*Visit www.mobilestories.ca for more films! A man is obsessed with losing his hair. He experiences five distinct stages, the same stages anyone experiences when they deal with loss. They include: denial, anger, miracle cures, grief and acceptance. Women shun him because of his thinning hair, strangers judge him as suspicious and untrustworthy because of his "skinhead", and drug companies prey on his insecurities. But in the end, it's the bald guy who has the last laugh.
*Visit www.mobilestories.ca for more films! Bruce McCall's May 14, 2007 cover of The New Yorker is about man's obsession with progress and technology. The artwork features an ape on a rock who evolves into a cave man, an Egyptian, a soldier etc. and along with these evolutions come the technologies of each new civilization. McCall's original art is animated by Toronto's Smiley Guy Studios.
*Visit www.mobilestories.ca for more films! Unbeknownst to one another, a journalist and a young woman share a flight. In a hurry to get to their hotels, they grab each other's luggage by mistake. Instead of calling the airport and reporting the problem, they get carried away by the mystery behind the contents of the suitcases. Obsessively, they examine each item and make wild assumptions about the owner. Finally, the tension breaks when the woman calls the journalist. Or does she?
A grown man transports himself in a vivid memory. He is 10 year-old boy living in the country with a father struggling with depression and alcohol. Feeling helpless and hopeless, the boy becomes obsessed with trying to escape. He looks up and sees an airplane. In that moment he realizes that he can escape his pain, even if for now, it can only be through his imagination.
Conflict. Every story must have conflict. You can make an experimental film that is only about images or sounds. But to tell a narrative story there must be some form of internal or external conflict. An individual or group of people must be struggling with something. That is the essence of conflict. Conflict can be so small you barely notice it. This might be a woman in conflict with herself. Or it can be dramatic in scope: a man against a force that will destroy the whole world. How will you embody that conflict in your story? Will it be a human against a human? A human against an idea? A human against an inanimate object? A human against himself? Against a philosophy? Against his own inner turmoil? Against the whole world?
The Concept. Also known as "the premise," Your story will be strongest if you know, in a nutshell, what your story is about. It can be stated in the simplest of terms; in fact it's a good exercise to try and do just that before writing, let alone shooting. William Foster-Harris said that there are only three essential plots in storytelling. Rudyard Kipling said there are sixty-nine. The point is a plot is constructed around an underlying premise. The more specifically you can identify your premise, the better chance you have in telling the story. Think of it this way: being able to succinctly describe your concept is a good test of whether your audience will understand and be affected by your film. And better yet, working on your concept is something you can do before you've spent a single dime on production. Because the truth is you can do it inside your head for free.
Dave Hill explores the advances in hair transplant technology...not that he's interested or anything.
As Dave Hill learns in this investigative report, you too can rejuvenate your genitals! (surgically)
Dave Hill bravely explores the opportunities that breast augmentation can afford the public.
Dave Hill gets to the bottom of butt fills.