Things that film-makers do, thinking no one will notice? ...

 

THE 'IGNORE EMOTIONAL REALITIES' TRESPASS:

{“ACTORS JUST NEED TO SAY WORDS AND HAVE THE RIGHT FACE, OKAY?”}

E.G. – Force two people to kiss with their mouths while their bodies are

actively pulling away from one another in mutual repulsion—

and then instructing the man to honk the woman's breast like a clown nose.

(see The Fault in Our Stars)

THE 'IGNORE PRACTICAL REALITIES' TRESPASS:

{“I KNOW I SET UP THIS ONE TRUTH, BUT IT'S CONVENIENT FOR MY STORY ARC IF I CHANGE THAT NOW.”}

E.G. – Spend hours emphasizing how inhospitably, instantly deadly cold it is outside

of a perpetual motion train, then crash the train when the weather outside lets up a smidgen,

then have the survivors trudge a few yards into the lifelessly pristine snow,

and—on seeing a (presumably hungry) polar bear—instruct them to stand in awe,

as though witnessing a portent of good things to come in their immediate future.

(see Snowpiercer)

THE 'A GOOD LINE IS BETTER THAN A BELIEVABLE SCENE' TRESPASS:

{“LISTEN, I CAME UP WITH THIS REALLY MOVING DIALOG, AND IT WILL MAKE PEOPLE CRY AS LONG AS THEY'RE NOT THINKING”}

E.G. – Have a boy's brother invent a medical robot, who demonstrates

awareness of both physical and psychological maladies.

Then have the brother die in a horrible fire.

Later, when the boy grows sad and says, “It still hurts,”

The robot will scan him and say, “I see no signs of physical injury,”

and the boy will reply, “It's a different kind of hurt.”

The audience will understand that the robot has suddenly forgotten all its stored information

about the psychological aspects of health impacted by injury and trauma,

and now needs to download these basic medical concepts.

(see Big Hero 6)

THE 'MUSIC IS REALLY IMPORTANT, UNTIL THE END' TRESPASS:

{“DUDE, I'M GLAD WE HIRED A WELL-TRAINED COMPOSER WHO CREATED A SCORE TO ACCENTUATE AND INTENSIFY THE TONE OF THIS MOVIE. I'M ALSO GLAD THAT SMACK-MOMMA'-DIDDY WAS AVAILABLE TO RECORD A BITCHIN' RAP-ROCK BALLAD FOR THE END CREDITS”}

E.G. – Almost every award-nominee, big-budget, big-stars movie ever.