Angle On

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  • Re: Angle On

    Originally posted by asjah8 View Post
    Forest --------> Tree.
    I know, you're just trying to be helpful.

    But, there are times when you might want to be tight on the mirror and fill the frame with a CLOSEUP ON.
    "I am the story itself; its source, its voice, its music."
    - Clive Barker, Galilee

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    • Re: Angle On

      I think I may be able to settle this thread. There are no rules on using "Angle On".

      There are, however, rules on using apostrophes. Does improper apostrophe use get in the way of telling a good story? No. But, does an error of grammar in the third sentence of the first page cause your reader to sort of sigh and be slightly sad. Maybe.

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      • Re: Angle On

        [Jeff] ... there are times when I think you're not stating your position as well as you can.
        Yes, Jeff, you really must try harder as you can and write more better.
        "Friends make the worst enemies." Frank Underwood

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        • Re: Angle On

          Originally posted by JeffLowell View Post

          ANGLE ON: a MIRROR on the café wall. It’s bouncing…
          Calling attention to an important action/object in the room.
          GOTCHYA! How do we know your intention, how you're calling attention to it?

          SLOW ANGLE ON, FAST ANGLE ON or SMASH PAN.

          Comment


          • Re: Angle On

            Originally posted by DavidK View Post
            Yes, Jeff, you really must try harder as you can and write more better.
            Sorry about wasting your time to defend myself.

            It's not about Jeff becoming a more better writer. It's about him helping the rest of us to be the bestest we can be.

            Read post #242. If that works for you there's no need to read #267.
            "I am the story itself; its source, its voice, its music."
            - Clive Barker, Galilee

            Comment


            • Re: Angle On

              Jeff says, CLOSEUP ON: A MIRROR... is a very different shot. We're tight on the mirror, so it fills the frame.-

              -- In this instance, true. It's not interchangeable. This is why I switched to the "EYES- shot example.

              Jeff says about his use of "we see-: I use it to show that the audience has the knowledge before the characters.

              -- I know this is your personal preference, but my personal preference in how I think of the purpose of these type of camera direction shots is to emphasis/highlight -- any -- specific visual to get the reader's attention to help him really "see- (importance, impact, whatever) the image/expression a writer wants to get across.

              ANGLE ON: BOB

              He stands in the middle of the classroom looking dazed.

              WE SEE Bob standing in the middle of the classroom looking dazed.

              BOB stands in the middle of the classroom looking dazed.

              -- Interchangeable or not, very distinct or not, to me I see no difference, they all express the same purpose and get the same expression across to the reader that the writer wanted to get across.

              I know you feel different, and I don't know about the others, but, for me, until I hear of a reason that makes sense to me, I'm gonna stick with my opinion.

              If holly wants to explain her opinion on how these above examples are very distinct from one another, I would be very interested in hearing, but I'll be a tough audience to be convinced that there will be a certain context of a story where it'll be better to get across my intent to a reader by using, WE SEE Bob standing... instead of BOB stands...

              Jeff, I'm not trying to play "gotcha- with you. You put out your opinion on these shots, and I just wanted to put out an alternative opinion so the members have a wider view to choose which style is best for them.

              My style is to write lean, using only words that are necessary to get across my intent, my expression to the reader.

              There are others who feel using "WE SEE- or "ANGLE ON- is necessary to get across their intent, their expression to the reader.

              Whatever works.

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              • Re: Angle On

                "Whatever works."

                And?

                Is your method working?

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                • Re: Angle On

                  Oh, BURRRRN!

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                  • Re: Angle On

                    Originally posted by jonpiper View Post
                    SLOW ANGLE ON, FAST ANGLE ON or SMASH PAN.
                    -- jonpiper's post just reminded me about the variations on the use of the ANGLE ON shot, such as, HIGH ANGLE ON BOB, then you could cut to a LOW ANGLE ON BOB, TILT ANGLE ON BOB, ANOTHER ANGLE ON BOB.

                    holly, is this the distinct difference you were talking about?
                    Last edited by JoeNYC; 07-16-2012, 03:43 PM.

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                    • Re: Angle On

                      Originally posted by Craig Mazin View Post
                      "Whatever works."

                      And?

                      Is your method working?
                      Not cool, Craig.

                      I haven't marketed a script since I tried with my comedy "Super Skunk" about 8 years ago where an agent from an agency that has since merged with the William Morris Agency requested it, but it was a pass. All my scripts have advanced in one screenwriting competition or another, which I'm very proud of.

                      If your gage on whether something is working or not is a sale, then in your opinion my method isn't working, but, in my opinion, this is a narrowminded view on whether someone has talent or not. Not saying I'm a talented writer, but I know others who are where they haven't broken in yet for whatever reasons: script considered not commercial, haven't connected yet with the right script and with the right industry person at the right time, etc.

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                      • Re: Angle On

                        Perhaps we need a system on this forum where the size of your post text is relative to your success as a screenwriter.

                        Sure, Craig and Jeff's post would look like this and mine and JoeNYC's would look like this, but at least it would express the amount of influence us n00bs should have in a conversation on the craft of screenwriting.

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                        • Re: Angle On

                          Originally posted by JoeNYC View Post
                          Not cool, Craig.

                          I haven't marketed a script since I tried with my comedy "Super Skunk" about 8 years ago where an agent from an agency that has since merged with the William Morris Agency requested it, but it was a pass. All my scripts have advanced in one screenwriting competition or another, which I'm very proud of.

                          If your gage on whether something is working or not is a sale, then in your opinion my method isn't working, but, in my opinion, this is a narrowminded view on whether someone has talent or not. Not saying I'm a talented writer, but I know others who are where they haven't broken in yet for whatever reasons: script considered not commercial, haven't connected yet with the right script and with the right industry person at the right time, etc.
                          Why isn't that cool?

                          You want to do what I do, right?

                          Maybe listen more and opine less. Could help. I doubt it could hurt.

                          Comment


                          • Re: Angle On

                            Originally posted by Craig Mazin View Post
                            You want to do what I do, right?

                            Maybe listen more and opine less. Could help. I doubt it could hurt.
                            -- The thing is we're not in a classroom.

                            I believe participation in debate helps one grow. Actively discussing the craft where one gives his opinion, makes his points, gives his examples of what he's talking about helps him become a stronger writer. Helps him to learn how to articulate clearly and strongly. Helps him to be a stronger reviewer of scripts which all of this helps when he eventually gets into a room and has to pitch his angle on a potential assignment for a producer.

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                            • Re: Angle On

                              Sure. But I'll tell you this:

                              When I'm talking about screenwriting with Scott Frank or John Lee Hancock or Ted Griffin...

                              ...I try and err on the side of listening.

                              Forget what I write. Just consider that I do the job you want to do, but have not been able yet to do.

                              Try and incorporate that fact into your approach. Not for the sake of my ego. I could give a **** about getting stroked. Really, more for your own benefit.

                              Just some friendly advice. Feel free to ignore.

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                              • Re: Angle On

                                Okay, thanks. Your advice is always appreciated.

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