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Mortmmmmmeommofw 111-. Mmmncmmmpmmm. Also Whammummmam. ~ ww- - qw“... amupoorumnmummowwxmmmm Radio W, mm State Immunity. e—c... - THE MAKING OF THE MOTION PICTURE A MEMORY BY Bruce David Riqqe A THESIS Submitted to nichiqen State Univereity in partial fulfillment of the require-ente to: the degree of HASTER OP ARTS Department of Television and Radio 1969 Wbyflthyotttu-Wormmm m.mnmotmuutmm.mmmuumuy.in mmamwmmmmamm. , El) 44¢ jx/(K/x/_ o 13 _.__——.— a 4 TABLE 0? CONTENTS Chapter I. II. III. IV. V. VI. VII. mocuou.............. pupmnoe m scorn or 1m 9m: . . rmsctun.............. scum-must: ”omen. mu: warm m nocnnuus coecwsxas ’mxmm O O O O O O O O O O O O O O O O 0 ii 26 42 47 49 CHAPTER I INTRODUCTIOI The opportunity to work on e twenty einute tile pro- duction tor the oomletion of e lteeter'e progre- ie one which in rerely ettorded e televieion end redio student. I heve been tortunete to heve hed euch en opportunity. Thie theeie end the eocoqenying tile heve been quite en experience for no end I hope will be or benefit to othere. While the tile etende on ite own, the intonetion written herein ie e collection of, end reflection upon, the nyried end coqlex deteile involved in eekinq e notion picture. A video th o! the tile in on tile et the ‘relevieion end Redio Deperteent, Hichiqen Stete Univereity. Video tepe wee ueed in order thet eound end picture which otherwiee eatieted only on eeperete piecee of tile night eeeily be eeen end heerd in eynchronizetion by the viewer. A ecript ie conteined within the text of thie theeie The purpoee or thie film was to elicit from the viewer e feeling of noetelqie for life on the tern circe 1900. A hundred-yeer-old fernhouee, e ninety-yeer-old woeen, end e eeven-yeer-old girl provide the link between pest end present. Child end grendmother visit the house where grendnother spent her childhood. Through e series of visuelly ebstrect remembrences, grendme reletes to both child end eudience the wey of life when she wes young. The intended audience for this tile is e generel, edult one. During the production or this picture, I wes esked how I expected to evoke enotion tron e generel endi- ence by simply using enotionel eppeels. How cen one heve this elpethy if he hes never lived on e tern? At tirst this wee. indeed, e perplexing problem. but es 1 studied it, I reelised thet enyone who hed ever cliebed e tree es s child, or run through e field with the wind in his tece, would heve the experientiel beckground to receive ny nessege. _ ‘;.s._s__.—*—.~—p_v‘.._— Au—v- v—‘.—_.— CHAPTER II PREPARATIOR AND SCOPE OF THE PROJECT The original idee for this film was fornuleted by Mr. Ron Grow. He wes, at the time, Executive Producer for the hex-vest series, e weekly agricultural television show. This series was produced for the Cooperative Extension Service of nichigen Stete University, utilising the production fecilities of ms—rv. llr. Grow epproeched the file deperteent with en idee of doing soeething different. He hoped to do en ell- filn show which fit neither the foreat nor the scope of the Her-vest programs. A series of eeetings were scheduled between llr. Grow, llr. David house (ru- Supervisor, IMSB-TV), end lyself (Chief Film Cenerenen-L'ditor, wuss-TV). Here we began to h—er his original idea into some semblance of e file. The result of this series of neetings wes egreseent upon e nenner end method of approach to the film, i.e. certain things which we would end would not do. The first decision wes to lake our film e program unto itself. It would be shot es e file, entirely as a film: there would be no studio brid- ges or segments within. It was at the same time concluded thet this film wes not to be shot in the same hurried menner of previous file segments for Harvest. Since, in feet, A Memory usamtiremow,thstaskoforeetimittookmthewop¢tial damn-fledged notlm picture mum. It was. one-arm, munmmmmmmmmmm ummmtonmmmmmstuemuh- visimststimlsvel. Emmeum,sixtilssumfiln wesshoteswufimllyusedsthefilswestomdergofinws-Ja' editsudmlmina‘re-editsgtlusmu‘okwastom mflwduphnfinuflltlmotuicmm. “Mlmmsmjeoteswm.luh visimsdwroletobettntofwedita'luedvisa'tofin m. untooimutunes,nvmtiesinonesedmerlewe. mmmmmmmmmmm mmmmmumorupw. 'lhstoteloostof memmwmmmwmmin mm. Inmflrthsfilmtobeoalpletedbylh mmsmmmdummuummm. mmmm,mimmmbymwn wavioetomtomletsunnln. lwupleoed MMOme-I'Bflim. MW,IMWWWM Iii-JO“! offlntimlnsdimtmwommm. Matchless. mumwmmwmmwu. thaws minmt,hichmmtofflutim,dm¢wasqmte simls. mammMetotelme-us,loftmmotesm “Wm“ 'nnnstmltwesflnsveilmilityofe wwwwmmmtw. Sinoeumllymshes toofewohoioes,remltinginompmnise,lwasmhsppytom madam. MWWMIMWtopa-Mwesmt ofatlta‘. Mldidtoemsmmfa'flnflntcdlt. 'Ihll mhmmsorlpt. ltuuioetedgumlmsmshot ids-.Mitdidmtdstenwtindivldmlm. Imgimthe mummmmutmumummm whidathqeppeer. Butthisisthepointinthsmtimm mmmmm. mmmmlmmwm. Afters www.mmwg,unmmmu,xmbm unfilmtoitsmlmim. CHAPTER III FINAL SCRIPT PICTURE 8 L C l I. I I G B T H l. :32 v.3. road, Bessey and Susie walk to- wards camera, pause, then continue on. SUPER! A "Clogx :20 I.S. bessey and Susie walk from camera to fence, house in the background. SOUND (Husic up--”Try to Remember") (flusic under) We're going back to see the old hone where I used to live e long tine ago. Isn't it lovely7. we had such lovely times here. In the evening we would come hoes free school and snell the hen cooking and the lights would be lighted when we came down the road. It was a beautiful place to go toe PICTUR' 3e '06 4. :08 5. :10 DI'EOBV: 6e 307 7. :04 8. :03 h.8. Bessey and Susie welk towards canera, Susie cliebs up on the gate. I. 8 e 01d MUICs ”.8. house, soon in to Gene 'tm 906k. C.U. Upper lattice work on porch, caeere.pens E .C eUe Beg'ey. 8 face looking up at house “a 3 e Gabl. work on edge of roof. SQUID This house was built many years ago. My father drew the logs to the sill then he brought the boards home. And the sen built this building and ey nether was so pleased that she hed a big house. The old house looks old like I an, I Cum..eeee.heeeeeeeeee why is it that everything has to grow old? The old house still is PICTURE SOUND 9. :03 “.8. Side of like a duchess house, windmill in background. lo. :05 k.S. Broken reil- that has fallen on bad 1!