POV, Levels and IQ

I think it was Robert Mckee, in his book Story, who said the audience IQ jumps when the lights go down. So how do we take advantage of this.

It is as if when the lights go down the audience experiences a cognitive transformation. By watching life on a screen they are actually open to subject becoming object. The job of the filmmakers is to exploit that opening and nurture it. Here is where audience transformation can occur.

One thing to consider is the level of consciousness of the POV being depicted.

If the audience IQ is higher than normal then the audience may have a significant increase in cognitive ability to see, hold and connect perspectives. Subject to object that is. To me this is a great opportunity to organize my direction of the script to highlight and make more visible integral perspectives. Specifically as they occur in characters of different levels. By switching POV and creating the visual structure as well as the dialogue to reflect the level of consciousness of the POV and using this to compare the natures of the characters at their respective levels, audiences may well see the differences more clearly.

Mike Leigh often uses a technique of flat out compare and contrast. He creates sequences where characters who are obviously of different classes or genders or natures move through similar situations. The result is the audience compares and contrasts the characters and the character world-views, values, belief systems, pathologies and personalities. He uses the compare and contrast style to make what would be unseen seen. Instead of using gender, or class the integral filmmaker can use the compare and contrast method to show levels of consciousness.

However, nonetheless, audiences will interpret from the level they are at. So being skillful is just as important as the mechanics of presenting visual story.

Virtual Reality, PSTD and Transformative Film

I just read an article from The New Yorker called “Virtual Iraq” about the use of virtual reality to treat soldiers of Post Traumatic Stress Disorder. It is occuring to me that there is a connection between using virtual reality to treat PTSD and using film to transform audiences.

Essentially psychologists create a virutal reality experience of the event that caused the soldier to develop the stress disorder. The soldier re-experiecnces the event over and over again, riding the experience of its overwhelming power through a proccess called, “habituation”,: eventually gaining a sense of control over the previously out of control experience. The treatment returns the triggers, like loud noises, crowds, trash blowing across a road, to being neutral and not negative. There has been considerable success in removing the paralysis of PSTD.

What I found interesting was how the psychologists spent a lot of time finding out from the soldier what the details of the event were, the “hot spots”: the sights, sounds, feelings, people present, location, etc. When the patient was then in the virtual world the psychologists would gradually increase the presence of the “hot spots” further immersing the patient in the world of the original stressful event. It seems to me the “hot spots” are like perspectives of the event; the sound, the place, the smell, the people present, the culture; and their skillfull presence allows for a way to remove the unbearable disequilibrium of the event.

Could this method of using perspectives in virtual reality inform our using AQAL perspectives in creating real, affecting, transforming film experiences? Could there be something to be learned here about giving the viewer control over the stressful event of transformation or of moving the subject into object?

A hunch, to be thought about further…..

Happy Endings and Integral Film

If we add layers of complexity to our characters and story are we taking away the simplicity so often needed for happy endings.

Yes and no.

It is really a matter of what one does with their integral analysis of story and character depending on the type of film and audience. This blog takes the position that integral analysis will add a depth and width to the characters, the relationships and the story but that is for the director to do with as the director decides.

The director will be more informed and can create more authentic and real story and character elements but that does not mean the director has to load the movie down with drama and layers of complexity. The film can still be simple, the transformations of the character can still be simple, just more real, more authentic, based in a solid understanding of how advanced sentient beings move through stages of life.

But if the film does call for layers of complexity the director is ready and able to provide more authentic and layered karma for a character to have to overcome.

Additionally we can avoid those scenarios where a character transforms but it is completely unbelievable because a person of that level or psychograph would never make that kind of transformation. Also we can avoid making one of those historical movies that applies higher levels of consciousness than what was available in the historical period represented.

For an audience that is at integral or ready to go integral there is the opportunity to explore presenting and connecting many more perspectives than other audiences may allow. Providing an interesting chance to create new widths of happy endings.

Great Integral Scenes in Movies

The arcade scene in Toy Story.

