On the set of Order of the Phoenix, Yates required about 30 takes per scene in order to get them just right, and this caused some tension on the set between him and actress Emma Watson.
It's not always a director pushing for perfection. In many instances, the actor or actress may be the problem.
For instance, while filming Midnight in Paris, actress Carla Bruni had some difficulty getting a scene down , and director Woody Allen had to utilize 35 takes before she could get it right. The film Frances Ha is another movie that averaged a high number of takes, 35 per scene. A unique twist on shooting scenes is filming a Vine video. Videos for Vine must be short; six seconds long. It seems like it shouldn't take long to film, but one Vine video took over two hours of filming and editing to get it just right.
Whether it's director preference, malfunctions, acting issues, or other problems, some scenes will have to be reshot multiple times. Multiple takes have been used as long as movies have been made, and the truth is—to make a perfect movie — it is likely that multiple takes will be required for some, if not all, scenes.
For even more movies that took a high number of takes, please check out these 10 movies that took forever to film. Contact Us Site Map. Search form Search. How many scenes does a movie have on average Do yo use a general rule for the total number of scenes you are writing, or do you just create the backbone units as individual scenes and let everything else around it take up as many scenes as needed?
For those not familiar with the work of the late Blake Snyder, here is the Wikipedia entry for him. And this specific reference tied to your comment:. And then you raise a third potential narrative form: Scenes. In years past, I used to teach that the average scene was 2 pages long.
Since a typical script clocked in at pages, then you could basically expect to see around 60 scenes in a script. However, I think that has changed. I have no numbers or facts to bear this out, but it just feels to me like scenes are getting shorter — and as a result, there are more of them in contemporary movies. Perhaps between 75—90 scenes per script.
Major plot points: That is big turning points in the story. Quotas, targets and goals of increasing gender representation are not primarily about getting to some magic, Platonic ideal number. As we showed in the gender report, there is a vicious cycle whereby if one class of people are rare, they are seen as a risky choice and in a risk-averse industry, they are much less likely to get hired.
To break this still-perpetuating cycle, we need to increase representation in the short-term and change the perceptions of certain classes of people such as women. These people will all have been influenced by the perceptions of the industry and the vast majority will have had guidance and support, either formal or informal. Movies, and the characters shown in them, have a massive influence on how we all see the world.
As this new report shows, female writers are much more likely to write about the lives of female characters than male writers.
Therefore, it matters if one group of people have a disproportionate effect on the stories we get to see and hear. This extends way beyond just gender. We were not able to measure other aspects of the writers, such as class, race, socio-economic status, etc. So for both the two factors we have — gender and age — we can see that writers write what they know.
This is not in itself a problem and arguably a good route to factually and emotionally true stories but does underline the need for diverse storytellers. Thank you for the question. The main thing I am seeking to create on this site is fact-driven debate. There are no ideas or beliefs that are beyond challenge, and new data should be used to update our understanding. My point is that in your gender equality report, for the phase 1 entry into the industry stage you used applicants to, and students of, Film and Screenwriting courses.
This is what you took to be representative of the whole industry entry stage. If you are measuring, say, female representation of Doctors the profession, not the show ha , then this approach — studying the gender balance of ie medical students — would indeed make sense, because it is mandatory to study to be a doctor.
But Screenwriting is different, as your own report noted, only a minority enter Screenwriting through formal education. So my challenge to you was that, is it not more accurate for phase 1 entry level to be measured by the gender balance of people actually sending their scripts out to others, of which competitions form a significant part?
If you were to use, say, the Your suggestion is a fair claim and one which does follow from the numbers. What I would say is that there is no one place we can go to get an objective number which one and for all tells us what the true intent of new entrants is.
Every number is a proxy, and open to interpretation. So far from perfect. I would contend that these ScreenCraft numbers are not obviously a better proxy. The come from one source for which we cannot know the bias or not and are no more of a requiring or common element of career progression than schools.
Different, but not automatically better or worse. To be clear, I do agree with you that this is an indicator, and one which runs counter to the theory suggested by the film school data. The gender report brought together a large number of data points, and the argument did not hang solely on the film school data.
There may be other differences between how men and women respond to the nature of script competitions which need to be factored in.
This could be both the propensity to apply in the first case and the willingness to keep going after repeated rejections. This particular example would be more a matter of wider gender perceptions rather than something the film industry is doing.
Although of course it may be it wants to take into account if it wants to have more diverse new talent reaching the big leagues. I agree with you that you cannot use a single data point. Screencraft is just one set of competitions s. However, it does seem to match available data from other types of entry points:. I want to challenge you on one point. Whereas the gender equality report did use multiple sources of data, the main thrust of your argument relied on the gender split of screenwriting courses vs the latter career stages of screenwriting.
On your table on pg 94 this is the only screenwriting-specific data for phase 1 and both yourself and others have extracted and shared it as a summary. So I agree that a breadth of data points are necessary to properly understand phase 1. Specifically I would like the debate to include still centring around people who send their scripts to others :.
One thing I liked about your gender equality report is that you showed the gender breakdown of applicants to various funding schemes. Personally, I would like to see this front and centre of our understanding of phase 1, rather than buried in appendices at the back.
This is so we know whether the gender splits of phase 1 really are out of kilter with phases 2 to 4. The way I normally handle it is to put the key info in the main section and anything else interesting or relevant in the Appendix. Were I to write that report today, the ScreenCraft data would certainly be relevant and would also affect other choices, such as the relevance of other stats. You suggest that finding the gender of producers would be quite difficult.
I can apply the same data and processes I have just done for directors and will seek to do so in the coming months. It was more the gender of the people sending their scripts into, eg, producers than the gender of the producers themselves I was referring to, but of course the gender of the producers is important as well, to understand trends.
Please, yes! Great stuff, Stephen. Thanks for the insights! I was looking for how many spoken words are said in an average film per minute, but it was still interesting skimming through your graphs. Hi Stephen I was looking at this older and very interesting post about screenplay lengths etc. Not nearly enough. I wonder, what percentage of studio bosses use past success average patterns as a guide for future success.
And what percentage use data as a guide to find the new and make the opposite? Thank you for your lucid insights here. For new screenwriters, however, this data is invaluable. It provides a clear framework one can fit their project into. True, you may have a horror masterpiece coming in at pages but if the producer, who is familiar with the genre, will immediately be put off by your ignorance of the genre conventions.
So too with number of scenes, characters speaking, etc.
0コメント