“ on porch. Weeseseeeeseeseeee ll. :15 c.U. front door ragged......but lovely of house, soon to yet. My house, ey hone... v.3. of house oh........l'n glad I came to I” iteeeeeeesee (lusic up) 12. :06 w.s. bessey and Susie: Susie breaks away and runs across yard. Genera speeds up forcing action into slow notion. DIOIOEVI (extended) ll. :04 v.3. Susie profile, running left to right. (slow notion) PICTUR3 DISSOEVI (extended) 14. :18 DIOSOEVI 15s 308 16c 31‘ 17. :13 DISSODVE lo. :25 r.w.s. High angle Susie running (slow motion) ".8. salt. Cli'b’ ing over fence (slow notion) v.8. Low angle, Susie jumps off fence and runs into field (slow notion) w.s. High angle gusie running through field, right to left. (slow motion) 8.8. Susie running through field, lift to right. SOUND (Music under and out) My cousin used to come out for two or three days froe the city........ She went to a city school. I went to a little country school....but she would cone out and we would have the best tine............ One tine she....... ceee and‘we played hide- and-seek in the field of wheat.......we Iade paths all over the field and my father didn't like it very well........... and he said, "When you play hide-end-go-seek, play it in the barn, not -“ V‘U'Fvw'qu'wv 'v y . ' - . I I ' ‘- Mhudu fife-100': v3.1 . s . ' bland m. . . _' . , _. 312*!“ “-J-xs ow ‘ r- ..:_-.- eIso...--. «until! “at! w. I L O . o - eeeMa "U t} THU . ' The»: sum; at :m. sue: L! ‘0 bid“ “.3 u: newt-fen :T d. " ' ”mot-sCOOJWC ‘ & chi: em me u.- u a“ {were 3mm ..~. . ...........l£le ... ‘ ..I. ._-.4 9-! M' ”a ,4 5“,. COW uzq O .- -.~. ,T: I and eds It I! “1-. H‘, ‘3‘; ‘ I .— l W 10 PICTURE She runs into the sun. (slow motion) DISSODVI 19. :08 U.S. Susie running to tree, left to right. (slow notion) DISSODVI 20. :27 v.3. High angle from up in tree. Susie runs up to and around tree. (slow notion) DISSOBVR 21. :16 h.S. Low angle, long lens, Susie SOUND in the wheat field.....” (natural sounds of running through field are in the background) There's the old tree on th- MlleeeeeeLOOk‘eeeee It ‘1.“ tob............ not so tell but'we thought it was a giant when we were little children. used to clieb that tree... HOU‘V. It was hard getting up to the first branches. we used to take a board and lean it up against the tree and crawl up the board until we could reach the first branch......then the climbing was easy to do.....And ay brother and I used to talk about asking PICTUII DISSOHVI 2’s 308 23. :14 24. :03 25. :14 11 running around tree and away. (slow notion) v.3. High angle, Susie runs across 1ewn,,pauses, bends over. (slow motion) x.w.s. High angle, Susie picks up leaf, holds it to sky and spins around with it. (slow motion) ".8. Bessey on (Back to 24 f.p.s.) porch. "eSe 811.10, mm left to right to porch._ SQUID a house up there and living in a tree. There is no path to the front door any-ore...ah: It's all grown up to weeds .3” ore-8................ My father used to keep the yard so neat and clean.... we were proud of it..... My aother's flower garden ........1 can't find any flmr. CU “leeeeeeseeee Cone on, Susie: ut‘. 9‘0 1n!............. (Background sound-~run~ ning to porch) PICTURI 26. :13 27. :02 28. :10 29. :04 30. 31° 12 C.U. Susie's feet running up stairs into v.3. of Susie at top of stairs locking down. C.U. bassey looking up. v.3. bassey at foot of stairs. She begins to clinb. c.U. Bessey's feet clinbing. W.S. bessey clinb- ing stairs. SQUID (Background sound~~~run- ning up stairs) And here goes Susie up the stairwey...the most beautiful stairway in the whole world I used to think...ly nether was so proud of it....... It 'ueeeeeeeeeeeeeeeee hard to clinb the stairs when we went to bed..... (background sound-~clinb- ing stairs) I think there nust be .W a“ .t “chteeee It was a longer clinb, I know.....In the norning it V“ .mrt, Mt .t fighteee PICTUIS 31. :15 32. :17 33. :12 13 k.S. bessey at head of stairs. She addresses canera then noves 0:! e I.S. Bessey and Susie enter roon, walk to wall, trace squirrel. I.C .U. H“ u‘c1m squirrel. SOUID ah.....well......... (Fade out background sound of stairway clinbing) flurry up:...Hurry up now... It's bedtine....SUSIS: "what did you say, Grand- ne7'......SSSSSY: on, nothing....I was just thinking....I'n coning .10” Meeeeee This is the rocn that I called nine....This was Iy roon....And the wells.. ....Iy father had.painted sort of leaves all around on the wall....leaves and bark and hidden.... in the leaves were the squirrels. we used to see the squirrels in the trees and I could see then when I woke up in the earning PICTURE :07 34. DISSODVI 35. :21 DISSODVI 36. 1:13 14 W.S. Empty room and window. I.S. Same as 34, but bessey and Susie are seated in a rocking chair. Lens is coated with.Vaseline. begin slow soon in 11.3. Sessey and Susie, canera is scanning in to get to this shot. Lens is still Vase- lined. SOUND on the wal1........... I renenber when ny nether h“ .eeeeeeeeeeee Boston rocking chair that she always set in in the evening...ly nether used to tell stories on a Sun- day afternoon...