NARRATIVE - SHORT FILMS

In this session, we spent time looking at other short films, and what made them good.

There are three key parts to make a successful short film. It should be:

• SIMPLE
• ECONOMICAL
• MEMORABLE

First, looking at Simple. In this sense, simple does not mean basic. It means choosing one main focus, and saying as much about it as you can.

(Changeover by Mehdi Alibeygi takes a moment that would be maybe 10 seconds long in reality and stretches the concept out to nearly 2 minutes - credit: Mehdi Alibeygi)

The best short films are often a single, small moment that have been played out.

"Short stories don't have spare meat on them" - Di Spiers

(Enough by Anna Mantzaris takes multiple very small moments, and stretches them out into multiple pseudo-relatable shorts - credit: Anna Mantzaris)

With a short film, there really isn't any time to waste, so it's advised to start as close to the end as possible, or "in Media Res" (in the middle of things). Essentially, don't spend a lot of time setting up what's going on and who these people are, just get stuck in from the word "go".

In place of outright character introduction, give context clues so that the audience can make assumptions about the characters. The way they act and behave with others should speak volumes about who the character is, as opposed to spending precious time directly telling the audience about who they are.

We moved on to an exercise which had us in groups writing a short character introduction as an action line, using a personality trait. The catch was that we couldn't say what the trait was. That lead to these three short lines:

FORGETFUL

Mr. Mester looks at his watch, and runs through the door. Seconds pass. The door reopens, Mester grabs his keys, and leaves again.

IN LOVE

Julie Lofi looks on at a couple. The couple holds hands, as she interlocks her own. She blushes.

HARDWORKING

 Matt Darray slowly types at his computer in an empty office. He rubs his eyes, and looks at the clock; 1am.

It's important to avoid the boring bits of the story, use ellipsis to leave out the plot details that can be guessed through context clues. It's also important to avoid scenes and activities that exist only to keep continuity flowing. Overall, it's important to make sure the story or scenario is interesting enough.

It's also important to spend time working on the ending; people remember endings more than any other part of the ending. The beginning and the end should unite, and reflect on the journey that's been taken; the hero returning to their home with newfound knowledge should show how much the journey has changed them.

We then focused on dialogue. When writing dialogue, there are some key rules to follow, specifically looking at how to make unnatural speech seem natural. Natural speech has "um"s &"uh"s, repetition, etc. But realistically, when do we ever pay attention to that? Our head filters it all out, focusing on the main part of the conversation. It's also important to consider intent on both sides of a dialogue; is the person talking in control of the conversation? Are they really saying how they feel? And the person listening, are they really listening? Or are they waiting for their next turn to speak?

It's important to consider the S.A.D. rule with dialogue.

• STATUS - Who's controlling the conversation?
• AGENDA - What is the purpose of the conversation?
• DESIRE - What do they really want?

There's also the idea of silence being golden; what a character avoids talking about is just as important, if not more so than what they don't.

In a story, explanation kills drama. An audience knowing too much removes suspense and intrigue. It's important NOT to infodump (unloading lots of exposition onto the audience unnaturally). Good dialogue keeps us excited, but we need to be waiting for it!

And one of the most important rules when writing is:

BE RUTHLESS.

It doesn't matter how attached you are to a character or an idea, if it doesn't work or move the story along, get rid of it..