Re: How do you get this type of blue sunlight cinematography?
 

The policeman can have a quick chat over the phone with the prosecutor, if they're remote having anything more will slow things down. Having an in depth discussion will be going over old ground for the audience, unless there's some kind of argument/debate between them, will add little to whats going on.

There's no big deal in shooting the prosecutor watching the live feed, That can be done anytime.

The victim doesn't need to in attendance while they're talking.

Having anything else will just be bad daytime TV drama.

Is the police man going to drive round to the prosecutor's office to have this chat, while the rape victim is left waiting?

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay. No he was not going to drive to the prosecutors office. The way I wrote it was that the main character has a female interviewer do the interview, based on what an LEO told me in my research, and then the main character was going to take that statement and make a phone call, and talk about it. He was then going to take the victim home. They are not going over old ground, just some new developments in the statement, as well as establishing the relationship.

Or at least that is how I wrote it so far, unless it should be different of course.

Re: How do you get this type of blue sunlight cinematography?
 

You can do that, but it doesn't really sound like the best way to establish a relationship. As I said, it' sounds like poor daytime television..

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, why isn't it the best way, or what would be better?

Re: How do you get this type of blue sunlight cinematography?
 

If this prosecutors is a key character, dramatically you need something that establishes their character and the current power relationship between them and the policeman. If the audience hasn't seen the prosecutor character before, they need something more than a phone call.to confirm than a statement from an interview is OK.

Watch LA Confidential to see how each character is introduced there.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay thanks. I have a copy of L.A. Confidential and like that one, but what am I looking for specifically? The fact that supporting characters are not introduced on phone calls?

Re: How do you get this type of blue sunlight cinematography?
 

If you've got any talent as a writer you'll quickly spot how characters are introduced.

Re: How do you get this type of blue sunlight cinematography?
 

Are you referring to how the more major characters names are subtitled on the screen when they are introduced?

Re: How do you get this type of blue sunlight cinematography?
 

Yes subtitle everything that will eliminate all confusion. ;-)

Speaking of subtitles. Did you ever finish the interview?

Re: How do you get this type of blue sunlight cinematography?
 

Yeah the interview is finished but I have to meet up with the guy for him go over some of what he said that I could not understand what he said in order to edit in the b roll properly.

Since I was talking about color in movie looks, I also came across this:


It talks about how some movies only use a 3 color rule. However, in a movie in the video like Drive for example, they talk about how drive has three colors, brown, blue and red. But they mostly show the scenes that take place in daylight. The night scenes have a lot of orange and green in them. So are they not counting those colors, or do those colors not count because the lights of night in LA. are orange and green, and that's just happenstance, and not the actual colors they picked intentionally, compared to happenstance atmosphere?

The project I was planning on for, for the colors, I can think of six colors I would use. Brown, blue, red, black, white and grey. But do shades out count as colors? But for mine there is a sequence set in the forest/woods area, and the trees are green of course. Does that mean green is a part of the color s I would be using then, or does it not count if it's just happenstance because that is what trees are?

And if I shoot the night scenes at night, there will be orange lights on the street. So would orange count as part of a color pallet I am using then, or no?

Re: How do you get this type of blue sunlight cinematography?
 

How much do you learn about each character when they first appear in LA Confidential?

Re: How do you get this type of blue sunlight cinematography?
 

A good amount I would say. What are you saying :). Are you saying I should introduce the prosecutor another way?

Re: How do you get this type of blue sunlight cinematography?
 

If they are an important character in your story, yes.

If this court hearing is just to get a search warrant and you don't hear about the prosecutor character again, the phone call is probably unnecessary, a line about getting a warrant will do the job.

That's unless there is some difficulty in getting a warrant. In which case, I would assume that this character will have more involvement later in the story than just getting the correct paper work.

Re: How do you get this type of blue sunlight cinematography?
 

Yes the character has more involvement in the story. There's more complications to go over them just a search warrant.

I don't have anything for the prosecutor to do plot wise, before this scene though, therefore shouldn't this be his first see if I don't have anything for him to do prior?

Re: How do you get this type of blue sunlight cinematography?
 

