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1198 mm“

FOUR OUT OF SEVEN
CREATING THE EXPERIENCE OF THE UNKNOWN

A Production Thesis

By

Rico L. Beard

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirement
for the degree of

MASTERS OF ARTS

Department of Telecommunication

1998

ABSTRACT

FOUR OUT OF SEVEN
CREATING THE EXPERIENCE OF THE UNKNOWN

By

Rico L. Beard

This thesis looks into the methods used to create the experience of the
unknown within the science fiction genre. The process starts by placing the viewer
in. a familiar situation, then causes them to experience a paradigm shift moving the
unknown within the science fiction genre. It places the viewer into realm of the
unknown. The production aesthetic used in this thesis were:

1. writing

2. monochrome color

3. use of on-screen and off-screen space
4. blocking

5. canted camera angles

Though the creation of the unknown is not limited to those five items, they are key

elements within the thesis.

Copyright by
RICO L. BEARD
1998

ACKNOWLEDGMENTS

This thesis would not be possible without the assistance of many people. First of all
I would like to thank God for the abilities bestowed upon me. I would also like to
thank my parents Earvin and Dorothy Beard, Dr. Gretchen Barbatis, Dr. Gilbert
Williams, and Dr. Larry Redd for all your support. I would also like to thank all of
my friends (Renee, Charisse, Cyndy, Charles, Shannon, Tim and Heather) for

helping me piece this together.

iv

TABLE OF CONTENTS

LIST OF FIGURES .............................................................................. vi
INTRODUCTIONS ................................................................................ 1
CHAPTER ONE - REVIEW OF LITERATURE ............................................ 3
CHAPTER TWO - METHOD ................................................................... 9
Aesthetic Structure ........................................................................ 11
Sound ........................................................................................ 12
Evaluation ................................................................................... 13
CHAPTER THREE — RESULTS (PART ONE) ............................................. l4
Scriptwriting ................................................................................ 14
Casting ................................................................................... ....18
Production .................................................................................. 18
Post-production ............................................................................ 20
Part 11- Evaluation ........................................................................ 21
Demographics ................. 21
Responses ................................................................................... 22
CHAPTER FOUR — DISCUSSION ........................................................... 28
Conclusion ................................................................................. 31
BIBLIOGRAPHY ................................................................................. 33
APPENDIX A - QUESTIONNAIRE ........................................................... 34
APPENDIX B - RELEASE FORM ........................................................... 35
APPENDIX C — SCRIPT OF FOUR OUT OF SEVEN ................................... 36

V

LIST OF FIGURES

Figure l-Science Fiction ......................................................................... 23
Figure 2-Creating The Sense Of The Unfamiliar ........................................ ..24
Figure 3-Strategy/Create Paradigm Shift .................................................... 24
Figure 4a-Theme .................................................................................. 25
Figure 4b—Aesthetics .............................................................................. 26
Figure 4c-Structure/Allegory ................................................................... 27

vi

Four Out of Seven
Creating the Experience of the Unknown
By
Rico Beard

Introduction

Creating the experience of the unknown," is what science fiction programs
attempt to do. This is achieved through suspending reality, as we know it and
simply asking the question “what if”? Carl Freedman in Style, Fiction, Science
Figtjgn; The Case of Philip Dick (1992, pg.4), says science fiction is based on a ratio
of 80/20 where the 80 represents every day real life and the 20 touches on subjects
that are improbable or expand the horizons of the mind.

In this thesis, I will demonstrate the formulas and patterns that are used to
create science fiction programming that has become successful. As the thesis
illustrates, there is not just one way to create a successful science fiction program; it
shows a variety of ways to make one program a success. A good analogy would be
to think of creating science fiction as you would a recipe for chili. There are many
forms of chili from mild to red-hot and from meatless to turkey. It depends on the
chef’ s taste and what the person is trying to accomplish. Similar with science
fiction; there are a few key elements necessary to make the program successful, but
after that it is up to the creator to orchestrate the experience he wants his desired

audience to have.

The research chapter of the thesis addresses the key concepts that many
programs have in common. It also illustrates the importance and functions of each
concept, including why the story must have something to which an audience can
relate. This section also contains analysis of existing science fiction programs and
how they incorporate these concepts within their stories.

The methods' chapter of the thesis demonstrates how I incorporate the
concepts and ideas discussed in the research chapter and in the design of my
program. Every aspect of the program is carefully examined to show why each step
is made and to point out its significance to the overall project. This includes the
initial idea, the writing of the script where many of the concepts are present, the
production of the program, and the work of the post-production.

The results' chapter of the thesis describes the finished creative piece Fey
On; ef Seven, as well as an evaluation by industry professionals.

The discussion chapter of the thesis reflects on the creative design of Four egg

ef Seven in terms of the research question.

Chapter One
Review of Literature

The goal the creator of science fiction is to create a text through which the
participant will question the ordinary and begin to explore the unknown to him.
This is important because without exploring the unknown, participants will not be
able to experience a reality outside of the norms in which they live. Learning
leg: (1974) written by psychologist James McConnell expresses that when a
creator establishes a story with characters a participant can relate to, the past
experiences of the participants can be used to construct the desire experience. This
function is vital in science fiction writings because it allows the readers/viewers to
enter into a world similar to their own to establish a comfort level and only then can
an unknown variable be introduced successfully.

Science fiction goes beyond the superficial and dares you to think thoughts
you never thought before. As Isaac Asimov points out in §cienee Ficeien end the
Ft_u_L_re (1953, pg. 157), it does not limit itself to the real, but imaginatively explores
all possibilities that can be conceived. It invites you to leave behind everything you
know to be factual or true and experience a different perspective of the world. In
this created world nothing is assumed or taken for granted, for in this world
anything is possible. There is no right or wrong, because who is to say what is right
and what is wrong when everything is possible.

Clarence Williams said in the movie Telee for Hoog, “sometimes reality is

just a matter of perception.” I feel this quote epitomizes the science fiction genre.
By simply asking one question, science fiction views normal situations from a new
perspective. That question is “what it”. By asking “what if,” the text allows us to
crossover and begins explore things that are unknown to us. Science fiction
attempts to create the experience of experiencing the unknown because everyday life
is filled with unexplainable situations and unanswerable questions. For example, is
there such a thing as ghost? Are there other forms of life besides life of the earth?
Did dinosaurs really exist and if they did, what made them extinct? Is there life
after death? Can animals communicate with humans? Science fiction takes those
questions such as this and develops them into interesting story lines.

