I used to think that directors like Wes Anderson, Jared Hess, and Spike Jonze simply broke all the rules of filmmaking. Their early work spoke to me in a way that I couldn’t quite describe. Whether it was the deadpan delivery, seemingly mundane sets, or quirky framing, they each introduced a distinct style that many of us had never seen before. 

Reading & Writing

The Bare Bones Camera Course for Film and Video, by Tom Schroeppel

In retrospect, though, after reading The Bare Bones Camera Course for Film and Video, I’ve come to realize that their films didn’t break the rules — they just made the rules more obvious. Before they came along, many of us plebian movie watchers had no idea that any rules even existed. I know, now.

In many ways, the concepts and theories behind good filmmaking are the same as strong storytelling. Over time, we’ve come to accept certain approaches, structures, and themes that make for a compelling story. When told in a somewhat expected way, there’s a good chance the storyline will be clear, understandable, and perhaps even successful. But the underlying ingredients of a good story are as infinite and as diverse as anyone’s imagination. Think about the possible variations in character development, plot, theme, mood, genre, and tone of voice, among so many other creative options. Making a film, short or long, is no different.

Filmmaking requires the tasteful addition, or subtraction, of vastly different ingredients, though. Audio, lighting, composition, sequence, montage, and editing are among the main components to consider. Each one of them has the power to enhance a story or, on the other hand, detract from it. We can follow the accepted norms and choose not to “cross the line,” for example. Or we can use the norms to our advantage. Is the scene ripe for a, gasp, unexpected jump cut? Whether were writing a story or making a vide, we get to control the narrative.

Among the various tactics that filmmakers undoubtedly plan for are J cuts and L cuts. Here’s a few interesting examples I’ve recently come across.

Research to Inform

The Grand Budapest Hotel (2014)
Dining scenes often provide the perfect opportunity for L cuts, because they allow the viewer to see the listener’s reactions during a conversation. In this scene from, The Grand Budapest Hotel, directed by Wes Anderson, we see several fantastic examples. Specifically, check out the scene at :09 seconds, where Mr. Moustafa, played by F. Murray Abraham, orders a bottle of wine. The scene cuts to the young writer, played by Jude Law, who continues to look over his own shoulder to see what’s happening behind him. This fun use of the L cut helps to inform us that everybody in the scene is working in the service of Mr. Moustafa, almost to the point of paranoia. Would we know what is going on around them without this editing technique? Probably not.

Napoleon Dynamite
Unlike the L cut, a J cut introduces dialogue before visually cutting to the next scene. Similarly, it provides a seamless transition that we’ve become accustomed to in films. In this Napoleon Dynamite scene, directed by Jared Hess, we see Napoleon and Pedro discussing “skills” in front of their hallway lockers. Starting at :32 seconds, the dialogue goes back and forth, quite humorously, about what kind of “skills” would impress a girl. If you pay close attention, you’ll hear Pedro’s voice while the footage still shows Napoleon. It keeps the conversation going so that we can easily track each character’s lines.

Where the Wild Things Are
Another great example of an J cut can be seen at :26 seconds in this clip from, Where the Wild Things Are, directed by Spike Jonze. As the main character, Max, is introduced to the various monsters, you can often hear their voices before seeing them. At :26 seconds, for example, we see the first monster introduce Alexander. In the background, we hear Alexander scream, “I hate this treeee!” Our mind naturally starts to visualize what he’s doing before we actually see it, making it a great use of the J cut.

Create

Understanding the theories behind making a good film are one thing, but practicing them is an entirely different beast. Knowledge, it turns out, only goes so far. Over the past six weeks, I’ve learned to prepare for the worst. If there was a mistake to be made, I probably made it. 

For every shot, I took the time to frame an interesting composition. On several occasions, though, I discovered that my well-composed footage was out of focus. Oops. For another video, I confidently thought a shallow depth of field would be ideal.  While editing, I realized a deeper focus would have worked better. Damnit. Don’t even get me started on lighting. The point is, professionals know their equipment like the back of their hand. When it comes to video equipment, I’ve hardly had time to introduce myself. 

With that said, culmination of everything I’ve learned can be seen in my mini mockumentary, “Small Staff.” The story revolves around my personal fear about growing my own design studio, and is told through interviews with myself and my new hires. No doubt, the scenes and dialogue are scripted, and we are definitely not actors. However, I do hope that I was able to capture something authentic — even if it was the fear of making my first short documentary. Despite the struggle, I enjoyed the process of making it. I really hope other people like it, too. Take a look here: