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The ABCs of Cinematography - An Intro to Filmmakingdid you know that cinema is a language,the truth

FILM CRIT HULK

Updated on Jan 14,2023

The ABCs of Cinematography - An Intro to Filmmaking

did you know that cinema is a language,the truth is most moviegoers don't,really think about it that much,but then again they shouldn't have to,the whole point of cinema is to walk,into a theater and lose yourself over to,the movie up on screen and go on a,journey into a life that is not your own,so why would they worry about the,distracting artifice behind it I mean,not Ian's in theory understands that,there's a lot of people putting in time,and work but because of that invisible,magic of cinema they also assume you can,just sort of put a camera in front of,some subjects and/or some fancy scenery,or whatever and it'll all magically work,out it doesn't heck if you've ever tried,making your own stuff in high school you,learn this really quickly,Hollywood efforts don't just come to,life because of production value or,lavish sets it's because most filmmakers,understand the language of,cinematography they understand that,certain shots angles and colors don't,just show you what you're seeing they,communicate how you should feel about it,too and often those shots have meaning,in enough themselves and if you want to,know you should be able to learn it too,and it often makes me upset how little,critics talk about the basics of,cinematography maybe they don't even,know themselves but I just know how,little we give the glossary of simple,terms for the audience so that they can,actually understand what they're seeing,because there really is a proverbial,ABCs of cinematic language so let's talk,about it to that here's the glossary of,moves and cinematography and how they,affect the audience there are six larger,groupings let's start with the first,section one shot types now what actually,judges what defines a traditional shot,by the size of the subject relative to,the frame for instance a wide shot means,the viewer can see a lot of the space,where the scene is set whether it be a,landscape or even just a room it is most,often used to establish the scope of the,place the subjects are located in the,geography between the subjects and the,emotional context of the space at large,then on the other end of the spectrum,there is the close-up which is one of,the most powerful tools a filmmaker has,at their disposal it brings us near an,actor to see every bit of emotion,on their face their pain their sorrow,their yearning or their desire and yes,those are the only four emotions but,there's a delicate art to the close-up,letting us close to an actor's face,makes for such a uniquely intimate,moment if you use them too much over the,course of a movie you can actually lose,the potency of this powerful effect use,it too little you will take away the,audience's crucial need to connect in a,mote with a moment now a medium shot is,of course the halfway point between a,wide and a close-up,it generally shows an actor from the,waist up the intent of this shot is to,get some of the benefits of each you're,close enough to get some intimacy with,their facial expression but you can also,see the actors relationship with the,space that is their interaction with,objects in the scene or most importantly,of all other people which brings us to,the two-shot this is really just the,general term for anytime two actors are,in screen at once there are a host of,variations within this that mostly have,to do with where a subject is facing in,relationship to the camera for instance,in an American two-shot the two subjects,will face directly toward each other and,we'll see them both in profile Wes,Anderson has a lot of shots like this,often to highlight the distance between,the two people in question or there's,another variation called a dirty two,shot in which we're really emphasizing,one subject in a medium or close-up but,we can also see bits of the other,character in frame usually just over,their shoulder this gives us more,context for understanding the space,between the characters often it is used,to gently remind us how much of the,other person is present or has a bearing,on the scene Zack Snyder reminds you,about other things lastly an insert shot,is any close-up of an object or gesture,that gives us a piece of information,sometimes it's an object the characters,are fixating on sometimes it's what a,character is doing like making coffee or,sometimes it's about someone trying to,hide something imagine two people,talking over dinner but then we see a,quick shot of one of them pulling a gun,from out of their pocket below the table,this would make us feel dread and a,sense of dramatic irony all from an,insert shot now as I go through all,these examples note that I'm not,strike two describe the shots in and of,themselves I'm trying to show you the,way that these shots have a direct,effect on us as a viewer in the,information that we will take away from,them section two camera angles now let's,talk about the angle of a shot which,implies where the camera is in,relationship to the subject not just the,size of the subject a low angle shot is,when the camera i

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Why SPIDER-MAN: INTO THE SPIDER-VERSE Works - A Scene-By-Scene Breakdown
Hulk (2003) - Nostalgia Critic
Breaking Down the Action in MISSION: IMPOSSIBLE - FALLOUT
The Rise Of Skywalker Is The Most Frustrating JJ Abrams Film
Cat and Mouse | Critical Role | Campaign 2, Episode 128
The Last Jedi and the 7 Basic Questions of Narrative Drama
Yes, Monster Factory Is a Work of Art

