Friday (3/4/11) 2:41pm - ... wherein Peter writes some notes about The Killing.
The noir cast has been watching noir movies lately, to prepare for the noir show. I finished watching The Killing the other day, and as I watched I took notes about things that might be useful to the show. I figured I'd post my notes.
This is probably not of general interest.
Horse racing -- another milieu we can use
Hey, VO! Feels jarring, after watching so many noirs w/o it.
I love that our first five minutes are just a shadowy guy watching a horse race, passing a cryptic message along.
Then we're just introducing a corrupt cop in some cash trouble.
Introducing cash trouble early on = always useful.
"I'll take care of myself; that's my specialty."
Another guy getting out of jail after 5 years
I like the 'reunion after jail time' scene
Most kisses get quickly interrupted
Prolong not-kissing as long as possible.
Interesting how the different marriages all contrast w/each other
Somewhere in this run we need at least one really really hateful marriage.
Also, we need more adultery.
I like having clear, simple characters approach the heist-planning
the planning scene isn't really about the planning
Ripping off armored cars seems to be common
I like the hero done in by refusing to do something 'beyond the pale' morally (in this case, killing an eavesdropper)
I like showing a married couple in run-of-the-mill domestic routines (xxx removing her eyelashes and applying face cream)
Implied promises of sex in a negotiation scene! Ooh-la-la!
Interesting setting: a chess club.
A scene can take a long, lesiurely start through plot-irrelevant material just so it can establish a side character.
Then the hero shows up to interact with the side character.
Heist setup scenes can be disparate.
Just jump from one meeting to the next.
Definitely need to play up the 'honorable versus dishonorable' criminals.
'Competence porn' = where the audience watches a very competent team take on a very difficult task.
Paucity of outdoor shots.
Interesting, how a diegetic announcement can function like a non-diegetic voiceover.
Demonstrate a corrupt cop by having him walk away from an innocent who needs help.
This actually takes a lot of time to go through the heist, covering and re-covering the 3pm-forward span fromm different POVs.
Even though this is about the pieces of the plan coming together, it's not really playing up the mystery.
It cares more about the characters.
It plays as a show where everything's mysterious for a while, and then things get violent and bad.
We as an audience don't much care about the 'solution'
It does keep setting up scenes where the setup is completely different from what the scene is about.
Interesting, the structure of having little tiny problems turn out to pick off every character at the end.
The sniper dismissing the black parking lot attendant is one of the coldest, most jarring scenes. I don't know that there's a way to replicate that feeling without going to racism. Not a note for our show, really, but just a nod to Kubrick. It's a powerfully effective scene.