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Realism in script writing
- Thread starter Quarry
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Especially with a handgun. I remember a quote from when I lived in the US of someone having shot someone like 20 times. When asked why they did that, their response was that all they had was only 2 full magazines on them at the time...
There is a lot of nonsense in movies:
- handguns are NOT a one-hit kill, as you described
- the throw back is also bullshit; physics dictates the shooter would have to deal with the same amount of force in recoil
- muzzle flash... yeah... I don't think I've seen a realistic muzzle flash in a movie, like, ever (well, almost)
But... we have all come to expect certain things from movies. Reality is what we perceive. However, I'm constantly having to work on not being ripped out of "suspension of disbelief" whenever someone pulls out a gun.
My next project, we're going to have to have some firearm action, and I'm already struggling with trying to balance realism with "realism". Not sure which is going to win, except there will be NO bodies flying through the air from a bullet impact, that's one I just cannot accept!
CraigL
"We suspend our disbelief, and we are entertained."
Filmmaking is about creating a believable illusion.
Filmmaking is about creating a believable illusion.
Realism often has little to do with a film. It's often about expectation and hyper-realism to create an emotional response in the audience. This usually trumps realism, especially when you're dealing with something that only a small minority of your audience is likely to have enough personal experience of to have their suspension of disbelief affected.
The extras of the "Master and Commander" DVD has a particularly good documentary section on the sound. Peter Weir and the Sound Designer went on about the using all completely authentic sounds, the BS of which was completely exposed when it came to the cannon. They went to great lengths, they even had special cannon shot cast to be the same types used by ship cannon of the period but when they fired the cannon it produced a loud crack followed by a long, musical tone. No way did it sound anything like what you would expect a cannon to sound like, it sounded more like someone breaking a stick over a bell! Eventually they gave up with realism, wrapped the cannon barrel with carpets (to stop the ring) and mixed the crack with the boom they finally discovered by placing a mic and recorder half a mile away! Expectation and hyper-realism easily won out over reality and the cannon fire in Master and Commander sounds absolutely fantastic, especially on a full range surround system.
While the reality might be that someone hit by a bullet is unmoved physically and just says "ouch", it's probably not going to get the emotional response desired from the audience and might even destroy the suspension of disbelief, even though the audiences' belief maybe based on something which isn't real or is incorrect to start with!
G
This is the balance, for sure. As someone acutely aware of the discrepancies between expectations and reality in the case I mentioned in particular, I've had to concede many things. But the flying through the air... NEVER!! =)
Even on my lowly Rotel system, it's quite remarkable. There's many things I think could have made the movie better, but it's definitely one of the movies I rewatch just to listen to it.
CraigL
I agree with all the above, but am not a know it all...
I learn something new everyday, (actually a lot of things -- everyday). One thing that continues to surface (drop-up)? Your movie is only as good as the weakest link. Cause the worst part of a film drags the whole of the story DOWN.
So I will touch upon screenwriting since the thread is listed UNDER SCREENWRITING.
When I write, I write with the starting point of what is real? How can I capture that 'real'? I am notorious for carrying around a small DVcam camera (PD100a with already used tapes -- why waste new ones) shooting conversations when I am traveling or having a notebook with working pen beside me when local.
I tend to cross the line of reality (or sanity) in what I write. So. Having a very believable frame of reference to drag the unwilling into my story is very important. I also believe in read-throughs... close your eyes does it sound REAL? I let others read and respond to my work on paper as well. Lawyers and librarians are very good. Lawyers can spot lies or untruths (trained for that) and librarians that read their library books can tell you what reads real and what reads false (also what is derivative).
My two cents. I am neither famous or rich so take what I say with a grain of salt.
I learn something new everyday, (actually a lot of things -- everyday). One thing that continues to surface (drop-up)? Your movie is only as good as the weakest link. Cause the worst part of a film drags the whole of the story DOWN.
So I will touch upon screenwriting since the thread is listed UNDER SCREENWRITING.
When I write, I write with the starting point of what is real? How can I capture that 'real'? I am notorious for carrying around a small DVcam camera (PD100a with already used tapes -- why waste new ones) shooting conversations when I am traveling or having a notebook with working pen beside me when local.
I tend to cross the line of reality (or sanity) in what I write. So. Having a very believable frame of reference to drag the unwilling into my story is very important. I also believe in read-throughs... close your eyes does it sound REAL? I let others read and respond to my work on paper as well. Lawyers and librarians are very good. Lawyers can spot lies or untruths (trained for that) and librarians that read their library books can tell you what reads real and what reads false (also what is derivative).
