Notes from making a short film - Part 1 of 4

You have enrolled yourself in a film academy for a short-term course in digital filmmaking. Your batch consists of 6 members in total - each person is from a different background, each person is employed in a different profession, but each member is passionately interested in filmmaking with the dream of becoming a director someday. Three weeks into the course, the screenwriting professor asks you to submit a story idea (in writing) that can be made into a 10-12 minute short film. He also puts forth the following conditions.

1. Set a major portion of the story indoors, preferably in a house (Shooting outdoors requires permission from several authorities and is very difficult to execute for amateur filmmakers) 
2. Have a limited number of characters in the story so that the cost of actors doesn't shoot through the roof
3. Have a limited number of scenes since the shooting needs to be wrapped up in 2 days
4. The story can be absurd or dark but ensure that it has an overall theme

Along with these conditions, let me add another important fact that from all the stories submitted, only one story would get selected which would then be made into a short film. To spice up things, let me also add that you are presented with this task on a Sunday evening, and the deadline to submit the story idea is the upcoming Friday night.
"Aren't five days enough to come up with a good idea?" I hear your question. I forgot to mention that you have been handed the responsibility of gathering data for an important meeting scheduled at office on Tuesday, and you would be leaving to Delhi on Wednesday morning to attend a friend's wedding only to return home on Friday evening. How does one come up with a good story idea under such circumstances that might have the slightest chance of bettering the ideas submitted by others?

My answer:
I wasn't able to come up with a good idea in those five days.
I simply got lucky because I already had a list of story ideas that I had been updating time and again with the arrival of new ideas, and one idea from that list happened to meet the conditions listed down by my professor.

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Lesson no. 1: Creativity is a lifestyle - it needs to be embraced and honed all the time. One cannot expect to switch it on just before the start of a project and turn it off after the completion of the project.

Lesson no. 2: Noting down ideas comes handy. Some ideas might not seem strong enough to be transformed immediately into a poem or a short story, but noting them down increases the possibility of the ideas coming to your rescue at an unexpected time.

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When my next class commenced on Saturday, this is how things stood. 1 member from the batch had dropped out of the course owing to financial constraints, 3 of us had submitted our story ideas through e-mail, and 2 members were in a position where they had their stories formed in their heads but were unable to express it in writing. Through the duration of our class, my professor helped them open up about their ideas and finally enabled them to express their ideas in writing. This made me express gratitude towards my fortune of having had about five years of practice in expressing my ideas in writing through this blog.

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Lesson no. 3: Practice expressing your ideas to others through writing or, at least, through speech. Expressing an idea to self is never the same as expressing it to others.

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By the end of the class on Saturday, my professor had 5 story ideas with him. Two of the stories were about road-trips, one story happened in a casino, one story was set in a village and one story - my story - happened in a house. My professor liked all 5 stories but he reiterated the constraints in converting the story into a short film. He offered an additional week's time and asked my team members to tweak their stories in such a way that they would fit within the constraints. He also asked us to submit step outlines for our stories - a step outline is an initial version of the script with just the order of scenes and their summaries without any dialogues - before the class on next Saturday.

When my next class commenced, 1 other member had opted out of the course owing to personal reasons, which brought down the strength of our batch to 4. Among the 4 members, 2 of us had turned up with detailed step outlines, and 2 members had not prepared their step outlines.

The other members had not tweaked their stories as well - one story was still a road-trip, one story was set in a casino and one story was set in a village.
As a creator, I could understand their reservations in changing their stories. But owing to my 3+ years of experience in a services company, I also knew that one had to give in to certain demands of the clients to get a project started.
The clients, in this case, were my professor and the film academy.

By the start of the next class, my professor had selected the 1 story that would be made into a short film. And the story turned out to be my story.
As much as I am happy that my story got made into a short film, when I look back at the other ideas, I know that I would have felt equally happy working on them as well. They were all good ideas but they just didn't happen to be right for our course.