The motion picture Jurassic Park addressed the issue of dinosaurs and the
existence of them with humans. Television shows such as $th Tee-k, The Next
Querafien, mm and Star Trek-Voyeger focus on what life would be
like in the future. These television programs show ordinary people traveling in
space, exploring new territories and interacting with new and different life forms.
Yet, while they are exploring new worlds, they still face many of the same problems
we face today...interpersonal relationships, racism, greed. This is a key tool in the
construction made by successful creators.

The creator must create the experience of the unknown by placing some
familiarity for the desired audience in the construction. David Brin in Waging fler
gith Reality (1992) argues that a simply constructed story based solely on aspects

and nuances of science fiction will cause a show to fail. A vital element for successful

science fiction is to have characters with human traits whether they are made of
flesh and blood or not. The creator does not want to make characters that are
totally invincible. Think of Superman: the man of steel who posses’ supernatural
power has vulnerabilities that he must overcome. Besides refraining from the
obvious krytonite, which instantly neutralizes his powers, he must deal with the fact
that having his super powers came at the ultimate price. Because his world was
destroyed and he was the only survivor, he may never actually see his parents or live
in the original world where he was born.

The television program Mensteg had a short life because it focused more on
the monsters and less on the people combating these monsters. In contrast,
programs that are based more on “reality” have more success. Programs such as
Star Trek-Next Genetetjen, jtyilight Que, Qeter Limit; (both old and new) and
HBO’s Tug fmm the Cunt followed this formula and became successful. These
programs begin the story in “reality” with characters that appear to be no different
than you or L One can identify with them regardless of whether it’s comradely,
hate, or envy. You feel this way because they are facing the same problems and
limitations of everyday life. Brin shows an example of this as the android Lt.
Commander Data, of Sgr Teek- finegtien. Data is little more than Pinocchio
updated to the twenty-fourth century. Like Gepetto’s wooden son, he longs to learn
all those indefinable human traits like happiness and depression, for which he’d
gladly trade all of his impressive powers.

Once we are immersed in the process of familiarity, the construction changes

causing a paradigm shift. At this point the participant leaves the eighty percent of
the show that represents “real life” and travels to the twenty percent that deals with
subjects that expand the horizons of the mind. As Carl Freedman writes in Style,
Fietien, gut! Seience Fietien; The Que ef Philin 5 Diek (1992), successful programs
follow this formula. A typical Twilight Zone program shows an example of this.
With the rumor of a large-scale war eminent, two families decide their only recourse
for survival is to jump on a private plane and flee to better place. The two men keep
their plans secret from their families until the day of the departure. The two men
bribe security guards in order to gain access to the plane. Everything was set until
one of their co-workers overheard their plans and decided he is going to steal the
plane from the families and fly to safety. His plan was thwarted when the daughter
of one of families knocked the gun away from their would be attacker. The families
quickly ran to the plane and board. It is here where the paradigm shifts begins. We
find out that the plane is a space ship and the families are headed to a small planet
called Earth. As the story begins, we assumed the characters were on Earth since
they appeared to be human. We begin to identify with the families and cheer them
onto safety because they could easily be our family or our next door neighbors. It is
only at the very end that we realize the two families are beings from another planet.
We are drawn in to believe that they are flying to another country only to see that
they are about to embark on travel to a different galaxy.

Another step in constructing a desired viewer’s experience in the world of

science fiction is to create and illustrate with more than one interpretation of its

meaning. Using our previous W example we see that the initial story
line is two families fleeing to better surroundings. Ifwe take a deeper look we see a
story dealing with theft and envy. Also, there is a story about how people coming
together can overcome adversary. L. Sprague DeCamp in W
thg’ e Imegt’netien (1953) best explains the reason for multiple interpretations.
He says, “Before a thinker can conjure up associations he has to have associations to
conjure up- a storehouse of memories which he could use as a source for his
combinations (pg. 17).” This is essential because it shows that once the unknown is
known the meaning is still ambiguous.

Many successful science fiction programs have another important
characteristic. The programs “hail” their audience at the very beginning of the
show. It constructs the subject position both visually and with audio. Visually, the
bail starts a “conversation” with science fiction viewers by showing them a non-
traditional opening. The opening could consist of a variety of shots such as shots of
outer space or other improbable occurrences such as a hand growing from a tree or
a puppet talking to us. Such an opening prepares viewers to open their minds and
expand their parameters. Vocally the host or narrator lets you know that you are
headed on a journey where the destination is unknown. The 151mm Zane, flute;
mtg, Alfreg Hitcheeek Presents, Star Trek series, Telg from the gap , and Night
glen all followed this process and successfully aired for many seasons.

The theories that are best suited for the construction of my science fiction

program is Wolfgang Iser’s (Iser, 1993) gap theory and Herbert Zettl’s (Zettl, 1990)

use of aesthetics. Gap Theory explains science fiction structure perfectly. First of
all Iser says that an effective way of constructing text is to start off with something
with which your audience is familiar with and then gradually moves them into
unknown territory. Secondly, Gap Theory constructs a text of information, both
given and hidden, through the use of blanks and negations. The blanks build the
story in one direction. Blanks are equivalent to the word “and”. An example of this
would be “ I went to the store and bought some bread and then I went home.”
Negations are used to change the story lines and are considered to be like the word
“but”. In reference to the early example “...and then I went home but I ran out of
gas on the way home.” The story has now changed its focus of a trip to the store to
a car running out of gas. It is critical for science fiction that it leads you in one

direction only to shift and move you into a different direction.

Chapter Two

Method

team

When constructing my project Four Oet of Seven, gap theory was used to
create the desired experience for my audience. The story takes place in a pool hall,
which looks like any other which could be found in any neighborhood. Inside the
hall we see it is closing time and the only people still there are the manager,
custodian, and the two regulars. The two regulars begin to argue over who is the
better player. During the argument we find out that one of the men is in a rocky
marriage and the other is single and somewhat lonely. We also discover the two
men are heavy compulsive gamblers. The story continues on with scenes of
connecting blanks (“and”). It appears that the story will be about the two pool
players.

