| Finished the films! |
[04 May 2007|03:41am] |
Finished editing. Films are complete!
Now all I've got to do is burn films to DVD, finish sticking stuff into scrap books, edit SOI & print off photo story boards.
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| Nearly finished |
[03 May 2007|03:09am] |
Right, so:
Film 1; Shows the character reflecting on memories. Hearts appearing represent her longing for what she's lost --- moving from sad to mad, quiet to loud; the film shows a rollercoaster of emotions which flows steady with the changing beat within the soundtrack (Explosions in the Sky --- Six Days at the Bottom of the Ocean).
Film 2; An eerie soundtrack (RJ by Mike) to reflect the peculiar mood of the short film. The character finds a box and fills it up with water... Leaving the audience bewildered and all set to watch the next film.
Film 3; An upbeat soundtrack that starts off in time with the camera shots --- as soon as the film starts moving forwards, piano music enters into the film, creating quite a sad, yet romantic feel to what is being revealed. Character places objects that relate back to the relationship they once had with this "mystery person" --- Character destroys objects bit by bit, revealing their healing process in motion. Each object reveals some form of story for the audience whether it's a visual image or something deeper (i.e. the smashing off eggs covered in heart stickers --- dumping the shells into the glass box --- does this represent the character throwing away her outer shell or is there something more behind it? For example, a miscarriage --- eggs; fetus; baby).
Film 4; The final film uses another of Mike's music tracks; slightly like RJ but with drums --- very loud, busy music --- sounds like the sort of track you'd place in the last scene of a film --- tense music; draws you in. Character brings a different side of themselves to the screen --- eating chocolate, burning photos, dumping alcohol - cigarettes - tablets - cut up flowers, into the glass box on top of all the other objects (strawberries, heart confetti, heart-shaped objects in general). Next, the character takes a photo of what they have created and sticks it up on the wall. As the camera zooms out, we see a wall plastered in photos --- showing not only her memories, but also her obsession for photography, how she uses art/photography in her life to get her through the good/bad times --- the film overall shows the healing process that this character is experiencing.
Experimentation; Music by Michael Andrews --- I wanted to include camera shots I had missed out within the FMP films, i.e. the crack in the floorboard shot (which wasn’t originally planned – the same with the red filter shots), the sky moving from early morning to daylight, the general madness that the character feels within themselves.
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| Soundtrack |
[02 May 2007|02:57am] |
I edited my film down to 4 seperate films; including an experimentation film. I now need to add soundtracks to all four. I've tried using the monolgue that I recorded the other day, but it doesn't seem to fit well with the speed of the film... So I think I'm going to stick with using music alone...
So far I've looked at music by Massive Attack, Air, Peter Buffett, 808 State, Jon Brion, Paul Michel, Gustavo Santaolalla, Ancient Wings, The Bats, Precious Fathers, El Ten Eleven, The Mercy Program, Heims, Ray Barbee, Jean-Michel Bernard, Rose Melberg, Gemma Hayes, Bart Davenport, Michael Andrews, Goldenboy, Janove Ottesen, Rhett Miller, Sigur Ros, Guillemots, Juniors, Umbrellas, The Walkman, Tea Leaf Green, Yann Tiersen, Shannon Wright, Eric McKeown, Wonderful Smith, Third Scholars, Darkle, Grizzly Bear, Godspeed You Black Emperor! The Comas, Four Tet, Racoon, Saxon Shore, Explosions In The Sky, RJD2, Blonde Redhead, Radiohead --- and many more!
My friend Mike is helping me out with soundtracks; he's letting me use some of his music for a few of my films, so at least some films are sorted (it's amazing how well they fit too!)
I watched The Red Shoes the other day; it's absolutely fantastic. Really inspiring ideas.
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| SOI Edit! |
[01 May 2007|05:43pm] |
I have to edit my Statement of Intent for the examiners due to "lack of intent." So basically, what I'm thinking is... "Previous research on photographers and filmmakers helped me discover the photographer Chantal Michel (who also does performance pieces). She did a photography series where she placed herself within rooms (they sort of look like indoor junkyards), dressed up in dirty clothes with her hair covering her face. The photos are mysterious and disturbing --- they make you question what is happening within the images. Looking back to previous photography work I had produced, I found some images that reminded me of Chantal Michel's work. Due to my interest in the subject matter in hand, I'm interested in producing a film based on a character who is expressing their emotions (whether it's rage, sadness or happiness) through objects around them."
