What we should learn in school (by G.Kawasaki)

Compare your answers to what you learned after a few years in the workforce. It seems to me that schools often teach the opposite of what's necessary for the real world. Perhaps in school people have plenty of time and no money, so long papers, emails, and presentations are not a problem. However, people in the real world have plenty of money (or at least more money) and no time. This is a list of what I wished I learned in school before I graduated.

1. How to talk to your boss. In college, you’re supposed to bring problems to your teachers during office hours, and you share the experience of coming up with a solution. In the real world, you’re supposed to bring solutions to your boss in an email, in the hall, or in a five-minute conversation. Typically, your boss either already knows about the problem or doesn’t want to know about it. Your role is to provide answers, not questions. Believe it or not, but in the real world, those who can do, do. Those who can’t do, share with others who can’t do.

2. How to survive a meeting that’s poorly run. Unfortunately, it could be a while before you run meetings. Until then, you’ll be a hapless victim of them, so adopt these three practices to survive. First, assume that most of what you’ll hear is pure, petty, ass-covering bull shiitake, and it’s part of the game. This will prevent you from going crazy. Second, focus on what you want to accomplish in the meeting and ignore everything else. Once you get what you want, take yourself “out of your body,” sit back, and enjoy the show. Third, vow to yourself that someday you’ll start a company, and your meetings won’t work like this.

3. How to run a meeting. Hopefully, you’ll be running meetings soon. Then you need to understand that the primary purpose of a business meeting is to make a decision. It is not to share experiences or feel warm and fuzzy. With that in mind, here are five key points to learn about running a meeting: (1) Start on time even if everyone isn’t there because they will be next time; (2) Invite the fewest people possible to the meeting; (3) Set an agenda for exactly what’s going to happen at the meeting; (4) End on time so that everyone focuses on the pertinent issues; (5) Send an email to all participants that confirms decisions reviews action items. There are more power tips for running good meetings, but if you do these five, you’re ahead of 90% of the world.

4. How to figure out anything on your own. Armed with Google, PDFs of manuals, and self-reliance, force yourself to learn how to figure out just about anything on your own. There are no office hours, no teaching assistants, and study groups in the real world. Actually, the real world is one long, often lonely independent study, so get with it. Here’s a question to test your research prowess. How do you update the calendar in a Motorola Q phone with appointments stored in Now-Up-To-Date?

5. How to negotiate. Don’t believe what you see in reality television shows about negotiation and teamwork. They’re all bull shiitake. The only method that works in the real world involves five steps: (1) Prepare for the negotiation by knowing your facts; (2) Figure out what you really want; (3) Figure out what you don’t care about; (4) Figure out what the other party really wants (per Kai); and (5) Create a win-win outcome to ensure that everyone is happy. You’ll be a negotiating maven if you do this.

6. How to have a conversation. Generally, “Whassup?” doesn’t work in the real world. Generally, “What do you do?” unleashes a response that leads to a good conversation (hence the recommendation below). Generally, if you listen more than you talk, you will (ironically) be considered not only a good conversationalist but also smart. Yes, life is mysterious sometimes.

7. How to explain something in thirty seconds. Unfortunately, many schools don’t have elevators or else students would know how to explain things in a thirty-second elevator pitch. Think mantra (three words), not mission statements (sixty words). Think time, not money, is the most important commodity. Think ahead, not on your feet. At the end of your thirty-second spiel, there should be an obvious answer to the question, “ So what?” If you can’t explain enough in thirty seconds to incite interest, you’re going to have a long, boring career.

8. How to write a one-page report. I remember struggling to meet the minimum page requirements of reports in college. Double spacing and 14 point Selectric typewriter balls saved me. Then I went out into the real world, and encountered bosses who wanted a one-page report. What the heck??? The best reports in the real world are one page or less. (The same thing is true of resumes, but that’s another, more controversial topic for unemployed people who want to list all the .Net classes that they took.)

9. How to write a five-sentence email. Young people have an advantage over older people in this area because older people (like me) were taught to write letters that were printed on paper, signed, stuck in an envelope, and mailed. Writing a short email was a new experience for them. Young people, by contrast are used to IMing and chatting. If anything, they’re too skilled on brevity, but it’s easier to teach someone how to write a long message than a short one. Whether UR young or old, the point is that the optimal length of an email message is five sentences. All you should do is explain who you are, what you want, why you should get it, and when you need it by.