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Lesson no. 4: Understand your situation. Understand your constraints. Try to work within them. There might always be another opportunity but why miss one when it comes your way?

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The one-line (or the 'log-line' as it is officially called) for my story goes like this.
A single mother, who is still holding onto her dead husband's memories, tries to help her daughter after her breakup only to realize that her daughter has moved on and she is the one who needs to move on. 

Now, think of 4 directors whose films you like. Imagine that each of the directors is asked to make a film on the above log-line. Do you think the films will turn out to be similar?

This was the problem my batch mates and I faced in my class. One person whose story had involved a road-trip, one person who had set his story in a casino, and one person who had wanted to capture the village life through his story were now asked to work on a domestic drama.
One person wanted to explore the breakup angle and the reasons behind the breakup. One person wanted to explore the relationship of the daughter before her breakup. One person wanted to explore the possibility of the mother starting a new life with a neighbor.
In some ways, these three stories also fit within my story but these were not the aspects of the story I had wanted to focus on. My story was about how a breakup can change an already broken family for the better.

Owing to this, I initially resisted any inputs provided for the story.
Once, when I was talking to a friend about this, he said, "This is your story and you should be firm about the way you want to tell it. But think about this as well. If some other story had been selected, would you have wanted to share your inputs or not?" This question made me realize my mistake.

After all, my batch mates had not joined the course to make my vision come true. They had joined the course to learn filmmaking, and each person held a unique perspective towards filmmaking and life.
When we all sat down to discuss the story the next time, I made myself more receptive and explained my story and my reasons more elaborately. I must admit that the story got better with more brains on it.

On a parallel note, I also understood why some directors collaborate with the same actors and technicians (cinematographers, music composers, editors) repeatedly. As much as it is important to find a group of people who want to tell the same story as yours, it is equally important to find people who want to tell the story for the same reasons as yours.

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Lesson no. 5: Understand how the people around you want to collaborate with you.  If a piece of art can turn more meaningful after it reaches a larger number of people, it can also become more meaningful when it is nurtured by a large number of people.

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When I had submitted my step outline for the story, I had followed a non-linear narrative. Since it was a story about memories and moving on, I had not wanted it to have a linear flow of time. But after the story had been selected to be made into a short film, my screenwriting professor told me that he would keep aside the non-linear narrative and adopt a linear narrative. He had to do this because:

1. The linear narrative would help in the teaching of the screenwriting concepts like plot, plot points, and beats of a scene more easily 
2. A new narrative would also open up more contributions from the other students in terms of new scenes

I sat through the first half of this exercise quite skeptical. When we all assembled in the lunch hall after the first session, I noticed two members from my batch continuing to discuss about the story and arguing if a character would behave in a certain way. 

This made me understand something. Some ideas might not be content with just staying with their families. They might want to be more adventurous and meet other people from the outside world. 

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Lesson no. 6: Don't hold on to your ideas possessively. Be a good lover and do what's best for the idea. 

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One important lesson I learnt at the film academy was this. 

Filmmaking is more craft than art. 

Whenever we watched a short film or a great scene from a classic, the following questions could always be heard from the professors. 

"Why do you think the director made that choice?" "Why did he position a character in the foreground and why was another character in the background?" "Why was there a close-up shot when the character said one particular line - why is that line important?" "Why did the characters wear costumes of a particular color?" "Why did the background score sound that way?" 

To sum it up in the lines of my professor for cinematography, 

"Even if you happen to forget all that we taught you here, just remember this. Ask yourself 'why' for every aspect of a scene, for every scene of a film. The answers will guide you in becoming a filmmaker."

To give a small example of how a structure is followed when plotting/structuring a story, below are the plot points we came up with while writing the screenplay.

