Moving Images, Understanding Media

Chapter 3 Sound and Image 107

are diff erent issues to consider in the use of these varying approaches, they all

include elements of what we have been studying about fi lm language, sound

design, and screenwriting. When writers prepare short advertising segments,

they will generally consider the same factors you just reviewed: character

(including just a voice), the appropriateness and feasibility of a setting, and

structure of the story or message.

Cooperative Decision-Making

As writer Kevin Goff explains, “Th e fi rst thing to consider is the time

restriction. I’ve got either 15, 30, or, very rarely, 60 seconds to tell a story and

sell a product. Th e challenge is to weave the two together with as few words

as possible.” Once the script is sold, the copywriter, art director, and producer

with the advertising fi rm will seek a director for the project. From there, the

production team, including the copywriter, director, and art director, will

cast actors, scout locations, and complete the many preparatory tasks such

as props and wardrobe. At each key juncture in the process, the client must

approve the choices of the production team.

Working within such a short format, fi lmmakers oft en will point out the

heightened importance of every detail. In his work as a copywriter, Kevin

Goff highlights a few of the many issues he faces, “We’re always trying to show

[the product] as naturally as possible. How do you make the client happy

by showing a close-up of a cheeseburger, and not make it an obtrusive cut?

Or if the client wants a more broad delivery on a line, or a happier, more

energetic beat to the spot overall, what can you do in the edit to make that

happen, knowing you can’t go back out and shoot more fi lm?”

As collaborators move projects forward, the group members take care

of the tasks they are individually responsible for, keeping track of progress

and consulting on the completion of the work. Key parts of the fi lmmaking

process are casting and working with actors, both for scenes and voice

work. As you work with your collaborators on exercises associated with this

textbook, use the written preparations and the goals you set for each project

to guide the selection of actors and to clarify the indications they are given

as they interpret their roles.

It’s a Wrap!

In Chapter 3, you have explored the integral place of sound in motion picture

communication. For the analytical and creative exercises of this unit, you

will explore the interaction of image and sound and exhibit skills in visual

communication, creative problem solving, and cooperative task management

that you have developed over the course of these fi rst three chapters. In this

case, your goal off ers the challenge described in the previous section: to

communicate a message in a brief span of time. Th e visual elements of the

shots, editing choices, design of the sound mix, and performances of the

actors combine to bring a group’s shared vision to life. Th at is what you will

be evaluating in the movies you watch and the ones you help to make.

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