N.15 | Subtext in "Once Upon a Time in the West" (opening scene), connecting with your actors to help the audience connect with your characters

JOURNAL ENTRY

Nov 24, 2024: This week I worked quite a lot on the script and the storyboard of my micro film (~1-2 mins). I’d like to shoot the movie before Christmas but I think I’ll have to postpone. I still need to do a lot of tests on location and find the actors. I can only do this on weekends, and that makes me slow.

Plus, I also have film school, which started a few weeks ago and will last five months. We, the students, will have to shoot a short film as part of the training. This will keep me busy as well.

FILM STORYTELLING

Once Upon a Time in the West (a lesson in subtext from the opening scene)

There’s a lot to learn from the opening sequence of Once Upon a Time in the West (watch the video here), but the dialogue with its subtext demonstrates great craftsmanship in screenwriting.

Harmonica’s superobjective is to have a showdown with the antagonist, Frank, so he needs to find him. Frank sends three men to “welcome” Harmonica at the train station.

As he gets off the train, Harmonica doesn’t immediately understand why the three men are at the station. He needs to find out. He starts by asking a simple, short question (subtext after the →):

• “Frank?” → Harmonica digs for information.

• “Frank sent us.” → Snaky shuts him down.

• “You bring a horse for me?” → Harmonica asks a test question.

• “Looks like … looks like we’re shy one horse.” → Snaky, with a grin, tries to crush Harmonica emotionally.

• “You brought two too many." → Harmonica stays cool, says his line while shaking his head. The surprise scares the three men. They look shaken. It sounds like Harmonica wants to fight.

• Harmonica goes on to kill the three men.

I like this scene because it’s all in the nods, the eyes, the head tilts and the body language. The dialogue is minimal, yet the meaning is clear.

This is a great example of the process of creating great dialogue beat by beat.

TIDBIT I’M PONDERING

Connecting with your actors to help the audience connect with your characters

I’m reading Directing Actors again, by Judith Weston. In the book, the author makes a very good point in regards to dealing with actors.

Actors want to work with directors that are emotionally invested in the project. They want to work with a director that has clear ideas of what they’re doing. And they want to work with someone they can connect to. When actors feel heard and understood by the director, the whole production will benefit.

As a filmmaker, it’s my job to know what I’m doing, but also find the time to have deep conversations with the actors. It can be discussing the story, the theme, the character or even the actor’s personal life’s connection to the story.

Keep in mind that every actor is different. So, every conversation will be different.

Weston also says:

Source: From Directing Actors by Judith Weston (paraphrased and/or quoted).

FILM STORYTELLING

The Favourite (medium full shot example)

The medium full shot (watch the video example from The Favourite here) goes from the top of the subject's head to just below their waist. It is also referred to as the "cowboy shot", based on the height of the gun holster.

Use it when you need to present a character that is confident, dangerous and confrontational.