Our first negation then occurs. The manager appears to be tired of hearing
the argument about who is the better pool player so he volunteers to put up ten
thousand dollars if they will play eight eight-ball to see who’s better. The two
consent to the agreement and sign a contract. The focus of the story now shifts from
the players to the game of eight-ball where the winner receives ten thousand dollars.

The story continues in a new direction until we arrive at another negation,
which causes a high paradigm shift. The two gentlemen find out that their game is
based on even higher stakes then the ten thousand they agreed upon. With this

9

negation, the unknown is starting to be revealed. We find out that the manager is
an agent for the Devil and that the loser of the game must relinquish his soul to the
devil. The story is now treading in the territory the unfamiliar. We have creatively
been drawn into the world of science fiction.

The next negation occurs when the two gentlemen, with the help of the
custodian figured out a way to beat the devil. The story leads us to the point where
the audience should feel relieved because it appears that neither of the two men will
lose his soul. Yet, the story shifts again because of another negation. The two pool
players find out that they were set up and even though they didn’t lose: the
manager and custodian were damned to spend the rest of their lives in the pool hall
because they had consented to the same deal earlier in their lives and they never
finished their game either. They were told their only recourse would be to find two
people to take their place. The audience should know realize the actual battle
placed the two players against the manager and custodian. The unknown has been
revealed.

Using gap theory, a text was structured to construct the world of science
fiction. Blanks and negations were used to gradually guide the viewer through an
experience. Zettl’s media aesthetics were also used to guide the viewer in creating

an experience of experiencing the unknown.

10

Agthetie Structure

Aesthetically several steps are used to visually construct the unknown within
the text. First, the text is constructed in black and white. This is vagueness. For
example, one often hears people talk about a “gray area” of a particular subject,
which means those areas are not clearly defined. Since science fiction deals with
areas that are not clearly defined, it appears appropriate that the media text be in
monochrome causing everything to be cast in shades of gray. The other reason for
using monochrome was to cause the viewer to focus on the internals of the story,
rather than on the external environment (Zettl, 1990) p. 79

Another aesthetic step taken was to focus only on the two pool players until
the paradigm shift begins. This is done by purposefully excluding the custodian and
manager from the camera so that the viewer only sees the two players. The viewer
sees the two players talking and arguing in a combination of single shot, two shots,
and over the shoulder shots. These force viewers to focus on the two players because
they only see the manager and custodian briefly until the bet is made.

The use of limited space and representation were very important. The
majority of the media text takes places at the cashier’s table, which represents a
pool table. The characters interact with each other within that space which is
similar to pool balls interacting on a table. The custodian represents wisdom and

becomes the catalyst to the action; he can be seen as the white cue ball. The two

11

pool players are manipulated throughout the entire text so, needless to say, they
represent the stripes and the solid balls. The manager, appearing to be evil and
stationary until the end of the story, represents the eight-ball. The manager and the
custodian walk out the door and, as with the eight-ball, if sunk along with the cue
ball, the game is over. Whoever caused it looses.

Through the use of Iser’s gap theory and Zettl’s media aesthetics, I have

constructed a media text that creates the experience of the unknown.

Segue

There were different elements to the use of sound that can be focused on in
Four Out of Seven. The first aspect is the use of off-camera narration. The off-
camera narration was a means to supply the viewer with additional information.
(Zettl 1990, p. 342) Off-camera narration simply means that the viewer only bears
and does not see the narrator. The narrator was used to set and describe the scene
at the beginning of the program. Conversely, his words were used to bring closure to
the story.

Sound was also used to establish off-screen space. An excellent example of
this technique was in the montage of Dave and Mo playing pool against each other.
In the montage, the viewer only sees a medium close-up of the two men and not the
game on the pool table. The game is referred to by the sound of the balls falling into

the pockets. This leaves the audience to assume that the two men are playing a

12

game of pool.

Music was another element of sound used in Four Out of Seven. According
to Zettl in Sight, Sound and Motion, music is one of the most direct ways of
establishing a certain mood. Ominous music is played throughout Four Out of
Seven. This type of music was selected to enhance the viewer’s sense of danger and

darkness. The volume of the music steadily increases with the suspense in the

program.

MIME

The method chosen to evaluate this creative piece was a panel
discussion. This was the best method because it made it possible top collect more
complex information, qualify answers and generally obtain results with a greater
“depth”. Nick Moore in How To Do Research reiterates this point when he states
that the main advantage of a panel discussion is that it provides an opportunity for

matters to be discussed in depth.

13

Chapter Three
Results

Part 1: Producing Four Out of Seven

ri ri in

I would start this off by saying the most difficult stage in creating a science
fiction drama is the initial idea, but as you will soon see, every stage in creating
science fiction is difficult. I will say this: it took me two months just to come up
with the initial idea and storyline. Coming up with an original story is nonexistent
just as there is no such thing as an original song. The trick is to come up with a
different variation of an existing story.

Originally, my script was going to entail two pool hustlers who make a deal
with the devil himself. The two would be locked into the contract with no way out
until the janitor, who happens to be an angel saves them from eternal damnation.
The reason why a religious theme was chosen is because it has always been and will
remain mysterious. Ifyou think about it, the Bible could be interpreted as being full
of science fiction stories. For example, there is the story of a talking serpent in the
Garden of Eden, of Moses holding back the waters of the Red Sea, and of Jesus
feeding over 5000 people with two loves of bread and five fish. I feel the miracles
and events that took place in the Bible are accepted by most but with the

understanding that those types of things can’t happen today. The problem with

14

that way of thinking is that nowhere in the Bible did it say that miracles and strange
events would cease to exist. On the other hand, if I were to say that I can cause the
sun to stop shining for three days, people would call me crazy much like the
Egyptians did of Moses. I say all of this to point out the fact that I believe religion is
the epitome of science fiction because it deals with the known and the unknown.
Consequently if many accept the stories in the Bible to be true, then why not accept
science fiction as another outlet for the truth.

As the script began to progress, one fact was becoming evident. The
equipment at my disposal was not adequate to perform the tasks that my mind
envisioned. I wanted Gabby, the angel, to just disappear after he saved the two
hustlers, but it could not be done effectively and yet be aesthetically pleasing. This
caused me to rewrite the story by coming at it from a different angle.