“ weren't allowed to play on Sunday. It was wicked to play genes on Sunday...lo:... We couldn't play. And so ny nether would tell stories of when she was a little girl...'hnd this little boy watched the cows and walked along in the grass and by and by he saw a strange blue flower and it was growing PICTURI 37. :03 0.0. Susie listen- Inge (Vaselined) 15 SQUID right on the side of a very steep hill and he theught....oh:....I'11 bring that flower to ny nother...So he picked the flower and what do you think? The ground opened in the hill and there was a door...fle never had seen a deer in a hill before. but he went to the door and.pushed it open and when he looked in he couldn't believe what he saw...Qh:..It.was filled with gold and silver..and dianends and all kinds of nice things and a voice said, “Take all you want but don't forget the best". So he filled his pockets full of gold and dianends and he started to go out... 16 PICTURE 38. :24 h.8. Bessey and Susie. (Vaselined) 39, :06 0.0. hands, Bessey's holding Susie's. DISSQDVS 40. :14 v.3. window, Sessey and Susie walk to the window and look 41. :39 C.U. Window from outside. Zoom to v.8. and pan roof of porch. SQUID And a voice said again, “Don't forget the best”... but where could he put any- nore? He took acne in ht hand and went out the door. And then it wasn't heavy anynere...lt had all turned to leaves...and so he niss- ed having all that wealth.. because he had laid the flower down on the table. One evening ny older sis- ter and brothers had cen- Deny. and they‘rere going to have aaple sugar to .ur....... Oh:...we wanted to sit up, but nether said, "no, it's bedtime"...hnd so we clinb- ed the stairs and cans to bed...hnd thenwwe heard 17 PICTURE 42. 43. 319 I.S. Trough Of porch.‘ Zeon in to CO". :16 0.0. Low angle, edge of porch roof. Looking up. Zoom to “.3. :08 k.S. Trough from left. SOUND them talking below...They were setting the hot dishes of sugar under the eaves where the eaves had dripped and forned a nice bed of ice...They were cooling the sugar there...hnd ny broth- er said, “Qh, I think I can lock and see what they are doing." And I said, “Oh, Roy: you'll felll” fall." And so he crawled down the slope of the roof, YOUe e “no, I won't but there was ice on the edge of the roof, and down he went into the snow drift...They picked hin up, took him in the house, and fed hin warn sugar. I stood by the*window and wondered whether it was worth it to crawl down and PICTURE 45 e 3 0‘ 46. :21 47. :06 ‘8 e 3 09 18 HeSe Trough right. I.S. Sessey and Susie walking through house. Canera trucks with then. I.S. lessey and Susie walking to piano. Truck to 0.0. of hand playing piano. S.C.U. Finger playing broken key on piano. SQURD fall off the roof to get the sugar and I decided that it '“h'teeeeseeee (Sound of piano in back- ground) Oh:...Here's the piano... I used to think it was the nest beautiful thing in the world...I didn't know how to play very nuch. I didn't know where to start. So I took a knife and cut a little notch in a key and ny nether didn't like it very'well, but I PICTURE 49. 50. 51. $2. 53. 54. 19 :05 R.S. Length of :13 :11 :09 :13 :22 keyboard from end. Hand still playing. v.3. Sessey and Susie at the piano, backs to the canera. Susie walks out of shot, cones back with picture. H.C.U. Picture. ringer points to parts of picture. II.S. Susie and picture. C eUe PictUI‘O M.S. Sessey and Susie at piano. They walk towards SQUID could play 'Peter,Peter, Pumpkin later“ by.... starting on that one key, and so I learned to play a little bit...lell, Susie, where did you find these? (Background piano sound out) This is the nale quartet and the nixed quartet and the organist...They used to practice at our house...And I used to be sent to bed...to get no out of the way, I suppose. I learned all those polit- ical songs...and I think I can sing one to you now, Susie....naybe....'0ur candidates are chosen. Hear the Indians cheer. And.lew York sends it PICTURE 55. 56. :12 2:43 20 window. H.S. Sessey and Susie, they cont- inue walk to win- dow. C.U. Out of focus on flower in wallpaper. Canera cones into focus and soons to M.S. Dessey and Susie. Canera eases in slightly to M.C.U. at end of tnke. SOUND back again to greet the listening ear. Tron naine to California rings a chorus loud and free. with Harrison and Norton we will win the victory.‘ (Background sound of foot- stops as they walk to the window) Christnas tine‘was such a heppy tine at our house... ky nether usually had sonething for us that was nice at Christnas...a toy or candy...and.we had such a good tine...The little boy down the trail...down the Slase trail...wasn't quite so fortunate. he PICTURE 21 SOUND had no mother-«his mother had died when he was just a snall boy...and he never had heard of Christmas. But when he went to school, the boys at school told his there was a Santa Claus who cane at Christnas Tine and put nice things in the stockings that were hung ready for the toys and candy. And he cane hens and told his sisters that there was a Sente Claus and that there was going to be a Christnas by and by when Santa Claus would cone and fill his stockings. And they laughed and said, "so, there isn't any Santa Claus.” but when Christ- nas sve cane, he said, ”I'm going to hang up ny stock- ing and Santa Claus is go- ing to put sonething in it. PICTURE 22 SOUHD I know. Johnny said so: Mark said so. They're hanging up their stockings. I'm going to have a Christ- nas this year." And then he hung up his stocking and went to bed. And in the earning he cane down and there was his stocking all full of sonething, bulges here and there. And he wondered if it would be candy, an orange, naybe a toy. And he ran over and took his stocking down and began tsking out- potatoes free the cellar... And then his sisters laugh- ed at him and he ran up- stairs, junped into bed, and.pulled the covers over his head and he cried and he cried and he cried.... Oh:....Too bedl.......... Wrmm' " ' ' fin. ,‘vv. . on .. " ; wen- fl-‘Iflo :eJ-.. 'se'e.u.n9 . ' 2*! we: ..:-.1 fill r. ."L1 (”fled on: n -3 O |‘ m.)- . Sunset . 3 -.~"’~ .