Yeah... Something like that. Focusing on emotive/expressive portraiture photography --- working with symbolism, creating art from feelings.
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| Update |
[01 May 2007|04:39pm] |
Edited version of monologue: 7:20 in the morning results in various stages of delusion: you forget details, you forget yesterday’s message. You forget about the notes you left for yourself by your beside table. Your nerve-endings are dulled and useless on the day you slept away in the comfort of an empty void, exhaling sad songs. Minutes later you come to two conclusions. 1.) You’re an idiot and 2.) A good cry and sleep could have fixed almost anything.
Maybe it was not love, but hollowness instead. It's a comfortable love because I have made it a comfortable hollow. --- Not using this part.
My tutor gave me feedback on my film (which by the way --- is way too long! 9 minutes 25 seconds...) She likes the film; it just seems to be very repetitive due to the symbolism of the hearts throughout; and because the film is so long, it takes away the power from a lot of interesting shots and ideas that come across.
It's been helpful getting feedback because I find it quite the challenge judging my own work! I've come to the decision that I will split the film into separate parts to make small films (due to the repetition within the storyline AND the subject matter, I'm hoping each short film will still make sense --- and even if it doesn't, I still have the ideas in my research). Throughout foundation I've been making short films (e.g. in the Remix Project I made small films from the same subject) therefore, it relates back to previous ways in which I've worked (yet again) so I'm hoping it will be okay.
It's taken me a total of about four days to edit (without working with sound) --- I had about 2 and a half hours of footage to work from so it's been extremely draining --- so far, the film makes sense, I'll just have to see if it continues to once I cut it all up.
Tonight I need to work on the soundtrack. I also need to meet up with Sophie and do a sound recording (voice over for part one).
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| Dilmea !!! |
[28 Apr 2007|05:20pm] |
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Today I set out to do my last day of filming --- The last scene where the character puts the photo she has taken, up on a wall (which is covered in photos*) an hour later after sticking up the 3489573489967 photos; it came to my attention that the camera corder was in fact broken. Luckily I had my Nikon D80 on me so I ended up using that to crate the last scene. I originally planned out to include stop motion photography in my FMP, but I never ended up doing any, until today.
To be honest, it makes sense that the last scene is in stop motion photography --- the previous scene shows her taking the photo --- then it jumps to stop motion and shows her photography obsession collection* --- As the film is centered around her interest in it, it seems to have turned the last scene from a mistake into a success.
Don't know what I'm going to do about my camera though... (((Sad face)))
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| Update |
[23 Apr 2007|01:02pm] |
Friday I went out and bought props --- I ended up buying a lot more than I thought I would --- I found a lot of objects that I thought would fit within the film that I originally didn't intend on having in the film. Sparklers (maybe I could use them to symbolize the end of the relationship, once the spark has gone out, the love dies and the relationship ends). Heart balloons (character popping them, throwing them out of the window, from the top floor of the house --- all to show that the character is destructing/erasing the feelings she has). I ended up finding heart shaped candles instead of normal candles, which is fantastic --- (shows that she's blowing out the love along with the flame). Heart sequins (if I put them in a box, they should all pop out with the air when it hits the water --- decoration is important for this film*) Heart shaped stickers (I can stick them on the character AND the egg that she squashes, to give the audience a better idea that the egg represents her). A present tag (I thought it would be good to write a short love message on and have it in one of the shots when it's floating in the water).
I also got hold of a BIG plastic glass box which is such a good news. I don't know how my film would work if I had all these objects in a small kitchen bowl; it just wouldn't look that great. Buying/borrowing a fish tank
became the biggest mission, so eventually finding it was relieving.