A movie brilliant in its depiction of and balance of pre-rational and rational thought in the toys.

This scene has Buzz and Woody, I think, cast into a game machine where the player uses a grabber to try and fish out a toy alien creature.

The machine is filled with these creatures who have created a magic/mythic belief system to explain their helpless existence at the whim of the perceived magic claw from above. The toys are simple and happy in their existence.

What I find funny is that the toy alien creatures are of such a simple level of consciousness not because they are toys but because they live their entire lives in this machine. They know nothing else and have done their best to explain an existence where they are chosen and taken away by the magic being from above.

Humor from evolutionary theory.

Character: Exterior to Interior

Using the integral distinctions opens up many interesting ways to approach a project. This is a focus on story and working with actors.

To start the reality of the story and character world can be reduced from the four quadrants to 2; the interior and the exterior.

Conventionally, characters are created from the inside out. The psychology, the values and belief systems, the interior, of the character are created in the screenwriting process. Then the character begins to take on an exterior life as the screenplay develops, the director interprets, the other creative crew members design the art and look of the character, and finally the actor inhabits the character. The process moves from interior to exterior. Which, of course, is fine, a perfect way of developing character.

Another way to approach this is the method of Mike Leigh and similarly but to a lesser extent John Cassavetes. Leigh creates the exterior first creating a loose idea of the story and working out some identity of the characters. Then the actors are brought in and given a few guidelines of who they will be playing. The actors then spend up to 2 months working with only the director to create the exterior life of the character. They develop the behavior, look, habits, and location of the character. Only then do they begin to develop the interior life of the character. What this allows is for the actor to really find in themselves the psychology and feelings and thoughts of a person who looks, acts and does what the particular character looks like, acts like and does. The actors do not even work together at first so as to not influence the organic emergence of the interior life of the character.

The benefit to this method is the level of authenticity that comes across in the characters. If you watch a Leigh film you can see. The story also takes on a level of authenticity as the major story arcs and events are developed as the characters are developed. The down side can be the time this can take and the threat it may be to some directors and screenwriters who need to own and control the creation of the story and characters.

Yet this process can easily be tweaked according to the time available, as long as the director/writer is comfortable looking into their own life to find the inspiration for where the story needs go next and is comfortable doing so and writing fast.

Again the interior/exterior distinction allows us to see other ways to develop our work that open up more ways for authenticity and complexity to emerge.

Obligatory Spiel

spiel: noun
a long or fast speech or story, typically one intended as a means of persuasion or as an excuse but regarded with skepticism or contempt by those that hear it.

-Oxford American Dictionary

Every project is made thrice in pre-production, production, and post-production. “Duh,” you say. Yet often times we think we have all the bases covered only to forget a key insight or fail in making an important connection. Solid thinking, research and thorough planning are where content and form take root. And it is vital to dig deep in pre-production to uncover every last aspect of the story, the characters, the visual structure…the production one can imagine.

A few years ago I found myself absorbed in the emerging field of Integral Theory. Integral Theory is a framework that provides a deep and complete approach to any problem, event or project. Essentially the theory holds that all events, or people, or situations manifest in 4 essential dimensions: the interior and exterior, individually and collectively. At this point people usually say this sounds like common sense; and it is. Yet seldom do we consider all four of these dimensions at once and seldom still do we offer equal consideration to them. The reality is that events, people, situations, motion-sound-image projects are multi-dimensional. If we focus on that multi-dimensionality we arrive at a more comprehensive and effective, fully-dimensional approach.

Motion-Sound-Images

This is not just an attempt at being clever (although it is that too) but an attempt at elucidating how a project is approached. I see myself as a motion-sound-image weaver. Not just a writer, or a director, or a camera operator (all of which are important and fun jobs) but the creator of experience made up of motion and sound delivered in an image. It is important to make that distinction for the experience being created and projected is paramount and should be treated as such. In so doing the media is seen as having it’s own mind and thinking that meets and merges with the viewer’s mind and thinking thus creating a 3rd, new way of thinking. Content and form (message and aesthetic) are discovered and developed concurrently enacting that new way of thinking that lures and speaks to the audience. With an understanding of the project objective and the audience, combined with creative use of the stylistic possibilities of the chosen medium, experience is created that moves, affects, and inspires the viewer to action.

