mackendrick on film


How do you emphasize to the audience that something is important? Well, you could always cut to a close-up, but how about something subtler? Today I consider ensemble staging — a style of filmmaking that directs the audience exactly where to look, without ever seeming to do so at all.

Eight Ways to Get the Audience to Look at Someone/Something:
1) Let Them Speak
2) Make Them Brighter or Bring Them Closer
3) Let Them Move (Especially Hands or Eyes)
4) Put Them in the Center of Frame
5) Turn Them Towards the Lens
6) Separate Them from the Group
7) Isolate Them by Moving the Camera
8) Have Other People Look at Them


After watching Richard E Grant’s Richard E Grant On Ealing Comedies, I have even more appreciation for the genius level of detail in Peter’s pet project The Cricklewood Greats.

Aside from everything else, Peter clearly knew instinctively that program(me)s of this sort MUST include a Python to be considered complete. He went with Terry Gilliam (in his Real Life role as mad director with strangely bad luck) while Richard E Grant went with the fully Malcolm-approved Michael Palin

who to be fair does have an entirely legitimate connection to Ealing via A Fish Called Wanda*.

*(Terry’s connection to Cricklewood is arguably less legitimate, but only if you are a small minded pedant who requires an film studio to actually exist on the boring physical pane and not just as a meta-textual construct.)

But the other thing about this scene from Cricklewood – besides the offhand reference to ice cream vans – is how no one being able to understand Brando  reminds me of Real Life Peter’s oft told tale about how Burt Lancaster told Young Peter he had fabulous instincts but Burt couldn’t understand a fucking word Young Peter said.

I wondered at the time if Burt might not have been exaggerating just a tad since he HAD already once worked very closely with another Glaswegian (or close enough to it) who’d gone to the Glasgow School of Art… a director by the name of Alexander Mackendrick.

So you can imagine how pleased I was to see Peter mention Mackendrick by name in the Ealing Comedies,

although for obvious reasons, he only talks about him in terms of his Ealing work starting with Whisky Galore and ending with a little film that has no connection to Peter whatsoever called

(Now I just need Peter to be in something where he talks about Mackendrick’s connection to Burt Lancaster and the circle will be complete.)

anonymous asked:

Hi! You are a wonderful artist and your webcomic is awesome! If you have a moment could you tell me how you plan your story? Or how much of it is improvisation? Your story got me hooked up so easily - please tell me your secret ;)


Sorry it took me so long to answer this, but I had to find a list of books first.

So, first to mention, I did know NOTHING about writing a script when I started working on my comic. Writing and making plot decisions was unbearably hard for me, and I asked one of my friends about story making, bc she did a small book for children and I assumed she knows something I don’t know. And she told me that there’re actual rules and tropes in storytelling which can make your story logical, interesting and entertaining. And I gathered some books about writing, so everything I know I know from them, these are my secret:

Francis Glebas: directing the story professionally

Stephen King: On Writing: A Memoir of the Craft

Renni Browne: Self-Editing for Fiction Writing

Sol Stein: Stein on Writing

Writing Fiction for Dummies

Les Edgerton: Hooked, Write Fiction That Grabs Readers at Page One & Never Lets Them Go

Karen Sullivan: Ideas for the Animated Short 

Alexander Mackendrick: On Film-making

(Yeah, I’ve read them all. Yeah, just to make up one dammit script)

Rn I have an overall plot and like the main stuff that happens in chapters, and details on every page are improvised. Sometimes I make notes if I have ideas for future chapters and use them later.