Instead of having the actual devil and an angel in the story, why not have
Lou and Gabby be represented by actual people who somehow got tangled into a
never-ending game of pool? Since the game never ends, no one loses a soul to the
devil, though they do suffer consequences. The two are damned to live out the rest
of their lives in the pool hall. Their only recourse is either finish the game or finds
someone else to take their place, this they do with the two pool hustlers.

Once I figured out the ending, I then constructed the story in reverse order.
This was done so that each step would be logical, concise (since it is a short story),
and believable. I know where I wanted to start and where I wanted the story to end

and going in the reverse order allowed me to stay true to my revamped story and

15

not to stray.

After the story line was completed, it now came time to construct the script.
In following the patterns of successful science fiction shows, I knew the style of
writing was critical in producing effective science fiction. The script was
constructed with multi-tier level of depth allowing readers/viewers to get as much
out of it as they wanted. On the surface the screenplay is a lesson on where greed
and male ego can lead. Two self-centered, trash-talking pool hustlers who rush into
a situation without considering the repercussions characterize this. There is also
ageism and classism at work. Mo and Dave, the two hustlers, were more respectful
of Lou, the proprietor of the pool ball. This is because they view Lou as their peer.
Conversely, they were less respectful of Gabby because they view him as a janitor
who was beneath them, even though he is the voice of reason and wisdom.

On a deeper level you find out that there is a game going on within a game.
The game of eight-ball that Mo and Dave are playing is really secondary. The
primary game is the battle, which teams Lou and Gabby against Mo and Dave
where the losers lose their souls. Lou and Gabby realize the only way they can leave
the pool hall is to find two replacements. Lou seizes the opportunity by enticing Mo
and Dave into the deadly agreement. At first, Gabby is reluctant in recruiting the
two. As the story progresses, he realizes that the inevitable, that the two men will
foolishly take the bet, so he decides to play along to make sure the two do not finish
their game.

The character names also play a key part in reflecting their personalities.

16

Lou is an authority figure who is deceptive and manipulative. He is similar to the
devil whose real name is Lucifer. Gabby is a wise but meek man who is always
looking out for your best interest. He is based on the arch-angel Gabriel. Mo and
Dave are excellent pool players but are flawed with sins of arrogance and greed.
They are similar to Moses and David in the Bible who are great men but had to pay
a great price for their flaws.

The entire script took close to two months to write. The most difficult period
was a three-week stretch where I had trouble making the transition from the build-
up to the climax. The question was how I could get Mo and Dave, the pool hustlers,
to trade places with Lou and Gabby. After three weeks and a vacation in Atlanta,
the answer came to me. Mo and Dave would each win three games. Subsequently
during this time Lou and Gabby would drop hints using the word “tie”. Also
during this time Lou would reveal what happens to the loser.

The next step was finding a suitable location. The biggest concerns here were
time, money (or the lack thereof), and the pool room layout. Several pool and
billiards establishments were checked out, but the MSU Union adequately fulfilled
my standard and became the least of all evils. The major problem with the Union’s
Billiard Room was that it had too many pool tables. I had to confine the room to
appear to have only a few tables, which I was able to do and by doing this, a great
idea came to surface. Instead of showing the entire room, I would usually show only
the pool table, the counter where Lou was sitting and just the space between the two

objects. Metaphysically speaking that entire area would represent the confined area

17

of a real life pool table. This also means the characters now became real life pool
balls. Mo and Dave represent the solid and striped balls because those are the ones
that get manipulated. Gabby represents the cue ball for two reasons. The color of
the cue ball is white which usually means good and throughout the story it appears
that Gabby is the one who is trying to prevent the men from falling in the trap. The
second reason is, because the action does not really start until Gabby walks into
picture then the story line starts to develop. This is similar to the way a cue ball is
used to break at the beginning of a pool game.

Lou represents the eight-ball. The eight-ball is usually stationary until the
end of the game when a player shoots on it. Consequently, Lou stayed behind the
counter until the end of the game. Once the eight-ball is removed from the table the
game is over and when Lou walks out of the room with Gabby, the game is over.

Mo and Dave are the losers.

MI:

The next step in this process was the casting of characters. Through the help
of a telecommunication graduate student Hal Widlansky, I was able to secure
theater department graduate students to act in Four out of Seven. One July 16,

1995 auditions were held and by the end of the day, the cast was set.

Peedeetien

The production shoot took place on November 12,1995 at the MSU Union’s

18

The Cue. The crew consisted of a videographer, a steady-cam operator and his
assistant, a boom mic operator, a production assistant and of course, me the
director. The equipment used to create this science fiction illusion consisted of two
S-VHS cameras, a boom mic, a lighting kit, and a monitor.

Lighting the set was a difl'icult task because I knew the final product would
be in monochrome. The challenge came in constructing shadows to set the
appropriate mood. In the beginning of the sketch everyone was well lit. Later,
during the signing of the contract, Lou becomes darker. This is done with the use of
a blue gel. The change in lighting adds to the negation of the story.

The blocking for this story had to be carefully constructed. I wanted
to use character movement to cause shifts and changes (negations) in the story. As
stated in the previous chapter, the four characters represented different pool balls.
Gabby’s blocking was the most calculated of the four. He represented the cue ball
and therefore was the catalyst for all the action. The overall key was to play a pool
game with people instead of balls. When the idea to have a bet is brought up, Lou,
Mo, and Dave are in a triangular position similar to the triangular positioning of the
balls before the break. The three are stationary discussing the parameters of the
wager when Gabby passes through with a stick (broom) in his hand. The game has
now begun.

Another technique used during the production was the use of close-ups. The
close-up, when effectively used, draws the audience into the world of character. It

forces you to get up close and personal (each character has one close-up at key

19

moment within the program). Lou has the first close-up and within that brief
period, it is revealed that Lou is representative of the devil. Gabby has the second
close-up. His close-up was also significant because he becomes the conscience of the
two pool players. This is done by him asking the question, “Could you really live
with yourself knowing that you condemned a mans soul to hell?” This one line,
though it is addressed to Dave, gets both players to wondering what have they
gotten themselves into.