§ 'Y‘Bhseee‘hs- i' d PICTURE TADS OUT TADS II 57. :10 58. :09 59. :08 60. :09 61s :07 23 l.S. Still and enpty'upstairs corridor. “.8. Upstairs IOOI, ”EYO v.3. Living roon fron parlor, deserted. M.S. Stairway, looking down, mty e M.S. Stairway, SOUID low the house is still. There's no one laughing: there's no crying; there's no stirring in the roons. It's quiet. _I brought you, Susie, so.... you could see the old house and know what used to h ‘11. "Y Ofseeeee (fade in Music to back- ground level: “Try to Renenber') living on the fern. It's a lovely way to live: It's a very happy way to liveeeeeeeo And anyone who has lived 24 PICTURE looking up, empty. 62. :07 W.S. Bessey and Susie, silhouetted against window. FADE OUT CUT PROM BLACK TO 63. :40 M.S. Dessey and Susie as they leave the house. Pan with then into the sun. SUPER CLOSIEG CREDITS Visitors EESSIE ILIPP REEL! DOUSE Filmmakers BRUCE RIGGS SOUND on a farm most of their 11V8.eeeeee is a very lucky person... (Music out) (Music up to background level) 0.3., Susie, let's go home and see what Mother's got for supper. (Music up full progran level) 25 PICTURE SOUND DAVID BOUSE ROI GROW . Presented by COOPERATIVE EXTEESIOI SERVICE MICHIGAE'STATE UIIVERSITY a WMSS Television Production EADE OUT FADE OUT CRAPTER IV SCRIPT AEALYSIS In scene one we find Sessey and Susie walking down the road toward the farm. It is immediately estnblished that the audio track is not lip-sync. Sessey narrates in a very loose voice-over style. This is to hold true through. out the majority of the film. The opening scenes are to introduce the characters, Eessey, Susie, and the old house. The need, which is one of fond renenbrances, is set as Sessey sees her old hone. As the canera.peruses the house, Dessey compares herself with the hose. Within these first scenes lies the only cut in the entire filn with which 1 an not happy. The change between scene one and scene two is startling to the viewer because of its ebruptness. The canera 1m free a wide shot to a close-up and at the sane tine crosses the stage line. These scenes were shot several different ways. but the other options proved to be as bad as the one used or worse. Scene twelve is the begining of a sequence which finds the roles of Sessey and Susie becoming intertwined. Susie breeks away from her grandmother and runs off into 26 27 the fields. As she does, the scene descends into slow motion. bessey is caught in a dreu of days gone by. As Susie glides through a field of wheat and wonderingly circles the old tree on the hill, she is the personifica- tion of the grandmother in her youth. So long as the action stays in slow motion and Susie remains separated from her grendnother, this relationship continues to exist. Throughout these scenes relationships between Susie and her environment are exaggerated, adding to the effect that she has transcended time and space. In addition to slow motion this effect is enhanced by the alternate use of extremely wide angle and quite long lenses, and extremely high and low camera, angles. The use of dissolve transitions overcomes the possibility of a feeling of abruptness on the part of the audience. Sessey's acceptance of this personification is so great that in scene thirty-one she loses entire perspective of their actual roles. After a return to normal speed, Susie joins Sessey and they enter the house. Having mounted the stairway, Sessey calls to her granddaughter insisting that it's tine to get to bed. Upon the child's uncoqrehen- ding response, she realises her confusion of past with present. The sequence in Sessey's old room is designed as a buffer: it is straightforward visually and very light in mood. 28 Eessey points out squirrels hidden in the wallpaper. This is meant to lighten the need much as comic relief does in a tragedy. Scene thirty-four begins with an empty room. Eessey fondly recalls how her mother sat in a rocker and told stories every Sunday. The room becomes clouded and we see an old ledy and child materialise in the room. Though the characters are Sessey and Susie, there is little doubt, as she begins her story, that the old lady is really bessey's mother. Utilising a different room, but a very similar shot, we bring Dessey and Susie back into reality. As they walk to the window and look out on the roof, Eessey tells how her brother once climbed out of the window on a winter's night. He crawled along the roof, finally slipping and fell- ing into a snowdrift. Against my better judgment, we attent- ed to relate this story with a subjective camera. The re- sult was, as was enacted by me, a total disaster. The camera shook badly as it moved across the roof, and the fall to the ground might just as well have been slow motion. This sequence was part of the series of retakes which I concluded necessary to this production. As it appears in the finished product, the camera objectively follows the path‘of the boy. A fall effect is created, though not literally, by a slow seem out while looking up from the ground. while not start- ling, the visual effect of these scenes is in keeping with 29 the mood of the story. Once again something on the light side is needed be- fore the last and most forceful story. Susie and Sessey dis- cover the old piano which still “almost“ plays. Sessey fin- ishes by singing the "l-Iarrison and Morton“ campaign song. Scene fifty-six is Sessey's last story. It is about Christnas and could not fail to touch the heart of Scrooge. The story is so simple, yet full of inset, that the camera work had to be simple also. The camera begins defocused and comes into register on a close-up of a flower on wallpaper. The camera seems to a medium shot of Susie seated on Sessey's lap. The shot is extremely stark as the camera remains on this same two-shot until the and of the story some two and one-half minutes later. (I must interject, as a cameraman, that to hold a single shot this long requires the utmost of restraint.) The story ends with a slow fade to black. In order to bring the audience abruptly back to the present, a direct cut is made from black to our twosome as they leave the house. Adding to this, immediately after the cut, Sessey announces, ”Let's go home and see what Mother has for dinner:“. The caera pens with them as they walk toward the gate directly into the setting sun. CHAPTER V JOURNAL So far I have mentioned briefly some of the factors which occurred in making this film. I would now like to set down in chronological order the major events concerning this production. 