SAR_10_along_the_way

Above: FP 30K SAR BL training. Identical to running… " [ a ] movie flows trough real time, like a river carrying you toward your destination. If you ask a question or think about something other than the movie, you're out of the river and up on the bank -- out of the flow. This is seldom good."  -- Howard Suber ' The Power of Film ' (page 168).

Structure: How reality affects story:

 "When I examined what the structure [ of the film 'Au Revoir les Enfants' ] should be, I thought it was important, little by little, to see the war breaking in. The central story is the arrival of this new boy and how he and Julien become friends; there's hostility at first and then step by step we see the birth of a friendship between two children who are equally curious about certain things, probably a little smarter than the rest of the students, and how they find their affinities." Louis Malle in 'Malle on Malle', edited by Philip French (Chapter 5, 'Coming Home', page 170 - 172)

Story: attempted quest for unity by the character(s):

" [...] "I don't want to bother you much with what happened to me personally," he began, showing in this remark the weakness of many tellers of tales who seem so often unaware of what their audience would best like to hear; "yet to understand the effect of it on me you ought to know how I got out there, what I saw, how I went up that river to the place where I first met the poor chap. It was the farthest point of navigation and the culminating point of my experience. It seemed somehow to throw a kind of light on everything about me -- and into my thoughts. It was sombre enough, too -- and pitiful -- not extraordinary in any way -- not very clear either. No, not very clear. And it seemed to throw a kind of light." Joseph Conrad 'Heart of Darkness', first published in 1899 (page 11)

As adapted in the 'Apocalypse Now' screenplay (John Milius and Francis Ford Coppola, narration written by Michael Herr):

               EXT. MILITARY COMPOUND - DAY

               A darkly painted Huey lands in a guarded military compound 
               somewhere in Nah Trang.  The two enlisted men jump out of 
               the helicopter, leading Willard, who seems in much better 
               shape.  As he gets out he sees a platoon of new men drilling 
               in the hot hazy sun.  They are clean and pale.

                                     MEN (Chanting)
                         I wanna go to Vietnam.
                         I wanna kill a Vietcong-

                                     WILLARD (V.O.)
                         I was going to the worst place in 
                         the world, and I didn't even know 
                         it yet.  Weeks away and hundreds 
                         of miles up river that snaked 
                         through the war like a circuit 
                         cable...plugged straight into Kurtz.

               He follows the escort across the fields as the platoon 
               drills.

                                     WILLARD (V.O.)
                         It was no accident that I got to 
                         be the caretaker of Colonel Walter 
                         E. Kurtz's memory, any more that 
                         being back in Saigon was an 
                         accident.  There was no way to 
                         tell his story without telling my 
                         own.  And if his story is really a 
                         confession, then so is mine.

               They approach a civilian-type luxury trailer.  It is 
               surrounded by concertina wire, and its windows have grenade 
               protection, but it still seems out of place in this austere 
               military base.

               CLOSER ON WILLARD

               He stands before the door for a moment, as the M.P.s 
               guarding the trailer check his papers.

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Above: PGIA SAR BLMTT 13K. Sarsential 18: der Ortssinn, "[S]ich von jeder Gegend schnell eine richtige geometrische Vorstellung zu machen und als Folge davon sich in ihr jedesmal leicht zurechtzufinden. Offenbar ist dies ein Akt der Phantasie. Zwar geschieht das Auffassen dabei teils durch das körperliche Auge, teils durch den Verstand, der mit seinen aus Wissenschaft und Erfahrung geschöpften Einsichten das Fehlende ergänzt und aus den Bruchstücken des körperlichen Blicks ein Ganzes macht; aber daß dies Ganze nun lebhaft vor die Seele trete, ein Bild, eine innerlich gezeichnete Karte werde, daß dies Bild bleibend sei, die einzelnen Züge nicht immer wieder auseinanderfallen, das vermag nur die Geisteskraft zu bewirken, die wir Phantasie nennen." [Visualisation: being able to find one’s place exactly at any time]