My two cents. I am neither famous or rich so take what I say with a grain of salt.
Well. I'm drunk too, so I think we can have a good conversation.
The thing is that in reality there is no such thing as "black and white". I think that says it all. Also, in reality there are no fucking chinese gays pretending to be animals and win battles that way. That's all I have to say for now...
May I ask why are you asking this question?
The thing is that in reality there is no such thing as "black and white". I think that says it all. Also, in reality there are no fucking chinese gays pretending to be animals and win battles that way. That's all I have to say for now...
May I ask why are you asking this question?
Some genuine LOLS in this thread so far!
I go with the "actors make it realistic" angle. Plenty of films out there where I don't even believe the guy who said he was going down to the shops is even actually going down to the shops...nevermind the chinese gays and all the rest of it!
Firstly, I'm always drunk but I say I'm drunk only when I'm ready to pass out... You know, I mix jack daniels, valium, embien and whatever else makes me high or sleepy. If I want to write a torture scene I mix cocaine with alcohol. If I want to write a dramatic scene I take 80mg of valium and when I want to sleep I take 40mg of embien. By the way, don't try those. I'm used to them and have too much tolerance that's why I use such doses. If you're not used to it you commit suicide.
Anyway, when I say "realistic" I mean... for example... how would a man react if he learns his daughter was tortured to death? Of course he would be sad, I have a daughter too. Personally, I would commit suicide by drinking ten bottles of jack daniels, but this reaction doesn't fit to my script because I have to use this character in the next scenes too... But how exactly would he react? Screaming? Crying? Try to find her corpse?
I see too many action movies lately. They are played in television. The "good" guy, scared to death after being chased for hours to be killed, kills the "bad" guy and then makes a joke which is considered a memorable quote. See "Total Recall" for example. Is this realistic?
Anyway, when I say "realistic" I mean... for example... how would a man react if he learns his daughter was tortured to death? Of course he would be sad, I have a daughter too. Personally, I would commit suicide by drinking ten bottles of jack daniels, but this reaction doesn't fit to my script because I have to use this character in the next scenes too... But how exactly would he react? Screaming? Crying? Try to find her corpse?
I see too many action movies lately. They are played in television. The "good" guy, scared to death after being chased for hours to be killed, kills the "bad" guy and then makes a joke which is considered a memorable quote. See "Total Recall" for example. Is this realistic?
Great advice here. I carry a notebook as well, own an iPad that I could use but the notebook seems so much better to just scribble down whatever.
1) No more than one suspension of disbelief per film.
2) Write your script to match the things you have available to you at no cost -- not the other way around. If you have expensive items in the script and later have to keep cutting things out, it WILL look like a low budget film.
No one will know you used your brother-in-law's Bentley, your girlfriend's step-dad's jetboat or that your friend's brother let you into the zoo after hours. Write your script accordingly.
2) Write your script to match the things you have available to you at no cost -- not the other way around. If you have expensive items in the script and later have to keep cutting things out, it WILL look like a low budget film.
No one will know you used your brother-in-law's Bentley, your girlfriend's step-dad's jetboat or that your friend's brother let you into the zoo after hours. Write your script accordingly.
Okay, this thread is confused as hell because none has bothered to define exactly what everyone is talking about. Are we talking about
a. realism -- which means the degree to which a film looks, sounds, and behaves exactly as things behave in real life (which is an aesthetic quality),
b. authenticity -- which means events have a feeling of truth even though they might not be entirely accurate (which is an emotional quality),
c. plausibility -- in which the audience is willing to believe in fictional events because they are backed up by logic and evidence (an intellectual quality), or
d. geniuneness -- meaning you can relate to it because of connection you feel from within yourself (a psychological quality)
It is impossible to hold an intelligent debate if no one ever defines what they are arguing about.
a. realism -- which means the degree to which a film looks, sounds, and behaves exactly as things behave in real life (which is an aesthetic quality),
b. authenticity -- which means events have a feeling of truth even though they might not be entirely accurate (which is an emotional quality),
c. plausibility -- in which the audience is willing to believe in fictional events because they are backed up by logic and evidence (an intellectual quality), or
d. geniuneness -- meaning you can relate to it because of connection you feel from within yourself (a psychological quality)
It is impossible to hold an intelligent debate if no one ever defines what they are arguing about.
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don't have the villain be impervious to tank fire but get killed by a pocket knife.