Dialogue...

 Put simply, I am a complete NOOB at writing dialogue. Any time I've tried to write dialogue for past projects of mine, or even in short stories, it always feels overbearingly corny. Come along with me as I learn how to write better dialogue and try to suck less.

CONFLICT

All of the best examples of dialogue one can think of are likely motivated by conflict: the clashing of ideologies/beliefs/positions. 

This example from The Silence of the Lambs (1991) demonstrates a perfect example of the power of conflict. Clarice, the protagonist (representing good), engages in a mind-bending, odd conversation with the infamous Hannibal Lecter (representing evil). The obvious conflict between the two builds tension, and makes the conversation feel forced, yet natural. The audience knows both characters must possess their own individual motivations, drawing close attention to and amplifying the impact of their words. The shot/countershot technique also allows the conversation to flow easily. This entire concept of conflict is suggestive of Levi Strauss' Binary Opposition Theory, stating that stories are driven by the conflict of opposition. Conflict is a very useful tool in getting inspiration to write dialogue, and enhancing the impact of a character's words.

PURPOSE

Every single fluid ounce of dialogue should, at the bare minimum, do at least one thing: serve a purpose. There is no limit on how many different purposes one piece of dialogue can ser-actually its like 674, but for the sake of this argument lets pretend its infinite. Dialogue can serve countless purposes, but it always must serve at least one, to prevent it from sounding inauthentic, unmotivated, or dare I say... corny.

Here's a few different purposes dialogue can serve:

-Make the audience laugh

-Characterize

-Further a relationship

-Advance the plot

This clip from The Room (2003) is a great example of horrible dialogue. Aside from the absolutely atrocious acting, the dialogue throughout this movie is boring, and fails to serve purpose. Even a touch of humor, or reference to the ongoing plot of the movie would've improved this scene by so much.

Aside from having a weird obsession with feet(!?), Quentin Tarantino is the undisputed G.O.A.T. of crafting purposeful dialogue. His dialogue never fails to flow smoothly and naturally, and even if at surface level it seems purposeless at times, it always ends up revealing itself to serve some larger role in the end.

Take for example this scene from Pulp Fiction (1994). The dialogue in this scene is so natural you almost forget that you're watching a movie. While the dialogue may originally seem to serve no purpose at all, it truly serves too many purposes to count on one hand (unless you have more than 5 fingers). The dialogue characterizes the hitmen as brothers, makes the audience laugh, establishes the lighthearted mood of the scene, and creates juxtaposition with the upcoming violence that will unfold, just to name a few. It seems as if the secret to writing good dialogue is remaining true to your characters, and all the hidden purposes will come naturally.

SUBTEXT

Another way I can take my dialogue to the next level is through the use of subtext, or the incorporation of hidden, underlying themes. Audiences are intelligent (for the most part), and they don't need all information spoon fed to them.

This scene from Whiplash (2014) captures the concept of subtext perfectly. At first glance, it seems as if Fletcher's purpose is to welcome Andrew into the ensemble and learn more about him. He comes across as warm, kind, and approachable. However, it is soon revealed that his underlying purpose was to manipulate sensitive information out of Andrew to leverage and humiliate him in front of his bandmates.

Fletcher never outright told Andrew to give him sensitive information about himself so that he can take advantage of it and cause Andrew emotional turmoil, but he instead had a hidden agenda, which in retrospect greatly amplifies the meaning and effect of his words. He is also characterized as an evil, manipulative figure who will prove to be an insurmountable obstacle throughout the duration of the film.

Overall, I feel this research has greatly enhanced my understanding of how to go about crafting impactful and meaningful dialogue, through the use of conflict, purpose, and subtext. Instead of crafting characters out of thin air, I am basically meeting them for the first and bringing them to life. I can't wait to implement all this new knowledge into my film opening.

Sources:

Look, C. (2019). How to Write Great Dialogue. YouTube. https://www.youtube.com/watch?v=b9ilXLsz0KE

Berke, T. (2025). How to Write Freakishly Good Dialogue. YouTube. https://www.youtube.com/watch?v=m9ICVrx5PKo

Psychological Thriller Film Openings

 What's up blog viewers! Today I'll research and discuss three film openings of psychological thrillers.