I've now got the costume sorted. the character will be wearing a brown skirt and a white vest top --- no bright/loud colours or detailed patterns as I don't want the audience to be distracted --- plus, the whole mood of the film is quite mellow (and a tad crazy) so I don't want anything to stand out so much apart from the objects and the characters surroundings.
I filmed all of Saturday --- The bedroom scenes, bathroom scenes and the whole glass box sequence. I also filmed all of Sunday (well, I filmed 30% of the day, the other 70% of the day was spent cleaning up all the mess --- I filmed the destruction scenes; smashing plates for example).
Monday I studied the footage and Tuesday I began editing.
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| Symbolic representations |
[20 Apr 2007|01:38pm] |
Objects that will go in the big glass box full of water:
Photos
Poems/old love letters
Egg shells (to symbolise she's getting rid of the shell she's been hiding in)
A mix tape
A strawberry (strawberries are used to symbolise love --- because it is a fruit shaped like a heart and has sweetness)
Heart shaped confetti (if I can get hold of some)
Candy
Champagne cork
Ribbons
A candle (which will go out once it hits the water)
Sophie also has some things from previous relationships she's been in that she said would be good to use.
On top of that I'm going to add:
Headache tablets (the fizzy ones)
Painkillers --- empty tablet containers
Coffee --- maybe
Alcohol --- maybe
Red paint (to symbolise blood/pain) maybe
Cigarettes that have been smoked
Cut up flowers
( Research into grieving )
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| Update |
[20 Apr 2007|01:13pm] |
Yesterday I had a presentation. Got to talk about my project overall and how I'm doing, got some good feedback too. I was originally going to do some filming today, but I've got a lot more to get done with preperation.
I bought a huge glass box (which was originally what I had in mind instead of a glass bowl) so that's good. Filming will take place over the weekend. Then next week I begin editing.
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| Storyboarding |
[19 Apr 2007|12:51am] |
The other day I took photos of the character within the chosen location - which helped me develop ideas for storyboards and camera shots. Through doing this task, I've been able to change and develop my project in different areas. I've become familiar with the location and the person who plays the character - which will make things easier for when I come to filming the real thing.
( Photo Storyboards )
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| This silence sounds just as dead as I feel. |
[16 Apr 2007|03:46am] |
Rough voice over monologue:
7:20 in the morning results in various stages of delusion: you forget details, you forget yesterday’s message. You forget about the notes you left for yourself by your beside table. Your nerve-endings are dulled and useless on the day you slept away in the comfort of an empty void, exhaling sad songs. Minutes later you come to two conclusions. 1.) You’re an idiot and 2.) A good cry and sleep could have fixed almost anything.
Maybe it was not love, but hollowness instead. It's a comfortable love because I have made it a comfortable hollow.
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| Costume |
[14 Apr 2007|03:37am] |
This is the kind of look I'm going for, for Sophie's character. Not entirely sure what one yet...
( Costume )
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| I've found an actress |
[13 Apr 2007|03:28am] |
I sent out an email asking if anyone would be interested in being in my film. I had an email back from a girl named Sophie from my old school. She's been acting most of her life, so she's very comfortable with being infront of the camera --- she also writes plays. I met up with her today and talked her through what she'd have to do and she's fine with it.
We discussed what days next week we should film, what hours --- the costume, location and props. Everythings pretty much sorted. I'm now up to date with my action plan!
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| Things I need |
[11 Apr 2007|02:05pm] |
Props
A Polaroid camera or normal camera
A glass bowl/fish tank
Plates to smash
Pillows to rip up
Glass to paint on
Lipstick
Mix tapes
Scrap books
Painkillers
Coffee
Lots of photographs
Eggs
Paint – white, red, every colour*
Paper – love letters
Alcohol
Character --- Young girl
Character costume --- a dress/skirt --- something bohemian --- maybe night clothes
Location --- bedroom/kitchen/bathroom --- an empty apartment/house --- bold colours/pale colours --- contrasts
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| Chosen Location |
[09 Apr 2007|01:22am] |
I've been to a couple of different areas to try and find the perfect location to film; and it seems this might be it (the house belongs to a friend of mine).
