N.7 | "Parasite" (circular character arc example), the hero-less film plus more

JOURNAL ENTRY

Sep 28, 2024: We shot the micro film last Sunday, finally. It was an amazing experience. I love the whole process of filmmaking.

I posted a few images on Instagram. I plan to use Instagram more in the future. I like using it as an addition to this journal. Plus, I can simultaneously post on Threads and on the Facebook page.

This was my second time as director - even though my fifth time if I consider other small roles and experiences I had since the age of 40. I was a better director, but far from being good, obviously.

I want to see incremental improvements. That’s the rule of the game here. I know the extent of my ignorance is gargantuan. I've got so many things to learn, to study, to research and to practice. And this journal is an important part of the process.

This was Alexy’s first time as director of photography. He had to call “action” and “cut” because I’m one of the actors in this micro film. The other actor was Tung.

We shot in s-log3, but I didn’t get the files after the shoot on Sep 22 because we went for a beer and a bite when we finished. I’ll go and get the files today or tomorrow. I want to start working on DaVinci Resolve soon to get this done and move to the next project.

I’m not in a rush, but these small projects are for me, for Alexy and for others a way to get our hands dirty, and I want to make a bunch of them (~10) fast.

FILM STORYTELLING

Parasite (circular character arc example)

I enjoyed watching Parasite again this week. Great film. I’ve watched and loved South Korean films since I was a teenager.

Director Bong Joon Ho uses a specific device to represent the circular story of the movie. The closing scene of the movie mirrors the final shot of the film, although the meaning is different.

What was a bight and sunny apartment in the beginning of the film, is in the end a dark and sad place. Ki Woo tried to give his family a better life, but failed. Bong Joon Ho tells us a story of a character arc that is circular. Ki Woo begins and ends the film believing that achieving a change for the better is possible.

TIDBIT I’M PONDERING

Parasite, the hero-less film

There is one thing that really caught my attention while watching Parasite — which is something I keep thinking about.

I want to keep this in mind for my future work.

There’s no hero in the movie. All the characters are unlikable or flawed in some way or another.

The members of the poor family are a bunch of scammers by trade. They forge documents, lie and seduce in the pursuit of money.

And, then, there is the Park family. The parents are the worst ever. They look down their nose at the poor and even note at some point how one of them smells bad.

Source: From my brain and reading about the movie.

PODCAST HIGHLIGHTS

Team Deakins → Season 2 - Episode 107 - Peter James - Cinematographer

Growing up in Sydney, Australia, Peter James spent many years working on commercials, documentaries and local television shows before starting to work on feature films.

Have a turn-the-page talk

James recommends every cinematographer should have a turn-the-page session with the director, the production designer, the first assistant director and anybody else who’s got a role.

In this process, the director turns the pages of the script and talks about what he/she wants from the film. The cinematographer, the production designer and the others will have their say too, bringing their opinions and expertise forward.

This is the most creative time on a film because you can look at the overall move and break it down. It’s a great way for all parties to get on the same page, in order to make the project go well.

Change the photography to change the emotion

While shooting Driving Miss Daisy, James would change the look of the film to change the emotion of the film.

For example, James took all the diffusion away to make the light harder when Daisy Werthan (Jessica Tendy) is old later in life and lives in a nursing home.

Earlier, throughout the film, James would use diffusions to help make the actor, Jessica Tendy, look younger. She was 80 years old at the time of shooting.

The planning of the film

Some people think that the planning of the film ahead of time could be restrictive. But that is a misconception and a mistake. Reading and working on the script before getting on set is always useful.

Ridley Scott on Black Robe

James considers Black Robe to be his best work. He recalls what director Ridley Scott said about the film once:

Every film should be lit differently

Every film should look a bit different because every script is different. It’s not a good idea to light every film the same because every story is different. Sometimes, the lighting looks like it has nothing to do with the story. In some cases, you can tell whose work the film is, by the way it’s lit.

Locations are characters

Talking about location scouting, James points out how important it is to never rush in when it comes to choosing a location. The place must be the right one for the job.

The location — a whole house or even just somebody’s bedroom — is often a real character of the story. And it’s the job of the cinematographer to make the location one of the characters of the story.

Source: From Season 2 - Episode 107 - Peter James - Cinematographer of The Team Deakins podcast (paraphrased and/or quoted).

FILM STORYTELLING

The medium closeup

The medium closeup is a shot that frames the subject from mid chest to just above their head.

Use it when you want to minimize distraction and prioritize the story and/or the character’s details.