                                                                    Fight Club (1999)

F**** C*** has a very unique opening sequence which works to establish it perfectly as a psychological thriller. The very first shot is taken from the last scene of the film, following the convention of non-linear storytelling. The opening utilizes a blend of two approaches: developing mystery and introducing the characters. We are immediately introduced to the unnamed protagonist through the close up shot of him being held at gunpoint, accompanied by a voiceover (Narrating 'I') in which the protagonist gives a very chaotic and nonsensical exposition. This characterizes him as irrational and rather unreliable as a narrator, foreshadowing the plot's eventual twist. The opening jumps rapidly across three different timelines, creating unease and setting the rather nihilistic and cynical tone for the film. The opening uses a copious amount of close ups which feel invasive and claustrophobic. Notably, the hues shift from cool and dark, creating a melancholic sense, to neutral tones creating sterility and blandness, finally to a green tint creating a feeling of sickness and ennui. Mystery is created through references the audience does not yet understand such as Tyler Durden, Marla, and Project Doomsday. Overall, this opening is one of my personal favorites and serves as a perfect exposition to this film. I would love to find a way to implement some aspects like foreshadowing and jumping between timelines into my original opening.

Get Out (2018)

Get Out (2018) has an incredibly effective opening which builds and capitalizes on suspense proficiently. Most importantly, the entire opening sequence is a master shot, which immerses the audience into the events on screen and makes them feel far more realistic and believable. The opening misleads the audience, as the man in the beginning is inferred to be the protagonist, but as he is violently subdued and abducted the audience discovers that the film has much more to uncover. Mystery is created through the use of low key lighting which obscures most of the victim's background and the appearance of the aggressor. The audience feels compelled and forced to continue watching. Perhaps most effectively, the use of "Run Rabbit Run", a seemingly lighthearted song from the 1930's is used in accompaniment with the events on screen, creating juxtaposition and unease to the point of uncanniness. Clearly, there many factors at play which add to the overall suspense and horror of this opening.

The Shining (1980)

The opening to The Shining relies solely on the unsettling score to set the unsettling tone for this film. Without the score, the audience would be captivated by the stunning cinematography. However, the score creates a sinister sense, implying that something is not right, and a feeling of impending doom is created. The opening establishes the setting, drawing close attention to how isolated the environment is. The extreme long shots and long shots of the yellow vehicle emphasize how small the protagonists of the film are, foreshadowing how they will inevitably be targeted and victimized. The camera is almost like an evil spirit, following Danny and Wendy from above, adding to the sense of impending doom. Ultimately, while there are very few techniques at play here, the select few are very effective at creating a sinister mood and setting the tone for the rest of the film. In my opening, I would love to experiment with different music to develop tone.

Overall, the openings to psychological thrillers seem to have very few guidelines, but all work to develop the tone from the very first shot. Every choice is intentional, and some of the most effective I have found are foreshadowing and the use of a sinister/unsettling soundtrack.

Credit Sequences

Hello everyone! Today I'll be viewing, analyzing, and discussing some psychological thriller film opening credit sequences.

Silence of the Lambs (1991) 

The credit sequence of this film is displayed over a series of shots of Clarisse on an FBI training run, and follow her into the facility. The credits are displayed in a black, obnoxious bold font, occupying the majority of the screen, and crediting the starring actors, director, cinematographer, and more. The credits are accompanied with a cinematic, fraught score building anticipation for the upcoming events of the film. This credit sequence has taught me that credit sequences generally don't require anything flashy to be effective, and if done properly can feel anticipating rather than tedious and boring.

Seven (1995)

I have no idea how the credit sequence to Seven manages to do it, but it manages to unsettle the audience with just the names of people on a screen. Actually that's a lie I do know how. These names are layered upon unsettling visuals like a hand holding a razorblade, and mysterious sketches in a notebook. Additionally, these visuals are paired with unsettling nondiegetic sound, like high frequencies and frightful shrieks further unsettling the audience. The white, hand-drawn looking font is also very unique and easy to associate with the film. The credit sequence also managed to create a really cool effect with the credited names, as the words appear to be shaking on screen, further creating a feeling of chaos and disarray. The quick cuts are also edited in sync with the background music, which creates a cool effect and makes the sequence even more disturbing. This credit sequence is very unique and shows just how much creative freedom is involved with the crafting of credit sequences. I would love to incorporate a unique effect like the shaky font into my opening, as it contributes to the chaotic mood of the piece greatly.

