Término por incumplimiento del CONCEDENTE

The script provides a tight structure for the filmmaking process. Having a structure helps the actors to reach known narrative goals. How they reach them is defined by the quality and inventiveness of the actorÕs performance, the processes of en-acted interpersonal communication exchanges.

At a basic level, the improvisation process can be seen to be on a par with the practices and workflow found in documentary production. The documentary filmmaker typically works without a script and spends considerable time in the cutting room looking for moments that have been snatched from life, moments of poignancy that evidence the central observations and predicaments of the filmÕs characters. Paradoxically, the scripted drama

attempts to forge such moments of poignancy and conflict through writing, which the director and actor hope to synthesise a series of invented spontaneous exchanges within their on- screen performance. Unlike the documentary28, which is burdened with the responsibility for ÔtruthfulÕ representation, the dramatized event is permitted to be reshot, as many times as necessary, in order to improve performance and clarity of expression within the material. Notwithstanding, the director must know the story, what it is they want to achieve from the material, specifically: what will this scene say to the audience? How do I want the material to affect the viewer emotionally? What cinematic devices and techniques will be needed to achieve this goal?

In structuring the classical film narrative, certain key decisions will have been made to achieve a cause and effect sequencing that is logical and develops a sense of tension that can be directed towards a climax. Specifically, the writer will define the characterÕs world and their place in that world and identify the obstacles that a character must overcome to achieve their personal goals. Therefore, working with improvisation, it seems only logical that the director needs some sort of plan or route, as the filmmaking process is a distracting intercession within the process of performance. When using a single camera to film your story, you necessarily have to fragment what would otherwise be a fluid linear performance. Once the establishing or master shot of an improvised scene has been photographed, what follows, by way of shooting other material within the scene, will typically obey the conventions of the Institutional Mode of Representation (see footnote 3) and traditions of film grammar. Thereafter, in terms of shot/reverse-shot filming strategies, the actor loses the freedom to improvise in an unconstrained way. Instead, the actor has to Ôre-enactÕ that which was defined in the initial master shot. Alternatively, if you have several cameras,       

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The notion of staging a documentary is a highly contentious issue. However, we can regard documentaries as being staged by virtue of the fact that the director chooses the subject matter, who will be interviewed (which is a form of casting), the locations for filming, lighting, editing strategies, the questions asked and what to include and exclude from the edit to direct the viewerÕs attention in a specific way.

simultaneously recording a performance from different angles, then you have more creative options in the edit. In single camera production, repetition of action and dialogue is necessary to provide the ÔoverlappingÕ required to edit the material in a continuous and un-interrupted manner. Alternatively, one could approach filming improvisations in a wide shot, as Woody Allen divulged, Ô..the reason he uses one wide shot for most of his whole scenes is partly because its quicker and cheaper, but mostly it is for the actors, because it is a way to Òlet them talkÓ and to allow overlappingÓ (cited in Weston, 1996: 86).

Within long-form improvisation the actor is able to develop a Ôvirtual scriptÕ for their character. This is achieved by harnessing a set of values and inventing background experiences, imagined relationships, holidays, hobbies and pursuits; all of which can be called on to provide the characterÕs raison dÕ•tre. So when we say that improvisation is an unscripted process, whilst there might be no written script to speak of, through informed preparation the actor is able to develop a residual knowledge that will inform how their character is able to react within a given circumstance. As Caine articulates Ô[y]ouÕve got to base your character on reality, not on some actor-ish memory of what reality is because, finally, the actor is in charge of the effect he wantsÕ (1997: 89). Furthermore, ÔWhen you are stealing details to build characters on, steal only what was real in the first place, not some dusty stereotypeÕ (ibid: 92). Within both long and short-form improvisation, the actor is usually offered a Ôstarting pointÕ for the improvised narrative. This starting point provides a context and may take the form of a title, a costume, a setting, or an active question or situation, all of which provide the actor with a narrative goal or something to play against. Structural choices such as how to start, how to develop and how to close the material, the beginning, middle and end, may be worked out during the improvisation and may also be enhanced through decisions made in the filmÕs edit.

In producing the Blair Witch Project Sanchez & Myrick prepared each actor by providing a character breakdown. Actor Jim King plays the part of JIM MAYNARD and I have included examples of the character breakdown (p.227) as well as the filming instructions communicated via email. As can be seen, King was directed to learn the character background and then Ôplay outÕ the role in any way that was appropriately in character. Of course it helps that the film was shot as a documentary. Germane to the process is that S‡nchez gives permission for King to respond in anyway ÒAct like you would if this happened to you in real lifeÓ (p.225) the only absolute being he could not break his character in any way and Ô[d]onÕt ask them what you are supposed to say.Ó (ibid.)