Why SPIDER-MAN: INTO THE SPIDER-VERSE Works - A Scene-By-Scene Breakdown

so i want to talk about one of my,favorite superhero movies,no no not not that one this one i can't,remember the last time a new film came,along,and so radically spoke to everything i,adore about,movies and i feel like there's been so,many interesting conversations about the,way this film was made,the brilliant inventiveness of the,animation the layers of hidden jokes,the deep dives into funny references and,most of all,the commentary on the way the film,strives for inclusiveness and presents,layers of so many great thematic points,and all this wonderful commentary on the,importance,of representation there's been so much,wonderful,critical work on this film already but i,want to talk about the writing because,there are a few films that so,exemplify both the incredible complexity,of juggling multiple characters,complicated plot lines and deep,character arcs,while also holding so true to the,simplest storytelling,concepts that drive its function it's a,testament to everything that is small,big intricate broad nuanced and glaring,and it all starts with a question how,how did they do this how did they make a,new film,about spider-man when no character is so,saturated the market,quite like this one i mean there have,been seven spider-man movies in the last,18 years alone,three actors playing the character not,to mention cartoons comics spin-offs,how do you take all that show an,understanding of it,and still drive it forward into,something that feels resonant and new,turns out the answer is not about,ignoring that saturated reality,the answer like almost everything in,this movie is that you,include it and in doing so you make,something so much more than the sum of,its parts,so let's break down how they did it you,know,from the onset we get the familiar logos,but the film is also letting us know,that something is different,that we're going to be glitching with,familiar iconography preparing the,audience for the style that is going to,come,and then we get a recap alright let's do,this one last time,a way of showing awareness that this,origin story has been told,so many times and people are likely,tired of it but it then proceeds to run,through it in the most enjoyable way,possible,because look it's spider-man it's the,most classic version of the character,that we've come to know,let's call this particular guy golden,age spider-man but you know the players,in his life there's uncle ben,his wife mary jane the familiar rogues,gallery it helps that it directly copies,the iconography of the sam raimi films,which a lot of the audience would likely,be familiar with in that it also,captures that golden age sensibility but,the point of the sequence is threefold,one it communicates who spider-man is,for those who aren't familiar,two it establishes the language of quick,introductions that will be used,throughout the film,and three it uses what will be one of,the film's core screenwriting strategies,make information funny because what else,both communicates something important to,you,also makes you like that information it,even tackles the sillier parts of the,character's history with a knowing link,but it's more than the joke,it's creating a dialogue with the,audience and understanding of that,shared history,really it's about getting on the same,wavelength and establishing a sense of,trust,we're all on the same page and somehow,they managed to do all of it in just two,minutes of screen time it's economical,beyond belief,but sequence also sets up a core,dramatic condition,it's all about communicating that,spider-man has this defining,characteristic,that he will always get up again and,again and again,i always find a way to come back,a notion that will be such an important,story touchstone for this film,and then it ends on a declaration that's,really just a perfect transition to the,following sequence there's only one,spider-man and you're looking at him,but that's not always going to be true,is it sequence 2,you are miles morales we cut to a young,man that we are now looking at too,here we have to do the humongous job of,introducing,our main character people always talk,about establishing likability,but that's sort of the wrong word,because we don't want to make someone,seem like they're this impossibly good,person,who is saintly and above the audience,what we really want to do,is build empathy which usually starts,with the familiar,the mundane the things that make us,fallible so what do they do here for,miles,he's working on his drawing listening to,music trying to sing along but,he doesn't know all the words it's one,of those perfect little choices it,evokes the way we try to be so,polished in our heads yet we always fall,short it speaks to something so,small and specific and yet also speaks,to something that's a universal,experience of how we're all,silly but the empathy building doesn't,stop there miles has got to pack for,school while he's late and in a rush,the sequence is throwing so much,shorthand information at you,th

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Hulk (2003) - Nostalgia Critic

