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

Oh okay, well I thought that asking a witness to stay while they go over somethings, was character driven. I can see the characteer doing that, but it is that a flaw in the character I have created?

Also, I didn't think the dialogue was expositional, because her statement drives the case to go in a certain direction and the audience has to hear that statement and hear the prosecutors decision on it, in order to understand the direction it's being driven into. So it's not expositional if it drives the plot in a certain direction, and it reveals information that the audience needs to know, is it?

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

Sounds boring and tedious.

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

Oh okay, thanks. But I can't really make any changes unless I know what is boring or tedious about it specifically though. Well I asked a LEO I utilized for research on the script before, and he said it's perfectly fine to ask a witness to wait while the investigators and prosecutor go over it, and he doesn't see the problem, he said. So I am not sure which way to go now.

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

As Kubrick said *It might be real, but is it interesting?"

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

Well it was said on here before that my plotting was unrealistic. Thus implying that being unrealistic is bad?

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

Not to complicate things by defending Ryan’s dubious choices, but really, is his idea any more boring/tedious than an episode of any police/law procedural (e.g. law & order, Bosch, etc)? I mean, those shows are mired in tiny details and seems to have worked out well enough for them.

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

You do get this sort of stuff in TV police cop shows, however, he seems to trying to make a thriller, which is a different animal.

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

Again, not to defend, but "forgettable crime thriller" is definitely a genre. Shelves were filled with them at Blockbuster back in ye olden tymes

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

Oh absolutely, every genre is full of the instantly forgettable.

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

It occurred to me too what he was describing reminded me of the flood of those awful procedurals. What's funny the two things Ryan isn't good at, he's drawn to: writing dialog and finding good actors to read it naturally. Yeah it also reminds of those complex thrillers of the 90s with a those ridiculous plot twists. Speaking of those memorable interrogations Basic Instinct. Without Sharon Stone and the leg scene no one would remember that movie.

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

whoa bro. Dont be baggin on SVU and Bosch.

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

You can relax I don't watch either I'm more of a CSI Miami kind of guy. Sorry to put the kiBosh on your shows. Yeaaahhhhhhwooo!

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

Oh okay, but I just don't see how a police procedural can be boring, because there are ones that do concentrate a lot on dialogue, that are well recieved as well.

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

Poor David Caruso. I hear he sees everything at a 30 degree angle these days 'cause his head is now permanently cocked to the right.

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

Well in order to combine scenes and make them more convenient, what if I just wrote it so that while the witness is giving the interview on camera, the camera has a live feed that runs to the prosecutor's office and he's watching it on his monitor, live.

Would this help make things more convenient? Or is that stretching technology too much as to what they have?