Black Phone (2021)

This credit sequence is profoundly disturbing. in large thanks to the soundtrack. The low thumps mimicking a rushing heartbeat strike fear into the audience, and the screeching high pitches act as punctuation on this already established fear. The fast paced editing throughout this credit sequence further creates a disturbing/unsettling mood. The shaky, handheld shots and vintage aesthetic make the opening feel almost uncanny and deeply off-putting. The credits are shown in a plain, white font in random locations over the screen. This credit sequence serves as proof that editing can carry a credit sequence from tedious to unsettling and disturbing. Also, one thing that stood out in both this sequence and Seven  is that the credit sequences stand separate from the rest of the film, rather than being hidden on screen. This shows that credit sequences can be very effective tools for setting the tone for a piece, and not treated as an afterthought.

Overall, there are many ways to spice up a credit sequence, making it more engaging and mood-driven. I will strive to incorporate unique elements, such as a shaky font or unique/potentially unsettling visuals, into my credit sequence as opposed to treating it as a waste of space.

Psychological Thriller vs Dramedy?

So I have a dilemma. I'm stuck between two possible genres for my film opening: Psychological Thriller and Dramedy. I know what you're thinking. How on earth is this guy stuck between these two very, VERY different genres? And the answer is I don't know. I love each of these genres for what they stand for and the brilliant movies that have come forth from under these umbrellas. Let's delve into each of these genres and hopefully I can learn more about which one takes the edge for me along the way.

Psychological Thrillers:

I LOVE this genre. Why? I can't remember the last time I've gotten through a psychological thriller and felt remotely good about life afterwards. I mean the entire premise of movies in the genre are to effectively wiggle their way into your mind, altering your brain chemistry and making you question what's real and what isn't. It's great.

Some of my favorites from this genre include:

Silence of the Lambs (1991)

Midsommar (2019)

Fight Club (1999)

In terms of what this genre entails, some key things to look out for are unreliable narrators, suspenseful sound design, non-linear storytelling and themes of isolation, paranoia, and descent into madness.

The opening to Midsommar is one of my favorites. It does an excellent job at establishing the cynical tone of the film, as well as the uncomfortable, suspenseful mood -  as made clear through the sinister violins mimicking the sound of sirens, making your ears beg you to lower the volume.

Perhaps the holy grail of psychological thriller tropes, the plot twist, epitomizes everything this genre stands for. Messing with your head. If done right, plot twists can stick with audiences forever and practically immortalize a film. Some of my personal favorite mind-bending twists are Oldboy (2003) and Fight Club (1999). 

Dramedy:

Dramedies are characterized by a mysterious psychotic killer chasing down victims with a weapon of choice. Wait. Wrong genre. Sorry. Dramedies are what they sound like. A film that balances dramatic elements with comedic elements perfectly. 50/50. Make sure you don't incorporate too much humor or too much drama because something bad will happen probably. Be careful.

One thing I love about this genre is it's flexibility. Dramedies can just as easily leave you feeling fulfilled as they can empty. They rely so much on making the audience latch onto and connect with the characters, that the emotions and thoughts of the characters are often reflected upon the audience. 

Some key conventions to look out for in dramedies are: realistic situations/circumstances reflective of everyday life; down to earth, relatable characters; and character driven plots.

Some of my favorite dramedies:

La La Land (2016)

Garden State (2004)

High Fidelity (2000)

That Thing You Do! (1996)

What I admire most about this genre is the crucial role the soundtrack plays in each film. YOU COULD EVEN SAY ITS INSTRUMENTAL (sorry). Seriously, I am a longtime lover of music and have always admired the effect choosing just the right song can have on a specific scene. Even if I don't end up choosing this genre, I would love to see how I can implement some of my own personal music taste into my opening. I even have a playlist of songs on Spotify that I would love to include in a movie one day if I ever make one, including my favorite artists like Wilco, Elliot Smith, and New Order.

I love this scene from the film That Thing You Do! (1996). The girlfriend of the singer of fictional 60's band The Wonders has just heard their new song on the radio, and runs to find the other band members, share the news, and spread her excitement. This scene is profoundly uplifting and exciting, in large thanks to the soundtrack. Fun Fact: The song in question -  "That Thing You Do" was written by Adam Schlesinger, the bassist and songwriter for American alternative band Fountains Of Wayne.