1 ORIOIEAI. IIEETIEG This was between Mr. Grow, Mr. house, and myself. Mr. Grow proposed the idea of doing something with, ”a little old lady and a hundred-year-old farmhouse. " his idea involved taking Dick Arnold, the star of the Mt series, to an old house to interview this elderly lady. It was decided after much discussion that in order to make this film an effective ”memory piece“, it would be necessary to break the format of m and eliminate the need for Dick Arnold. Ie determined that a child could better relate to the elderly lady and vice versa. It was also concluded that to make this film success- ful, it would be necessary .. put the kind of effort into it that bespeaks a full motion picture production rather than film segments for educational television shows. 30 31 2 PREP TORY KEETI we discussed the basic script approach to the subject. We listened to a two hour tape recording which Mr. Grow had made of our ninety-year-old woman. He had asked her to relate emeriems she had had as a child. The results were so mag- nificent as to be beyond our original hopes. As we listened to her stories, many visual ideas cans to our minds. Me de- cided on a long slow motion running sequence where the little girl would personify the grandmother. we felt it was neces- sary to film at least a couple of her stories in lip-sync at the old house. The rest of the film was slated to be a vis- ual look at various things in the house with the audio tape which we already had providing her reflections. At this meeting we also attempted to anticipate poss- ible production problems. we figured that it would take a minimum of two months to coqlete shooting and editing. Once again the necessity of taking our time in order to do a good job was emhasised. Among the possible problems we realised that cold weather was closing in on us. Already we knew that it would be necessary to provide some sort of heat in the house during shooting. We called our engineers in to help us. They determined that we could get enough electrical power to run both lights and heaters, if they were to be used, alternately. 32 3 THIRD PREPARATORY mum A final shooting scenario was presented by Mr. Grow. It was a codification of much that we had discussed in our second meeting. We made some changes, although they were minor, and added some new ideas most of which surrounded manner of shooting. A basic shooting schedule was set. It was estimated that it would take roughly a week to shoot. It was felt that as much of this film as possible should be shot with a steady camera. We agreed to make arrangements to borrow a fluid head for our tripod. Many minor logistic problems were discussed and solved. At this point we still had not made a decision as to who was to play the part of the young girl. Since the role was silent, the big factor in selection of the actress was appearance and ability to take direction. We were cegnisant of the iQortance of this ability to td:e direction as we had each worked with non-professional. actors before. One of Mr. house's daughters seemed to fit the role perfectly and we felt that her father could direct her more easily than if we were to use an “outsider”. 4 W we had hoped to ooulete all the exterior shots and the silent interiors on this day. As it was, we comleted only a little over half of the exteriors and we had worked 33 a very full day. It was decided after shooting that in the future we would have to take it easier as the weather was cold and we did not want to exhaust the grandmother, Eessey. As it was, this dear woman seemed to have more stamina than any of us but we were, nevertheless, worried about her age. 5 SEC DA OP SHOOT This day we planned on finishing the exteriors which we did with ease. 6 THIRD DAY 9! SHOOTIEE Here we were faced.with the complexity of setting up lights for the interiors. I did not want to have to come back a second day and duplicate the arrangements we had had to meke in order to procure power. I planned to shoot all the shots which involved bessey first and then release her to go home. we managed to stick to this schedule although it meant a long day for bessey and an even longer one for the crew. Again.we were fighting the cold. we had brought electric heaters which barely took the edge off the chill in the large rooms. we rigged an electric blanket to help keep Sessey warm when she was not on camera. 7 VI OP RUSHES AID PRELI DISCUBSI OT CUTTEIG ORDER we looked at a print of the uncut film in the sequence 34 in which it had been shot. we discussed the necessity of the three of us being present during the editing of the film. It was unanimously decided that I should cut the film the way I saw it and then we would all view it again. 8 VIEIIN OP THE ROWH CUT The more an editor views a film, the more he becomes aware of its little nuances. He begins to see things that other people never see, yet are aware of subconsciously: little things which disrupt pace and cause abruptness where it is not desired. At this point I viewed the film many times. I was also aware that this extreme viewing of a film is a double- edged sword: while gaining insight as to the extremely minute problems of the film, one may get too close to eppreciate the broader concepts involved. I showed the film to various members of the wMSb-TV staff. from them I was able to obtain first-iQression reactions which proved invaluable to the further editing of the film. Miss key Ingram and Mr. Robert Page were particularly helpful in this regard. because of them, the slow motion running sequences were later out almost in half. Their indications were that they had gotten very tired of the girl running. Miss Ingru's co-ents as to the order of the general exterior shots (scenes 4-ll) led to a rearranguent which built the pace and better related the house to beseey. 