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CINEMATOGRAPHY
Cinematography is the art of filming motion pic­
tures. That is, the art of taking a script and turning it into
a visually nveting, visceral experience. We've borrowed
a few techniques from the cinematographer's bag of
tricks, in order to help you make your plotlines into
roleplaytng art. These techniques require almost no extra
work, and in return will add depth to your stories, and will
increase your Actors' involvement tn each tale. Some of
them should be used frequently, while others lose their
effect if used too often, and should be saved for the right
moments Used properly, they'll enhance your plotlines
and keep your Actors wanting more. To this end, we'll first
d1scuss the basics of description, the use of props, and the
addition of a musical score and sound effects. Then we'll
talk about the application of actual cinematic techniques,
such as Foreshadowing, Flashbacks, and Dream Se­
quences All of these techniques may be initiated by
either the Director, or the Actors, which is a practice we'll
encourage in a later chapter, titled 'Improvisation'.
DESCRIPTION
Descnptton is the most Important tool in the Dtrector's
repertoire The Actors are stepping into your reality. a
place that doesn't exist outside of your Imagination. In
order for your stones to work, you're largely going to have
to make your Scenes live 1n your Actors' imaginations
through the use of words alone. The Director's ability to
describe a Scene to the Actors will greatly determine each
Scene's power Use all the senses. Detail the lighting, the
smells, the temperature, and the sounds. You're creating
each Scene with your narration. You're the Actors' eyes
and ears. They can see only through you.
Thts is especially true when describing locations.
These are the sets upon whtch your Actors will struggle.
- Jean-Luc Godard
They'll wager high stakes upon each Stage. The mood will
become as important as the physical details. Paint a
dramatic background. Bring your mind's eye view of a
Scene into sharp focus. Allow your imagination to be­
come a camera's lens. Describe everything within its
view. Allow your description to follow rts movements
panning across a Scene as your mind's lens moves:
focuses, and zooms. Give a good feeling for the s1ze of
the Stage, its important fixtures. entrances and exits, and
the placement of tndividuals.
When describing the members of the Supporting
Cast, remember to Include the details of their facial
features, costume, habtts of speech, and body language.
When speaking for them, adopt their voice, facial expres­
sions, hand gestures, and posture. Don't be bashful.
You're trying to share your imagination. Paint a picture tn
bold colors. Overemphasize and make each role truly live
for all the participants.
When describing, don't just tell the Actors what you
mean, show them. Tell them what impinges on their
senses without interpreting for them. Gtve them the
feeling of living these experiences by offering objective
actions, rather than subjective perceptions. For example,
rather than describing .
a castle as ominous
a person as mean spirited
a person as generous and kind hearted
Instead, try describing ...
the dark brooding clouds hanging above the
castle, and the flashes of lightning playtng
across its age worn surfaces.
Theatrlx- The Core Rules 21