It has quite an old traditional feel to it, the colours on the walls contrast with different rooms (whites/creams in one room, bold yellows and greens in another) the layout is perfect for what I had in mind. There’s plenty of balconies, which is fantastic even though I didn’t have a balcony in mind --- but now I do! The view from the windows in the back of the house are beautiful.
I especially like the bedroom. It’s dim and gloomy, which is good because that is the mood I wanted for the scenes in the bedroom. There’s quite a European feel to the house, I think it’s because it’s so old --- wooden staircases, tall ceilings. It’s the ideal house for my film.
( The chosen location )
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| Development so far |
[05 Apr 2007|02:58pm] |
It’s good that I’ve been given the option to explore with very diverse ideas and areas of practice within this project. Through giving myself a broad subject by focusing on my photography, I’ve been able to come up with a range of very different ideas (some of which I will get to use in the near future).
Although it would be good for me to explore narrative; it seems I keep coming back to very abstract ideas. I’m interested in colours, lighting, sense of time. My photos are reflective and some, quite surreal. Because I'm so new to film and due to my strong interests in art and photography, it makes sense for me to stick with something I'm interested and passionate about.
The idea I've come up with seems to have come from a mixture of different sources that I've explored throughout the research. Work by the photographers Nadav Kander, Chantal Michel and Cindy Sherman's. Early pieces of writing I’d done at the start of the project when I was working with monologues.
When I look at the idea I’ve finally decided to film, I can see I’ve really been influenced by exhibitions I’ve been to in addition to my own photos. When I think about how I want my film to be shot, it links back to films I’ve looked at, cinematographers I’ve studied. (American Psycho’s opening sequence, shots from Clockwork Orange and Trainspotting’s photography.) It all seems to be coming together, which is a relief because I feel like my ideas have been on hold for too long.
I'm basing my film on a selection of photos AND research; not just one photograph --- which is perfectly okay.
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| Scrap |
[04 Apr 2007|02:55am] |
Visual ideas:
1. Silhouette against the window
2. Birds eye view shots
3. Mirror shots in bathroom --- inspired by Trainspotting
4. Drawing on glass (“dear life, this just isn’t working, it’s not you it’s me.”)
5. Eating paper, smoking a cigarette, drawing lipsticks all over herself.
6. Crushing an egg and dropping the shell into the bowl to symbolize she’s ridding her own shell.
7. Point of view shots, watching the bowl.
8. Focus on colour --- adding paint to the water --- the colour of paint links with the colour of objects, the colour of her moods.
I need to limit my ideas when editing in order for the film to work. I need to avoid putting in too much footage.
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| Final idea |
[03 Apr 2007|01:24pm] |
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"A blink of an eye and a slice of time" Working from photography. Main focus --->
~ Abstractism
~ Symbolism
~ Reflective filming
~ Artistic filming
1. The character will be a young girl; who is trying to escape her void. 2. Her attempts at relieving her frustration/sadness: through finding creation out of destruction. 3. Documenting events in her life through photos and keeping them as reminders, helping her move on with life.
The scene starts with a flash of images to grab the audience’s attention. Images of all sorts of things (a collage of mixed images --- people, objects, textures). It then moves to the opening sequence, a girl in an empty apartment, waking up in the early hours of the morning (developed from the remix project). Either a soundtrack or voice over comes into the scene. The voice over will be the girls voice, telling a rough story of what she is thinking and feeling (like a monologue).
She’s just broken up with her lover. Through dealing with her pain, she destroys her surroundings --- and for a second, she gives the viewers the feeling that she wants to destroy herself; to keep the audience drawn in.
As she begins to demolish the apartment, throwing plates and tearing up pillows --- she collects bits and pieces together that remind her of her previous relationship.
With these objects, she places them in a huge glass bowl/box full of water and watches them sink and swim (love letters, mix tapes, gifts given to her by her ex-lover, photos, poems from books, etc). Soon after she throws in all the things she’s abused in the past few days since the break up --- (cigarettes, painkillers, alcohol, coffee etc). Finally, she takes a photograph of what she has created and sticks it up on her wall. As the camera zooms out, a huge photo collection is revealed, showing the photos we saw in the opening sequence.