The next close up is of Dave. During this time, he realizes that he may never
see his wife again. Early in the program it was suggested that he and his wife were
having some problems. He now knows that those problems pale in comparison to
losing one’s soul.

The last close up is of Mo. It is during this close-up that the entire story
comes to light. Mo begins to tell Dave and Lou that is okay not to finish the game.
The only consequence of that action is that the two pool players cannot leave the
pool hall until they find two people to replace them. As this monologue is going, the
close-up changes to a two shot of Mo and Gabby and then to a wide shot of Mo and

Gabby leaving while Dave and Lou watch.

Peet—Productien

The first task accomplished in postproduction was changing all the footage to
black and white. The first reason this was done was to eliminate any distractions

and force the attention of the audience on the story. What are meant by

20

distractions would be the pool room set, the characters clothing, and especially the
color of the pool balls. The monochrome pool balls are important because, the real
game was not played on the table but between the four men.

In addition, this relates to Zettl’s definition of the color of gray. Gray
represents the unknown, so by having my creative piece in black and white instead
.of color I created a work masked in shades of gray. It is in my opinion the gray

represents science fiction since science explores the unknown.

Part H: Eveleetion

Four people, who are professionals within the video production industry,
were selected for the panel discussion. Each received a questionnaire and a video
tape of Feur Out of Seven. The panel members were asked to watch the tape

privately and not to discuss it with anyone.

Demographics

The first panel member is a producer and director of corporate videos. He
is a white male between the ages of thirty and thirty-nine. The second panel
member is a producer and on-air talent of corporate videos. He is a black male
between the ages of forty and forty-nine. The third member of the panel is a
television news producer. She is an Asian-American female between the ages of
twenty and twenty-nine. The fourth panel member is a station manager of a

television station. He is a white male between the ages of thirty and thirty-nine.

21

R ons

The panel’s responses were dissected to see if they interpreted the program as
science fiction. Moreover, did the program create the experience of the unknown
through various maneuvers? Four people were asked to view the program and then
answer a series of questions in regards to what they just viewed. The questionnaire

consisted of the following nine questions.

Are you a science fiction fan?

Do you feel this program fits into the science fiction genre?
What was the program about?

Did you find it interesting? Why or why not?

At what point did you realize that the story was not about pool?
Does the story seem believable or possible?

Which character stood out the most and why?

Which technical aspect did you like the most and least?

Did you notice the music? Did you like it or was it distracting?

Their answers were tabulated into four categories to test the effectiveness of the
different strategies used to create the unknown?
The goal of figure 1 was to establish whether or not F r f v n was

perceived as science fiction. According to the American Heritage Dictionary,

22

science fiction is defined as”...a work of fiction based on prediction of futuristic,
fantasy or scientific possibilities. The responses given by the four panel members
varied. Three believed the work fit the science fiction genre. They used words such
as “weird, supernatural, Twilight Zone, and particular arena” to describe it. The
fourth disagreed and said that it was not scientific in its content. Instead he said it
was more like fantasy or what if, which still fits the science fiction definition. So
even though he felt it was not science fiction, his comments showed that the

program was unanimously recognized as science fiction.

 

Figure 1. :Science Fiction

 

 

yes/effective no/not effective
“=3 “:1
weird fantasy
supernatural what if type program
“Twilight Zone” not scientific
particular arena

 

The second question addressed whether or not W created a
sense of the unfamiliar. As shown in Figure 2, the panel’s responses showed that
they felt the program was effective in creating a sense of the unfamiliar. They used
words phrases such as “weird, supernatural, underlying story, and fantasy" in their
evaluation of the program. These words give the meaning that they did not feel as if

the program was ordinary or familiar.

23

 

Figure 2. :Creating the sense of the
unfamiliar

 

effective not effective
n=4

 

underlying story
supernatural
fantasy

weird

 

 

The focus of the third question was to determine if the strategy of the
program effectively created a paradigm shift from the familiar to the unfamiliar or
unknown. Panel participants described different aspects of the program by saying
things such as “...two players who got tricked into betting their souls”. Another
states how on the surface they understood the program but then realized there was
an underlying story. This same person describes how he was waiting for a twist.
These descriptions show the effectiveness of the program’s strategy. But not
everyone felt the program’s strategy worked. One of the panel members called the

program “predictable.” (see Figure 3)

 

Figure 3. :Strategy- create paradigm shift

 

effective not effective
n=4 n=l

 

tricked predictable
twist

on the surface
believable
trapped

 

 

24

Figure 4 was broken into three sections. Section A was used to evaluate the
effectiveness of the theme of the program. The responses from the questionnaire
showed that the program’s theme was very clear. Each person had very similar
remarks in describing Feer eet ef Seven’e theme. They used words such as “soul
selling, two competitive egocentric pool players who were tricked into betting their

souls, aggressive spirit of competition and two men who signed away their souls.”

 

Figure 4. :Techniques
Section A- Theme

 

effective not effective
n=4

 

soul selling

two friends realizing what they mean to
each other

two contestants

one would lose the most

two competitive, egocentric pool players
betting their souls

aggressive spirit of competition

sign away their souls

 

 

Section B of figure 4 focused on the aesthetic content of the program. The
panel members were asked to react to the different aesthetical aspects of the show
that they liked disliked. The comments went both ways on this subject, something
was found to be effective and some were not effective. Unfortunately it was hard to

decipher because in this section because there answers were based on opinion,

25

meaning what some liked was the same thing others disliked. Three of the panel
expressed the composition; framing, perspective, and editing were well done. The
fourth did not like the framing and composition. Two members enjoyed the music

and the other two didn’t.

 

F4. Section B- Aesthetics

 

 

 

effective not effective
n=3 n=2
scene around the corner had good lighting and cutaways
perspective and composition music distracting
framing, composition, and editing are well didn’t flow
done audio was uneven
music added to atmosphere light was a little stark
light and shadows well done

 

Section C of figure 4 focused on the allegory of the program. The program
had several dualities and hidden meanings throughout it but based on the answers
to the questionnaire only a few were actually noticed. One response speaks of Lou,
the pool hall manager. It said, “the little guy seemed suspicious.” The character of
Lou was designed to be suspicious, dark, and have a hint of evilness to him.
Another response referred to Gabby, the custodian, as a fence walker. Fence walker
is a pretty accurate description of him because he knows the pool players are being
tricked and yet he tries act as their conscience to try to get them to back out of the
bet. And another response was “in the Place all things seem possible.” That

statement is true because in the science fiction genre, there are no boundaries.

