The experiment is obviously a failure. Hello, my good friends. Today our lecture will be on the topic ' How to make a movie with a thought '. I will specifically write 'suction in thought ' on the board so that you don't make a mistake. It takes talent to make sense, and since you're here, it's not about you. We will learn to shoot stuff so that human cubs raised by the news feed can take it not for bullshit, but for something profound and significant - at least according to the trailer.
We will learn from the recognized master Oleg Asadullin, who took so much stuff that we only have to take off our hat. He used to shoot horror movies with cheap special effects, but now even the cheapest special effects are over. The pandemic, my friends, is not easy for all of us, but Oleg is not discouraged. Only now he has to scare a few spectators not babaika-poltergeist, settled in the club, in the car, but the most terrible of living creatures.
Man-woman.
The first idea is simple as a fire plan of a toilet: we will shoot in a sealed room, which no one in the plot can leave. We've got cameras, we've got actors, we'll be fine in a week. Let's get the story up sometime... Experiment! Yes, an experiment! After Milgram and Zimbardo, this word was imbued with new sinister scientific meanings. Experiment is now the main method of proving that people are disgusting. Yes, and write it down - o-mer-zitel-na! Any thoughtful thriller should carry a charge of misanthropy, and the more - the better. Let the neural network (or who is behind it?) not let anyone go until it pulls all the rot out; oh, Lumet would cry, live.
What are you asking? An hour and a half in one room - will the viewer get bored? Will he not become dreary and lonely (especially since it is quite possible that in the hall he sits alone like a finger, cross out like a fool)? This is our main concern: to make him fun with dexterous techniques. The director and I know three techniques: pathetic mise-en-scene scenes, a trembling camera, switching between characters. There are others, but the budget does not allow. Let's show for five seconds how one character is crying and another hates him at the time, and the third is in shock and the fourth is shaking for his skin. Let the actors do their best; never, never say the verb ' replay ' in our film, it's just impossible to overplay. So the second advice: tantrums are not superfluous. Let the heroes break down more often, yell at each other, loudly and enthusiastically experience the baseness and betrayal. The head will be turned off until the end of the session. If it stays on their shoulders, they take it with them, no - a small loss.
But that’s not enough for the film. We need a story like this, since there is no action, and we do not know how to invent it. The answer is, let’s be a little magician. If you massively bombard the viewer with facts and emotions, he will quickly start watching his sleeves, not his hands. Of course, there can be a lot of questions about the scenario, but for this, the client needs to stop and formulate, and who will let you stop? More passes, more twists, the rest will come. If the Brilliant Puppet Driver has a Cunning Plan, no one will interfere with him, all the information of the world is in his pocket. I don’t care that the characters at first behave as if they don’t know each other, and then they call themselves best friends. So what if everyone on the screen is dumb like a judge's hammer? There’s no such thing as an expert in the room.
This is the basis, the framework: to confuse the characters and the viewer in a tight tangle of contradictions, so that all views are not without reason, to intrigue. But we want more. It is necessary for the viewer not only to have fun, especially since the entertainment for three stretches, but also to make such an important idea that it is anywhere: at least in the public with quotes from Jason Statham, at least on a meme with a wolf. The misanthropic idea of universal abomination will do – but it must be articulated correctly, suddenly the viewer will not get it? It may not be ours. Let half of the characters once give out a felt monologue about how bad and spoiled everyone is, how terrible it is to live in this cruel world; it is not a pity to single out the entire third act. And if you often insert frames where animal masks shake at the disco, you can also sign up for the creators. No, well, if Nikita Sergeich in the remake of Lumet can insert flashbacks - then why should we be ashamed? Mask we, like many others, from 'Saw ' snatched, but in postmodern no word ' plagiarism ' - there is only ' reference ' And if you succeed in screwing up the current agenda with social media, with the ethics of artificial intelligence (no one understands how it works anyway) and violence against a woman, then you can even count on success somewhere at second-class festivals.
That's the recipe. It is obvious that our stupid and imitative picture does not have artistic value - but there will always be those who think the opposite, who, as they said earlier, will "appreciate" & #39; - especially since it is extremely simple for the perception of the most undemanding, most primitive and therefore the most grateful audience. Such a masterpiece will not require special costs, and for a portfolio it is quite suitable. In anticipation of more satisfying times, dietary mineral water is the drink of the gods. They do. The main thing is not to bother, not for Eternity to shoot.
In five years, no one will remember. Unless one of the actors will go down a curved path, and the news with him will be illustrated with footage of where he is in the cage. With the current state of the film industry, it is a possible option; hopefully, participation in 'Presumption of Guilt' is not considered an aggravating circumstance.
This film would become a milestone only in one case: if it was written and staged by a neural network. At least that's what he looks like.