Narrator: Nostalgia Critic: critic of nostalgia.,Searching for a movie to tap into the inner frustrations every movie nerd has.,Then, a viewing of a fascinatingly misdirected movie alters his chemistry.,And now, whenever he hears any mention of the movie Hulk, a startling metamorphosis occurs.,NC: Malcolm.,Tamara.,Do not show me that movie.,You wouldn't like me when you show me that movie.,I exploded.,Narrator: The Critic is wanted for property damage he didn't commit.,Well, OK, he did, but it was just of a movie,and that movie sucked.,The Critic's patience is believed to be dead.,And he must let the world believe it is dead,until he can find a way to control the whiny bitch fits that dwells within him.,NC: Hello, I'm the Nostalgia Critic. I remember it so you don't have to.,You know, this should be the easiest guy to make interesting.,The Incredible Hulk is a classic Jekyll and Hyde story about scientist Bruce Banner,whose experiment goes wrong and turns into a giant green monster whenever he gets angry.,It has both the psychological AND physical elements that usually make for great classic storytelling.,Yet his cinematic ventures have been so underwhelming that,despite him being many people's favorite parts in other movies,no solo movies are planned in the near future.,And that all started with the,"HNNGH!",simply known as Hulk.,How can a story about a giant green monster be boring?,That was the challenge presumably given to director Ang Lee.,He just finished a winning streak with his martial arts opus, Crouching Tiger, Hidden Dragon,,winning over box office, critics, and too many awards to count.,So producers immediately said, "That!","We want that for our action-packed Hulk movie!".,But what they were missing is that Ang Lee usually did social dramas.,He did Crouching Tiger, Hidden Dragon because he always wanted to do a martial arts movie.,One.,One martial arts movie.,He brushed up for YEARS on martial arts flicks so he could figure out how to do it right.,With Hulk, very clearly, he was a director-for-hire.,And saw this more as a means to experiment rather than bring a lifelong dream to life.,And much like Bruce Banner, this experiment WOULD haunt him for the rest of his days.,He certainly recovered and returned back to his comfort zone,but the mark this movie left on comic fans is probably the most uniquely bad since this:,"This is why Superman works alone.",But while that was bright and colorful and at least made little kids happy, this...,would only make that kid who stands in the corner saying "I'm bad, I'm bad, I'm bad." happy.,Because he's gonna set someone on fire.,So, why is this the most intriguing, and yet somehow, also most boring of missteps?,Well, let's make everybody angry with "Hulk.",Whoa, whoa! Tone down those expectations there!,This is not the movie you're going to get!,No, let's instead do those early 2000's credits of blurry closeups mixed with sped up and slowed down editing.,I've always wanted to see an intro with my glasses off and a monkey playing with the remote.,OK, Coco, push play. Push play.,No, now you're fast-forwarding.,No, no, now you're slowing it down.,No, now you have it on extreme zoom.,Extreme zoom.,No, no, pull it back to normal.,This is the best way to watch this movie!,Oh, and if you think this style is only done in the credits,your senses are in for a bludgeoning!,Because there's gimmicky editing techniques throughout the entire film.,And I mean the ENTIRE film.,Just look at this flashback of Bruce Banner's father.,Edith: I'm gonna have a baby.,If you find this mildly annoying, then just add 2 hours of it and,that M will quickly turn upside-down.,Like me, you might be wondering, "What's the point of all these transition tricks?".,Tricksitions as I like to call them.,My best guess is Ang Lee wanted to create the closest thing he could to a comic book.,Meaning the film literally has panels, speed lines, and elements of space and time overlapping each other.,There's just one problem with that, though.,If you're adapting a book,would you constantly put words all over the goddamn place?,This is way too friggin' literal!,Ross: Gamma decontamination will occur in 30 minutes.,NC: Actually, I take it back.,There's 2 problems with this technique.,In a comic book, these are used to suck you more into the story.,It leaps off the page and brings you into their reality.,This is constantly taking you out of what's going on.,You can't ever breathe in the world because the movie's too busy trying to physically show you the lines that they're supposed to be breathing in!,Ross: Gamma decontamination will occur in 30 minute-,NC: Actually, I take it back.,There's 3 problems with this.,I'm sorry to dwell on this so much, but this is literally throughout the whole goddamn film.,It's best to tackle it in one "Unh!".,Other movies like "Spider-Man" and "Sin City" look like the comics they portrayed to create a stronger environment for their world.,They're adventurous, they're action p

