Teaspoon builds the tension of the main character’s frustrations at the constant ‘tak tak tak’ of her sick father-in-law’s tapping to get her attention, until she cannot take it any more. Anamnesis is an enigma of a story. The deeper into the protagonist’s subconscious the story delves, the more questions are asked; who is the man that keeps appearing? Why does the running water signify danger? And why is he no longer Adam? Rea & Irving says ‘A character can fall in and out of love, discover the meaning of life, or conquer a nation in two hours. In 10 minutes, a character may only be able to summon up the courage to ask someone for a date.’ (2010 :10). Although he is talking about the difference between feature and a short, I would argue that this is also true for the difference between the 5 minute and the 30 minute short. Anamnesis and Sidekick contain life and death scenarios, and deep conundrums for the main characters. Even Teaspoon ends with a death situation. By comparison, The Present and Knob contains much smaller, yet still as critical and interesting to watch, dilemmas.
With so many elements affected by the length of a film, from character right through to plot and story, it makes sense that when a screenwriter embarks on the task of writing a short film, they should have an idea of the overall length they wish a piece to be at the story construction