35 The film was then presented to Mr. Grow for his opinion he was very pleased with it but emressed a con- cern with the fact that it did not literally fit the concept of the m series of programs. he felt that it was nec- essary to relate the film more directly to farm life today. be suggested adding on to the film in its present state in order to achieve contrast between old and new. It was evi- dent that his fears regarding the incomleteness of the film were not new: it was simply the first time he had chosen to discuss them with anyone. Mr. bones and I were violently opposed to any change in the nature of the film. It was our belief that to do so would result in the destruction of the noodandtherebythemessege. Therewas adeedlockwhich dragged on for several weeks and was only to be resolved by coincidental events. 9 THE DROPPIN O? m HARVEST SERIES The Cooperative Extension Service decided to drop their series of agricultural program, putting the status of our film in a very tenuous position. 10 DECISIOw T0 PmSH TILw ST wMSb-TV W After several weeks delay, wms-rv obtained the per- mission necessary from the Cooperative Extension Service to use the film thus far shot. It was wMSb's decision to finish "I‘IIIUI 4 ‘i.“'flI-I"ulu‘lu1l - III] ‘ In“ I Ia'. all I! we . '4' . I “29.0 : ~i, Ch. I. 36 the film for use in their own programing schedule. It was at this time that I decided to change the program length from thirty minutes to twenty minutes. For some time it had been apparent that a thirty minute film would have meant stretching our material, but it had been necessary to fill a half-hour slot at that time. when wMSb-Tv decided to finish the film for their own use, it became possible to vary the program length. 11 P T RE-EDIT I coqletely re-edited the film, rearranging and deleting sections. This is where Mr. Page's and Miss Ingram's observations became important. Here is where I cut the running section in half. Until this point both lip-sync stories(scenes 35-39, 56) occurred together towards the end of the film followed only by the walk into the sunset (scene 63). In order to make the most exciting use of each, I decided to separate them. To provide a buffer after the last story, I concluded that a new segment was necessary. As the film's star, bessey, had passed away two weeks previous, additional material would have to be abstract in form. Since ‘we had a recording by bessey referring to the stillness of the house, it seened logical to conclude with shots of the eqty house. 3'7 12 RETAEES I filmed the interiors of the thy house which were needed in the close. I also reshot several exteriors of the old house which I used to replace scenes that had not been entirely satisfactory. These scenes had occurred in the opening of the film (scenes 4,8,9,ll) and had been signifi- cantly overeaoosed. I shot an entirely new sequence of film to go with one of the stories bessey had told. The story was about bessey's brother who had crawled out on the porch roof during the winter to see the maple sugar candy which was cooling below. The story climaxed with a fall off the edge of the roof into a snowdrift. I had shot the scene using a subjective camera. The camera moved out a window, along the porch roof, and re-enacted the fall to the ground. There were several things which I did not like about this shot: first, the cuera was very unsteady, more so than was desired of a camera subjectively taking the part of a crawl- ing person: second, the scene had been filmed during the day while the story took place at night: third, there was no snow on the ground: and finally, the camera fall to the ground was too slow and lacked shock value, particularly so, since the previous cruling scenes had been so unsteady. locate of the lack of realism, this subjective approach was a visual disaster. If we could have controlled the elements 38 and the unsteady camera, I feel certain that this would have been the best approach to have used. As this was not possi- ble, I decided to reshoot the story using an objective cam- era. Mere the camera slowly moved to trace the route of the boy. Since no atteqt was made to actually re-enact the incident, it was not necessary to duplicate the conditions under which this incident took place. 1: s son- Again the film was re-edited, deleting even more than the first re-edit. The running sequence was further shorten- ed. The piano and the squirrel room interiors (scenes 32-33, 46-55) were shortened in order to speed up the pace. The retakes were inserted into their respective places. 14 P EDIT Prior to this stage of production there was no sound to the film except for three sync scenes. These were se- qumces where the sound was actually recorded at the time of shooting. The majority of the film's sound consists of non- synchronous voice-over recollections by bessey. In addition there are sound effects and music. This first sound edit was strictly of the narration track. There was also some slight alteration made of the picture in order to better mate), the accomanying sound. 