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Why France exhausts me

November 6, 2011 Books, Psych 101, Travel

I’ve only just started reading Daniel Kahneman’s Thinking, Fast and Slow, but it’s already verified something I’d observed several times: France exhausts me.

I speak enough French that I can follow a conversation. My husband and his French friends are allowed to speak at full speed as long as they don’t expect me to say anything substantive — or if they speak some English, I’ll contribute my portion in that.

At the end of any day in which I’ve had to keep up in French, I’m zombie-tired. I’ve always explained it thusly: “I can speak French as long as I donate every available brain cell to it.”

Kahneman has my back. Basically, you have two mental systems:

> *System 1* operates automatically and quickly, with little or no effort and no sense of voluntary control.

> *System 2* allocates attention to the effortful mental activities that demand it.

For languages you speak fluently, you’re working in System 1. It didn’t take any work for you to read this sentence. In fact, you couldn’t *not* understand the words in the sentence. It happens at a level below awareness or control.

But I don’t speak French fluently. I know just enough that I can process French in System 2, where I’m spending an enormous amount of mental energy trying to keep up with the conversation.

Kahneman would argue that “energy” is the way to think of it:

> System 2 and the electrical circuits in your home both have limited capacity, but they respond differently to threatened overload. A breaker trips when the demand for current is excessive, causing all devices on that circuit to lose power at once. In contrast, the response to mental overload is selective and precise: System 2 protects the most important activity, so it receives the attention it needs; “spare capacity” is allocated second by second to other tasks.

Either I can figure out how to get to the Louvre, or I can listen to Claire talk about her teaching job. I can’t do both.

It’s not me. It’s my brain.

Your projectionist and you

November 3, 2011 Film Industry, Geek Alert

Witney Seibold has an extremely useful explanation of what a projectionist does, and why filmmakers should care:

There is, however, one person in the film industry who always, without exception, has final cut: The projectionist at the movie theater. It is they, after all, who are exhibiting the film on a ground level. It is the theater projectionist who is the final arbiter on how a film looks, how much lighting it has, how well displayed it is. The chef may have made a great meal, but it’s the polite waitress that you’ll remember.

On next week’s podcast, Craig and I will talk about exhibition (among other things), and how all parties involved want better projection systems — and why no one wants to pay for it.

If you read nothing else, keep this in mind:

Also, never yell “Focus!” while sitting in the theater. The projection booth is way up above the audience, and is usually sealed off, with no direct access to the theater. The projectionist is standing next to a hot, noisy machine. They cannot hear you. If there is a projection problem, leave the theater to talk to someone immediately. Yes, you actually have to be that a**hole. It’s worth it, though, to keep the film going, isn’t it?

Good actors and bad writing partners

Episode - 10

Go to Archive

November 1, 2011 QandA, Scriptnotes, Transcribed

Craig and John go through the mailbox to answer listener questions. Can great actors save bad writing? What happens when writing partners split up? Are flashbacks always a bad idea? Should a young British comedy writer move to America?

All this, plus discussion of Halloween, Screenwriting.io and dressing up dogs.

We have a Facebook fan page: facebook.com/scriptnotes. Like us, follow us and force your interests into your friends’ feeds.

LINKS:

  • Halloween pop-ups’ key to turning profit is no trick
  • Jack Chick tracts
  • American Horror Story
  • I Am Wonder Woman by Nina Jaffe
  • Intro: Wonder Woman Spins, season two
  • Outro: Songs that Answer Questions by the Gaither Vocal Band

You can download the episode here: AAC.

UPDATE 11-7-11: The transcript of this episode can be found here.

Introducing Screenwriting.io

October 31, 2011 News, QandA

Introducing Screenwriting.io

I’ve been answering online questions about screenwriting since June 2000, when IMDb asked me to be a columnist for their brand-new Ask a Filmmaker section. Those early questions and answers were short and basic — but evergreen, covering topics like copyright, film school and getting an agent.

Frustrated by IMDb’s weekly-column format, I set up this website (johnaugust.com) in 2003 with the goal of answering these questions more fully and forever. If you look through the posts from the early years, they’re almost entirely Q&As. Over time, I’ve added features like Answer Finder to make sorting through the 1500+ posts more manageable.

While I still answer reader questions, it’s not this site’s primary focus anymore.

I’ve gotten bloggier, with more here’s-what-I-think posts and Kottke-style link-to articles. I’m also featuring more solicited series like First Person and Workspace. Plus the podcast.

It’s a long way from where I started, and that’s a good thing.

But I still think there’s a need for high-quality answers to basic screenwriting questions. That’s why I’ve asked Stuart and Ryan to build a new site we’re launching today: Screenwriting.io.

Screenwriting.io is simply questions and answers about screenwriting:

  • What is a slugline?
  • How do you format a montage in a screenplay?
  • Can scene headers be bold?

These are questions so basic they would feel awkward on johnaugust.com.

My mandate to Ryan and Stuart was straightforward: each page should be The Answer. If answering one question raises new questions, new pages should answer those questions.

While we’re not quite going for Simple English, the language on Screenwriting.io is deliberately unsophisticated. If a sixth-grader in Boston or Belgium or Barbados wants to write a report about screenwriting, she will find the site approachable.

I’ll be supervising the content at Screenwriting.io, but it’s really Ryan and Stuart’s domain.

The new site has been in beta for several weeks. A big thank you to the readers who’ve volunteered to check it out. We will stay in beta for the next month or two while we roll out to the wider world. In the meantime, check it out and leave some feedback.

I’ll continue to answer questions both on johnaugust.com and on the podcast, but will focus on more difficult topics that don’t have one clear answer — the “what should I do?” questions rather than the whats and whys and hows.

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