"[T]he [runner] must commit the business he has in hand to a corresponding space which his eye cannot survey, which the keenest zeal cannot always explore, and with which, owing to the constant changes taking place, he can also seldom become properly acquainted. [H]e who by talent and practice overcomes it will have a great advantage on his side […]. This very peculiar difficulty must be overcome by a natural mental gift of a special kind which is known by the – too restricted – term of Orisinn sense of locality. It is the power of quickly forming a correct geometrical idea of any portion of country, and consequently of being able to find one’s place in it exactly at any time. This is plainly an act of the imagination. The perception no doubt is formed partly by means of the physical eye, partly by the mind, which fills up what is wanting with ideas derived from knowledge and experience, and out of the fragments visible to the physical eye forms a whole; but that this whole should present itself vividly to the reason, should become a picture, a mentally drawn map, that this picture should be fixed, that the details should never again separate themselves – all that can only be effected by the mental faculty which we call imagination. If some great poet or painter should feel hurt that we require from his goddess such an office; if he shrugs his shoulders at the notion that a sharp gamekeeper must necessarily excel in imagination, we readily grant that we only speak here of imagination in a limited sense, of its service in a really menial capacity. But, however slight this service, still it must be the work of that natural gift, for if that gift is wanting, it would be difficult to imagine things plainly in all the completeness of the visible. […]"

Carl von Clausewitz, 'On War', page 71, first published in Germany by Ferdinand Dümmler, Berlin, 1832

SAR_sarsential™_toolbox_x

 

Above: SAR¹ 30KMS BLMT² midpoint [ x ] training. Sarsential x: the Kambei-Point of View [ midpoint in the narrative; redirecting negativism towards reasonability and decisiveness, from an empathic POV ].

"The waterwheel makes its regular noise throughout the scene, emphasising the pauses." -- Akira Kurosawa in 'Seven Samurai' shooting script.

Midpoint: the Samurai squad-leader Kambei-character -- performed by actor Takashi Shimura in 'Seven Samurai' (1954) -- moment. The moment where the character shuts-down negativety ("I know how you feel, but you have to. We can't defend these outlying farms."), previsualize's victory (battleplan) and starts building it! Eye's off the self now, eye's on the team-effort!

In the midpoint scene in the film, the Samurai-squad-members share their strategy for dealing with the bandits and protect the village and the inhabitants. The villagers respond reluctant, negative, scared, hysteric. It seems negativism is hysteria in the making! At midpoint x, it is removed and replaced by a positive attitude, radiating decisiveness. 

From the original shooting-script, page 137:

Close-up of GISAKU in the wind mill with a women behind him looking worried. They both look towards something off-screen. The woman puts a hand on the old man's shoulder with a cry of distress.
Medium close-up of MOSUKE with GOROBEI just in shot beside him.
He looks at GOROBEI fearfully. Other farmers are gathered behind him, open-mouthed with amazement.

MOSUKE: You mean I have to leave my place?
(Close-up of GISAKU, with his son and his son's wife, just behind him, frowning worriedly. The son stands up but his wife pulls him down, looking away nervously.
Medium shot of GISAKU sitting in the middle of the room with KAMBEI , his son and his wife behind him and GOROBEI and MANZO beside him. KAMBEI is holding a small child in his arms. Tilt up with him as he stands up, still holding the child. He paces backwards and forewords in the foreground, back to camera. The waterwheel makes its regular noise throughout the scene, emphasising the pauses.)

KAMBEI: I know how you feel, but you have to. We can't defend these outlying farms.
(KAMBEI continues to pace about. Suddenly the wife bursts into tears.)

From: Seven Samurai and Other Screenplays by Akira Kurosawa, collection first published in 1992 by Faber and Faber Limited, London.

More on "x": http://bartvanbroekhoven.com/en-US/running/123-sar-epilogue

More on Akira Kurosawa: http://bartvanbroekhoven.com/en-US/running/97-sar-7-along-the-way

¹ Strategic Alert Running

² Best Level Mixed Terrain

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Above: P [hoto finish] GIA¹ 30K SAR² BLMTT³. Sarsential 8: deep-breath.

" [D]eepening comfort is nature's signal that many families of messenger molecules (such as endorphins) are flowing trough [ the ] mind-body to facilitate healing and well-being." -- Ernest Lawrence Rossi on page 54 in 'The 20-Minute Break', first published in 1991 by Jeremy P. Tarcher, Inc., Los Angeles

¹ PGIA: Photo Generated Injury Analysis

² SAR: Strategic Alert Running

³ BLMTT: Best Level Mixed Terrain Training

SAR_6

AboveFootprint after 32K SAR-training. Clear-, refreshing-, sunny-, with playful-tide-, friendly wind and general-summer-atmosphere on beach and in dunes.