26

 

F4. Section C - Structure: Allegory

 

effective not effective
n=3

 

little guy(Lou the manager) seemed
suspicious

Gabby was a fence walker

“The Place” all things are possible

 

 

Overall, it seems that according to the panel, Feer out ef Seven did prove
itself to be effective in all four categories. Subsequently, it leads me to believe that
the program can indeed be classified as science fiction. It created a sense of the
unknown. It shifted from the familiar to the unfamiliar. Also, its theme was well

recognized.

27

Chapter Four

Discussion

The problem addressed in this study the design of Four Out ef Seven’s ability
to create the sense of the unknown. Four panel members viewed the program and
answered a series of questions. The tabulation of the answers showed the
effectiveness along with the inadequacies of the program. Overall their responses
stated that the program did in fact create a sense of the unknown through various
methods.

There were several facets of the program’s design that were unanimously
agreed upon by the panel. First of all, Four out of Seven was perceived to fit the
science fiction genre. They used words to describe it such as “weird, supernatural,
fantasy, what if type show and Twilight Zone” to describe it. This was a critical
question because if I were ineffective in creating a science fiction program, then this
entire study would become obsolete and I would have to focus on why Feer oet ef
Sev_ee was not received as sci-fi. I say this study would be obsolete because if the
goal of making a science fiction were not achieved then consequently I do not believe
I could have created an experience of the unknown.

Another item that was effectively portrayed in Four eut ef Seven was the
ability to create a sense of the unfamiliar. This was a key element in the design of

the program. From the onset of the program, I wanted the viewer to know that

28

reality as they know it to be was about to be suspended. The voice of ‘The Place’
alerts the viewer “...be prepared because things will never be the same”; it then
foreshadows the program with the riddle “...competition is a force that drives men
to great extremes but sometimes there is more to a game than just winning.” These
items, according to the panel establishes a bail to the unfamiliar.

All four-panel members also recognized a paradigm shift. Feur oet ef Seyen
has several shifts in it. It starts with the announcer’s opening dialogue alerting the
viewer that this is not an ordinary show. The next shift occurs when the program is
revealed to be about a substantial bet and not just a pool game. The next shift
occurs when the two pool players find out that the loser of the bet loses not only the
game but also his soul to damnation. Another shift happens when the two men
decide not to finish the game and end it in a tie so that no one loses. The final shift
occurs when the two men find out that the purpose of the entire game was to get
them to play a tie game in order to replace the manager and the janitor, who were
the last two players of the game. In other words the manager and janitor could not
get out of the bet until they found two people to replace them and in order for Mo
and Dave to be release from the bet; they have to trick two new players into taking
over the bet. Each of panel members recognized a paradigm shift but no one
recognized all of them. Two members noticed the second shift. One member
noticed the first and the fourth noticed the third shift. It was at each respected spot
where the panel members noticed a change in the story for the familiar to the

unfamiliar.

29

Finally, the theme or concept of the program was well recognized by the four
panel members. The actual theme of Four out of Seven consisted of a story about
two headstrong, competitive pool players who placed a bet with their soul as the
stakes. The reaction that the program received from the panel members mimicked
the actual theme. An example of the phrases used are “soul selling, two competitive
egocentric pool players betting their souls, and an aggressive spirit of competition”
were mentioned.

One of the facets that were not acknowledged as much as I would have
wanted was the recognizing of the allegories throughout the program. Over two
dozen allegories were used in Four eut of Seven ranging from the characters’ names
to the blocking of the movements. Many of the allegories had a religious overtone to
them. For example, Dave and Mo were derivatives of David and Moses from the Old
Testament of the Bible. The two were strong leaders whose major downfall were
that they became victims of their own arrogance.

Four out of Seven also had several dualities and hidden meanings throughout
it but based on the answers to the questionnaire only a few were actually noticed.
One example of a duality that was missed was the fact that the four men each
represented a billiard ball. Mo was the striped ball because he was married
therefore only half of him was there. Dave was the solid ball because he was single.
Lou was the eight ball because of his darkness. And, Gabby represented the cue
ball because he was the catalyst of all the action and movement. But, like I said

earlier three of the allegories were recognized. One response speaks of Lou, the pool

30

hall manager. It said, “the little guy seemed suspicious.” The character of Lou was
designed to be suspicious, dark, and have a hint of evilness to him. Another
response referred to Gabby, the custodian, as a fence walker. Fence walker is a
pretty accurate description of him because he knows the pool players are being
tricked and yet he tries act as their conscience to try to get them to back out of the
bet. And another response was “in the Place all things seem possible.” That
statement is true because in the science fiction genre, there are no boundaries.

The panel members were asked to react to the different aesthetic aspects of
the show that they liked disliked. The comments went both ways on this subject,
something was found to be effective and some were not effective. Unfortunately it
was hard to decipher because in this section because there answers were based on
opinion, meaning what some liked was the same thing others disliked. Three of the
panel expressed the composition; framing, perspective, and editing were well done.
The fourth did not like the framing and composition. Two members enjoyed the

music and the other two didn’t.

m

If] had .to do this all over again there are a few things that I would do
differently. A major mistake that I (and some of the panel members) noticed was
the first scene in Four oet ef Seven when we see Gabby. The mistake there was an
audio problem. Unfortunately when we shot that scene, the microphone stopped

working and the only sound picked up came from the cameras mic. This is why

31

"Gabby" sounds so hollow when he speaks. Originally the entire scene was that
way but thankfully the audio in the cutaway shots of "Mo and Dave" worked. I
replaced the cutaway dialogue with the bad audio of the wide shot and therefore
limited the audio problem only to "Gabby”. The next time I do this, I will carefully
monitor all of the audio that is recorded and not take it for granted that it’s
recorded correctly. This is important because that scene cannot be re-shot because
the actor who played "Gabby" has since moved to California.

Another problem that occurred was the allegories used in Feer eet ef Seyen
were as easily recognizable as I would have hoped. Perhaps, I could have made a
few of them a little easier to discern but then again, their purpose is to have a
hidden meaning.