1. The mother learns about her daughter's breakup
• How does the mother react? Does she want to help or let go of it?
2. The mother tries to help her daughter
• Does the mother succeed in this or fail?
3. The mother resorts to the most extreme of options
• Does the mother succeed in this or fail?
4. The daughter reacts to her mother's action
• How does the daughter react? How does this bring about a change in the mother?

In this way, each plot point leads to the character making a choice and the choice leads to the next plot point. Most feature films with a strong plot can be broken down into such plot points and one can notice how the characters' choices drive the story forward. 

After I learnt this, I realized how this concept holds true even to our lives. There are those significant events in our lives that resemble the plot points and our reactions to those events determine the direction of our lives.

As a film viewer, I had been surprised by how much films can teach us about life. As a film student, I have understood that the process of making a film can teach us more. 

(To be continued)

The lonely sun and the family of shoplifters

On some days, I have looked at the clear, sunny sky and wondered if I experience loneliness very strongly because I am named after the sun. The sun, unlike the moon, doesn't have stars to keep him company.

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The loneliness I experience varies in its nature from time to time.

Sometimes, it is that feeling of belonging to a wrong societal setup. Sometimes, it is that feeling of belonging to the wrong generation. Sometimes, it is that feeling of belonging to the wrong gender. Sometimes, it is that feeling of belonging to the wrong species.
Sometimes, it is that feeling of not experiencing joy from the general joy-inducing activities that people indulge themselves in. Sometimes, it is that feeling of being abandoned even by the activities you cherish doing the most. Sometimes, it is that feeling of being surrounded by people who are not as childish as you. Sometimes, it is that feeling of being surrounded by people who are not as mature as you. Sometimes, it is that feeling of going through sadness among a group of people who seem happy. Sometimes, it is that feeling of experiencing joy among a group of people who seem sad.
Sometimes, it is that feeling of not wanting to say anything to anyone. Sometimes, it is that feeling of not wanting to listen anything from anyone. Sometimes, it is that feeling of missing a person who shares the things you want to hear but don't ask for. Sometimes, it is that feeling of missing a person who understands what you mean even when you say different things.
Sometimes, it is that feeling of missing the touch of a loved one.

But I must admit that whenever loneliness casts its dark shadows on me, a gentle drizzle quickly finds its way in the form of words/films/music/friends.

Sometimes, it is a new character from a new story-idea who gives me company. Sometimes, it is a known character from a loved book/film who sits down by my side.
Sometimes, it is the lyrics of a long-forgotten song which supply the words to my blank mental page. Sometimes, it is the tune of an all-time favorite song which leads me home.
Sometimes, it is a friend who simply lets me know that he/she is there for me.

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Two days ago, a collective experience at a movie theater overwhelmed me.

I had walked into the theater feeling lonely, not so much owing to the lack of company as much as owing to the lack of an identifiable emotion within me.

The film that I had gone to watch was Shoplifters - a hard-hitting Japanese film about a group of unrelated people who come together to become a family only to be separated by government authorities, with the separation helping them understand the selfless love each person holds for one another.

The theater was sparsely crowded, allowing each viewer to enjoy the comfort of an entire row of seats for himself.

As the film was midway, as the characters in the film grew close to one another, I felt an invisible bond birthing between us -  viewers - in our individual rows. Though we were silent, the film was speaking for and to each of us.
As the film reached its climax, a few viewers seated in the rows before me wept now and then. The scenes playing before me suggested the disintegration of a family but a warmth spread in my heart signaling the birth of a family. After the film ended and the lights were turned on, I could see that the viewers were not ready to leave their seats.

Maybe they had also experienced what I had experienced. Maybe they had also experienced a sense of belonging.

After all, isn't the pursuit of life all about belonging with the right person, doing the right thing, at the right place, at the right time?
Maybe that. Or, maybe it is about becoming that person who can belong with anyone at any place.

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I look at the sky as I am returning to my home from office. The sun is about to set.
A flock of birds fly across the reddish sky reminding me that the moon might have the stars but the sun enjoys the company of all the birds.