When to Be Weird?
A lot of what I make can be considered pretty weird.
A startling revelation, I’m sure.
But when is it appropriate to be weird? And what even is ‘weird’?
I think the latter question is a better starting point than the first honestly. If what is ordinary is the opposite of what is weird, and what is ordinary is what is not uncommon, then weirdness can be defined as so:
“That which is unusual; something which differs from typical conventions and expectations.”
So more simply put: something that is weird is something that is not normal. We have then what, so now we only need the when—right?
Well, actually no!
To understand the when we also need to understand the why. You see for a decision to hold any real meaning it has to be a conscious decision. If there was no reason behind something then it was simply arbitrary.
Art at its core is simply a means of communication. It is one of many ways in which we share our ideas and experiences. Perhaps what is being shared is as simple as the view from a windowsill or as complex as someone’s philosophy on life. Yet at its core, the purpose remains the same. To communicate and to share. So every decision should have an intention behind it.
Otherwise, the communication becomes muddled and confused. What is trying to be shared instead become lost amongst random noise.
So perhaps what we need to know is this: why do we do anything?
Film and animation have been around for a very long time now. So filmmakers and animators have had more than a bit of time to work out what people tend to like. A good filmmaker will have a general understanding of their target audience. They’ll know what makes them tick and they’ll also know what they find appealing.
And that doesn’t just mean that they understand what’s popular or trendy at a given time. This plays some role in creative decisions, particularly in large blockbuster cinema—no one is going to pretend that money isn’t important. But there are also concepts much more fundamental which filmmakers use to communicate with their audience.
In film, we normally point the camera at the person talking during a scene. We know that this is generally a good idea and we know why.
It helps a viewer connect with the speaker. Most people find it quite uncomfortable to listen to a speaker for too long without being able to see their eyes. There is something innately comfortable to people about being able to look and see the person they are listening to.
And furthermore, being able to see the speaker also improves listening comprehension—that is how well we are able to understand the words being said. You see, facial cues and the movement of lips help provide helpful clues to understanding what could otherwise be confusing or misheard words.
On top of that is the more subtle element which actually makes up the majority of our communication.
More than 50% of our communication is nonverbal. Our body language and our facial expressions play a huge role in the way we express our ideas and emotions to one another. So it stands to reason that you’d want to point the camera at your actor while they’re acting. If you would lose the majority of what you are trying to communicate by not showing the speaker then why would you?
Well, what if the speaker wasn’t the person whose thoughts and feelings you wanted to convey?
What if you wanted to muffle their speech to better put us in the shoes of a listener?
Picture in your mind a scene in a film. The main character is being told something world-changing. Their mother has passed away, their best friend and partner has betrayed them. The person delivering this information isn’t the most important part of the scene. So while it would be ‘normal’ to show them it would be far more impactful to show the main character. This allows the audience to understand what they are feeling through their body language.
Do they look shocked and horrified?
Do they lock up and become distant?
Are they stoic in the face of bad news?
Or do they have any other type of reaction?
It doesn’t take a genius to understand how conveying this information could be useful or impactful to an audience. We can use this moment to resonate with inferred thoughts and feelings of the character receiving this news.
Though perhaps this type of shot has become too common in modern filmmaking. We understand that focusing on the emotions and reactions of our main characters during their most emotionally charged moments is important. It’s not ‘weird’ to do that at all.
So what if instead we broke both of those conventions and made something truly weird?
What if instead the camera panned around the room?
Perhaps focusing on the floor or the unmoving feet of one of the characters. It would seem uncanny and it would seem unsettling. We’re hearing this devastating news but we’re not seeing any sort of real reaction to it. Then the shot returns to our character, completely unfazed by what he has heard.
And he simply walks out.
This would be very weird indeed. It would leave the viewer wondering why. It would lead the viewer to believe that something is wrong. A feeling that you could not have as conveyed without doing something weird.
So, while it feels almost foolish to spell out at this point there’s a very simple answer to the question that I began with.
When is it appropriate to be weird?
Whenever you have a reason.
This might seem like a cop-out or a lazy answer at first. How on earth can I relate an unusual camera perspective to weirdness like surrealism or absurdist imagery?
Because the fundamental answer is always the same.
Your reasons don’t have to be complex. They don’t even have to be well thought out. It can be as simple as a desire to do something different.
A simple reason can be good enough.
Your desire to do something you’ve never done before. That can be your reason if you want it to.
People seek new experiences. To break the rules and to try something new. We cannot learn from repeating the same actions over and over again. It takes new experiences, new challenges and novel applications of our previous knowledge and understanding to grow as people. Weirdness and novelty are one and the same. Opportunities to learn and to grow.
That is the true essence of ‘weirdness’.
Now that’s not to say that weirdness is without its risks. Too much weirdness risks becoming incomprehensible. Flying so far against the normal conventions of human art and communication that no one can understand it.
Some may find this appealing, there are those who truly enjoy wonderfully unique and truly experimental art. Yet, if your goal is to communicate to the masses then you mustn’t forget that weirdness is obscure.
I’ll admit, I can’t tell you when to be weird and when to be normal. That ultimately is for you to decide.
I can only provide a push and a hint. Because what you wish to communicate and who you wish to communicate it to is unique to you.
Reece Morgado, todolaMEDIA
It’s been a while since the last time, but as the blogs return so does,
THE BIWEEKLY RECOMMENDATION
It’s a new year and we’re talking about weird things so I think it’s only appropriate to share an appropriately weird animation.
Awkward by Nata Metlukh.
While I typically try to share more obscure films and projects I couldn’t help but share this one today. Awkward uses surreal and absurdist elements in such a way to perfectly capture that everyday sense awkwardness that hits us in our everyday lives. It’s a short watch and very much worth your time.