In dealing the aesthetic aspects of the program, I am placed in a difficult
situation somewhat like a catch 22. Everyone who watched the program, from the
four professionals on the panel to friends and colleagues, had different things that
they liked and disliked. There was not one dominating factor of disapproval in all
their comments except the "Gabby" audio problem. This leads me to believe the
statement, "You can’t please everyone".

Other then those problems, I feel that Four oet of Seven accomplished its
original goal of creating the experience of the unknown. Even though Feer eet ef

Seven accomplished its goal, I feel it necessary to point out what Isaac Asimov

 

mentioned in Soeiel Science Fietion (1953). There are many ways to create science

fiction. No one particular way is the correct or only way.

32

BIBLIOGRAPHY

Atkins, Dorothy (1983) . tar Trek° A Phil 0 hi In e r rr. Th
Intersection ef Seience Fietjon and Philoeephy, London, England:

Greenwood Press.
Asimov, Isaac (1953) . Secial Science Fiction. New York: Coward-McCann Inc.
Bible . King James Version. Nashville/New York: Thomas/Nelson Inc.

Brin, David (1992) . Waging War with Rglity. Athens, Georgia: University of
Georgia Press.

Clarke, Arthur C. (1953) . Science Fiction: Preearation for the Age of Snaee
Modern Science Fietion. New York, New York: Coward-McCann Inc.

DeCamp, L. Sprague (1953) . Ima 'native Ficti n n tiv Im 'n i n
Modern Science Fietion. New York, New York: Coward-McCann Inc.

Freedman, Carl. (1992) . l Fiction i n eFi i w Th f Philli Di k.
Athens, Georgia: University of Georgia Press.

Iser, Wolfgang. (1993) . The Fictive and the Imaginafl. Baltimore/London: Johns
Hopkins University Press.

Moore, Nick. (1987) . How To Do Reeearch. London: Library Association
Publishing Ltd.

McConnell, James. (1974) . Learning That-1. Chicago: Rand McNally.

Zettl, Herbert. (1990) . Sight, Soang, Metion: Apelig Media Agthetics
[Second Edition). Belmont, CA: Wadsworth Publishing Company.

33

APPENDIX A

QUESTIONNIAIRE

Are you a science fiction fan?

Do you feel this program fits into the science fiction genre?
What is the program about?

Did you find it interesting? Why or why not?

At what point did you realize that the story was not about pool?
Does the story seem believable or possible?

Which character stood out the most and why?

Which technical aspect did you like the most and least?

Did you notice the music? Did you like it or was it distracting?

34

APPENDIX B

RELEASE

I , grant Rico Beard permission to use my likeness for his
video thesis project. I realize that all participation is voluntary. I give him the right
to reproduce my image or voice to his discretion. I hereby certify that I have read
the foregoing and fully understand the meaning and effect thereof.

Date

 

Signature

 

35

APPENDIX C

The Script of Feur Out ef Men

36

FOUR OUT OF SEVEN
BY

RICO BEARD

Copyright 1998

37

NARRATOR
Somewhere out there is a place. A place
beyond reality. A place where the unlikely
and the unbelievable are everyday events.
Ready or not your journey has already begun.
Be prepared because things a never how they seem.
Welcome to “The Place”.

Competition is a force that drives men to
great extremes. But sometimes there is more
to a game than just winning.

INT — POOL ROOM

The scene begins as Dave sinks the 8-ball to defeat his unworthy
opponent while his archrival MO watches from the distance.

DAVE
And that, my friend, endth the lesson.

DAVE’S opponent reluctantly digs his hand into his pocket and pays
DAVE the money he owes since he lost.

DAVE
Pleasure doing business with you. Come back
anytime.

DAVE takes the money and walks over to the counter where LOU, the
pool hall manager and MO, another pool hustler is standing.

LOU
Another profitable night?

DAVE
Always

MO

Just let me know when you’re ready for some
real competition.

38

DAVE
Competition! Competition? Where?

DAVE mockingly looks around the pool hall.

DAVE
Show me some comp and I’ll play em.

MO
Oh, so I’m a nobody now! So I’m nobody!
I remember when this nobody beat you for
a thousand bucks last week...

DAVE
Yeah, well I guess that make us about even
then.

MO

We’re far from even. I smoked you at least once
a week. As a matter of fact, I can’t remember the
last time you beat me and...

‘ DAVE
Look I was trying to spare your feelings. The
only reason I let you win is to keep you coming
back.

While this argument is going on, GABBY the janitor man walks past
cleaning. He jumps into the conversation.

GABBY
Every week we go through the same thing.
I’m so sick of hearing you two. You need
to be at home with your families.

MO
(To GABBY)
Didn’t you miss a spot or something?

He points to the other side of the room.

39

DAVE
Yeah, stay out of grown folks business.
Why don’t you go somewhere?

GABBY
Alright, I know when I’m not wanted.
Ifyou don’t want me around, I’ll get to
cleaning.

LOU
Well, are you two ready to settle up?

DAVE
Yeah, what do I owe you?

MO
Hold on hotshot! You got enough in you
for one more game.

DAVE

(angry)
Look, I can beat you anywhere, anytime.

MO
Right here, right now.

DAVE
Lou, do you have time for one more game?

LOU
I have all of eternity. Take your time.
What is one more game, but why don’t you
make it interesting.

DAVE

Yeah, hotshot! Put your money where your
mouth is.

40

MO
Please! How much can you afford to lose.
Don’t forget your wife almost put you out
last time you lost to me.

DAVE
Hey, don’t drag my wife into this OK?!
This I between you and me. You leave my
problems out of this.

MO
Just trying to save your marriage that’s all.
I guess you like going home broke and
sleeping on the couch.

DAVE
At least when I leave here I have someone
to come home to unlike yourself.

MO
Just because I have my freedom and I’m
not hen-peeked like you, don’t be jealous.
Just put your money on the table.

DAVE
So what’s the bet?

MO
Name it!

DAVE
You tell me!

LOU
Hey guys, I got an idea. The game is eight
ball. You’ll play a best of seven series and
I’ll put up the stakes.

41

MO
What kinda stakes you talking about?

LOU
Let’s say 810,000 dollars. Unless you two are
Scared.

