THE ASSIGNMENT: "Record 10 seconds of image/sound every day for the first 30 days of the semester. Compile these clips into one chronological sequence. Sound should be the sync sound recorded with the image."

The point? Seeing 10 seconds of footage shot each day for a month would illustrate our personal style and what is compelling to us as filmmakers. I have to say, the assignment did its job.

THE SUNDAY SOUND: October 26, Transitions.
Forgive me if you see yourself in these shots. My filmmaking style is: CREEPER.

For the love of all that is good and holy, see The Book of Life on the big screen. 

My production class went to the Institute of Contemporary Art a couple weeks ago to see a video installation called "The Visitors." We entered the room and were immediately confronted with nine huge screens covering the walls, with two screens of the same size positioned in the middle of the room. Each video feed had a dedicated audio channel. Musicians are shown in nine separate rooms of a farmhouse, performing together using headphones as their only connection. 

It is hard to describe, so locals, check it out if you get the chance. The ICA is free on Thursdays! Today's sonic delight was captured as I stood in the room. If you can guess what the noise is at the end, you'll win a Sunday Sound all about YOU.

THE SUNDAY SOUND: October 19, Ragnar Kjartansson's "The Vistors."
After I snapped a few photos and recorded for a while, I was informed both were not allowed. Enjoy the contraband.

Writing narrative fiction is totally new for a documentary person like me, and I'm SHIT at it. I know this. I accept this (for now). I have always been good at the technical aspects of writing, and I recently found out that I'm fairly good at adaptation. But when it comes to pulling a story out of my (bum), I find my ideas completely lackluster. 

Considering my first script is due in less than a week, I was thrilled to stumble upon these...

PIXAR'S 22 RULES OF STORYTELLING

1. You admire a character for trying more than for their successes.
2. You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.
3. Trying for theme is important, but you won’t see what the story is actually about until you’re at the end of it. Now rewrite.
4. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
5. Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
6. What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
7. Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
8. Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
9. When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
10. Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognise it before you can use it.
11. Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
12. Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
13. Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
14. Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
15. If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
16. What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
17. No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
18. You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
19. Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
20. Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
21. You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
22. What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Source: http://pixar-animation.weebly.com/pixars-rules.html

While I realize posting The Sunday Sound on a Thursday afternoon is mildly fraudulent, I don't want another day to pass without sharing this week's sonic snack. This one's close to my heart as it captures one of my favorite things in life: a standard night at home with Brian (see also: husband, soulmate, boyfriend, in-home entertainment, inspiration, favorite sparring partner, etc.). 

These standard nights at home comprise the bulk of our existence (perhaps a sad thought if you ponder it too long), but they're never the moments that are captured or preserved. I want more photos of couples lounging on the couch in their pajamas on Instagram! Dirty hair and a touch of B.O., holding each other as they eat junk food and watch the third episode in a row. Give me more! 

This is my way of doing that. Here's 80 seconds of a standard night for us.

THE SUNDAY SOUND: October 16, A Work Night in 80 Seconds.
Please note: Brian does not laugh this hard at barely funny sitcom tropes. It is a fabrication. A hilarious fabrication, but a fabrication nonetheless.

I’m doing my very best to put all my energy into it, for I long so much to make beautiful things. But beautiful things require effort—and disappointment and perseverance.

(He gets me.)