> The mind of the audience is still linear. "Romeo & Juliet", as Bill wrote
> it, still plays satisfyingly.
>
Have you seen Chris Marker's documentary Sans Soleil? It is basically a
"storyless" story that is written and edited to the non-linearality of memory.
> Over the years, we've had many Fresh New Faces come to us with shiny new
> college degrees and a senior project demo film that looked like MTV on crack.
> Hot, Hip, & Happening, ---but devoid of any idea as old and fuzzy as a "story".
>
In many respects - as an older "student" returning to school for a career change
- I agree, and am sick of all these "Hot, Hip & Happening" - devoid of any
substance but "cool" thesis projects. But there are exceptions. I am
rewritting my narrative because it is "too" linear. The subject is more
interesting presented in a true to stream of consciousness way since it is a
documentary video.
MoovyMagic@aol.com wrote:
> In a message dated 10/27/1998 7:10:05 PM Eastern Standard Time,
> A1Burokas@aol.com writes:
> >
> > That's why I said that one shouldn't necessarily focus on the Avid...
> > learn Avid Cinema, Premiere, Radius Edit, there's even a some shareware
> > video
> > edit tools. But the emphasis shouldn't be on learning how to use _this_
> > knife,
> > but in how to cut.
> >
> > Anthony
> >><><><><><><><><><><><><><><><><
>
> 146.52% correct, Anthony.
>
> Storytelling is the key skill, not machine operation. Software use ---no
> matter how advanced---is a form of machine-tool skill. Satisfying
> storytelling is the crucial intellectual skill.
>
> Now, that's obvious everybody says, everybody KNOWS that, they say. How
> often it's lip service---and people come out of film school of one stripe or
> another with good tech skills, and ZERO idea of how to compose a fascinating
> NEW story, and wend through some engaging twists to deliver a fresh
> view---because all the possible stories have already been told. (See the
> reference book: "Masterplots", if you doubt this.)
>
> I always thought a good way to teach Real Editing was to assign the student
> the job of reducing all the brilliant photography and sparkling dialog to a
> set of 3x5 description cards arranged in a deck to reflect the flow. If
> reading the deck made sense, chances are the edited film would as well.
>
> Over the years, we've had many Fresh New Faces come to us with shiny new
> college degrees and a senior project demo film that looked like MTV on crack.
> Hot, Hip, & Happening, ---but devoid of any idea as old and fuzzy as a
> "story".
>
> The mind of the audience is still linear. "Romeo & Juliet", as Bill wrote
> it, still plays satisfyingly.
>
> bb
> s1
>
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Have you seen Chris Marker's documentary Sans Soleil? It is basically a "storyless" story that is written and edited to the non-linearality of memory.The mind of the audience is still linear. "Romeo & Juliet", as Bill wrote it, still plays satisfyingly.
Over the years, we've had many Fresh New Faces come to us with shiny new college degrees and a senior project demo film that looked like MTV on crack. Hot, Hip, & Happening, ---but devoid of any idea as old and fuzzy as a "story".
MoovyMagic@aol.com wrote:
In a message dated 10/27/1998 7:10:05 PM Eastern Standard Time,--------------329C25B044F10129F97F4D5E--
A1Burokas@aol.com writes:
>
> That's why I said that one shouldn't necessarily focus on the Avid...
> learn Avid Cinema, Premiere, Radius Edit, there's even a some shareware
> video
> edit tools. But the emphasis shouldn't be on learning how to use _this_
> knife,
> but in how to cut.
>
> Anthony
>><><><><><><><><><><><><><><><><146.52% correct, Anthony.
Storytelling is the key skill, not machine operation. Software use ---no
matter how advanced---is a form of machine-tool skill. Satisfying
storytelling is the crucial intellectual skill.Now, that's obvious everybody says, everybody KNOWS that, they say. How
often it's lip service---and people come out of film school of one stripe or
another with good tech skills, and ZERO idea of how to compose a fascinating
NEW story, and wend through some engaging twists to deliver a fresh
view---because all the possible stories have already been told. (See the
reference book: "Masterplots", if you doubt this.)I always thought a good way to teach Real Editing was to assign the student
the job of reducing all the brilliant photography and sparkling dialog to a
set of 3x5 description cards arranged in a deck to reflect the flow. If
reading the deck made sense, chances are the edited film would as well.Over the years, we've had many Fresh New Faces come to us with shiny new
college degrees and a senior project demo film that looked like MTV on crack.
Hot, Hip, & Happening, ---but devoid of any idea as old and fuzzy as a
"story".The mind of the audience is still linear. "Romeo & Juliet", as Bill wrote
it, still plays satisfyingly.bb
s1