The core of my approach grows out of the view that humanity is changing; a change that is revealing itself as a newly emerging complexity. The mind is faced with increasingly complex problems and choices but it is also able to see and connect more perspectives and possibilities as it looks for more adaptability in dealing with life’s requirements. We are moving away from the traditional and conventional ways of doing and defining experience. The days of the Saturday Evening Post with it’s assumed one, common, static American experience are over. In this age there are innumerable types and levels of experience each calling for more ways to adapt to the complexity one feels and desires. Whether people want to lose weight, get their children into a good college, have an entertaining night out at the movies, or buy a new dishwasher they are motivated by knowledge, products, or entertainment that speak to their experience. People want more and motion-sound-image projects are a powerful medium for bringing more to them.

“That’s nice but how do you do that?”

A project begins with an analysis of the 4 dimensions, or 4 quadrants, that the project objectives (sell product, convey information, entertain) and the intended audience act on and are acted upon. Information gleaned from this analysis provides the structure on which the content and form of the project are built. Creativity often consists of turning up what is already there and the 4 quadrant research begins the creative process inspiring ideas, multi-dimensionally. Oftentimes the project is asking to address feelings or concepts the audience may not be conscious of or have the language to understand. The capacity to receive affective media then is dependent on the skillful preparation of content and form to ready the viewer “linguistically.” New words, new perspectives, new ways of thinking can be presented to validate, teach, and inspire the audience to re-name and re-define their world. Of course some projects need a traditional or conventional approach but these projects have no less potential to lead the audience into re-discovering their experience (now associated with a product, brand, piece of information or entertainment).

As filmmakers we can concern ourselves with making new thoughts. It is no longer enough to just assume the causes and repeat the effects of the past. This means thinking post-conventionally, expanding our depth of attention to ask what needs and desires underlie the growing differentiation in the marketplace; not a growing diversity but an increased seeking of adaptation to deeper and wider needs. Success lies in addressing the increasing complexity of the question, “What is in it for me?” In light of the growing accountability to produce an increasing return on objectives it is vital to reach the consumer/viewer with added emotional appeal and the gift of a perceived increase in adaptability to one’s world.

Please visit the Integral Theory page if you would like a more in-depth look at it.

The View from Behind the Eyes

The other night I was at a function to watch a speaker. Before the speaker came on there was a woman who spoke about upcoming events at the place we were gathered. As she spoke I tried to imagine what she was experiencing. I do this from time to time to develop skills for writing and directing. I practice taking the role of other and try to consider as many perspectives as I can from a persons point of view. I feel this is a practice that can help me create and relate to characters and relate to and understand and guide actors.

I began by thinking I need to put myself in the woman’s shoes, but I quickly noticed this was not deep enough. I had to get behind her eyes. See what she was seeing. And this required working through stages, beginning with the obvious physical perspectives. I imagined what the room and all the people looked like from the woman’s angle, height, and distance. She wore glasses so I explored what the room must look like through her lenses. Was there a disconnect between how big things were or how focused things were coming through the lenses as opposed to outside the lenses? Was she aware of it? Does she care?

Then I imagined how she interpreted what she was experiencing by taking the information I could see and creating a possible worldview for her. I could see what color she was, her age, her approximate cultural heritage, her body shape and weight, where she lived, how she dressed, if she wore a wedding ring, the year it is, what some of her interests are based on her attendance at this event and what she said and how she said it.

From there I could also gather information about her behavior and her internal state. The tone of her voice, her facial expressions, her gestures, the ease with which she made eye contact and included the whole room all indicated she was at ease, or at ease with portraying being at ease.