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Breaking Down the Action in MISSION: IMPOSSIBLE - FALLOUT

what makes the mission impossible movies,work is it the,intricate spy plots is it the daring,wire work,is it the use of just so many masks,where is it this,yes it's this the truth is that much,like the fast and furious series the,mission possible films have had an odd,rambling and remarkable path to,achieving their current status,one where it admittedly took a few more,entries before it found its established,voice,now normally i'd go into more detail if,this was about the whole series,but with those first three entries just,know that there were,things that i really liked and things,that i didn't like so much,rabbit's foot what is it,but really i want to talk about the,series defining shift with,2011's ghost protocol brat bird and the,team of writers including some late help,from christopher mccory tweaked cruz's,character by giving him just a,little touch of indiana jones and his,comic fallibility,meaning ethan hunt was now in a constant,battle with murphy's law as every gadget,plan and intention failed miserably,resulting in some serious death banning,from cruz that's honestly in the vein of,buster keaton turns out this comparison,is rather apt as a great deal of the,film's promotions centered around,cruz's absolutely insane stunt work with,the burj khalifa and dubai,suddenly it all felt so daring so fun,and it had to be seen to be believed,this is ostensibly how they figured out,the new formula which essentially turns,these films into an escalating series of,stunt based stares that i'm pretty sure,will one day kill tom cruise but when,mcquarrie came in to direct the fifth,entry that would be,2015's rogue nation it wasn't just about,the mere fact that they were having,crews hang off the side of a plane it,was the fact that mcquarrie was proving,himself as a new master,of finely tuned action sequences the,film also featured the most solid,storytelling from start to finish,largely capitalizing on the fiery,interplay between cruz,and rebecca ferguson's ilsa faust coming,from this success,mccrory became a series first that is,the first director,to be welcomed back in the chair with,mission impossible fallout,and it absolutely delivered on more of,the same quality and now they are,currently working on not just one but,two more films in the series i'm left to,ask,how do they keep doing it what makes,their work so dependable i mean if,there's anything hollywood has taught us,throwing a lot of money at the screen,doesn't necessarily result in compelling,action,so how do they keep pulling this off,well it's because they really adhere to,the core,principles of action storytelling and i,think we should use their last film,as an excuse to talk about what that,means that's right,we're breaking down the action of,mission impossible fallout,yeah the most important thing is to,understand that action,isn't just important to the storytelling,it's storytelling,in and of itself which means it's,dependent on the same exact principles,like clarity of intention cause and,effect exchanges of meaningful positive,and negative effects,and creating results that give the,audience a genuine,feeling of change without these elements,action is,well just sort of boring an endless,series of meaningless exchanges that,might look neat but only add up to this,kind of dull noise,it doesn't make the audience feel,invested,the key to investment is understanding,that you have to keep the audience,in on the plan which relies on creating,anticipation now you've probably heard,the old adage what's more exciting,a bomb going off out of nowhere or a,bomb under the table slowly counting,down,the answer is of course the bomb under,the table because you don't want the,audience leaning back,on their heels always reacting to,something you want them leaning in,but to pull this off the audience,actually has to see the imminent danger,and fret over it sure surprises are fun,but only in key moments in a given scene,that make those things worse,and when you look at this overall,dynamic you can come up,with five critical elements for writing,every action scene,the first one is stakes now you've,probably heard some dude on the internet,say all sarcastically let me guess the,good guys win,like they hacked movies or some ,yeah the good guys usually win that's,pretty much,why people go to the freaking movies,because they want to see,that they just want to have an engaging,time until that eventuality is possible,which means it's all about,crafting a story with ups and downs,along the way,it's about creating things that those,people care about and watching them lose,them,or watching them get put into peril,stakes aren't always about,not winning they're about making danger,feel genuinely real and personal,and they should always be there in the,subtext of every action scene the next,element,is objectives this asks what are the,heroes trying to do in this scene,and why how does it get them closer to,their overall goal,the importance of clear objective is,that it gives the