39 1 5 EC 8 EDI After extensive viewing of the picture and sound to- gether, it became epparent that certain narration changes would result in a much better product. here sentences were switched around in order to have more impact. A good exenn ple of this is bessey's line over scene seven, "why is it that everything has to grow old?". This line originally occurred over a shot of the old house. It seemed much more oppropriete to rearrange things so that it occurred over the extreme close-up of bessey's face. Another exaqle was the ‘ rearrangement of the stair-clinbing sequence so that bessey's line, 'I think there must be sore stops added at night', occurred over a close-up of bessey's feet climbing. In fact, the narration track demanded considerable editing in the stair-climbing sequence. There was, perhepa, four times as much narration as there was picture: yet, every idea in this track‘was important. It was, therefore, necessary to delete words and phrases without losing the ideas themselves. 16W The recording of most of the sound effects was attemp- ted at the time of shooting during off moments. Unfortunately, most of the recordings did not turn out as well as had been expected, making it necessary to create sound in the studio. Thee, portions of the film needing effects, such as tbs Pilflo and stair-climbing scenes, were made into continuous 1009' Ind 40 run on a projector in the studio. As they were run, the sound-effects nan recreated the sound to match the picture. The choice of music was one of the few comromises in the show, but one I felt I had to make. budget had not allowed for the use of original music, even of the simlest nature. The theme, “Try To Remember”, fit the mood that I wanted to create but was rather heavily orchestrated. It was necessary to adjust this track so that places where the music stood by itself would be the simplest in orchestration. The heavier passages were hidden behind narration and were carefully controlled in level. 17 V THE P CUT MASTER This viewing went smoothly. I was extr-ely happy with the film. I had only one reservation, and that was about the sound levels in the mix: during the heavily orchestrated sec- tions, I felt that the nusic should be lowered even further than originally anticipated. The sequence of running around the tree (scene 19-21) contained sound effects of Susie run- ning. I was unhappy with than and decided that no effects were actually needed. IOREHIE The changes were made in the effects track and the necessary sections were remixed. The music was held lower in level and the sound effects around the tree were deleted. The 41 final-cut film with new mix was viewed by Mr. Page and Miss Ingram and final approval was given to the film. The orig- inal camera negatives were matched to this final cut and were sent to the laboratory for final printing. CHAPTER VI recurrent. DATA: NUIPHEET AID PMEDURES from the beginning the objective was to achieve a pro- fessional product. This naturally entailed the use of full production methods in our shooting. Cesare-original film was not touched from the time it came back from the labora- tory until final approval was given to the edited work print. The film was shot on a negative film and positive work prints were pulled for editing purposes. Pinal printing was made 1 Quality of prints made directly free "A” and 'b' rolls is far superior 2 off “A” and “b" rolls of the cuera negative. to that of prints from dupe negs. ever be needed, the ”A" and 'b' rolls would hold up under Since few copies would the wear of printing. The majority of the film was to be voice-over, allow- ing it to be shot with a silent camera. Most of the shooting was done with an Arriflex Model S camera with matched Schneider 1This is siqu a system of printing directly from the camera original rather than utilising intermediate steps. 2llegatives which are made from the camera original and are used for quantity printing, thus protecting the original. 42 43 lenses. Two exceptions to this were the slow motion and the sync-sound sequences (see pages 8-11, 13-16, 20-22). because of the desire to shoot the slow action sequences at 64 frames- per-second rather than the 4S frames-per-second available on the Arriflex, a bell and Howell Model 70 on was eqloyed. Matched Angenieux lenses were used. The two sync-sound scenes were shot with an Auricon Pro-600 camera with a 12-420- Angenieux soon lens. Sound was recorded in two ways: the sync sequences were recorded on 16— magnetic recording film with a Magnasync recorder: the voice-over co-ents and the effects were done on an Amen 601 and later transferred to 16- megnetic film. The sound editing was likewise done on 16- "mag-track". The final mix was made from 16- nultiple treats to a Magra III, and back again to 16- on a Magnasync recorder. In order to preserve the quality of the sound the track was never added to the film. The film was transferred to video th for eventual use on the air. when it was transferred, the film was interlocked with the 16- naster track, thus achieving maximum frequency response. All of the exterior scenes were shot on Medak IT neg- ative film. This is a very slow film, ASA 2S, and it has a very fine grain structure. The low sensitivity of this emul- sion made it possible to use lower f-stops than normal with most black and white film stocks. This meant that the camera- man ceuld control depth-of-field rather than having to have everything in focus. because of the lack of adequate power on location, the interiors were shot on Double-x negative, ASA 250. The house was old, abandoned, and we had only one 25 am. circuit, bare- ly enough to power our three sun gun quarts lights. I there- fore had only about 3000 watts to light a big, dark old house. Camera mounting varied. Exteriors of the house called for a steady camera with smooth panning action. An mes fluid head provided the firmness needed. The slow-notion sequence was much less denanding. Since I was after the free flowing of a girl running, I felt it appropriate to ‘shoot all of this hand-held since it was at 64 frames-per-second. Any camera movement would be spread out over a much greater distance, producing a desirable floating effect. In fact, one se- quence, not used in the final film, was shot from the tail- gate of a station wagon driving across a buqy field. The