what I mean. Every director has a different way of dealing with things and also differebt habits of shooting. Half the script i don't even bother to make a detailed shotlist. I am figuring it out on the fly on the set. This gives me immense freedom and don't get stuck on a vision that might not pan put as well. And every kind of directing is legitimate. This is what I love about that job. I really want to see your feature film. Is your first or have you done anything else I can watch? Wish you the best for your project.

Appreciate it!

Hey, he was onto something you gotta give him that lol

@@jackbynum Can I just say, and I'm not telling you how to write your story - in fact - I'm well aware that you're not writing a story, it's just an exercise. I did think it was a little funny that the church kind of acts like cops, like it's not really the Catholic Church's job to investigate murders, and I'm not sure how keen police are to investigate monsters. And I think it's a little strange that Charlie would withold the suicide if _police_ thought he was a murderer. I think I can see a workaround. The girl believes she will go to hell, so she tells Charlie during confession that she doesn't want her parents to know, especially if she goes through with it. Charlie happens to be getting high near the quarry before she jumps. So he tries to convince her that him just being there is obviously a miracle, to get her to step down, but she jumps anyway. "If it is a miracle maybe God'll catch me on the way down." The girl could be addicted too, actually, that could be part of her problem. Maybe they both know that spot as a - not popular - but growing hangout for drugs, that's why she goes there to jump, and why she's not convinced that him being there is a miracle. Maybe Charlie can't tell the police what happened because he's afraid they will tell the parents, but he does tell the Clergy. Then later the truth leaks through the church anyway, and that's when Charlie tells everyone the truth. Including coming clean about his drug use I also don't think the chuch should be closed, it feels a bit impersonal. I'd have the Church deny him the opportunity to become a priest. Partially because of his addiction, but mostly because of the demon. They could reason that it seems to be attached personally to him, and that anyone who could incite the presence of a demon obviously doesn't have the sanctity of a priest. Initially I liked the irony of the church defending his reputation against murder, but not against the encroachment of a demon, but I guess given my earlier suggestion any irony would be hollow, since they know he's not a murderer anyway. Not sure why he needs to not be a priest by the end, but in that case a good endpoint for him would be as the secular leader of NA meetings.

@@welchworks thank you!

Yeah dude, the hero's journey is such a solid starting point for any solid story

@@XlXloy 🤣

@@welchworks me too thanks man!

Trying to get there haha

@@westwolf117 if I do I swear to god I’ll find you

Thank you!

Great to hear! Yeah, you have a great start with a background in photography. Putting out a video this week about writing a script from nothing

Legit my next video is about this. Stay tuned and keep trying because we’ve all been there

@@CitizenHenry-tc1vn appreciate the questions! North Star definitely doesn’t have to be in the first act. Detail should increase as the length of the piece increases. Outline has least amount of detail and full script has more. Believability can also come from performance and dialogue.

@@connorbrennan40 that’s a solid point, I think part of what I do in the writing is lay out the basic blocks of what the dialogue is looking to achieve and then working with the actor to make it something more custom. When I write dialogue I typically write what they mean to say like “I’m sad you’re leaving” instead of something more vague and then through rehearsals with actors finding a way to disguise the meaning through their performance in a way that feels natural

Haha I appreciate it thank you!

@@jackbynum My pleasure. I should have lead by saying this is a great resource! Thanks for sharing and looking forward to seeing your feature come to life.

Thanks buddy! Same to you, really enjoying seeing your journey on 16mm.

@@jackbynum maybe a feature on 16 will be my first go? 🤷‍♂️

Certainly gets the blood pumping lol

You looking for feedback or where are you at with it?

@@joelining thanks man! Yeah I felt the same way

@@CitizenHenry-tc1vn yes, reference video is coming in the near future and I think short films it would be Find Your Bunch because that was my first real short with a budget, doc is definitely Adventure of a Lifetime and commercial is I did a commercial for a company Port City Amplification

@@CitizenHenry-tc1vn great question, yes I shot a short film by myself and honestly, it was all about keeping it simple and leaving the camera put. Choose the frame and then focus on the actors and what they’re doing. Don’t try and move the camera too much in those types of situations

@@neilfullframe thanks dude!

Thanks bro, totally stole it from Mike lol

@@CitizenHenry-tc1vn appreciate it!

Could be, I think barb has seen so many of these type of hair-brained schemes fail that she’s just lost the optimism

@@jackbynumthe main hero and the main opponent (of basically every scene) should want the same thing ultimately, or else your structure is broken. It usually has to do with control or power. And the story will also ultimately have to do with slavery and freedom, either out of it or into it or out of it and then back into it, etc. Your longline should be: “Hero with XYZ issue battles opponent over desire and has self-revelation about XYZ issue due to said battle” This is why sports movies are so easy to write.

​@@DFMoray Protagonist and antagonist definitely do not have to want the same thing lmao. This one of the most bonkers theories on writing I've read. Where in the world did you learn this

@@FilmPunk it’s an amalgamation of a few different processes for sure. This is just the simplest way I’ve found to do it

Great Video. Super helpful. Have you submitted it anywhere or taken to studios. How do you get a script produced as a low level filmmaker

@@davinci3478I don’t live in LA or have any studio contacts, basically what I’ve learned is that self producing is the best way to get a story made. Crowd funding along with shareable equity is how I plan on making the film

There isn't a real industry standard per say. There is a rule of thumb, like how things are done, but in the end it all depends on the director and his preferred habits.