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The Rise Of Skywalker Is The Most Frustrating JJ Abrams Film

so Star Wars the rise of Skywalker is,very much not for me and there are two,major reasons why it's not for me,because it suffers all of the problems I,usually have with films directed by JJ,Abrams and it's not for me as the,conclusion of an ongoing story,specifically as a sequel to the last,Jedi this is gonna be a spoiler heavy,video so they are warning about that and,if you disagree with me that's cool as,long as you don't harass anyone about it,so let's get started with part 1 no,scenes just plot I've never loved a,movie directed by JJ Abrams,which is weird because he's an insanely,talented director in a lot of places,he's great with actors and it shows and,his characters feel human relatable,likable charismatic his signature,mystery box style of storytelling is,extremely effective at getting an,audience hooked into the story quickly,his scenes are always flashy even when,delivering exposition they've got an,engaging energy to them thanks to,dynamic camerawork but fun flashy scenes,are JJ's greatest strengths and his,greatest weakness an over-reliance on,sequences like the ones were about to,talk about leave little room for,anything else we have very few scenes in,JJ Abrams movies but way too much plot,and this is a bigger problem in the rise,of Skywalker than it is in any of his,other movies so much of this film is,nothing more than the characters running,around and yelling about why they need,to go to a place to find a thing that's,plot in one sense it's a good way to,sneak exposition into a story JJ is very,good at making boring information feel,fun and exciting check out the scene,from super 8 on paper that's a pretty,basic planning scene they could have,done it was simple shot reverse shot but,JJ makes it more engaging than that by,having the camera go crazy and by having,his actors constantly interrupt each,other also I'm using super 8 as an,example here because it's the only movie,he's directed without cinematographer,dan Mendell JJ style remains the same,regardless it's very distinct,but in the rise of Skywalker these kinds,of exposition scenes are constant and,they are barely scenes you know what I,mean by scenes right like two characters,in a room working through a character,based conflict that reaches some kind of,resolution and that leads into the next,scene in the rise of Skywalker this,almost never happens,Rey Poe and Finn spent half of the movie,together but there are very few moments,when their relationships are developing,in ways that pay off later in the movie,it's just them shouting exposition about,the Sith wayfinder or the droids myth or,whatever we don't get scenes where the,characters talk about what actually,matters to them and maybe share,differing philosophies about something,or when they do they're over within ten,seconds no scenes just plot and this is,the biggest reason why I find the movie,so uninteresting there is nothing at,stake,emotionally between the leads they're,just sort of doing stuff it's also hard,to get invested in what's happening when,nearly every scene gets interrupted by,action film critic talked about this in,the force awakens in an incredibly,in-depth essay on JJ Abrams that has,definitely shaped my thoughts on him,here so I highly recommend checking that,out basically in a well written plot you,understand the cause and effect of each,action the characters make decisions and,those decisions have consequences which,lead into the next scene in JJ Abrams,movies the characters are talking about,something and then bad guys show up out,of nowhere the whole movie then just,becomes about them running around,it's banal doing this works in the,moment because our lizard brains get,shocked into paying attention whenever,an action scene starts and it's only,after that we start wondering what the,story is even about to me this kind of,storytelling reeks of the fear of,letting the story slow down a fear that,the audience will get bored if the,characters aren't in peril at every,moment but the effect is the opposite,I'm bored when they're in peril because,nothing deeper is happening to make me,care in the rise of Skywalker it's,relentless they're at a festival bad guy,show up stuck in a cave oh no there's a,snake monster go to another planet more,bad guys and to be clear it's not that,this is a problem every time or that it,immediately makes a film bad if it does,something like this it's that it happens,so constantly n JJ Abrams movies that it,robs the characters of agency the,ability to make big character reviewing,decisions I can see the decisions Rey is,making in this story but everyone else,is just along for the ride no scenes,just plot so that's the movie endless,sequences of running around yelling,exposition getting interrupted by action,scenes I've seen so many people describe,this movie as rushed and this is the,reason for me it's JJ style cranked up,to 11 to the point that nothing else is,allowed to breathe heart to the dead,speak I don't know how to feel during a

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Cat and Mouse | Critical Role | Campaign 2, Episode 128

