Are you in a desperate search of finding the most critical elements of filmmaking before you start shooting your next movie?
Well, you are at the right spot! We have prepared this comprehensive guide to everything you need to know about what makes a good movie.
Images and sound, which we can capture with a camera and a microphone, are the most core elements of the film. Consider this: while you’re watching a movie in a theater, all you know about a character, the plot, the mood, and the ideas of the film are conveyed entirely through sound and images. We can’t capture people reacting, making decisions, and taking action as they struggle and seek to achieve something with our camera and microphone, but we can record characters reacting, making decisions, and taking action as they struggle and strive to achieve something. We learn who these actors are, how they’re feeling, what they’re wanting, and what it all means by their actions.
Dramatization is based on the notion of changing what is ambiguous and internal into a succession of visible and audible gestures, actions, and events.
The next stage is to develop your original idea into a compelling story. It’s crucial to understand the basic features of a compelling narrative before making this step.
5 Most Critical Elements of Filmmaking
1. A major character
The aim of various characters dictates the course of events and is the key to understanding the characters and their conduct. We are fascinated with creating heroes we can search for, adore, and care about, whose wins we value and whose misfortunes we despise.
Creating a memorable, relatable, and desired hero and establishing his or her face as a merciless, cruel, and unforgiving attitude against antagonists are the most typical methods for numerous outstanding stories. It is an unbreakable widespread habit in cinema characterization. It’s not simply about the protagonist of a tale with a certain goal.
The other main characters have their own desires as well. You must include a well-balanced and intriguing cast of supporting characters. As a result, accurate characterization is one of the most important aspects of a film.
One frequent method is to develop a primary character that the audience can identify with, connect with, or at least sympathize with, someone who displays very human desires, demands, talents, flaws, and some admirable traits as well, such as being fair, bold, generous, or fighting up for what is right; a figure with whom audiences can connect, empathize, or at the very least sympathize. This is what a sympathetic character is considered.
Nevertheless, it is not important that the main character is likable. You may easily engage an audience with an unfriendly, disagreeable, mean, disgusting, or even repulsive persona if that individual provides a glimpse of something fascinating, exciting, and entertaining (even if unsavory) to observe. This type of character is frequently referred to as an antipathetic character, but you can just refer to them as unlikable, and boy, oh boy, can they be entertaining to watch.
This element of filmmaking is a very crucial part as it makes or breaks a story before it is even in pre-production.
2. The Core Problem, Conflict, and Action
A character in a tragic narrative film is placed in a dramatic circumstance that has an obvious impact on the character and prompts action. The presence of conflict in their lives or the requirement for the character to complete a task or gain something that requires negotiating hurdles and conflict almost always triggers this circumstance.
A unique primary dramatic question develops from the natural process between a specific character in a specific dramatic scenario. The dramatic question is frequently centered on a goal: Will he get the girl? Will she be hired? Is it possible for her to depart without losing her father’s love? Is he able to follow directions while staying faithful to his principles? A straight purpose is not always necessary, especially in short films; we can construct dramatic questions around an enigma, such as: Why is he behaving so unpredictably?
What gives her such sway over him? What kind of person is this? The dramatic question, whatever it is framed, serves as the film’s narrative center, with all other characters and events serving to deepen that conflict, mystery, or notion.
The conflict appears to be a crucial component of any effective dramatic production on stage or film. We don’t have a tale that will keep the audience’s attention if there is no tension. Conflict is the driving force that propels one tale ahead. It gives the tale its strength and drives. The listener is uninterested in the events displayed on the screen if there is no conflict. Without tension, no cinematic tale can come to life. Any film’s bread and butter is its conflict.
The more audiences you can involve in your characters’ clashing circumstances, the more issues you can create for them and conquer one by one, the more successful your narrative will be.