That's why getting him into the police station would made sense. He could be there for other business, if this is in the US, he could be a DA up for reelection. You need to create a character otherwise he's just a cardboard cutout.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, I was thinking of setting it where I live, Canada, but maybe I could the US. But I have him there for other business, and then the witness is conveniently there, wouldn't this come off as a convenient coincidence in the plot though?

Re: How do you get this type of blue sunlight cinematography?
 

Films are full of coincidences, if they weren't they'd take forever to tell the story. Real life is full of them as well.

Re: How do you get this type of blue sunlight cinematography?
 

Yeah that's true, it's just I was just advised not to use them before.

So when you say it sounds like daytime TV, I am just trying to understand, it's not like there needs to be chases or shootouts all the time, or what is it that there should be instead of dialogue driven scenes, or are dialogue driven seens, just not exciting enough?

Re: How do you get this type of blue sunlight cinematography?
 

No offense but you have a very on the nose approach that one often sees in day time tv soap operas. I can already envision an office that's supposed to be a police station, bad actors with flatly delivered dialog...
For me, when I watch a movie, I want to be taken on an unexpected journey with characters I care about.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay. Is it just because of past actors and dialogue in past projects, or is there something about the description of this scene and this script particularly that seems made for TV? Or that makes it seem you do not care about the characters? Or am I doing something specific in this description of the script that seems on the nose?

Re: How do you get this type of blue sunlight cinematography?
 

From what you've been saying, it's pretty much both.

Re: How do you get this type of blue sunlight cinematography?
 

Ryan, you have trouble contextualising. Remember we’ve told you dozens of times not to take specific advice as rule setting. Clearly, from the number of times we’ve told you our opinions, only to have them resurface wrongly, means you can’t do this. You say you were advised, but you have misunderstood the advice and done your thing, crested a rule for your very thick book.

Frankly, everything you are saying shouts loudly to me that this script is truly dire. Awful. Bad. You have no skills in story telling. Everything is confused and you’re tampering with everything to make it fit and it’s just unreal, artificial, trivial, complicated, but above all it’s BORING. If you put the best bits in a trailer, nobody will watch. Brian has tried and tried and we’re all watching you reject every positive and focus again on trivia.

What makes you even think there is something that a typical distributor would find a box office hit?

It’s the basis for a terrible movie. Here, even when you explain we scratch our heads, the audiences will treat it like a bad daytime tv drama, and you don’t even have the actors or locations, let alone crews. Sorry, but I have to say it. The script is just dead in the water.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, but what I don't understand is, what is it about a scene where a detective talks with a prosecutor over a case, that is so bad? What are the specifics? You say it's bad, but there are lot other movies, where this happens, so what is so bad about it specifically?

What about it is unreal, or artifical, trivial, etc. It seems that the advice is very broad, and no one is putting their finger on it exactly, unless I am wrong?

I mean all I did was describe a scene where a detective talks to a prosecutor about the case, which builds into the next plot point. Can anyone pinpoint, what is so trival, or unreal about that

But as far as dialogue being boring goes, what is it about it that's boring? I can't have chases and shootouts for the entire thing. There has to be story and dialogue, to drive some of it, doesn't it? Or do I have to have chases and shootouts for all of it, if that is what you and everyone else is expecting?

Also, if I cut the scene because it is boring, I am worried that the audience will not understand the pay off later unless there is no set up. Unless audience does not need set up, and it's all about pay off?

Now I know I don't need physical action such as chases and shoot outs for the whole thing of course, but why can't I have dialogue driving the plot in some sections, without it coming off as trivial, or unreal?

Re: How do you get this type of blue sunlight cinematography?
 

Drama is about conflict, that's why you have bosses who the main protagonist has problems with and in rom coms the couple who get together at the end can't stand each other that the beginning of the film.

It's about overcoming difficulties and involves struggling to overcome these. Each scene has to be good or bad in the protagonist achieving their goal, but there needs to be an element of struggle within it. If there isn't. you need to question why it's there.

If the phone call just involves conveying some information, you need to ask if there's a more dramatic way of doing this. Don't ask us, it's something you need to ask yourself, because the answers lie in your script and the characters you've created.

Conflict doesn't just mean fights, its how the characters make their power plays.