effect was very pleasing: the sequence was finally elimin- ated, however, because it was too long and dragged down the pace of the film. Interiors sometimes demanded a tripod: other times they did not. Many scenes were hand-held when there was a fair amount of action covering a large percentage of the screen. Here camera movement would go unnoticed. Several shots required that the camera move with the talent. Here it was possible to walk with a hand-held snare and a wide Incl- 1m and obtain I wry accept-b1. result. Static shots, 45 on the other hand, were shot from a quick-set tripod. One special technique is worth mentioning here be- cause of its rather coqlex nature. One scene involved materialising the two characters into a previously epty room in a dream sequence (see pages 14-16). Optical effects and matt printing were well out of the realm of our budget, so we decided to do the effect as siply as possible and hope for the best. I locked the canera into a permanent position, shooting into a room against a window. After shooting a few feet with the room qty, I seated my two principals in front of the window area in a rocking chair. At the sun time I added a Vaselined filter to the front of the lens and proceeded shooting. In the final sequence I dissolve from one take to the next, causing the fogging up of the roon and wpeerance of the characters. This was coqlicated by the fact that after this transition the camera began a slow soon in on the subjects. The Vaseline effect had to last for several changes in camera angle and focal length. If an object is opaqued or clouded in front of a neon lens, it may give a misty Qpearance when the lens is wide but totally obliterate the shot when the lens is seemed in. Therefore, it is necessary to only lightly fringe the edges of a filter gel to achieve a constant effect. This we did through trial and error. Perhqs the most difficult technical problem to over- come in the making of this picture was the limitation of 46 lighting equipment. As already mentioned, I was limited to the use of three 1000 watt quarts lights. Virtually all of the cover shots had to be made without any motivational light- ing. All three lights had to be bounced off of the ceiling in order to provide enough fill light to register the scene. As I moved in for medium shots and close-ups, I was able to free one of the lights for use as a slightly more directional key light. wherever possible I tried to make use of avail- able light from the outside. Since our characters were visi- ting an old, abandoned house, the ovsrintensity of the light streaming through the windows suited my purposes quite well. The stairway scenes were the most difficult to light. There was nothing to bounce the light off in order to get a general fill: direct lighting with three lights would have caused unnetivatsd multiple shadows. Also, the sunlight never reached the proper angle to shine through the windows above the stairs. In desperation I placed two of my three lights on the porch roof outside the windows at the top of the stairs. They simulated the sun shining in. The other light I bounced as best I could for fill. Master shots of the stairway were all looking up. This solution proved to be quite workable with visually pleasing results. CHAPTER VII COKLUSIWS Although I have had many opportunities as a student to work in various areas of motion picture production, I had never had the opportunity to work on a film such as this one. I am fortunate to have been employed by wMSb-TV as a member of their film department. but with this vast opportunity to learn skills and techniques have come several drewbacks. we, like many local television film units, have been so caught-up with the business of producing small segments for larger shows that we forget what it is like to produce a film which will stand on its own. This feature, while only twenty minutes long, has given me the opportunity to think of my product as a whole. It was not something without a beginning or and which fit into someone slss's idea. This has been a unique experience for another reason: this is the first show that I have worked on where it has been feasible from an economic or time stanQoint to plan in ad- vance, go back for retakes, or go past a first edit. I was also allotted, because of circumstances, more control over thsproductthanIhavsbeenaccustomedtohaving. Thishas been a fitting conclusion to my Master's work. I hope that 47 48 it will also be of use to others. In the final analysis any film must be judged by its ability to conunicate its intended message. Since the mes- sage of this film must be rated high on the emotional scale, it becomes extremely difficult to measure in concrete terms. how is it possible to measure emotion without wiring an audi- ence with highly sensitive organic measuring devices? Sven a sophisticated communications survey utilising a tool such as the Semantic Differential must fall short when dealing with the generalities presented in this film. Short of this we are forced to rely on a siqls, “I liked it“, or, “I didn't like it“, statement. Presenting this film to a small number of professional television people, and in some cases their spouses, the consensus was an overwhelming, ”I liked it“. To this I can add only one personal note, 'I also like it“. SELECTED bIbLIOGRAPHY brodbeck Emil E. handbook of basic Motion-chture Tech- nigfi . New or : raw- mpany, nc., buchanan, Andrew. Pile-Meking Prom Scrigt to 825332. London: Phee x House L t , . Clark, Charles G. Professional Cinematfigggpg¥. Hollywood: American Society of C nematograp are, 964. Offsnhauser, w. H. 16MM. Sound Motion Pictures. Mew York: Interscisnce ca one, . Esisr, Marsl. The Technique of film Editing. London: Pocal Press, . Spottiswoode, Raymond. Pilm Its . berkeley: University of Cal 0 a rsss, . 49. ‘lHIHlHIU'\IIHIIHHH||WNWHIHIIHIHIHIHHIM