Overall, I think I'm leaning more towards the psychological thriller genre, mostly because I'm scared of what might happen if I have too much drama and not enough comedy in my opening, or vice versa. In all seriousness, I don't know how to explain it. I've always been fascinated by how psychological thriller writers think of such intricate, encapsulating plots. I feel as if I'll be greater inspired when creating an opening within this genre, but I'm considering a variety of elements from many different genres which I would like to include.

Transitioning Into the Cambridge Portfolio Project

 Hello blog viewers! From now on, I officially begin the Portfolio Project, so all my posts from this point on will work toward developing the project. In exposition to the project, my teacher showed my class examples of various film openings from a variety of genres, from Scream all the way to Stranger than Fiction. We were introduced to the many different approaches to film openings, including establishing the setting, introducing characters, and even developing mystery. 

Some notes I jotted down on the different approaches to film openings

One film opening that really caught my attention was Jaws, and while I had seen the film previously I was really drawn towards how the opening builds the majority of tension and suspense without ever truly showing the villainous shark.

I would love to incorporate something like this into my project, something that keeps the audience guessing and catches them off guard. 

I also have always loved the opening to Memento (2001) as it catches the audience entirely off guard, and putting the entire opening in reverse is absolutely genius in of itself.

Memento (2001)

 I'm not sure exactly how just yet, but I would also love to incorporate something into my film opening that is entirely unique, unlike anything a viewer has seen before. 

 Overall, I can't wait to get started on this project, exercise my creativity, and document the entire process right on this URL! Let's see how it goes.

Music Marketing Blog Post #2

 

This video documents the process of developing our Music Marketing Project. I had a lot of fun creating this, so I hope you enjoy it!

*Also, it should be noted that we changed our artist's name from Lone Ranger to Easton Cooper, and we made the name of his LP Lone Ranger instead.

Music Marketing Project Post #1

 For this project, we split off into groups of 4-5 and were randomly assigned a genre. With this designated genre, we first researched and developed a case study including 2 record labels and 4-5 artists from both labels. With this research, the goal is to develop a successful music marketing campaign for a brand-new artist, including a campaign outline, a music video, marketing techniques, a distribution plan, and more.

In my group, I worked with four other students, and we were assigned the "country" genre. We decided to research Warner Records and Big Machine Label Group as our labels. Our artists included Kenny Chesney, Zach Bryan, and Blake Shelton from Warner Records, and Dolly Parton and Jackson Dean (who I researched) from Big Machine. In our research, we considered trends in marketing and distribution, as well as branding and social media presence. 

My research for Jackson Dean

After the research process, we were given a choice between 2 songs which fit the country genre to be our artist's debut single, which we would also create a music video for. We chose the Song 'Wild Animals' by the group Trampled by Turtles. Being a more slow-paced song with rather bleak lyrics, we decided to campaign a somber, wise, singer-songwriter-style country musician by the name of Lone Ranger. We decided that depicting him with neutral and earthy tones like black and light brown would be best as they would contribute to a more rugged, authentic branding. We decided that creating a website with merchandise, Instagram, and Facebook page would be a beneficial marketing decision as our research had proved these habits to be a trend amongst country artists. Also, they would allow all ages of the country audience to be reached.

When planning the music video, we all agreed that a combination of a promotional and storytelling music video would be best. The music video tells the story of Lone Ranger traveling to pay respects to his mother's grave, which we felt would effectively capture the mood of our song. The name of the song would be changed to "Rust", taken from a line in the first verse of the song. We also thought it best to film in a remote, rural location as the majority of country music videos are filmed in locations such as these. Storyboarding turned out to be very helpful in bringing this concept to life in our heads.

                                       

Our storyboard for the 'Rust' music video

This past weekend, we met up and began filming at a local park. With the exception of a few shots, we practically finished the shooting process. I have started the editing process and unfortunately discovered that editing a music video is far more challenging than it looks. Syncing the film to the song and finding the right balance of shot variety to prevent the video from feeling boring is no easy task. From this point, my group must finish recording our audio files for the stand-alone presentation, and I must finish the editing process.

My current editing timeline