MATT: Hello everyone, and welcome to tonight's episode of Critical Role,,where a bunch of us nerdy-ass voice actors sit around,and play Dungeons & Dragons.,ALL: (discordant yelling) We play Dungeons & Dragons!,MATT: Like that. (high-pitched laughter),Whoa.,Daffy Duck over there.,So before we jump into tonight's episode,,we do have some announcements to get through,,beginning with the first of two sponsors, Hit Point Press.,Sam.,SAM: Today's sponsor is our friends at Hit Point Press,with an important rebranding,and launch of their site.,To celebrate the new launch,,for the month of March,,customers who spend over 100 bucks,at hitpointpress.com, that's hitpointpress.com,,will get a free hardcover Humblewood advance reader copy,and free packs of their animated spells.,That's free random animated spell cards free.,This promotion is live now,until the end of March.,Quantities are limited,,so their advice to you, don't miss this deal.,And speaking of good advice,,we've got someone with us who gives amazing advice.,As we know, Gale was a sitcom icon,and movie mainstay of the 1980s,,but as it turns out, since then,,she has been writing one,of the most successful advice columns in America,,so thanks to Hit Point Press,,Gale is here to answer some fan letters.,ASHLEY: Hello!,(laughter),MATT: Oh wow.,SAM: I'm going to read this first letter right here.,Gale, my ex-boyfriend started dating my sister.,How should I handle it?,ASHLEY: First off, boyfriend?,Ugh, grody to the max.,Do you, like, kiss and rub cooties,on each others' stinky bods?,Ugh, barf in my mouth.,My advice, let your dumb sister have that dumb dork,,and while they're frenching in your dad's Geo Prizm,,just slingshot a (laughs),(laughter),flaming bag of dog poo into that nasty love nest,,and walk away from those losers,knowing you just caused maximum carnage.,As if!,(laughter),SAM: Thank you, Gale. That was great advice.,We have another letter here.,Dear Gale, I have gophers in my lawn.,How do I get rid of them?,ASHLEY: Aw, easy sleazy.,Smack those gophies in the mouth!,Let 'em know that's your dirt, baby,,and if they don't like it, gag 'em with a spoon.,Ha-ha-ha-ha (blows raspberry),(laughter),SAM: And one more letter from fans.,You can send these in to our P.O. box whenever.,This one says: Dear Gale,,My boss gave a promotion to someone else,less qualified than me.,Do I say something?,ASHLEY: Man, don't know why you'd be bummed out,about some dumb work thing, but whatevs.,You know what, when I'm down in the dumper,,I grab a six pack of RC,,pop a box of Runts,,and laugh my butt off at the movie "Amadeus.",(laughter),That wigged out piano dude kills me,,the way Mozart always mad goofing,,driving Salieri to plot the young prodigy's downfall,until, ultimately, Salieri realizes,that, in destroying his mortal enemy,,he's actually depriving the world,of an unwritten oeuvre,(laughter),of unparalleled musical genius. Ha ha ha ha ha ha.,Old-timey people are so weird.,Anyway, the best advice I can give you is,go to hitpointpress.com,,check out their new site, and let them know what you think,,and don't forget that promo, gag me with a spoon.,SAM: Thank you, Gale,,and thank you, Hit Point Press.,Matt, back to you.,MATT: Ho, ho, ho.,Yes, thank you, Hit Point Press,,for allowing all of that to transpire.,Oh, I'm in pain.,TRAVIS: Oeuvre.,(laughter),MATT: Okay.,TRAVIS: Goofin' hard.,MATT: (clears throat),And thank you to our second sponsor,for the night, friends,since the beginning of campaign two, D&D Beyond.,ALL: ♪ D&D Beyond! ♪,MATT: The official digital tool set of our show.,At D&D Beyond, you can create your own encounters,,characters, makes all your game prep super easy,as a dungeon master, and keeping all your stuff cataloged,as a player without having to spend a lot of time,looking for everything scattered around.,Check it out at dndbeyond.link/builder,to check out what they got.,Also, thank you all for joining us live on Twitch,and YouTube now, which is awesome,,but to join our live and moderated community chat,,please head over to our Twitch channel,,where all of that glory happens.,Laura, you have announcements.,LAURA: Mm, mm-hmm!,I would like to introduce all of you,to our brand new Hello Bees long-sleeve shirt!,to our brand new Hello Bees long-sleeve shirt!,It's white. I hope you can see what's happening here,,because it's super cute, and there are super cute things,on the sleeves, and I love it.,(laughter),It's available in the Australian store right now.,Congrats, Australia.,(laughter),SAM: This is what they've been waiting for.,LAURA: This is the thing.,It will be coming to our other stores very soon,,so just keep checking in on the store,so you can see when it happens.,And a reminder, our Vox Machina T-shirt is available now,in the UK store,,our Mighty Nein lightweight hoodie is available now,in the Australian store.,I...,And be on the lookout (laughter),for the--,I already said that part.,SAM: Congrats, Australia!,LAURA: Congrats, Australi

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The Last Jedi and the 7 Basic Questions of Narrative Drama

