I was reading the Mackendrick book today while waiting for Sean at Korean school. There's a good chapter on anticipation. The idea is that as in animation, you have to structure the anticipation right because the activity itself is so quick. The idea is to create dramatic ACTION vs. mere activity.
The implication is that our search for punctuating the scenes is really a search for drama. The solution is not to give the scene more impact necessarily, but to set it up better. Makes sense. But how? Mackendrick uses Hitchcock's example of the bomb under the table. Two people talking = boredom. Two people talking with a bomb under the table unknownst to them = drama. It makes sense, but I couldn't see how that would work for our film. Then I started thinking about Jaws. A better model. Our antagonist is like the shark. It's sort of ill-defined. Interestingly, when you think about it, a lot of the early Spielberg films have that quality—Duel, Jaws, Close Encounters. So I've been wondering how it would look to "Jaws-ify" our project?
Well, there's a direct application to the dead spinner scene that Ben, Erik, Dan and I have been discussing in detail. For example, maybe the flyby shot is really a "shark's POV" shot. The camera starts slowly then gets closer and closer. dum dum dum dum dum dum and right before we get to the spinner, black!
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