As a journalist and scriptwriter, I have spent time with famous people who make me feel very small. I have wondered what someone would do in a movie when I have him/her paired or act side by side with a celebrity. Will the person feel the class difference and make a mess of the whole plot, or will he/she do the right thing? In movies, we use people to represent people, as though the storyline is real. The question is that if you are paired with, or are made to act side by side with someone who in real life makes you feel immeasurably small, would you be able to follow the story line through to delivery?
To some people they cannot do more than falling silent in such a presence, otherwise the audience will not truly see the reality in what they do. It is true that naturally the distance between people and sometimes their closeness is highly regarded, but in movie making, those things are considered immaterial. Movie making, though as old as man, always leaves something inside of us to desire or detest. Most often, movie makers fail to understand why people do not enjoy watching their movies and take them serious. Those who know the art of movie making always delve into the unreal to keep their audiences glued to the screen. Giving audiences what is real is precisely what movies do not do. They rather give the re-imagined, reinvented version of the real. It may look like something familiar, but in actuality it is a different universe from the world of the real. That is what makes movies so compelling.
Though most people claim to go to movies to be entertained, yet majority of the people are there to learn stuff. They go to movies to enter a world that is different from the one they know and are most comfortable with. This is because strong texts work along the borders of our minds and alter what already exists; most movies are life-transforming even though they do not utterly change us.
While writing a script on Investment Security, I introduced a method in my script that shocked so many people as they kept wondering about the bad news of a ten million dollars fraud that rocked their local bank. While some were wondering what possessed the officer of the bank to do such a crazy thing and how he came to achieve it, so many others were troubled when it was revealed that the bank would be closed and all assets frozen pending a full scale investigation of the matter. The uniqueness of that script attracted comments from every corner. It was actually the very moment they discovered that their best plans are fast fading away and their life savings beginning to look more like a significant loss, their security turning into insecurity, and their comfort becoming anxiety, that they reacted towards the issue.
The script left an indelible mark because it was able to find that most people’s happiness depended upon what they have invested in the bank rather than in God. Our earthly banks can be brought to ruin by an embezzler, but the bank of heaven can not (Matthew 6:19-20). My aim was achieved even though the storyline was imaginative. This is why we cannot toy with the powers of a movie. It assumes a pedagogical role in the lives of many people, since they learn so many things in films more than they do in theoretical literatures. The secret lies in the embedded messages of these works which are meant to encourage, captivate and promote the conventional structures of the settings. Through this means, spectators could be able to be seduced, at least for a time, by the images they see on the screen no matter how resistant or sophisticated their critique strategies are. Films should be able to have power over the audiences, forcing them to give themselves over to the images depicted and the imaginations that created them.