Developing a wider range of technique.

[Buddy Greenfield]

I’m trying to develop a wider range of “techniques” to draw upon.
These can be aspects of script, shot, lighting, audio, editing, or who knows what?

For example, a script or post scenario technique might be:

-Voice Over can give a different account of what is seen.-


INT. APARTMENT- NIGHT

KAREN glares at BEN as he dresses.

BEN (VO)
Karen was head over heels
in love with me.

She throws a plate at him. He ducks. SMASH!
She gives him the finger and points to the door.

BEN (VO)
She begged me to stay.


While this example is simple, and but a drop in the ocean, it still turns a trick on screen.
Can you please share various other drops of technique from that trick-turning ocean?

-Thanks-

 

[Alcove Audio]

I'm just an "audio guy" but from my perspective I wouldn't see anything for a while. Just a shot of the door, while hearing the sounds of a titanic fight (screaming from her & exclamations of pain him, breaking objects [you could even make it sound like violent love-making to heighten the comedic effect]) with the initial VO "Karen was head over heels in love with me." After a moment or two you finally see the dish or whatever - could be his laptop or something of great personal value that might be pertinent to the story - smash against the door, see him totally panicked rushing through the door with an arm wrapped around his head, the door slams shut, another object smashes into the door, you hear her screaming the foulest epithets imaginable and then the VO "She begged me to stay".

So unless you need her later in the film you never have to see Karen (no actress to hire except for ADR so you can cast on voice only), you can make a huge mess without making a huge mess and there's only one set-up.

As an example you should watch the opening sequence from "Ratatouille" by Brad Bird & Pixar. You see the house, hear the gunshots and other noises, Remy crashes through the window, the shot freezes and then the VO "This is me." Yeah, it's an animation but the principles apply.

 

[Buddy Greenfield]

Alcove,

While I should have mentioned that I didn’t mean techniques applied directly to the scene I posted, or specifically to use of VO, in the end I DO mean other uses of VO as well, and your take on the scene is rich in aspects of what I am looking for, so thank you.


So I can glean:

. Hold (Or ease in) on a door that a VO’d argument is taking place behind.
. Shadow movement can show story in the light escaping beneath a door.


I haven’t seen the rat one yet, but it brings to mind:


. Freeze and VO on a situation or character at a comedic or dramatic moment.

. Freeze can also be at a juncture when the VO is making a self introduction, possibly contrary to what is, what just was, or what might soon be seen on screen.


These are not absolutes of course, but I hope they demonstrate and prompt further fractional technique possibilities I can learn and have at my disposal.


Keep them coming.

-Thanks-