Yes, but each director has his or her own unique style and approach to the material. No two films are going to be the same, even if they have the same script. Two examples of this artistic experimentation leap to mind – Hal Hartley’s Flirt (which consists of three wildly different short films made with the same script), and Gus van Sant’s Psycho (which does nothing except demonstrate why people should study Alfred Hitchcock).

A director focus on tone and pacing, not necessarily creating a performance or visual experience, but instead shaping and guiding it. To do this, a director needs to interact with the material on a fundamental level. Because we are all fundamentally different -  our passions, strengths, and weaknesses differ wildly – the art we create will be different, even if we have the same building blocks.

This goes back to the 26 Screenplays book. If a class of twenty film students took a single script from the book and made twenty films, they would all be different. We enjoy watching different actors play the same roles in Shakespeare. Compare Lawrence Olivier’s Hamlet to Mel Gibson’s Hamlet; no one gets upset because someone has already interpreted a performance of Hamlet. Instead we approach the new interpretation with a curiosity. Let’s see what this person can do with this material. It should be the same with directors and film making.

In terms of web video and short films, a mastery of cinematic language seems to be more important than telling a coherent story. The following two internet videos demonstrate how the cinematic language of spy/action films can be co-opted for different uses. In the first example, the action film cinematic language hooks the viewer into thinking about art and design. In the second example, the same cinematic language raises awareness of a product. Same cinematic language, wildly different interpretations.

Blu Dot Real Good Experiment from Real Good Chair on Vimeo.

Office 2010: The Movie

I have no idea what makes videos go viral. Usually the ones that dominate the internet have something interesting about them, but they do not necessarily show the craftsmanship of filmmaking the way this one does.

This film is a beautiful example of the cinematic language. The images do not have an inherent narrative to them. Only by the juxtaposition of the images through editing does something larger emerge. There is a question at the beginning, “What is a moment?” a failed attempt to answer it with words, and then an attempt to capture the power of a moment with images.

There is a rhythm and a pacing to this film. The screen strobes through a series of images and then lulls the mind into a meditative state by lingering on certain images. Few of these images are in and of themselves remarkable, but when they are stung together, they form a greater context that celebrates the ordinary moment and becomes both wonderful and heartbreaking all at once.

I wish more videos like this go viral.

As a screenwriter, this is a great way to test the readability of your script. The computer actors are not very good and will not add much in terms of gravitas and inflection, but the performance will let you know the general cadence of the language.

Anyway, here is the video:

OBLIGATORY COMPANY LOGOS

FADE IN:

EXT – HILLSIDE – DAY

CLOSE-UP KID EYES

A kid puts on some goggles.

A set of furry arms wraps around the kid.

TEXT

From the director of Watchmen and 300…

…comes the greatest comic adaptation of all time.

EXT – HILLSIDE – DAY

POV from the wagon going down the hill.

The grassy hillside rushes past as a wagon races down the hill. The two voices make kind of a “who-o-o-a-a-a-a” noise as they bounce along.

POV looking at the wagon.

A boy and a tiger hit a rock in slow motion. Their velocity and force launch them into the air. They scream.

Techno music begins to blare.

As the two fly through the air in slow motion, screaming, images strobe.

SUSIE DERKINS, setting up a tea party.

THE MOM, preparing a grotesque dinner.

ROSELYN, rolling up her sleeves.

THE DAD, gritting his teeth because his car is blocked by DEFORMED SNOWMEN.

MRS. WORMWOOD, passing out a test.

SPACEMAN SPIFF, fighting for his life.

A DINOSAUR roars.

Darkness.

LOGO – Zach Snyder’s Calvin and Hobbes.

EXT – HILLSIDE – DAY

The wagon crashes into the ground, spilling the passengers everywhere.

FADE TO BLACK.