Taking Notes and Visualizing the Films
BY CARLOS ESPINOSA, MESA, ARIZONA, USA - I think I am a very visual person. If somebody is telling me a story or how their day went, at times, I can’t help but visualize the events that they are describing. The first time I was reading the script, it was hard for me to stay focused because I was envisioning all of the characters and the buildings. I have been taking lots of notes lately between reading books and watching movies. I have been exploring what I think is great cinematography and I have gathered a few films to study and take some notes on BAD T!MING.
I read Cinematography Screencraft. The book has a compilation from several great cinematographers and how they have found success. Janusz Kaminski (who did the cinematography for SCHINDLER'S LIST, AMISTAD, SAVING PRIVATE RYAN and HOW TO MAKE AN AMERICAN QUILT to name a few) believes using minimal light gives directors and actors more freedom and allows them to be more creative. I believe this could be beneficial to our crew since we are working in an unfamiliar environment; however, he does believe lighting should support the characters throughout the story. Kaminski believes it is important for the actors to know where the light is coming from and what the camera is doing. In SAVING PRIVATE RYAN, the camera was hand held 50 to 60% of the time which gave it a raw feeling.
I just saw a great film, AMORES PERROS, by Alejandro Gonzales. I think it is one of the best films to come out of Mexico. In this film, a lot of Kaminski's principles are used; most of the film was shot hand held which goes great with the story. Dogs are used in this film, and the animal factor carries to the main characters, where they fight like animals. It was important for the characters to know what the camera was doing since the camera was always behind the action, either running behind them or in front of them or following them up the stairs. I have seen this film many times, but this time I took a good 4 to 6 hours studying it. I was watching how the shots were composed, how they managed the color to help the story and support the characters. I noticed a lot of red was used ... maybe to carry the love-hate relationships between many of the characters. I noticed how even normal household items helped set the mood and described the characters. If that sort of information is put into dialogue, it's tedious and boring. When it is in the visuals, it deepens our subconscious understanding of the characters and enriches the film. This is what makes film unique as a storytelling form. There is so much carried in the visual and auditory elements.
One thing that has not been discussed greatly has been the audio. I watched AMORES PERROS with and without sound. There were parts of the film where the characters did not have lines but the camera work and the music allowed the viewer follow along and feel what the character was going through.
When I think about what we are up against — going to a foreign country, working with a cast that is mostly unfamiliar with filmmaking, a student crew — there are feelings of anxiety that creep in. I think that once we arrive and we begin shooting, many of these feelings will probably go away. I hope our training, practicing and preparation kick in and guide us through. I know that I will learn a lot from this project that would be impossible to learn in a classroom or even reading books. I'm going to learn so much and try to give back as much or more than I am gaining from the experience. I am very thankful and honored to be a part of this.