![]() ![]() Use some other music.You could maybe use the Charlie Brown song that plays in the malt shop scene as a montage base, before and after that scene?Ģ:18 if this is "silent" footage, can you add "water balloon impact" and a passing car sound? When you go to Royal (currently 1:30 in the timeline though this will of course change) we should be done with Hey Jude. Maybe it climaxes with the climax of "Hey Jude"? The idea is to visually illustrate that "too-muchness" Add in some overhead God's eye insert shots that are not annotated - the check in the prologue for example, or the cover of the New York Times Magazine with Eli cash on itĪt some point my VO will disappear.crank the music and just go to town with the mosaic thing. Keep zooming out, or simply cutting to a "wider" image of still more insert shots, so that the screen looks increasingly like a checkerboard patternĤ. Drum set zooms out to reveal that it is "attached" to two more annotated insert shots (these tend to be short so you will have to either slow them down, loop them or maybe freeze-frame them to extend them out)ģ. I love what you did with the photos.ġ:00 - cut from my VO saying "more comedic than dramatic" to Etheline saying, "Henry, I have no interest." Get into the pratfall faster.ġ:15 "Packing every frame with such detail." Rethink this section.Ģ. This might be my favorite chapter so far. I would lean towards making it more about the movie and sparing the world the sight of your wide-lapeled shirts. Plus if you show pictures of little Matt and his brother, it's all about the wide-lapeled shirts and we kind of forget about the movie.Īgreed. ![]() Yeah, I feel like going there makes it about me, and I'd rather not make this one about me. As I said, I can get back to these tomorrow and get Bottle Rocket done in a few days and Tenenbaums by the end of the weekend, which would give us the first 4.įeeling good about these. If I have a little time to experiment, I can do something with the last part of the essay. Would understand if you didn't want to visually go there. Not sure how much of that is left in, but I'm just putting that out there. When I was reading that, the best way in my mind to show that was obviously actually including photos of your family, particularly when you were young. Just based on reading the script and not being able to listen to the VO until I get home, I assume what you cut out was some of the more personal stuff about how the film reminds you of your own family. Maybe you're freeze-framing moments and making them look like snapshots or Polaroids or something? Is that possible? I feel like that final stretch needs to verge on abstraction, to go beyond the literal, you know? I picture the end section feeling like we're leafing through pages of a family album. Maybe consult the "memorable quotes" page of IMDB to find particular lines that might resonate against lines of my voice-over? Maybe we're looking at images from the prologue but we're hearing something else from some other part of the movie? The whole thing can be a little bit montage-y. You will probably have to use the soundtrack somewhat creatively here. Eli Cash next to Joe Buck from Midnight Cowboy. Frakenweiler" placed next to young Margot and young Richie hiding out in the museum in the prologue, that kind of thing. When I get to the list of influences early on, maybe do a split-screen thing - "From the Mixed-Up Files of Mrs. It's OK to lean on images in the book as well if you feel that they contribute something. Like you're doing research or solving a detective story. Use freeze-frames where appropriate and then zoom into them, or cut into a particular face or part of the frame. Make it seem like you're picking a document apart. This one should be heavily concentrated on the movie itself - the movie as a "thing" that we are looking at, very closely. I cut large portions of this text, particularly near the end, where I couldn't figure out how you could possibly illustrate it! It might be too much information, but considering that "The Wes Anderson Collection" is about creative choices and how they play into the evolution of style, it seemed appropriate to include the materials here.įor a complete list of every video I've been associated with that has anything to do with Wes Anderson, click here.įinal revised version of "The Royal Tenenbaums" essay:Ĭorrespondence between myself and Steven Santos regarding the editing of "The Wes Anderson Collection, Chapter 3: The Royal Tenenbaums." This hopefully will give people a sense of how the video evolved over time. I have also reproduced emails that Steven and I sent to each other during editing. The voice-over narration is largely drawn from the essay on " The Royal Tenenbaums" from "The Wes Anderson Collection." I've enclosed screenshots of the final edited version below the video. ![]()
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