Difference between revisions of "Make a Suspenseful Scene"
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#*A difficult or impossible challenge -- see ''Game of Thrones,'' especially battle episodes like "Hearthorn" and "Battle of the Bastards," which put characters up against long odds and then watches them to near death. | #*A difficult or impossible challenge -- see ''Game of Thrones,'' especially battle episodes like "Hearthorn" and "Battle of the Bastards," which put characters up against long odds and then watches them to near death. | ||
#*An approaching villain or enemy. From every slasher movie ever made to the ridiculously intense ''No Country for Old Men,'' the cat-and-mouse chase scene is a classic suspense trope. | #*An approaching villain or enemy. From every slasher movie ever made to the ridiculously intense ''No Country for Old Men,'' the cat-and-mouse chase scene is a classic suspense trope. | ||
| − | #*A moment the audience understands but the characters don't. Known as dramatic irony, we naturally start to squirm when we know a character is making a mistake but are powerless to stop them. The classic ''Romeo and Juliet,'' where Romeo commits suicide because he thought Juliet had died (she was only faking), is one of the best examples.<ref>http://www.premiumbeat.com/blog/5-tips-building-better-cinematic-suspense/</ref> | + | #*A moment the audience understands but the characters don't. Known as dramatic irony, we naturally start to squirm when we know a character is making a mistake but are powerless to stop them. The classic ''Romeo and Juliet,'' where Romeo commits suicide because he thought Juliet had died (she was only faking), is one of the best examples.<ref name="rf1">http://www.premiumbeat.com/blog/5-tips-building-better-cinematic-suspense/</ref> |
#Figure out what is going to make your scene surprising or unique. This doesn't have to be huge, but a little originality goes a long way towards making a scene suspenseful. If the audience can predict what is going to happen, or has seen it before, the suspense is immediately sucked out. Remember, however, that even little things matter: | #Figure out what is going to make your scene surprising or unique. This doesn't have to be huge, but a little originality goes a long way towards making a scene suspenseful. If the audience can predict what is going to happen, or has seen it before, the suspense is immediately sucked out. Remember, however, that even little things matter: | ||
| − | #*Stanley Kubrick made history with completely silent scenes of suspense in ''2001: A Space Odyssey'' (among other tricks).<ref>http://nofilmschool.com/2014/12/6-cinematic-techniques-alfred-hitchcock-create-suspense-tv</ref> | + | #*Stanley Kubrick made history with completely silent scenes of suspense in ''2001: A Space Odyssey'' (among other tricks).<ref name="rf2">http://nofilmschool.com/2014/12/6-cinematic-techniques-alfred-hitchcock-create-suspense-tv</ref> |
#*Hitchcock's ''Psycho'' changed movie history forever by killing the lead actress first -- not last. The death scene itself wasn't revolutionary, but he masterfully subverted audience expectations to create shock and suspense. | #*Hitchcock's ''Psycho'' changed movie history forever by killing the lead actress first -- not last. The death scene itself wasn't revolutionary, but he masterfully subverted audience expectations to create shock and suspense. | ||
#*''The Departed'' created suspense simply, but effectively, by showing both sides of the story. By making you see the cop's perspective and the mafia's, you understand before anyone else in the movie that everyone is royally screwed.<reF>http://filmmakermagazine.com/76622-so-you-want-to-make-a-horror-film-on-jump-scares-and-other-basics-of-fright/#.V2l1Q2b4Mpk</reF> | #*''The Departed'' created suspense simply, but effectively, by showing both sides of the story. By making you see the cop's perspective and the mafia's, you understand before anyone else in the movie that everyone is royally screwed.<reF>http://filmmakermagazine.com/76622-so-you-want-to-make-a-horror-film-on-jump-scares-and-other-basics-of-fright/#.V2l1Q2b4Mpk</reF> | ||
| − | #Remember that suspense, in any scene, requires audience empathy. Otherwise said, the more the viewer can place themselves in the viewers shoes, the more suspenseful the scene will be. In many ways, this is the job of the rest of the movie -- creating believable characters and scenes so that you buy into the suspense without thinking. However, there are some big tips that you must remember to prevent ripping the viewer out of the scene:<ref | + | #Remember that suspense, in any scene, requires audience empathy. Otherwise said, the more the viewer can place themselves in the viewers shoes, the more suspenseful the scene will be. In many ways, this is the job of the rest of the movie -- creating believable characters and scenes so that you buy into the suspense without thinking. However, there are some big tips that you must remember to prevent ripping the viewer out of the scene:<ref name="rf2" /> |
#*'''Characters must make believable decisions.''' Everyone's seen the horror movie where the idiot "hero" walks out into the dark night to confront the villain and gets promptly cut down. When characters do things no real person would ever do, audiences tend to laugh. | #*'''Characters must make believable decisions.''' Everyone's seen the horror movie where the idiot "hero" walks out into the dark night to confront the villain and gets promptly cut down. When characters do things no real person would ever do, audiences tend to laugh. | ||