10. How to get along with co-workers. Success in school is mostly determined by individual accomplishments: grades, test scores, projects, whatever. Few activities are group efforts. Then you go out in the real world the higher you rise in an organization, the less important your individual accomplishments are. What becomes more and more important is the ability to work with/through/besides and sometimes around others. The most important lesson to learn: Share the credit with others because a rising tide floats all boats.


What about freeloaders? (Those scum of the earth that don’t do anything for the group.) In school you can let them know how you truly feel. You can’t in the real world because bozos have a way of rising to the top of many organizations, and bozos seek revenge. The best solution is to bite your tongue, tolerate them, and try to never have them on the team again, but there’s little upside in criticizing them.

11. How to use PowerPoint. I’ve seen the PowerPoint slides of professors—it’s no wonder that most people can’t use PowerPoint to sell hybrid cars when gas is $10/gallon. Maybe professors are thinking: “This is a one-hour class, I can cover one slide per minute, so I need sixty slides. Oh, and I’ve written all this text already in my textbook, so I’ll just copy and paste my twelve-point manuscript into the presentation.” Perhaps the tenure system causes this kind of problem. In the real world, this is no tenure so you need to limit yourself to ten slides, twenty minutes, and a thirty-point font—assuming that you want to get what you want.

12. How to leave a voicemail. Very few people of any age leave good voicemails. The purpose of a voicemail is to make progress towards along a continuum whose end is getting what you want. A long voicemail isn’t going to zip you along to the end point of this decision. A good model is to think of a voicemail as an oral version of a compelling five-sentence email; the optimal length of a voicemail is fifteen seconds.

Two power tips: First, slowly say your telephone number once at the beginning of your message and again at the end. You don’t want to make people playback your message to get your phone number, and if either of you are using Cingular, you may not hear all the digits. Second (and this applies to email too), always make progress. Never leave a voicemail or send an email that says, “Call me back, and I’ll tell you what time we can meet.” Just say, “Tuesday, 10:00 am, at your office.”

One last thing: the purpose of going to school is not to prepare for working but to prepare for living. Working is a part of living, and it requires these kinds of skills no matter what career you pursue. However, there is much more to life than work, so study what you love.

Alfred Hitchcock film techniques

How to turn your boring movie into a Hitchcock thriller...

Borgus.com - We've put together a list of the most significant film techniques that were used by Alfred Hitchcock. This information comes out of many books and interviews from the man himself and his been simplified for your consideration.

This page is mostly for filmmakers who are sad and depressed because their movie is so average that nobody will watch it. Stop crying and pay attention. What is written here will save your career (at least until tomorrow morning.) However there is no cure for a bad producer - there may be no help for you!

1: It's the Mind of the Audience
Change everything in your screenplay so that it is done for the audience. Nothing is more important than how each scene is going to affect the viewer. Make sure the content engages them and sucks them in. Use the characters to tease the viewer and pull them along desperately wanting more.


Hitchcock knew why people are drawn to a darkened theater to absorb themselves for hours with images on a screen. They do it to have fun. In the same way people go to a roller coaster to get thrown around at high speeds, theater audiences know they are safe. As a film director you can throw things at them, hurl them off a cliff, or pull them into a dangerous love story, and they know that nothing will happen to them. They're confident that they'll be able to walk out the exit when its done and resume their normal lives. And, the more fun they have, the quicker they will come back begging for more. (Gottlieb)

2: Frame for Emotion

Emotion (in the form of fear, laughter, surprise, sadness, anger, boredom, etc.) is the ultimate goal of each scene. The first consideration of where to place the camera should involve knowing what emotion you want the audience to experience at that particular time. Emotion comes directly from the actor's eyes. You can control the intensity of that emotion by placing the camera close or far away from those eyes. A close-up will fill the screen with emotion, and pulling away to a wide angle shot will dissipate that emotion. A sudden cut from wide to close-up will give the audience a sudden surprise. Sometimes a strange angle above an actor will heighten the dramatic meaning. (Truffaut)


Hitchcock used this theory of proximity to plan out each scene. These varations are a way of controlling when the audience feels intensity, or relaxation. Hitchcock compared this to a composer writing a music score - except instead of playing instruments, he's playing the audience!