To be more general I went around the 4 quadrants to get a multi-dimensional, and complete, look at this person; making sure to see the interior and exterior of her individual self and the world she inhabits. Granted I could not be 100% precise and it was important for me to know that so as to avoid limiting myself of the possibilities available by seeing all these distinctions. To some extent stereotyping had to be employed but I am okay with that. Sometimes one has to stereotype to develop a picture of another. Besides I hold no judgment of this woman so my stereotyping is no threat to her.

I even was able to look into and include the level to which she may be developed in some regards. Based on her appearance I could tell the approximate fitness and kinesthetic level she was at. Partially based on her being a citizen of the United States I could tell she was probably of a certain level of understanding in regards to technology and complexity. I could determine she had a certain level of cognition. I could even tell she probably did not think that a group of gods lived on a local mountain top and interfering with her life but that she was of a monotheistic bent or even Buddhist, or even another, since she lived in Boulder, Colorado.

Once I gathered this information I really tried to sit and feel what that view out of her eyes must feel like to her. I made sure to discriminate between what she could be feeling and what I would be feeling. But at the same time this is part of the process. I have to put my own experience and interpretations into the equation, but I can determine to what degree from moment to moment. There is a practice in acting called catching a corner. When one is trying to feel an experience one has not had try and catch a corner of that experience by finding something in one’s own experience that could connect. I have never been a woman in her 40’s speaking in front of a group so I have to search my own life and make a connection between my experience and hers. This becomes a multi-layered process of some depth and how deep depends on how deep you want to go or how practiced you are.

This seems like a convoluted endeavor but this entire exploration took about 1 1/2 minutes and only a small portion of what I could know about the woman is explained here. I do have some experience doing this, which may have made the process smoother, but using the 4 quadrant approach does make it easier and faster. Of course I cannot be absolutely sure about what this woman was experiencing that night in front of that group but I was probably pretty close. And if I cannot know at all about something about her I at least know I do not know and I file it as such. And if I was using this exercise to create a character or help an actor or establish a shot list or style or mood of a scene I would be immensely informed; valuably informed.

What I enjoy about the exploration is the way I have to simultaneously employ both my intellect and cognition and ability to feel and connect. I am fully engaged and empowered with a deeper understanding enhancing and intensifying what and how I communicate with other creatives. Also since I cannot be absolutely sure about what this person is experiencing by being aware of the distinctions a wider realm of possibilities become available. I can continue the exploration, further creating histories, experiences and possibilities for story and character.

 

Distinctions and Possibilities

In the Posture page I have alluded to the need to differentiate issues and show enhanced adaptability. Another way to see this is as distinctions and possibilities.

As a society we have come up with all kinds of stories about life. Those stories help to determine the definition and view we take of ourselves, our families, our love, our children. We have been going along making the meaning of our present and our future based on these stories. There is nothing wrong with this for it is the natural condition of humans. We are meaning-making machines. However, we act as if these are the only possibilities available to us and a problem does arise when those stories take on meanings that inhibit us or define us as something less than whole and perfect. Advertising, marketing and film entertainment for that matter, have more often than not, tried to show a new product or idea or possibility but based in the same old paradigm or story of the past.

We can continue to go along doing this but it is my contention that people are yearning for possibilities that fall beyond the old story. They want a chance to see and trust their own potential to go beyond the reality they slog through day after day. These are possibilities that leave the past out of the present; possibilities based on a deeper and wider way of being found in the future.

These possibilities are best found through making distinctions. Distinctions about the nature of the experience we have been having. Those distinctions are easily seen with the implementation of Integral theory. More aspects of life are uncovered providing more combinations of possibilities. When the multi-dimensional approach is employed with the intention of validating and empowering consumers as whole and complete, but who can be more whole and complete, deeper feelings, desires and yearnings are revealed to be appealed to. Consumers can be moved to act not because they feel they lack but because they feel they can have more….more of themselves.

