Graphics Reference
In-Depth Information
Let's review our acting situation from Chapter 3 and watch this exchange again on the DVD. The
dialogue is benign, but the internal monologues of our characters are emotionally charged.
Dialogue
Internal Monologue
A: Hello.
I am so happy to see you. I miss you so much. I hope this goes well. Please be pleased to see
me too!
I can't believe I agreed to meet you. Don't look like such a puppy dog!
Oh no. She doesn't seem receptive. But she's here. Maybe I have a chance.
This is a mistake. How do I make him go away?
She doesn't want me here.
No.
B: Hello.
A: How are you?
B: Fine.
A: Really?
B: Yes.
This is subtext. Subtext, in dialogue, is saying one thing, but meaning another. We under-
stand the true meaning of the words through the situation, intonation, and the physical
interaction and gestures of the characters.
Using Narration
Every time a narrator speaks, it is like interrupting the story. Make sure that everything that
is said is carefully chosen to move the plot forward and/or condense time without confusing
the viewer or giving away too much information. You want to make sure that there is a
balance between your narration and your visuals. Too often, the visuals become an illustration
of the narration. You can remove the visuals and still have the complete story. We work in
a visual medium. The narration must support but not dominate the visuals. If you fi nd yourself
in this situation, fi nd another execution for your story—or maybe fi nd another story.
There is a difference between narration and voiceover. In
Forrest Gump
,
we have narration
that reveals the inner thoughts of the character as he looks back on his life. In
Poor Bogo,
we have voiceover that adds another dimension to the situation of our storybook character
as we
hear
one confl ict, but watch another.
“After all his adventures, Bogo
was so tired he went right to
sleep. . . .”