3: Camera is Not a Camera

The camera should take on human qualities and roam around playfully looking for something suspicious in a room. This allows the audience to feel like they are involved in uncovering the story. Scenes can often begin by panning a room showing close-ups of objects that explain plot elements.


This goes back to Hitchcock's beginnings in silent film. Without sound, filmmakers had to create ways to tell the story visually in a succession of images and ideas. Hitchcock said this trend changed drastically when sound finally came to film in the 1930's. Suddenly everything went toward dialogue oriented material based on scripts from the stage. Movies began to rely on actors talking, and visual storytelling was almost forgotten. (Truffaut) Always use the camera as more than just a camera.

4: Dialogue Means Nothing

One of your characters must be pre-occupied with something during a dialogue scene. Their eyes can then be distracted while the other person doesn't notice. This is a good way to pull the audience into a character's secretive world.


“People don’t always express their inner thoughts to one another," he said "a conversation may be quite trivial, but often the eyes will reveal what a person thinks or needs.” The focus of the scene should never be on what the characters are actually saying. Have something else going on. Resort to dialogue only when it’s impossible to do otherwise.

"In other words we don’t have pages to fill, or pages from a typewriter to fill, we have a rectangular screen in a movie house,” said Hitchcock. (Schickel)

5: Point of View Editing

Jimmy Stewart looks at dog and then we see him smiling. Jimmy Stewart looks at a woman undressing and then we see him smiling. Those two smiles have completely different meanings, even if they are the exact same smile.


Putting an idea into the mind of the character without explaining it in dialogue is done by using a point-of-view shot sequence. This is subjective cinema. You take the eyes of the characters and add something for them to look at.


- Start with a close-up of the actor
- Cut to a shot of what they're seeing
- Cut back to the actor to see his reaction
- Repeat as desired


You can edit back and forth between the character and the subject as many times as you want to build tension. The audience won't get bored. This is the most powerful form of cinema, even more important than acting. To take it even further have the actor walk toward the subject. Switch to a tracking shot to show his changing perspective as he walks. The audience will believe they are sharing something personal with the character. This is what Hitchcock calls "pure cinema." (Truffaut)


Note:

If another person looks at the character in point-of-view they must look directly at the camera

.

6: Montage Gives You Control

Divide action into a series of close-ups shown in succession. Don't avoid this basic technique. This is not the same as throwing together random shots into a fight sequence to create confusion. Instead, carfully chose a close-up of a hand, an arm, a face, a gun falling to the floor - tie them all together to tell a story. In this way you can portray an event by showing various pieces of it and having control over the timing. You can also hide parts of the event so that the mind of the audience is engaged. (Truffaut)


Hitchcock said this was "transferring the menace from the screen into the mind of the audience." (Schickel) The famous shower scene in Psycho uses montage to hide the violence. You never see the knife hitting Janet Leigh. The impression of violence is done with quick editing, and the killing takes place inside the viewer's head rather than the screen.


Basic rule:

anytime something important happens, show it in a close-up. Make sure the audience can see it.

7: Keep the Story Simple!

If your story is confusing or requires a lot of memorization, you're never going to get suspense out of it. The key to creating that raw Hitchcock energy is by using simplistic, linear stories that the audience can easily follow. Everything in your screenplay must be streamlined to offer maximum dramatic impact. Remove all extraneous material and keep it crisp. Each scene should include only those essential ingredients that make things gripping for the audience. As Hitchcock says, “what is drama, after all, but life with the dull bits cut out…” (Truffaut)


An abstract story will bore the audience. This is why Hitchcock tended to use crime stories with spies, assassinations, and people running from the police. These sort of plots make it easy to play on fear, but are not mandatory for all movies.

8: Characters Must Break Cliché

Make all of your characters the exact opposite of what the audience expects in a movie. Turn dumb blondes into smart blondes, give the Cuban guy a French accent, and the criminals must be rich and successful. They should have unexpected personalities, making decisions on a whim rather than what previous buildup would suggest. These sort of ironic characters make them more realistic to the audience, and much more ripe for something to happen to them.