#*'''All characters need some personality.''' Again, look to slashers to see what ''not'' to do. When your characters have no backstory, goals, or personality, you could care less what happens to them. The easiest way to do this is to give them a dream or goal in the scene -- something they are striving to (escape, victory, food, etc.), so they are active participants, not just your next victims. | #*'''All characters need some personality.''' Again, look to slashers to see what ''not'' to do. When your characters have no backstory, goals, or personality, you could care less what happens to them. The easiest way to do this is to give them a dream or goal in the scene -- something they are striving to (escape, victory, food, etc.), so they are active participants, not just your next victims. | ||
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#Set dramatic, moody lighting, but remember it is always easier to remove light while editing then add it. This rule holds for any scene, from suspense to romance, but it is extra important here since most directors want low-lighting in order to be dramatic. While editing, you can easily darken up a scene to make it more mysterious or suspenseful, but adding light will dramatically decrease picture quality. | #Set dramatic, moody lighting, but remember it is always easier to remove light while editing then add it. This rule holds for any scene, from suspense to romance, but it is extra important here since most directors want low-lighting in order to be dramatic. While editing, you can easily darken up a scene to make it more mysterious or suspenseful, but adding light will dramatically decrease picture quality. | ||
#*A good rule of thumb is to work with a wide range of lighting, using big, clear bright areas offset by dramatically dark shadows. | #*A good rule of thumb is to work with a wide range of lighting, using big, clear bright areas offset by dramatically dark shadows. | ||
| − | #*Putting your camera into black and white mode is often the best way to check for well-lit scenes.<ref>http://lessonbucket.com/media/year-10/dial-s-for-suspense/</ref> | + | #*Putting your camera into black and white mode is often the best way to check for well-lit scenes.<ref name="rf3">http://lessonbucket.com/media/year-10/dial-s-for-suspense/</ref> |
#Make the most of both the foreground and background. A good shot is like a photograph -- you could stop the movie and still see a compelling image. As such, the shots need depth, and this is doubly true in suspense filmmaking, where you can use the background to show things to the audience that the character might not notice. A woman washing dishes, followed by a shot of someone entering her house, is creepy. But a shot over the woman's shoulder as she washes, as a shadowy frame fills the doorway, is downright terrifying. | #Make the most of both the foreground and background. A good shot is like a photograph -- you could stop the movie and still see a compelling image. As such, the shots need depth, and this is doubly true in suspense filmmaking, where you can use the background to show things to the audience that the character might not notice. A woman washing dishes, followed by a shot of someone entering her house, is creepy. But a shot over the woman's shoulder as she washes, as a shadowy frame fills the doorway, is downright terrifying. | ||
#*This is where storyboarding ahead of time is your best friend. How can you compose each shot to have suspense -- not just the scene as a whole. | #*This is where storyboarding ahead of time is your best friend. How can you compose each shot to have suspense -- not just the scene as a whole. | ||
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#*'''Voyeuristic shots,''' where the camera acts like a predator hunting prey. As an audience member, you understand someone is watching your hero without every showing the villain. Frequently, filtering the shot through tree leaves, blinds, etc. can help. | #*'''Voyeuristic shots,''' where the camera acts like a predator hunting prey. As an audience member, you understand someone is watching your hero without every showing the villain. Frequently, filtering the shot through tree leaves, blinds, etc. can help. | ||
#*'''Unnaturally low or high shots,''' as well as extreme close-ups, don't feel like real life. They jar the viewer and keep them on edge. | #*'''Unnaturally low or high shots,''' as well as extreme close-ups, don't feel like real life. They jar the viewer and keep them on edge. | ||
| − | #*'''Hand-held camera work''' with shakes and unsteadiness, give a chaotic, uncomfortable feel, especially in moments of tension.<ref>http://www.slideshare.net/billiewilson_/camera-shots-and-angles-for-a-horror-and-thriller-film</ref> | + | #*'''Hand-held camera work''' with shakes and unsteadiness, give a chaotic, uncomfortable feel, especially in moments of tension.<ref name="rf4">http://www.slideshare.net/billiewilson_/camera-shots-and-angles-for-a-horror-and-thriller-film</ref> |
#Keep the camera rolling, and the actors in motion, both before and after the scene. Suspense requires silence, stillness, and moments of quiet, which build feelings of dread until the big moment happens. Don't just film the "action" of the scene -- make sure you get plenty of slower, creepier, and more atmospheric footage as well. You editor will thank you. | #Keep the camera rolling, and the actors in motion, both before and after the scene. Suspense requires silence, stillness, and moments of quiet, which build feelings of dread until the big moment happens. Don't just film the "action" of the scene -- make sure you get plenty of slower, creepier, and more atmospheric footage as well. You editor will thank you. | ||
#*Long shots naturally put viewers on edge, as we're used to relatively short cuts between each shot. The longer you hold the frame, the more people feel like there is something they are missing or is about to happen, building the coveted suspense. | #*Long shots naturally put viewers on edge, as we're used to relatively short cuts between each shot. The longer you hold the frame, the more people feel like there is something they are missing or is about to happen, building the coveted suspense. | ||
