November 22, 2020

Fica Limit 2020

Fica Limit 2020 have you ever heard of the six-word shortstory? It's attributed to Ernest Hemingway. Allegedly… He was out with a group of, writers at restaurantand he wagered he could write the shortest short story ever made. The other writers were a bit incredulous,but they humored him. He then. Wrote down on a napkin the followingsix words: For sale: baby shoes, never worn. He won the bet. It's interesting how such a limited amountof words manages to create context…add, a character and successfully evoke an emotion. Six words that surprisingly bear importantelements that any effective story. Should have and even leaves us with a haunting sting. Sometimes we see stories struggle to. Do thesame while having an unlimited amount of words. The same can be said about movies. We all know that, having unlimited resources,the best locations, a gamut of talented actors or the shiniest VFX, won't guarantee a goodmovie. The ability of doing everything can blindus and get us nowhere. The distracting, excess fills our view andwe are left unfocused to what's truly important. The story. So, what can be done so we won't. Lose sightof what matters? A way to anchor us from the tempting unnecessary? In today's video I want to take a look atthree films that have been able to do something very unconventional. Just, like the six-word short story they succeedin saying more with less. They willingly build a movie around an, unusualrestriction. A creative limit that succeeds in emboldeningthe storytelling. -Can I ask who is calling? -It's Iven Locke -Can I say what's, it regarding? -Uhm yes concrete…Can you Uhm… Can you tell him it's urgent?Can you tellhim to call me back? The best movies, know how to use a locationpurposely. It's not a random place but an extension ofthe story and it should, affect the actions of the characters in it. In the movie Locke we limit the action toonly one location. A.

Car. For 80 minutes we. Witness a man driving whilehis world is slowly falling apart. There are no other actors on screen, we onlyhear them through phone calls. He never gets out. The camera just. Stays on him, the road andthe car. It's a long, scene that never transitions away. We are not given any context other than whatwe can see and hear in the confined space. And yet it's extremely gripping because itforms a mystery, for us. We are left to deduce where he's going andwhy it's so urgent with.

Every interaction he has. So, we latch on to every bit of informationthat's being presented, and we take notice of how he chooses his words and the explanationshe's willing to divulge, -I have something…something to say… -What…can it wait till you get home? -I won't be home Since we are restricted, to the vehicle, everythinghappening inside of it carries. An added weight of importance. The contacts on his dashboard, his conversations,the imaginary back passenger and his hesitation to pick up a phone call are all. There to helpus understand what's going on.

And who this character is. The most telling and significant decisiontaken by the character is actually done at the beginning, and it's very simple. When he's at a crossroad, he's about to, turnleft but he stops… he stays still even, after the light has gone green…and in a heavygesture…he decides to turn right… The whole movie is based on this small seeminglyinsignificant decision and, as the film slowly unravels, we learn why it was so importantto his life. The car.

Serves to isolate him on this lonelyjourney along with the consequences of his actions. -Just over two hours ago…I had a wife…ajob… and now I have none of those things…I, have none of those things left. I just have myself and the car that I'm in.. The location is used as a pressure cookerto reveal his character… -FUCK!!! [Honking the horn loudly] [keyboard tapping] -911 what's your emergency? -Hi im calling. About a possible–Im–Im callingto report a missing person… Searching is a movie about a father tryingto find his missing daughter told from the. Point of view of screens. With the advancement of technology there aremore ways to show a story but, just because you can shoot on a GoPro or an iPhone it won'tmake your film special. There must be meaning as to why you're presentingthings differently. Searching, does a good job at limiting itselfwhile displaying our growing relationship with technology. This is an extremely restrictive endeavourbecause. All the action must happen in front of a camera from a phone or a desktop, whichis not, always possible. You would have. To depend on a different wayof filming or editing. But the movie's creators use this to theiradvantage with the way they reveal information. A great example is the beautiful 5-minuteintro of the, main character creating an account for his young daughter and we see her growingup… along with the internet's evolution …but it also shows us how the, family startsgetting into hard times by the simple introduction of a google search. A calendar being pushed back shows the, ailmentprogressing… Until we see the calendar event finally beingtaken off… signaling. The character is too far-gone. There is a careful amount of detail that helpsthe audience follow what's going on. [Keyboard tapping] -David. Are you with us? -Yeah sorry The computer is shown as an extension of themain character. We can. See his state of mind by simply followingthe cursor or his digital behaviours.. The way he writes a message and doesn't sendit can show indecision, hesitation or doubt. The way he erases a video of, his daughteror takes out a clip of his wife from his search results shows him coping with grief in a moreoriginal and effective way than seeing him shed. A tear. Something as ordinary as a desktop backgroundchange is significant. And it's all done without saying a word. We are a witness to the character's, intimateactions in. A more direct manner than a person being filmed conventionally…like with anover the shoulder shot or with a close-up… Because the whole movie is already a close-up. The. Mystery is formed like a digital scavengerhunt that works hand in hand with the thriller aspect of the movie and keeps us moving alongwith the main, character. We feel like we are solving the, mystery withhim. This limit reminds us that cinema is a visualmedium that still has several unconventional methods to be explored., Sometimes movies can excel by showing a worldthat has lost something. In A Quiet Place the limit is removing animportant story element…sound. Not all sound just enough, so most of the movieis played like a whisper…and just like a. Whisper we sit up and pay close attention. Taking away this element is very consequentialto the story because it's what shapes the world the characters live in. So, if there is no sound, then it affectshow characters, communicate with each other and how the movie can communicate to the audience. It's silent but, not empty. Context and stakes are given by images. We.

Understand something terrible has happenedby looking at the aftermath of a street and newspaper clippings. An explanation is only hinted…and the movieis better off without one. Character relations can be. Established bylooks. We can gather that despite the world changingevent, this is also a family dealing with. Unaddressed grief. We are subtly introduced to the rules thecharacters live by..

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