Movie Makers (Jan-Dec 1949)

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NEW YORK CITY put the cake on Bobby's high chair. Medium shot of Mother getting up from tahle. carrying cake in Bobby's direction. Near shot, from another angle and closer to Bobby, as Mother puts cake on Bobbys high chair. Bobby ivas laughing so much. Different closeups of Bobby laughing. We all had fun. Closeups of the other children laughing. End this sequence with a closeup of Bobby again. Bobby then put his fingers right in the cake and stuck the chocolate in his mouth. Near shot of Bobby with his fingers in the cake. Closeup of Bobby's little fingers stuck in the cake. Another closeup from a different angle of Bobby putting his fingers in his mouth. Soon his face was all chocolate. Extreme closeup of Bobby's face, front view, showing his face daubed with chocolate. Hold the camera longer on this scene, since the audience will enjoy it. Mother then took the cake away and cut it up for us. Medium shot of Mother standing up and cutting the cake. Take this scene from two angles, coming closer to the cake on the second shot. We each had a BIG piece. Closeup of each child getting a plateful of cake Be sure to catch the facial expressions. Take each shot from a different angle in order to create interest, since basic action is the same: somebody getting a piece of cake. Yum-m-m-m, it was good! Extreme closeup of each child downing a mouth M. Daddy ivas too busy to eat because he was taking movies of us. Extreme closeup of untouched cake on plate . . . quick pan to medium shot of Daddy with camera (with tripod, of course, and several lights indicated on either side of him). / bought a present for Bobby's birthday. Medium shot of Brother with cake plate empty. New angle: he reaches under the table and pulls out a box. New angle: a closeup of Brother opening the package. / gave it to him and he threw it on the floor. Medium shot of Brother getting out of chair and walking toward high chair. Closeup of Brother giving toy to Bobby. Closeup of Bobby with toy. Medium shot, different angle of Bobby, as he throws toy on floor. Mother said he was tired. Closeup of Mother looking at Brother, nodding understandingly. Brother nods back, smiles. She put Bobby to bed. Medium shot of Mother getting up from table. Near shot of Mother lifting Bobby out of high chair. Closeup of Bobby in Mother's arms, as they leave the picture area. We all had a good time. Long shot of Bobby in Mother's arms going down hallway to bedroom, framed through guests sitting at table. Closeup of empty cake plate over which fades The End. Do you see how easy, interesting — and even exciting — film planning can be? You will note that the above treatment contains a changing succession of medium shots, near shots, closeups and extreme closeups, as well as a change of pace between each. Especially in 8mm. (which / use), you will want to concentrate on closeups to tell your story, using only a few medium and long shots to establish your locale. The treatment just outlined, of course, is only one filmer's idea of how a child's composition might be interpreted pictorially. Give a dozen people the same simple theme, and you will get back a dozen different treatments of it. For each one of us sees the world around us differently. The important thing — in film planning, at least — is to see it in terms of pictures, as a child does. If, in growing up, you have tended to lose this precious outlook, you'll find it can be regained — with a little practice. After all, if a child can do it, why can't you? Unexpected is right! [Continued from page 13] face as he reads the title: The Baby Manual. He opens the cover to the first page and there is written: Due September 16th. This dissolves to a closeup of a Baby Book showing the actual date of birth, September 27, 1945, as the wife's hand writes in the infant's name, Linda Susan Kremer. This scene concludes the introduction proper — all of which I planned and filmed more than two years after my first random sequences of Linda's early activities. It was to give a more general interest and appeal to these latter scenes that, ultimately, I created the introductory sequence I have just described. From the introduction, the film now cuts to the first actual, on-the-spot scenes of Linda at home. She is lying in her baby bed (really our well-padded wash basket!) as Mother picks her up and begins removing her outdoor clothing. It is not long, of course, before she begins her lung exercises, which I shot in a series of extreme closeups that seem to shriek even without a sound track. Other original sequences of the infant Linda covered simply those subjects which every doting Dad would shoot — bathing, feeding and sleeping. They were, to be sure, shot from a tripod: and the camera viewpoints were varied and liberally sprinkled with closeups. But what to do with them, in order to make them of general interest? For one thing, they needed (as do all such purely record scenes) a sense of progression from one activity to the next. I brought Dad back into the picture. He had been too busy in those early days doing his share of the chores