All language subtitles for 09.From Sketch To Spectacle Creating Set Pieces

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These are the user uploaded subtitles that are being translated: 1 00:00:03,311 --> 00:00:05,680 [MUSIC PLAYING] 2 00:00:05,680 --> 00:00:07,250 JAMES CAMERON: Generally speaking, 3 00:00:07,250 --> 00:00:09,970 a lot of visual effects works against you 4 00:00:09,970 --> 00:00:10,870 for a lot of reasons. 5 00:00:10,870 --> 00:00:11,810 It can be numbing. 6 00:00:11,810 --> 00:00:14,710 You can kind of debase the value of a given effect 7 00:00:14,710 --> 00:00:16,870 by having too many of them. 8 00:00:16,870 --> 00:00:18,430 They can blow your budget. 9 00:00:18,430 --> 00:00:22,720 It's better to have a few memorable set pieces. 10 00:00:33,090 --> 00:00:35,070 From a writing standpoint, I sort of treat it 11 00:00:35,070 --> 00:00:36,240 as a standalone thing. 12 00:00:36,240 --> 00:00:39,727 I'll figure out where it's going to start, what the kickoff is. 13 00:00:39,727 --> 00:00:42,060 You know, what the kind of opening bell of the set piece 14 00:00:42,060 --> 00:00:43,497 is and where the resolution is. 15 00:00:43,497 --> 00:00:44,580 I'll figure out where my-- 16 00:00:44,580 --> 00:00:46,380 my out point is. 17 00:00:46,380 --> 00:00:50,340 And then I'll work within that so that it's not too long, 18 00:00:50,340 --> 00:00:54,450 it-- it stays focused and it stays of a piece. 19 00:00:54,450 --> 00:00:56,670 And, I mean, I think there's-- 20 00:00:56,670 --> 00:00:59,130 just like there's an art to scene writing, 21 00:00:59,130 --> 00:01:02,490 I think there's an art to creating a set piece. 22 00:01:02,490 --> 00:01:04,560 It's kind of a film within a film, 23 00:01:04,560 --> 00:01:06,840 and it kind of has its own-- own rules, 24 00:01:06,840 --> 00:01:09,240 and it's got a beginning, a middle, and an end, 25 00:01:09,240 --> 00:01:10,500 some kind of resolution. 26 00:01:10,500 --> 00:01:13,530 That end may or may coincide with an act break 27 00:01:13,530 --> 00:01:14,760 or it may not. 28 00:01:14,760 --> 00:01:17,250 But, you know, a suspense sequence 29 00:01:17,250 --> 00:01:21,510 or a scene, a dramatic scene in a film 30 00:01:21,510 --> 00:01:23,970 might be a four or five-page dialogue 31 00:01:23,970 --> 00:01:27,570 scene that's done in some stylized way, 32 00:01:27,570 --> 00:01:29,400 maybe without any cuts. 33 00:01:29,400 --> 00:01:34,740 Maybe some circulating Steadicam shot that moves sinuously 34 00:01:34,740 --> 00:01:37,020 through some dramatic moment. 35 00:01:37,020 --> 00:01:39,060 That would be a-- that would be a set piece. 36 00:01:39,060 --> 00:01:41,060 So then you have to pick your battles carefully. 37 00:01:41,060 --> 00:01:44,130 What's the narrative purpose of the set piece? 38 00:01:44,130 --> 00:01:46,770 So to use the example from "Terminator" 39 00:01:46,770 --> 00:01:49,440 of the first future flashback, it was actually 40 00:01:49,440 --> 00:01:50,890 just to build character. 41 00:01:50,890 --> 00:01:52,140 For Michael Biehn's character. 42 00:01:52,140 --> 00:01:54,000 It was to show his traumatic world 43 00:01:54,000 --> 00:01:57,930 and why he was basically a walking, physically-scarred, 44 00:01:57,930 --> 00:02:01,660 and mentally-scarred example of post-traumatic stress syndrome. 45 00:02:01,660 --> 00:02:04,590 He was the living embodiment in the present day 46 00:02:04,590 --> 00:02:09,600 of how bad that future was and why you needed to prevent it 47 00:02:09,600 --> 00:02:11,039 from occurring, right? 48 00:02:11,039 --> 00:02:14,400 So it had a powerful narrative and character 49 00:02:14,400 --> 00:02:16,440 purpose in that film, but it was also 50 00:02:16,440 --> 00:02:18,510 just stuff I wanted to see. 51 00:02:18,510 --> 00:02:20,160 And that's another thing. 