Star Wars: The Last Jedi is good and,occasionally triumphant. And I know half of you already disagree with me vehemently but all I'm asking before we start is that you consider,the possibility that a movie you loathe, still has some strengths we can learn from.,Okay?,maybe??? (sigh),Well, let's try this anyway.,Star Wars; The wonderful characters of the Last Jedi,The focus of the controversy around this film has to do with how it challenges the legacy of its own franchise.,But today I want to look at the dramatic,bedrock on which all of these themes are built on rather than the themes themselves.,You can still hate what the film chooses to say,but at least we can agree that it says what it wants to say in an effective manner.,There's a critic I deeply admire who goes by the,pseudonym Film Crit Hulk, who in a practically novel length essay on Man of Steel,proposed what he called the 7 Basic Questions of Narrative Drama.,These are questions that he argues that Man of Steel failed to answer,clearly and I encourage you to check that essay out for why (link in the description). The 7 questions are a good way to,diagnose whether or not you have a story and they force you to be very clear with what the conflict is and why it matters.,I think it's useful to talk about this in regards to the Last Jedi,specifically because this film has three distinct plot lines and each of them answer all seven questions.,So, let's begin with Part One: Wants vs Needs.,So, questions 1 to 3 are: What does this character want? What does this character need?,And how do those wants and needs conflict with each other within the character? Wants and needs are pretty well established,ideas in storytelling. Both of these books lean heavily on these ideas, though,Truby calls wants the desire, but it's the same thing.,Basically, a character is an explosive mixture of conflicting wants and needs.,You just can't be too obvious with them or you'll end up like the bad screenwriter in Rick & Morty. Blaine:,Maybe I don't need a new friend. JC: Maybe you're the only friend I need. Blaine: Need or want? JC:,I've never been much for wanting. Blaine: Spoken like someone with needs. Oh, jeez,So what's the difference between a want and a need?,Wants are primal. They are animal instincts, things everyone relates to like power,,money, status. A character will usually start a story relentlessly pursuing their desire.,But this will lead them into trouble because their want is in some way immoral or misguided.,It's not the thing they actually need to solve their problems.,Needs are, according to Truby, what the hero must fulfill within himself in order to have a better life.,When a character does what they need to do, we can see what the moral of the story is.,Let's start with Poe since his arc is the most overt. Poe wants to win the war no matter the cost.,He's reckless and he doesn't consider the consequences of his actions.,It's all dramatized very clearly in the opening action scene. "Now get your squad back here so we can get out of this place.","No, General, we can do this! We have a chance to take out a dreadnought!,What he needs is to become a more responsible leader and to learn when to retreat. "There are things you,cannot solve by jumping in your X- Wing and blowing something up!,I need you to learn that.”,He has less internal conflict than the other protagonists but all that's required here is a few moments,where he second guesses his instincts before acting.,"It'll save the fleet and it'll save Rey.","If I must be the solo voice of reason, Admiral Holdo will never agree to this plan.”,"Yeah, you're right 3PO. It's a need-to-know plan and she doesn't." It's subtle and unspoken,but the sense he is conflicted,about doing something that he knows Leia would disapprove of is palpable.,Now Rey is much more complex. She's got a lot of plot oriented goals,,things like getting Luke to help her or getting Kylo to switch sides.,But what she actually wants on a character level is external validation. She wants to hear that her parents,are important and therefore so is she.,"Rey's parents' reveal is stupid." Hey, hey, we're not getting into that! Stay focused! But actually since we're here,,I think the reveal that her parents are nobodies is pretty brilliant.,But anyway, moving on! Onscreen the characters are constantly,saying that she can't stop herself from meeting her parents but for our purposes,this is her want, because wants are things you have trouble resisting. "That place was trying to show me something." "It offered something you needed and you didn't,even try to stop yourself!" "Your parents threw you away like garbage." "They didn't!" "They did!,But you can't stop needing them." What she needs is to become emotionally independent and to carve out her own identity.,But Finn seems to be the character who's arc is least appreciated.,And I think it's because we sort of expected him to start the movie,as the person he only,transforms into at the end of t

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Yes, Monster Factory Is a Work of Art