Moreover, working with a focus on distinctions and possibilities increases the effectiveness of communicating as a creative team. One is more enabled to say what one means and mean what one says and know if one needs help trying to say what one means. Distinctions raise a creative team out of the old story and open it up to think new thoughts creating possibilities based on an enriched future and not a tired past.

The Spec Ads and some of the other blog posts put this thinking into application. Please check them out considering the distinctions and possibilities being discovered and offered.

Shift vs. Cut

 

Oftentimes I use the term “shift” when referring to a “cut” to a new scene or shot. “Shift” replaces “cut.” This is a distinction I came across in the book Filmosophy by Daniel Frampton. In the book he proposes that moving sound images have a thinking all their own and there is a power available to us when we consider the moving sound image as a presentation of thinking. This thinking can then mingle with the thinking of the viewer and a new 3rd way of thinking emerges. This is all very interesting and complex, too complex to get into here. But when we consider the image as thinking we are open to the image showing story instead of telling story. And in showing story we are allowed to see “cuts” as changes in thought or “shifts” in thought. A shift in the thinking that the image is thinking and and a shift in the thinking available as interpretation. Again all good and theoretical, but so what?

For some it is a distinction not worth making. Yet for me it furthers the exploration of the emerging possibilities of being and thinking becoming available to humans, uncovering new ways to communicate to people. It is important for me to articulate the moments when the mood or thought change. It helps to infuse thoughtful feeling and intention into the process of creating moving sound images. Making the “shift” distinction expands the communication between team members and creatives so that collectively form can combine with content enhancing and deepening meaning and the viewing experience.

It may be subtle, the change from “cut”to “shift,” but when reading one of my moving sound image ideas consider how the meaning is different with “shift” instead of “cut.”

Hotels Add Dimensions

I read an article today in the NYT business section. The article was about a new trend in hotels pointing out how a chain in Europe is re-thinking their approach. The hotel chain is called Le Meridien and it is reacting to the changing desires for experience of their clients. The hoteliers are finding they have to provide more depth to the hotel experience to cater to the increasingly hip and creative customer who is, “well-informed, individualistic, techno-savy with a creative mind-set.” Essentially they are finding a niche in providing more access to culture. That is offering more access to design, art, conversation, music, and lifestyle. Some examples being key cards decorated with artwork or information and access to local art galleries and museums.

As I pointed out on the Integral theory page culture is one of the 4 dimensions of reality. It represents the inner domain of the collective. Hotels have always focused on the outer realms, specifically catering to the behavior of the client and the systems in which the hotel fits and can provide. But now hotels are finding this is not enough; they “are reviewing the guest experience rather than simply their operational processes.” The customers are looking for more and that more comes from a increasing valuation of the inner domains. The hoteliers are calling it lifestyle branding, striving to be “chic, cultured and discovery-oriented.” The key being “discovery- oriented”, a feature I have highlighted of the emerging awareness. The hoteliers go on to point out that “For once, companies understand that dealing with culture is a key issue, and it needn’t be intimidating,” and “When a person leaves Le Meridien, we aim to give them a feeling that their life has grown.”

More dimensions are being considered because the marketplace is demanding it. As a society we have nearly mastered the external behavior and systems approach and now the internal demands to be heard. With hotels are now prepared to offer more access to culture, who knows what the next evolution of hotels will look like. Perhaps catering more to the growth and health of the individual client. Perhaps focusing on how lighting, ventilation, fabric, color, food, and design can all contribute to the health of the individuals interior and catering to that awareness.

And indeed that is happening. For the article goes on to describe how the hotels are employing furniture designers to create better beds for better sleep. Already some chains provide their own perfume fragrance and distinct music and sounds for the lobby, restroom, elevator and room experience. In another article I saw the other day I read how a trend emerging is for hotels to offer spa treatments instead of the traditional golf game to the business travelers. Again added awareness of dimensions of experience reflecting added desire for growth and health are emerging all around us. It is exciting with possibilities opening for deeper, more effective ways to reach the consumer and provide real benefit.