52 00:02:20,160 --> 00:02:23,610 Is there are a lot of kind of rules and advisories 53 00:02:23,610 --> 00:02:26,730 about why you put things in movies, and-- 54 00:02:26,730 --> 00:02:31,080 and they all have to serve a purpose, except they don't. 55 00:02:31,080 --> 00:02:33,810 Sometimes it should just be something 56 00:02:33,810 --> 00:02:36,510 you want to see as a filmmaker. 57 00:02:36,510 --> 00:02:38,730 And sometimes the only way to see it 58 00:02:38,730 --> 00:02:41,520 is to make it and show it. 59 00:02:41,520 --> 00:02:43,170 And I remember having this discussion 60 00:02:43,170 --> 00:02:45,420 with one of the heads of 20th Century Fox 61 00:02:45,420 --> 00:02:49,170 when "Avatar" was almost done and they were complaining 62 00:02:49,170 --> 00:02:50,730 about the flying scenes. 63 00:02:50,730 --> 00:02:54,250 Why does this flying scene go on so long? 64 00:02:54,250 --> 00:02:56,250 And you've-- you've already proved the point. 65 00:02:56,250 --> 00:02:57,665 It doesn't advance the narrative, 66 00:02:57,665 --> 00:02:59,040 it doesn't advance the character. 67 00:02:59,040 --> 00:03:00,540 I said, you're right on every count, 68 00:03:00,540 --> 00:03:04,020 you've ticked every box like a good studio executive. 69 00:03:04,020 --> 00:03:05,710 But guess what? 70 00:03:05,710 --> 00:03:07,750 I want to see it. 71 00:03:07,750 --> 00:03:10,600 And I extrapolate from that, and Stanley Kubrick 72 00:03:10,600 --> 00:03:13,150 was a firm proponent of this principle. 73 00:03:13,150 --> 00:03:16,090 If I want to see it, my cognitive leap 74 00:03:16,090 --> 00:03:18,760 is, there are going to be lots of people that want to see it. 75 00:03:18,760 --> 00:03:24,750 I want to see it for itself, not for its purpose, right? 76 00:03:24,750 --> 00:03:28,080 Because there is a purpose to the things you want to see. 77 00:03:28,080 --> 00:03:31,680 The purpose is to be present, to be in that world, 78 00:03:31,680 --> 00:03:35,700 to be enjoying what's happening, to sustain a feeling. 79 00:03:35,700 --> 00:03:38,740 So those flying scenes actually did have a big purpose. 80 00:03:38,740 --> 00:03:41,250 That's when Jake and Neytiri fell in love. 81 00:03:41,250 --> 00:03:44,730 And I got into a big fight with the studio over that. 82 00:03:44,730 --> 00:03:47,940 And I'd like to say fortunately I prevailed, because I 83 00:03:47,940 --> 00:03:49,020 love those flying scenes. 84 00:03:49,020 --> 00:03:49,950 They're great. 85 00:03:49,950 --> 00:03:54,540 But life is a whole lot easier if you can actually 86 00:03:54,540 --> 00:03:58,740 dig deep and examine why you've made a decision 87 00:03:58,740 --> 00:04:00,660 or why you have that instinct. 88 00:04:00,660 --> 00:04:03,900 Because it's going to cost somebody else a bunch of money 89 00:04:03,900 --> 00:04:06,000 to follow up on that instinct. 90 00:04:06,000 --> 00:04:08,580 And so the more you can share it, 91 00:04:08,580 --> 00:04:10,980 the more you can inspire others with it 92 00:04:10,980 --> 00:04:14,580 and why that choice makes sense, the better life is going to be. 93 00:04:19,860 --> 00:04:24,433 Set pieces often are good candidates for previs. 