So I've been obsessed with this YouTube series for a few years now...,And I know that I'm not alone.,Griffin: Welcome to a new video series called Monster Factory,It's a Let's Play series, where Justin and Griffin McElroy try to break video game character creators.,Griffin: No! Borth! Justin: Oh!,Griffin: Borth Sampson, no!,It's a... It's a great vehicle for riffing.,I've gotten friends into it and we have in jokes and we say things like...,"Mustaches, which she collects for her dark needs.",And, "Backpack for his applesauce," and our favorite one...,"How many meat can we make him?",Griffin: How mu... How many meat can we make it?,Griffin: God! It's like the end of Akira! Justin: Todd!,Griffin: Todd, why would you do this?!,And sometimes I'll show it to people and I get blank stares and puzzled responses...,And questions about why my tastes are the way they are...,Like I do every time I try to share something that love...,But anyway!,There's a brilliance in its silliness.,Like everything made by the brothers McElroy...,It's a heap of absurdist humor distilled through a comforting backdrop of fraternal bonding,Justin: And you look like a normal cool dude?,Justin: And I look like the waste bin of an anime studio...,Justin: That's been upturned and pissed on.,It's essentially a Let's Play series, a popular YouTube genre that I never got into.,But Monster Factory isn't just a Let's Play series. It has crossover appeal.,I've seen it discussed in cinematic circles. Mike Newman wrote about it, and so did Film Crit Hulk.,And now me.,And why not?,There are so many cinematic discussions to be had...,Genre Theory!,Justin: With a single slider, we've taken her from, like, possible protagonists to third-tier fetch-quest NPC.,Critical Race Theory!,Griffin: Um... Justin: What could be less intuitive?!,Griffin: Alright, let's just turn the ethnicity all the way up! He is all ethnicities all at once!,Feminist Theory!,Justin: What does Non-built look like?,Justin and Griffin: ,Marxist Theory!,Justin: Totino's? I love their products.,Griffin: I love Totino's.,Griffin: Totino's, they make Totino's pizza rolls. You know, Totino's pizza rolls.,Griffin: What's even in there? I love it.,And of course, Auteur Theory,Justin: Is this what Todd wanted? Right, because it's so...,Griffin: Can you not see the credits? The credits are rolling on the screen right now.,Griffin: It says produced and fully intended by Todd Howard.,But I want to talk about its aesthetics.,It's a series based on visual gags, that only a computer-generated image...,Can produce.,Griffin: What even in the world do you think you're doing, Fallout?!,Well, it’s an issue with how Fallout 3’s graphics engine handles animation,cause it uses different parameters to define its preset animations,than its procedurally generated ones,so a predefined animation like a walk cycle,seems to define its skeletal rig as relative,to the object as a whole,while the rag doll physics that happen in a death animation,defines individual bones in the rig relative to each other,so if you adjust the scale properties of an object,the mesh will properly scale with the skeleton during predefined animations,but in procedural animations the mesh will be distorted since the scale adjustment will be only be applied...,Anyway...,It's a bug.,It's an entertaining, bug, but it's still a bug.,A bug familiar to anyone who's ever played a Bethesda game.,Griffin: Uh, speaking of bug reports...,So, why is this so entertaining?,Well, let's pivot from games to film.,The earliest days of film.,At the turn of the 20th century, films were predominantly shot indoors.,Shooting staged scenes with actors. It was theatrical.,Cinematic pioneer and prolific racist DW Griffith once declared that movies needed more of this:,The wind in the grass.,He wanted to take film outside.,To explore the natural world, rather than the theatrical one...,Jump-starting cinemas longing with capturing that magical five-letter word...,Truth,Director after director in country after country...,Striving to capture something true,,Something natural, something you can't plan.,Film critic Andre Bazin once wrote that cinema was a document of God.,Who put that in there?!,Anyway, Griffith was saying that film needed more of this:,Wait for it...,Accident.,All great movie moments are beautiful little accidents.,The truest performance, the most graceful of movements...,The perfect take, itself, is a kind of accident.,Justin: Because I'd love an ice cold water.,Ice-cold water.,But there's another form of truth: The truth of the medium.,Like an actor on stage, pointing out the proscenium arch,Another great filmmaking tradition emerged devoting to showing you the film stock.,The imperfect take, the truth of the medium.,Not the wind in the grass, but the dirt on the lens,,Also a form of truth. And now we have a new frontier, a new medium, a new truth:,The computer.,But even in CGI, the new frontier seems to be adding photographic detail: The traces of na

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