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Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, well I felt there is a new development in the victim's testimony in which the prosecutor now had to make a big decision, which is make or break, on a ticking clock before the hearing tomorrow. So I thought it was dramatic, or so I thought.

Re: How do you get this type of blue sunlight cinematography?
 

If this is the first time that the audience have come across the prosecutor and the cop is informing him about new testimony, that an expositional scene, there's no drama in it.

If the audience already knows that the prosecutor doesn't like dealing with rape cases (e.g. because of the high failure rate) and want to drop this one, so the cop has to turn the prosecutor's view of the case with this new testimony. That's where the drama lies.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, well it's just that the cop tells the prosecutor of a new development and this causes the prosecutor to make a decision, If I cut it, the audience will not know what development caused the prosecutor to make such a decision. So I feel like the audience needs to see it for the pay off later, but that's just me...

Re: How do you get this type of blue sunlight cinematography?
 

Yes, but in drama, you need more, without being melodramatic about it. Especially, if this is the first time that the audience comes across the prosecutor. Having the cop persuade the prosecutor against his initial decision (which he wants to hold onto) to this new one is what would make the scene more interesting.

The conflict and struggle reveals more about the characters, that's why in films conveying a vital piece of information is made difficult.

Re: How do you get this type of blue sunlight cinematography?
 

Ryan the way you describe your movie/script is akin to reading an owners manual who’s purpose is to inform rather than entertain. You’re characters don’t behave naturally, instead they’re follow this overthought tedious rigid plot you’ve carefully constructed. You’re telling the audience a series of facts and events. All movies need plots but if one were to relate them directly to the audience it would be uninteresting.

Re: How do you get this type of blue sunlight cinematography?
 

Why don't you give us two or three pages of the dialogue for the scene, so we can be accurate. It could be that it reads really well and we will form opinions on the character - we're endlessly discussing ABOUT the dialogue, without actually being able to see it? Maybe it's your descriptions that are making us think it's not good? That's possible? Just give us an example of the words in the performance context.

Re: How do you get this type of blue sunlight cinematography?
 

Good point Paul. My comments are just a general impression of him talking about his film as a series of events and my feelings how his previous movies have turned out.

Re: How do you get this type of blue sunlight cinematography?
 

If youre gonna do that you should just encourage him to send the whole screenplay or however much he’s got.

Re: How do you get this type of blue sunlight cinematography?
 

Pete - yes, that's the impression I got. Brian's pretty good on script stuff, far better than me - but all we have is that 'gut reaction' which could be wrong if Ryan doesn't explain accurately.

Re: How do you get this type of blue sunlight cinematography?
 

Oh yeah, but I felt I had that kind of drama, since the prosecutor thinks the case is too problematic to go ahead, with, and the cop is pushing him to take the risk, even though he may likely lose, etc... Later he loses and it looks bad for the cop then.

So I thought I still had that kind of drama.

As for posting the script, well I was going to have a script consultant rewrite the dialogue first, to make it better. I could post some, it's just I don't know how to get it on here, without the format becoming messed up.

Re: How do you get this type of blue sunlight cinematography?
 

The format doesn't matter Ryan - The script consultant sounds a bit worrying?

What are you producing it in? Word? Simplest would probably to drop box it and post a link to it for those interested? That keeps it more private.

Re: How do you get this type of blue sunlight cinematography?
 

Just export it to pdf...that should “solidify” the formatting no matter how it originated

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, thanks, I can see about that. I wrote it in MMS.

Why are the script consultants worrying? I was told my dialogue is not good, so shouldn't I get someone else with better experience to rewrite it therefore?

Re: How do you get this type of blue sunlight cinematography?
 

Script consultants don't rewrite dialogue, you do. If you want the dialogue rewritten you employ another writer.

Re: How do you get this type of blue sunlight cinematography?
 

Oh okay, I can do that then. There is a particular person I have in mind who I thought of as a script consultant who offered to rewrite it, if I pay him to of course, but I can go to another writer, if not.

Re: How do you get this type of blue sunlight cinematography?
 

If you're paying them as a writer, it could cost your entire budget.

Because someone is a script consultant, it doesn't automatically mean that they're good writers.