94 00:04:24,433 --> 00:04:26,350 Chances are, you're not going to have a budget 95 00:04:26,350 --> 00:04:28,630 to previs the entire picture, nor do you need to. 96 00:04:28,630 --> 00:04:30,670 You should only have to previs the things that 97 00:04:30,670 --> 00:04:33,670 are extraordinary and require really 98 00:04:33,670 --> 00:04:38,460 tight, interdepartmental planning well before the fact. 99 00:04:38,460 --> 00:04:41,890 So in terms of the previs process, you've got to-- 100 00:04:41,890 --> 00:04:43,540 you can't just start storyboarding 101 00:04:43,540 --> 00:04:44,770 until you know what things are going 102 00:04:44,770 --> 00:04:46,812 to look like, because what are you going to draw? 103 00:04:46,812 --> 00:04:50,170 Is the character wearing a trench coat or a loincloth, 104 00:04:50,170 --> 00:04:50,710 you know? 105 00:04:50,710 --> 00:04:52,752 So you have to do some design before you can even 106 00:04:52,752 --> 00:04:54,298 start storyboarding, otherwise you're 107 00:04:54,298 --> 00:04:55,840 just going to do stick figures, which 108 00:04:55,840 --> 00:04:59,110 isn't going to tell anybody anything, yourself included. 109 00:04:59,110 --> 00:05:01,360 So I say start the design process, 110 00:05:01,360 --> 00:05:03,220 start to evolve the storyboards. 111 00:05:03,220 --> 00:05:05,080 Now some people work with storyboards 112 00:05:05,080 --> 00:05:08,110 and some people work more with previs tools. 113 00:05:08,110 --> 00:05:11,080 You can use a-- a suite of-- 114 00:05:11,080 --> 00:05:12,790 of keyframe previs. 115 00:05:12,790 --> 00:05:15,520 You can do a little animation pieces. 116 00:05:15,520 --> 00:05:17,140 Put a blank face, but at least it 117 00:05:17,140 --> 00:05:19,820 gives you the-- the dynamics and the framing. 118 00:05:19,820 --> 00:05:21,550 And you start to think about composition, 119 00:05:21,550 --> 00:05:23,230 you start to think about cutting. 120 00:05:23,230 --> 00:05:25,480 And now you'll-- you'll essentially do some kind 121 00:05:25,480 --> 00:05:29,500 of a pre-cut of the scene with your-- with your previs. 122 00:05:29,500 --> 00:05:31,930 It doesn't mean you're bound to shoot it that way. 123 00:05:31,930 --> 00:05:36,910 You're always going to be open to inspiration of the moment, 124 00:05:36,910 --> 00:05:38,350 but it's a good jumping-off place 125 00:05:38,350 --> 00:05:40,720 so people know how much you have to build, 126 00:05:40,720 --> 00:05:44,770 what does the director expect here in terms of the action? 127 00:05:44,770 --> 00:05:47,140 How long am I going to be on something? 128 00:05:47,140 --> 00:05:49,820 How much detail do we need? 129 00:05:49,820 --> 00:05:54,050 What kind of action are we going to try to do/ How are we going 130 00:05:54,050 --> 00:05:54,920 to move the camera? 131 00:05:54,920 --> 00:05:56,545 How are we going to support the camera? 132 00:05:56,545 --> 00:05:58,820 Is it on a crane, is it on a Steadicam, 133 00:05:58,820 --> 00:06:00,830 is it being handheld? 134 00:06:00,830 --> 00:06:05,030 You know, it starts to trigger a thousand questions. 135 00:06:05,030 --> 00:06:07,875 And a good team around you will start to hit-- 136 00:06:07,875 --> 00:06:09,500 hit you with those questions, you know? 137 00:06:09,500 --> 00:06:12,500 The DP's going to want to know, are we on a wide lens style 138 00:06:12,500 --> 00:06:14,690 or are we on a longer lens style? 139 00:06:14,690 --> 00:06:16,490 Are we on a backlight style or are 140 00:06:16,490 --> 00:06:18,450 we on a diffused light style? 141 00:06:18,450 --> 00:06:20,422 What's the style, you know? 142 00:06:20,422 --> 00:06:22,130 Because there's a thousand different ways 143 00:06:22,130 --> 00:06:24,255 to light a scene, there's a thousand different ways 144 00:06:24,255 --> 00:06:25,140 to shoot a scene. 145 00:06:25,140 --> 00:06:29,390 Presumably the filmmaker, if they don't come in with a style 146 00:06:29,390 --> 00:06:31,160 initially, they're going to have to find 147 00:06:31,160 --> 00:06:35,150 one that suits the piece, that suits the story. 