WHERE'S THE DRAMA?

One of the biggest hits of the early 60s. And one of the most unusual trailers. Film directed by Blake Edwards

The film, DEFECT, was made as part of thThe film, DEFECT, was made as part of the script development process for a character-based feature film, and will be screened as part of the 2010 Soho International Film Festival in NYC in February. The film presents a succinct, self-contained sequence from the feature script (adhering to the fundamental grammar of short-form drama, with the re-contextualisation of the problem at the end). based upon what was learned doing this short, has made this section of the feature extremely powerful. Working with characters in this way is the kind of thing I have been advocating for years in various film schools - alas, to no avail (so far). It has always seemed to me that one must employ ALL of the tools at hand in the process of finding the characters. This is the great unheeded message of the new technology. Apart from anything else, the present clips demonstrates the power of a well-made trailer, and how even thi sform of storytelling employs the grammar of dramatic in order to make its point. Anyone out there wanna start a radical, new film school? e script development process for a character-based feature film, and will be screened as part of the 2010 Soho International Film Festival in NYC in February. The film presents a succinct, self-contTained sequence from the feature script (adhering to the fundamental grammar of short-form drama, with the re-contextualisation of the problem at... the end). The subsequent transformation of this sequence in the feature screenplay, based upon what was learned doing this short, has made this section of the feature extremely powerful. Working with characters in this way is the kind of thing I have been advocating for years in various film schools - alas, to no avail (so far). It has always seemed to me that one must employ ALL of the tools at hand in the process of finding the characters. This is the great unheeded message of the new technology. Apart from anything else, the present clips demonstrates the power of a well-made trailer, and how even thi sform of storytelling employs the grammar of dramatic in order to make its point. Anyone out there wanna start a radical, new film school?

For a discussion of this classic of short-form drama, see STORY - THE LONG & SHORT OF IT in the Grammar section of this website.

To be or not to be is not always the artist's central concern; it is usually much more mundane than that - like: by what means do I successfully navigate obscurity, or worse, though less usual, by what cunning do I survive that last, great infirmity of the soul, fame? Based on the life of Ryan Larkin, a Canadian animator who, 30 years ago, produced some of the most influential animated films of his time, the film explores the notion of "falling" and its consequent anxiety of meaninglessness. Through the voices of prominent animators and artists discussing Ryan's work, and from waitresses, mission-house caretakers and homeless people who made up Ryan's life, we are reminded that  "We don't see things as THEY are, but rather as WE are."

This deservedly Bafta award-winning animation from Dutch director Michael Dudok de Wit is beautiful, timeless and totally heart-rending. Drawn very simply in sepia tones, it shows a father and daughter cycling to the water's edge and hugging each other goodbye before the father sets off in his rowing boat...

A printing shop attendant puts too much hope on her desire for good looks.

In a dark, stop-motion/claymation animated universe, a dying man has a vision of sorrow, lost love, and regret before his worldly life ends. But does the pain ever stop?

"The most important single central fact about a free market is that no exchange takes place unless both parties benefit." - Milton Friedman

Writer/director, Christina Conrad, explores the darker absurdities of modern love in her eccentric and disarming cinematic confession. In this excerpt, Leith confronts her lover, Jelly, over a fig tree he has ordered for one of his students. Jelly: Craig Borehan Leith: Marc Carlis Hart: Ryan Lee Producer: Melissa Anastasi DOP: Steve Macdonald

Christina Conrad's black satiric vision of modern love gone wrong. In this excerpt, Jelly's secret lover comes bearing a loaf of seed bread and is confronted by Jelly's partner, Leith whose jealousy and fear of betrayal - we discover - are rooted in Jelly's relationship with his dead mother.

Christina Conrad's idiosyncratic black satire on modern love. In this excerpt, Jelly brings his partner, Leith, a trout only to discover that his secret lover, Hart, has already come bearing a seed loaf.