| − | #Slowly tease out your major scare of tension, saving the full reveal for last. No one is suspenseful after they know what happens -- you're only feeling nervous when waiting to see what is coming. Once you show your cards, you've moved away from suspense and into action -- an essential part of the movie or scene, but not just yet. The best suspense gives you little pieces and clues, knowing that the creature in the audience's imagination is far more terrifying than any you can show on screen.<ref | + | #Slowly tease out your major scare of tension, saving the full reveal for last. No one is suspenseful after they know what happens -- you're only feeling nervous when waiting to see what is coming. Once you show your cards, you've moved away from suspense and into action -- an essential part of the movie or scene, but not just yet. The best suspense gives you little pieces and clues, knowing that the creature in the audience's imagination is far more terrifying than any you can show on screen.<ref name="rf1" /> |
| − | #Mess around with changing lenses and angles. Another classic Hitchcock technique, the transition between a super shallow shot to a big wide-angle lens will keep interest and force the audience to suddenly scan the screen -- why the change? Am I missing something dangerous? Is something big about to happen? These subtle technical points will make your scene not just suspenseful, but artful, as well.<ref | + | #Mess around with changing lenses and angles. Another classic Hitchcock technique, the transition between a super shallow shot to a big wide-angle lens will keep interest and force the audience to suddenly scan the screen -- why the change? Am I missing something dangerous? Is something big about to happen? These subtle technical points will make your scene not just suspenseful, but artful, as well.<ref name="rf1" /> |
#Pepper in 1-2 "false scares" and close calls to ratchet up the tension. Just because the biggest scare or worry has to come last doesn't mean you need to be suspense-free until the final minute. Good suspense artists know that close calls pull you further up in your seat while also giving you a bit of hope for success. Without that balance of fear and hope, you can't get suspense, so be sure to "pay off" the viewer to keep them engaged. Ideas include: | #Pepper in 1-2 "false scares" and close calls to ratchet up the tension. Just because the biggest scare or worry has to come last doesn't mean you need to be suspense-free until the final minute. Good suspense artists know that close calls pull you further up in your seat while also giving you a bit of hope for success. Without that balance of fear and hope, you can't get suspense, so be sure to "pay off" the viewer to keep them engaged. Ideas include: | ||
| − | #*The villain just missing his/her strike. Frequently, the hero doesn't know how close they got to dying yet. But the audience does, and it is terrifying.<ref | + | #*The villain just missing his/her strike. Frequently, the hero doesn't know how close they got to dying yet. But the audience does, and it is terrifying.<ref name="rf2" /> |
#*"False scares," like when the viewer expects to see the villain, but it is just a stray cat popping out. Be careful about using too many of these, however, as they can feel easy and cheap very quickly if viewers never get real suspense. | #*"False scares," like when the viewer expects to see the villain, but it is just a stray cat popping out. Be careful about using too many of these, however, as they can feel easy and cheap very quickly if viewers never get real suspense. | ||
| − | #*Cutting before the climactic action is often a good way to hide the villain or scare for later. It also makes the next time the characters visit that spot extra terrifying.<ref>http://filmmakermagazine.com/76622-so-you-want-to-make-a-horror-film-on-jump-scares-and-other-basics-of-fright/#.V2l1Q2b4Mpk</ref> | + | #*Cutting before the climactic action is often a good way to hide the villain or scare for later. It also makes the next time the characters visit that spot extra terrifying.<ref name="rf5">http://filmmakermagazine.com/76622-so-you-want-to-make-a-horror-film-on-jump-scares-and-other-basics-of-fright/#.V2l1Q2b4Mpk</ref> |
===Editing for Maximum Suspense=== | ===Editing for Maximum Suspense=== | ||
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#*How long is the scene, and at what point does each key event happen. You'll be surprised how similar this is in many movies. | #*How long is the scene, and at what point does each key event happen. You'll be surprised how similar this is in many movies. | ||
#*What are the music and sound cues? When do they come in, rise, and fall away? | #*What are the music and sound cues? When do they come in, rise, and fall away? | ||
| − | #*What is the lighting like? How does color, tone, and brightness affect the mood of the scene?<ref | + | #*What is the lighting like? How does color, tone, and brightness affect the mood of the scene?<ref name="rf5" /> |
#Use the length of each shot to build, and then release, tension. Pay attention to the length of the cuts, and how the juxtapose against each other. While this rule isn't hard and fast, longer cuts tend to build dread and suspense, with shorter cuts breeding action, excitement, and confusion. This is a good way to play with tension and release -- a key to good suspense. | #Use the length of each shot to build, and then release, tension. Pay attention to the length of the cuts, and how the juxtapose against each other. While this rule isn't hard and fast, longer cuts tend to build dread and suspense, with shorter cuts breeding action, excitement, and confusion. This is a good way to play with tension and release -- a key to good suspense. | ||
#*Watch how some movies "fake" the release, making you expect a scare, but actually providing nothing terrible (like a cat jumping out). This puts your audience on edge without blowing the big scare. | #*Watch how some movies "fake" the release, making you expect a scare, but actually providing nothing terrible (like a cat jumping out). This puts your audience on edge without blowing the big scare. | ||