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The first step in writing a strong dramatic story is to recognize that the character’s reaction to a conflict situation—their actions, choices, attitude, and what they do or don’t do—reveals who they are to the viewer while simultaneously moving the plot ahead. This is what it means to exaggerate a narrative; this is the motor at the heart of every drama.
The core problem or conflict are the main elements of a film that add spice to the film or even an objective.
Drama’s ultimate purpose is to create a story that shall communicate itself, allowing an audience to grasp character, story, and conceptual meaning just by watching a character deal with a challenge. To broadcast who your characters are, what’s going on within them, what they’re feeling, what really is going on, or even the end meaning of the picture, you shouldn’t need to create convenient methods like an instructional voice-over or overly verbose dialogue. The audience’s comprehension is based on what they see rather than what they are told.
3. Act, Growth, and Change
Character is shown through acts and judgments, but it’s also vital to recognize that actions can (and therefore should) trigger changes in the plot scenario, and therefore the film’s direction.
In other words, a dynamic plot can be created by thinking and tactically modifying the nature of our main character’s choices as the film progresses.
Any story must have the dynamic of change and development through time to avoid feeling monotonous, one-dimensional, and obvious. Change and growth provide a story’s pace and direction, as well as allow the story to disclose different aspects of your character and even transform them at the end.
Character transformation can occur as a result of a discovery, an achievement, an encounter, an awakening, or a traumatic experience. Whatever the case may be, the main character is not the same at the finish of a film as they were at the starting, or if the character remains pretty static, it is the viewer’s understanding of that character that is not the same.
“There should be a beginning, a middle, and an end to every tale, but not necessarily in that sequence.” This fantastic comment from Jean-Luc Godard is possibly the simplest way to grasp the significance of structure. Furthermore, the delights of structure in the film are more vivid and powerful than any other form’s descriptions.
4. What’s at Risk
“Main dramatic topic” and “conflict” sound enormous, yet tiny or nuanced tensions can be just as fascinating as large conflicts in the hands of a talented narrator. Of course, stories about livelihood hardships or James Bond-style tragedy plots are enthralling, but if you can genuinely express not just the conflict, but the personal importance of the results for the central character (i.e. what’s at risk), then practically any story can become mesmerizing, even if the situation is minor in the great scale of things.
This tells us that the emotional stakes involved for our lead character in this story are more important than the extent or gravity of the conflict. This is why it’s critical to be explicit about what the character actually benefits, win, or find, as well as how the character may change by the end of the film.
The element of filmmaking you have been waiting for!
All of the narrative action in any film leads to a finale of some form. Even if the viewer understands that the character’s life continues after the movie finishes, this signifies that the dramatic scenario you’ve built is resolved and the major dramatic question you’ve presented is answered. Your key character’s resolution might be positive or bad; you can have ironic endings, Moral victory wins, unexpected outcomes, comic twists, realizations, or any other type of finish that answers the problems you’ve posed.
However, beyond merely concluding your story, the character of your resolution must be carefully studied. Not only do they develop from and respond to the dramatic circumstance, but the manner you end your film is an important component of the overall meaning of your film.
To get at the most dramatic and thematically fitting resolution, consider whatever the point of all this narrative activity (character/conflict/action) was and what it all adds up to. This final meaning can be as broad as a global topic or as specific as a witty satirical remark. Is your film a metaphor with a wide moral message? Is it a thriller with an unexpectedly dramatic twist? Is it a peep into the life of a one-of-a-kind person?
Knowing exactly what influence you want to have on the viewers and what you want them to remember can help you organize your content into a dramatic narrative shape and come up with the best ending for your story.
But keep this in mind before writing your first film!
It’s vital that you make very specific decisions when building a protagonist and a dramatic premise. Specific acts, a crisp narrative line, and a well-defined ending will not emerge from ambiguous settings or imprecise individuals.
Despite being based on the same fundamental concept, each of these precise selections will result in a totally different story. As a result, when transitioning from a hazy idea to a picture story, you must define and create those exact features that can create the unique movie you want to make.