Hitchcock criminals tend to be wealthy upper class citizens whom you’d never suspect, the policeman and politicians are usually the bumbling fools, the innocent are accused, and the villains get away with everything because nobody suspects them. They surprise you at every step of the plot.

9: Use Humor to Add Tension

Humor is essential to Hitchcock storytelling. Pretend you are playing a practical joke on the main character of your movie. Give him the most ironic situations to deal with. It's the unexpected gag, the coincidence, the worst possible thing that can go wrong - all can be used to build tension.


In Marnie, Tippi Hedren is stealing money from an office safe and is just about to leave when she notices the maid happens to be cleaning in the next room. The maid is completely innocent and unaware. Hedren will get caught if the maid sees her, but the audience is already hoping that she gets away with it. The more happily the maid mops the floor and the closer she gets to seeing Hedren, the higher the tension.


You'll also find that Hitchcock tended to use comical old women to add a flavor of innocent humor in his films. They will usually be opinionated, chatty, and have a highly optimistic view about crime. If someone were committing a crime they might even help with it!

10: Two Things Happening at Once

Build tension into a scene by using contrasting situations. Use two unrelated things happening at once. The audience should be focused on the momentum of one, and be interrupted by the other. Usually the second item should be a humorous distraction that means nothing (this can often be dialogue.) It was put there by you only to get in the way.


When unexpected guests arrive at the hotel room in the Man Who Knew Too Much, Jimmy Stewart and Doris Day are in the midst of a tense phone-call. The arrival of the guests laughing and joking serve a dramatic counterpoint to the real momentum of the scene. The end result is - the audience pays more attention to what's happening.


“

The essential fact is to get real suspense you must let the audience have information."

11: Suspense is Information

Once you put tension into your scene, you build it toward something, creating suspense. "Information" is essential to Hitchcock suspense; showing the audience what the characters don’t see. If something is about to harm the characters, show it at beginning of the scene and let the scene play out as normal. Constant reminders of this looming danger will build suspense. But remember - the suspense is not in the mind of the character. They must be completely unaware of it. (Schickel, Truffaut)

12: Surprise and Twist

Pull the audience in one direction and then another, trick them, and keep them from knowing what's really going to happen. You must make the audience think they know whats coming next, and then you pull the rug out from under them. It must never turn out the way they expected.

13: Warning: May Cause MacGuffin

The MacGuffin is the side effect of creating pure suspense. When scenes are built around dramatic tension, it doesn’t really matter what the story is about. If you've done your job and followed all the previous steps, the audience is still glued no matter what. You can use random plot devices known as the MacGuffin.


The MacGuffin is nothing. The only reason for the MacGuffin is to serve a pivotal reason for the suspense to occur. (Schickel) It could be something as vague as the "government secrets perhaps" in North by Northwest, or the long detailed weapons plans of Mr. Memory in the 39 Steps. Or, it could be something simple like the dog blocking the stairway in Strangers on a Train. Nobody cares about the dog. It's only there for one reason - suspense. It could have just as easily been a person, an alarm, a talking parrot, or a macguffin!

This list is by no means comprehensive. We invite your comments and additions. Our goal is to be an Internet source easily found to help those in need of quick introduction. You can also find more by reading the books listed below. They include much more detail on these theories and provide a lot more examples. These books are essential reading for any filmmaker or Hitchcock fan.

Written by Jeff Bays, June 2004 Updated: July 2004, January 2006. Jeff Bays is a graduate of the Webster University School of Communications, and is an award-winning radio producer and independent filmmaker.
Contact: info@borgus.com

Book Sources:

Truffaut, Francois. "Hitchcock" Revised Edition. New York. 1985.
Gottlieb, Sydney. "Hitchcock on Hitchcock: Selected Writings and Interviews" Los Angeles. 1997.
Spoto, Donald. "The Art of Alfred Hitchcock: Fifty Years of his Motion Pictures" New York. 1992.

Video Source:
AMERICAN CINEMATHEQUE DOCUMENTARY "ALFRED HITCHOCK: MASTER OF SUSPENSE" City Center of Music and Drama
by Richard Schickel, Fox Lorber Associates, Inc. 1973