N.29 | "The Goldfinch" (a very bad opening hook example) plus more

JOURNAL ENTRY

BROUGHT TO YOU BY: the film storytelling library

Mar 02, 2025: Last weekend, Feb 22-24, we finally shot the film school’s 10-min short film. I posted some pictures on Instagram. This is my third time on set working on three different shorts.

During the shoot, each student had to rotate on a role for a scene. I rotated as director, DOP, 1st AC, 2nd AC, gaffer, sound, boom operator and best boy. We had three lenses available: a 18-35mm zoom, a 85mm prime and a 24-105mm zoom.

I’m happy I was able to cover all roles but I didn’t master anything specific. It’s fine though, because I was there to get an introduction to everything and absorb. I’ll go deeper on my own films or volunteer on set for other projects.

Two lessons I learned: 1) always take time off of work after you shoot. I went to work the day after the shoot and it was horrible. I was really, really tired for at least a couple of days. 2) you can make fake blood with corn syrup, chocolate topping and red coloring, all of which you can find at the supermarket.

FILM STORYTELLING

The Goldfinch (a very bad opening hook example)

I re-watched The Goldfinch (2019) this past week. I have mixed feelings about the film.

I enjoy the movie. The cinematography by Roger Deakins makes everything look beautiful. The set is New York, for which I have a soft spot. And it’s an entertaining story.

Yet, I have two issues with the film: the opening hook and the kids.

First of all, I hate when kids in movies behave and talk like adults. It really puts me off.

Secondly, I think the hook is totally wrong: watch 2 min and 20 sec clip here.

The opening was a what-the-fuck-is-going-on moment for me. They tried to pick my interest with a lot of random information, which actually ruined it for me.

And it’s also misleading.

While the character is cleaning blood from a shirt, we hear his voice saying this:

That’s very confusing …. I believe they wanted the audience to think that the guy killed his mother perhaps?!?!

Some food for thought here:

In Weiland’s Structuring Your Novel, I learned that no matter how amazing your story is, you must hook the audience as soon as possible. Most importantly, the question the audience should ask is: “What’s going to happen next?” and not “What’s going on here?”

As I said, my reaction was definitely in the what-the-fuck-is-going-on territory.

Source: From the film storytelling library.

FILM STORYTELLING

James Cameron on how to choose a lens to tell the story

Last week I broke down the iconic bar scene in The Terminator (1984). During my research, I listened to James Cameron explaining how to choose a lens to tell the story.

At some point in the bar scene, Sarah Connor (Linda Hamilton) sees Reese (Michael Biehn) for the first time. For this shot, Cameron decides to use a long lens.

Why the long lens?

That suggests that Sarah’s brain has zoomed in to look at this guy on the other side of the room. Sarah’s brain has excluded the entire environment in between her and Reese. Hence the following lesson: the lens choice is a function of the character’s state of mind in that particular moment. That’s what the audience will experience.

Here are two examples to clarify.

Example 1: you walk into a beautiful museum (18mm lens)

You walk into a museum. This is a place you’ve never been before. You attention is wide. You want to take in as much as possible. You want to feel where you are and what’s around you. In this case, it’s like you’re using a wide 18mm lens to experience the world.

Example 2: you walk into a crowded bar and see a friend (175mm lens)

You walk into a bar. Your attention is wide at first (18mm lens). That’s because you’re looking at the environment around you.

All of a sudden, you recognize a friend you haven’t seen in a while on the other side of the room. Your attention immediately zooms in on your friend. In this case, it’s like you’re using a 175mm lens to experience the world.

As you recall the moment later on, you’ll remember it that way. You’ll remember the zoom in on your friend rather than the environment.

Cameron concludes by saying:

Source: From James Cameron Teaches Filmmaking on Masterclass.