148 00:06:35,150 --> 00:06:37,160 That's-- that's a critical part of it. 149 00:06:37,160 --> 00:06:39,230 And when those questions start to get answered, 150 00:06:39,230 --> 00:06:40,720 then you can start saying, okay, I 151 00:06:40,720 --> 00:06:42,680 need this shot, this shot, and this shot. 152 00:06:46,870 --> 00:06:49,600 Just from my own experience, a good example of a set piece 153 00:06:49,600 --> 00:06:52,900 that was done on a film that was made on a very low budget 154 00:06:52,900 --> 00:06:57,910 is Reese's flashback of the future, of the traumatic future 155 00:06:57,910 --> 00:07:02,650 that he comes from in the first act of "The Terminator." 156 00:07:02,650 --> 00:07:05,080 And I say the first act because Reese hasn't met Sarah yet 157 00:07:05,080 --> 00:07:06,130 and he hasn't met-- 158 00:07:06,130 --> 00:07:07,900 he hasn't met the Terminator yet. 159 00:07:07,900 --> 00:07:10,420 So this is all sort of in the character setup, 160 00:07:10,420 --> 00:07:13,650 and I wanted to see this future soldier in his world, 161 00:07:13,650 --> 00:07:17,740 and I wanted to go into it through his fatigue-induced 162 00:07:17,740 --> 00:07:20,980 dream state and come out of it where he's shocked 163 00:07:20,980 --> 00:07:24,340 and disoriented and back in our present, which is his-- 164 00:07:24,340 --> 00:07:25,540 his past. 165 00:07:25,540 --> 00:07:28,120 I knew it was going to involve visual effects models, 166 00:07:28,120 --> 00:07:30,820 you know, miniatures, miniature explosions, 167 00:07:30,820 --> 00:07:34,390 and some full-sized live action elements 168 00:07:34,390 --> 00:07:37,060 that were done in a-- in a set of some-- some ruins, 169 00:07:37,060 --> 00:07:39,880 some post-nuclear holocaust ruins. 170 00:07:39,880 --> 00:07:42,430 So I thought, I'd a better draw this up. 171 00:07:42,430 --> 00:07:44,530 So I approach it in a very disciplined fashion. 172 00:07:44,530 --> 00:07:50,770 I got my roommate to put on some kind of military uniform. 173 00:07:50,770 --> 00:07:52,360 I went and bought some guns. 174 00:07:52,360 --> 00:07:55,420 We went-- we went out in a field someplace, 175 00:07:55,420 --> 00:07:58,900 and I took pictures of him in all the different poses 176 00:07:58,900 --> 00:07:59,770 that I wanted. 177 00:07:59,770 --> 00:08:02,830 And I also did that for the car chases as well, which I also-- 178 00:08:02,830 --> 00:08:04,030 also storyboarded. 179 00:08:04,030 --> 00:08:06,410 Had him, you know, hanging out the window, 180 00:08:06,410 --> 00:08:08,620 I wanted to be able to see what kind of positions 181 00:08:08,620 --> 00:08:11,590 you could get into with the weapons, what kind of lenses 182 00:08:11,590 --> 00:08:12,430 I wanted to be on. 183 00:08:12,430 --> 00:08:15,310 Did I want to be on telephoto lenses or close lenses? 184 00:08:15,310 --> 00:08:18,760 Wanted to make the guns look big, so shorter-- 185 00:08:18,760 --> 00:08:19,618 shorter lenses. 186 00:08:19,618 --> 00:08:21,910 And start to think, well, how am I going to shoot this? 187 00:08:21,910 --> 00:08:23,470 How can I get the Insert car there? 188 00:08:23,470 --> 00:08:25,060 So I started going through the whole-- 189 00:08:25,060 --> 00:08:25,990 whole exercise. 190 00:08:25,990 --> 00:08:28,870 I got my long-suffering roommate to basically play 191 00:08:28,870 --> 00:08:31,540 every character in the film except for Sarah. 192 00:08:31,540 --> 00:08:33,429 I think he played Sarah a couple times. 193 00:08:33,429 --> 00:08:35,470 And then I brought it all back. 194 00:08:35,470 --> 00:08:37,240 I printed up all the photos. 195 00:08:37,240 --> 00:08:39,250 This is back in the days of photochemistry. 196 00:08:39,250 --> 00:08:41,559 So I had a bunch of prints all over my desk, 197 00:08:41,559 --> 00:08:43,450 and I just started drawing it all up. 198 00:08:43,450 --> 00:08:46,800 [MUSIC PLAYING] 15924

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