Freedom within limitation

by Bartosz R. Milewski

While the goals of cinema are the same as that of any other art form, the methods are specific to this particular medium. Cinema is relatively young and it is still evolving. Formal discoveries contribute to the evolution of the filmic language, the means in which a story can be told through framing of the shots, editing and sound.

Non-linear editing, portability of digital video equipment and the very low price of tape (as compared to film stock) create great opportunities. A contemporary filmmaker has by far much greater mobility than the motion picture pioneers had. This allows for creative deviations from the script, or catching the moment as it happens. We make sure to use this feature of the video medium to our advantage.

The possibilities created with new technology can also be dangerous: it is so easy to film that filming can be done without good planing or effort. There have been trends in contemporary filmmaking that glorify accidental, shaky shots. Some call them more realistic. Contemporary audiences might be forgiving (to some point) of such an approach to filming, even though it is uncomfortable to watch. It is also true that a film with bad or unexceptional shots is capable of telling an interesting story, having great dialogues, or acting. We feel, however, that such shots are not realistic (as in real life our vision does not shake out of control). What is even more important is that such a way of filming misses the opportunity to convey something that might be called "the mood" and which is often conveyed with shots of the environment in which the action takes place. It is difficult, for instance, to be enchanted by a beautiful sunrise in a rural setting when the exposure and saturation is bad and the camera movement is totally accidental.

Our experience, however, tells us that there is not just one correct way of filming and any rules should not be taken for granted. Very different, opposing ways of thinking might work depending on the circumstances, the content of the scene, or type of film. However, breaking a rule works better when it follows a very conscious decision.

When we film, (when we actually get the image burned onto tape) we have three things in mind. First of all we think about the content (which is the most important). Secondly, we consider which rules to apply (or break) in a particular scene. Thirdly, we make sure to remember that cinema… should be cinematic! Although its roots are in literature, painting, photography and theater, film has its own unique ways of conveying the message. I'm purposely avoiding here the term "conveying the story line", as a "story" is related to literature, and film may, and should transcend mere story telling while at the same time remaining narrative.

Life is chaotic. It most often lacks obvious meaning; something that would advance the story. In real life comedy is often mixed with tragedy or the grotesque. People at times behave irrationally and make many gestures that don't make sense. In the end they often don't learn from their mistakes. They aren't even aware of them.

In Oceans the camera movement is such that while it follows the main character, it often turns to watch other people. Oceans might have as well been a movie about somebody else other than its characters. The stories of each of the passers-by in the shots could have been equally as exciting (or unexciting, depending on the interpretation).

We take great effort to carefully plan the shots, especially shots of the surroundings. We often use slow pans, showing details such as street surfaces. The portability of video equipment makes it easier for us to get to interesting locations and use their unique capabilities. In the process we film the people who go about their daily business, sometimes unaware that they become a part of our film. The camera captures all the extra bits of life which were not included in the script. Sometimes the action is directing us instead of it being the opposite, usual way. When we take the actor out of his surroundings and place him in a new setting, when we dislocate him, so to speak, we feel that cinema happens. The actors blend with the surroundings.

Other creative possibilities are created at the editing table, or-to be more precise-non-linear editing system. Because "this film is a memory" (as it is said at the beginning of Oceans) the passage of filmic time is partially based on loose associations (memories), and it is in part linear showing things as they were happening. However, in those more linear fragments of the film, filmic time also "accelerates" (for example, parts of dialogs are left out), or slows down, when it shows some events or settings with great attention to detail.

Thinking of film as a memory also allows for special use of sound. Our memory is selective; therefore people having sex in the neighboring apartment may be louder in the film (the character's mind) than they would have been in reality.

How is film a memory? In that it can not be life as it happens. Life has three dimensions, film has two. Film most often has music which accompanies the pictures. Life doesn't. Life is unedited; film is divided into sequences and shots. Life is not selective; film is, and so is our memory. Because cinema and TV are so omnipresent we often make films in our minds. We organize memories in a filmic way. So rather than trying to mimic real life using film, we should try to mimic our perception of real life, with memories, the conscious and the subconscious mind.