Chapter 7 From Page to Screen 271
For short form visual media, the storyboard can be the primary preparatory
document. For a commercial, it can serve as the exact template for the
narrative of the piece. Th is will oft en depend on the amount or importance
of dialogue in the motion picture. If there is signifi cant dialogue or voice-over
in a project, written format is typically necessary.
Using Improvisation
Another approach is the use of improvisation in the fi lmmaking process.
Th is can be done in moderation, where the actors are allowed or encouraged
to ad-lib from the established script. It can also function as an integral part
of the fi lmmaking process, because the actors spontaneously generate the
spoken elements of the story. American fi lmmaker John Cassavetes used
improvisation to drive the creation of his fi rst fi lm Shadows (1959), which
strove to create the lives of its characters through a highly collaborative
environment between director and actors. Sometimes, improvisation can
be on camera, while it also can be used to create a script. British fi lmmaker
Mike Leigh commonly works with his actors to develop characters and the
content of scripts.
Improvisation has been an eff ective method for fi lmmakers who have
created dramatic situations that are designed for improvisation or carefully
selected collaborators well prepared for the task. Writer-director Blake
Edwards and actor Peter Sellers collaborated to improvise a great deal of
the Hollywood satire Th e Party (1968). Finnish director Aki Kaurismaki has
prepared for some of his fi lms using written formats that resemble treatments.
Kaurismaki’s familiarity with his crew and recurring actors helps him to
maximize their contributions while putting onto the screen his unique vision.
Figure 7-19 Actor Jean-
Pierre Léaud and director
Aki Kaurismaki on the set
of I Hired a Contract Killer.
Collaboration between actors
and directors is a vital aspect
of the storytelling process for
many fi lmmakers. (Courtesy
Photofest)
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