Learning from Raiders of the Lost Ark

I’m in the research phase for a book project that looks at how and what designers and organisations—particularly those involved in service design or complex projects—can learn from filmmakers.

In the words of Peter Sellers Michael Caine, not a lot of people know that I studied film as an undergraduate and carried on until my final year until I was fully sidetracked by interactive media. But the filmmaking process has always played a big role in the way I think about how multi-disciplinary groups of people can best work together creatively.

More on that in the future, but right now the area I am researching is storyboarding. I frequently teach groups of self-proclaimed non-drawers how to storyboard in workshops so that they can pitch their service propositions and ideas. Working visually with a sequence of images on sticky-notes on the wall is a much quicker and better way of walking through what a service experience might look and feel like than just using text. As you move your eyes across the touchpoint sketches, you build your own mini mental storyboard of the user/customer journey.

To combat the “I can’t draw” panic that many people have, I regularly use Pixar Story Artist Emma Coates’ great technique of drawing from films. You take a film, such as Raiders of the Lost Ark and freeze-frame every time the shot changes. Then you sketch a thumbnail of the shot as quickly as possible. I give my workshop participants about 10-20 seconds.

2014 09 11 4 32 32

At that speed, everyone draws equally bad (or good, depending on your point of view). I have done this with mixed groups, often with illustrators in the mix, and the previous skill level has little to do with the final result. In fact, sometimes those trained to draw well have a problem letting go and drawing rough. The key skill is being able to see which elements are important and which are not. That’s a skill that is useful in many other contexts.

As it is for Emma, Raiders of the Lost Ark is a classic youth memory of mine and remains one of my favourite films in terms of structure and staging. Thanks to its heritage from melodramatic Sunday afternoon matinee movies, the staging and framing are really clear to sketch.

Filmmaker Steven Soderbergh recently posted an exercise also using Raiders as an example to look at staging:

I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me.

Raiders bw

Cool, that Soderbergh posts about this, but even cooler is that he made a black and white version with the soundtrack stripped out of it for the exercise. It’s great, go take a look.

For some extra goodies, check out these:

Humans Aren’t So Bad After All

Fifty People, One Question: New York from Crush & Lovely on Vimeo.

I twittered about this the other day and I know it’s been doing the rounds of the interweb, but wanted to post about it properly.

The film has nothing to do with interactivity in the sense that I normally write about it here, but has everything to do with interacting with people. It’s a project by Crush & Lovely and Deltree called Fifty People, One Question.

When I first watched this, the attacks in Mumbai has just happened and I was in a terribly mood thinking about how awful people can be to each other. Then I watched this video and remembered just how wonderful people can be too. It made my day. I just watched it again, and it’s made it again.

(It’s also a great example of indy filmmaking, 80 hours of editing and depth-of-field use with a HV20 video camera. More on the set-up and process over at Deltree’s blog).

Taxi Driver With Storyboards

There’s a discussion going on over at IxDA about whether an interaction design can create great interaction without great visual design skills.

My answer is “It depends”. The two are overlapping areas and whilst some interactions are really helped or hindered by the visuals, it’s also possible to have something almost entirely visually driven or entirely interaction driven. In service design, the designed interactions are often human-to-human and have no designed visual element at all.

It also depends on who you are working with too. I remember reading Scorsese on Scorsese when I was studying film and being surprised and rather relieved that Scorsese’s storyboards for Taxi Driver were pretty much just stick men drawings and very rough sketches. Michael Chapman’s cinematography brought to life the miserable rain-soaked loneliness of late-night New York and Travis’s unstable life.

Thanks to the wonder that is YouTube, you can watch a side-by-side comparison.

Film Friends Forever Oscar & Bafta Screening


I don’t normally do straight plugs for things that aren’t interactive and that I’ve never heard of, but this screening at Film Friends Forever looks pretty good. £2 at the Truman Brewery. You can’t complain about that.

From the blurb:

Film Friends Forever is returning on the 18th March 2008 with a killer line up of Oscar, Bafta & other award nominations and winners. We are also being joined by the lovely people at Audio Aubergine who will take care of the musical entertainment.

If anyone goes, let me know what it was like.

[tags]events, film[/tags]