DAVE

Afraid?! Who the hell do you think I am!
I can beat this chump anyday but for
$10,000 dollars I’ll...

MO
Beat me! What? You can’t...

He is so upset he can’t eve get out a full sentence.

Man for ten grand I’ll...

DAVE
You’ll what beat me, I don’t think so.

MO
Well there is only one way to find out!

LOU
Gentlemen, let me explain the rules.
First of all the loser...

DAVE
Ain’t no need to explain the rules Lou.
Terr grand is ten grand. Now what, are
you afraid that we called your bluff?

MO

Yeah, you’re still putting up the money,
right?

42

LOU
Yeah, I’m still put up the money but

MO
All right then that’s all we need to know.

DAVE
Okay, rn break.

LOU
We will flip a coin. Dave, you’re heads.
Mo you’re tails. The winner breaks first
after that we will alternate at the start
of each game until we reach game seven
then we will flip again.

DAVE
Ifwe need game seven.

GABBY walks past the trio slightly shaking his head.

MO
Gabby, I might need your broom because
I smell a sweep coming up.

GABBY
(to himself)
You need a lot more then that.

GABBY turns around in disgust.

GABBY
Don’t you even want to know why he’s
doing this?

DAVE
All I know is that at the end of this night
I’m going home $10,000 richer and that’s
gonna make my wife very happy.

43

MO
You mean I’m going home $10,000 richer.

DAVE
Look I’ve just about had enough of you.

LOU
So is it a deal?

MO
You get it!

LOU
Well, then you two wouldn’t mind singing
right here.

LOU pulls out a contract from underneath the counter and places it on
the counter and holds the pen up in the air. DAVE and MO angrily look
at each other creating a silent pause.

LOU
Well?

GABBY
Gentlemen, remember fools rush in where
wise men...

DAVE
Gabby! Shut the hell up!!!

MO
Go somewhere and sit down!

DAVE
Gimme the pen.

He takes the pen from LOU, signs the document and gives the pen to M0.
M0 takes the pen and starts to read the document.

DAVE
Scared?!

MO looks at DAVE with a stern look, takes a deep breath, and signs.
LOU grabs a coin out of his pocket.

LOU
Here are the rules. You two will play
a best of seven series in eight ball. I’ll
flip a coin to see who goes first. After
that we’ll alternate who breaks until
we get to game seven.

MO
Ifthere is a game seven.

LOU
Anyway, when we get to game seven, I’ll
flip the coin again to see who breaks first.

LOU flips the coin in the air.

DAVE
Come on heads!

The coin hits the ground.

LOU
Heads it is. Your break.

DAVE walks over to the table and breaks. He immediately starts to sink
balls and eventually runs the table. He then walks over to M0.

DAVE
Your turn.

MO walks over to the table and breaks. He runs the table too. The two
alternate victories until the series is tied three games to three.

LOU
Well, well, well. Looks like we are all
tied up. Winner takes all. Mo, it’s your
turn. Call it in the air.

45

The coin flys into the air.

MO
Tails!

The coin hits the ground.

LOU
Heads, you lose. Dave it’s your break.

DAVE walks past MO.
DAVE
When you got it, you got it. Now let’s see...
He breaks.

How will I spend my money? Lou, by the
way what happens to Mo, I mean the loser.

LOU pats M0 on the back and smiles.

LOU
The loser just loses his soul.

MO nervously smiles.

MO
Really what happens to the loser?

LOU
Oh, he really loses his soul.

DAVE pauses from the game.

DAVE
What are you talking about?

46

LOU
No soul, ok! The losers’ soul belongs to me.
Well, not really me but, well...you know.

LOU motions his head and looks downward.

You know, Satan, the devil, the prince of darkness;
call him what you want but a deal’s a deal.

And uh, gentlemen, you should have listened
to Gabby.

DAVE and MO run over to GABBY but GABBY ignores them. The two
then look at each other.

DAVE
Good luck.
MO
Say what you really mean.
DAVE
I hope I run this table.
MO
And I hope you miss every shot.

The two shake hands. DAVE takes a deep breath and breaks. He drops
two balls.

DAVE
I guess I got solids.

MO sits down and GABBY approaches.

GABBY
Can you live with yourself if you win
knowing that you have condemned a
man soul to hell?

47

MO
Gabby, look I don’t need this right now.
Unless you got a solution to this, leave me
alone!

GABBY
The answer is as easy as the shoes on your
feet.

DAVE misses a shot.

DAVE
Your turn.

LOU
Nervous Mo?

MO
(sarcastically)
Just a touch!

MO walks to the table while DAVE sits down next to GABBY.

GABBY
Well, think of it like this, could you really
lived with yourself if you had won. At
least this way you don’t have to face your
wife again.

DAVE
Rose. I forgot all about her. How did I
get myself into this?

MO sinks another ball. The tension in the room is high. All MO has to
do is sink one more ball then he shoots on the eight ball. He looks at
DAVE and then sinks the easy shot.

DAVE

Mo, promise me you will watch after Rose
and let her know that I loved her very much.

48

The cue ball rolls back setting up M0 for a very easy shot. DAVE can’t
even watch so he lowers his head. Only LOU appears to be happy.

LOU
Hey Mo, your shoes are untied!

MO tries to ignore him, by not even acknowledging him.
Really, they are untied.

MO looks down and sees his shoe is untied. He puts the stick down and
begins to tie it. He then pauses and looks at GABBY and remembers
what GABBY told him.

GABBY(voice-over)
It’s as simple as the shoes on your feet.

MO
Tied! I mean a tie. Dave we can just
quit now and then technically the game
will never end.

DAVE
And?

MO
And then therefore nobody loses.

MO looks at GABBY and GABBY winks at him. DAVE looks at LOU.

DAVE
Can we do that?

LOU sighs.
LOU
I guess you can.

He grabs his coat while Gabby puts the broom down. They walk toward
the door

49

Yeah, you can. Only one thing though.
You two can’t leave here until you find
two people who are willing to bet their

souls.
LOU tosses M0 the keys.

LOU

Make sure you lock the door.
MO

Where are you going?
LOU

Home, we found our two people.
GABBY

Home, I thought I would never say

that again.
NARRATOR

Someone said, “what would it profit a man
to gain the whole world and lose his soul.”
Tonight the population of the place has
increase by two.

50

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