Through destruction she finds creation, by documenting her life in photos and keeping them as a reminder that she can move on. A sort of self art therapy.
[Start the film with photos --- then bring it to a halt, (location/weather shots) have it start off slow --- showing close ups of the girls eyes/body, half asleep on the bed.]
[Focus on the objects more than the character; the character is like the audience, we feel through what she is doing. Show the destruction of objects in a very artistic manner.]
The mixture of objects, links with the character --- when something is added to the bowl, another story is shown to the screen --- whether it’s a flashback of her relationship or something symbolic showing her pain (for example, when red paint is added to the mixture, we see a shot of her putting on lipstick, except it runs off the side of her face --- she can’t compose herself anymore). As she pours water into the bowl, we see another shot of her against a pane of glass with water running down her face. Linking together how she feels with what is going on in the bowl.
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| Development |
[03 Apr 2007|03:44am] |
I've been brainstorming with the ideas I've had and I think I'm finally starting to get somewhere. I'll update about it when I've got all my thoughts sorted out.
( Film update )
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| Rough idea |
[03 Apr 2007|03:24am] |
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My ideas are not that narrative based, so they don't always make sense --- I'm mainly focused on cinematography, so this will most likely end up very abstract. Which is fine because it comes from photography.
Picture the words:
"Dear life, This just isn't working. It's not you, it's me.”
I've been influenced by my photography to a huge extent. I was thinking of basing the film on a character stuck in an apartment going insane --- Someone trying to escape their void(s.) A girl longing to escape her surroundings, her situations, her life. Describing/or showing how suffocated she is. I want to make it really symbolic - have the character doing weird things like drawing on themselves with lipstick, cracking eggs and making soup out of egg shells, eating paper, being squashed against a window with water running down their face --- (raining on the inside sort of thing) all of these things will have a meaning, it's not random by any means, even though it may appear so.
I'm not sure if I want the character to die/be dead and telling a story/or be living and trying to escape their emotional traumas --- I don't know what traumas, as of yet. I've got a few alternative endings... I just need to think about it a bit more. A lot more. Too many visual ideas, not enough narrative going on. I haven't got any solid beginnings, middles and endings.
In my mind, I want the film to look quite similar to the film I did back in December "Remix --- Portrait of Isabella Rawsthorne; by Francis Bacon" --- Similar to it; through the use of soundtrack/editing and using stop motion photography in addition to film. I think that, throughout the research, I have held on to certain visual ideas, themes and general thoughts/ideas about working from other artists/photographers/film makers --- I haven't really been able to let them go of these thoughts/ideas it seems... Which I guess is a good thing because it means I haven't gone off track, even though I've had a mind block for a few days!
Research/influences/ideas that have helped
& things I've kept in mind so far:
~Using stop motion photography - keeping it abstract.
~Focusing on soundtrack/editing instead of pure narrative.
~Remix development work.
~Déjà vu --- the idea of someone watching their own death in their dreams.
~Through the eyes of a character.
~Voice over - monologue-type script.
~Chantal Michel's work.
~David Lynch's work.
~Cindy Sherman's work.
~Nadav Kander's work.
I'm sure there's more to put into that list. I've been checking out the BBC Films Network which has been really interesting and very motivating for me.
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| Brainstorm scrap |
[02 Apr 2007|10:04pm] |
Letter
Burried box
Questions
Puzzles
Games
Objects
Books
Stories
Polaroids
Cooking
Piano
Girl
Transforming
Face paint
Lipstick
Typewriter
Umbrella
Photographs
Backwards
Forwards
Lights
Shopping trolly
Blinking
Yawning
Blowing air through a straw
Writing on glass
Smoke
Slow motion
Filling up a drink
Driving herself over the edge
Close up shots of objects/areas
Bring movement into it slowly
So, today I'm thinking in note form.
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| Photos |
[01 Apr 2007|10:19am] |
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I made a separate visual diary, just for my photography. Saves some space on here --- Link
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| More Photography |
[29 Mar 2007|03:24am] |
I was so pleased with how these photos turned out. Even though these photos appear surreal/abstract and dream-like (considering it's just colours and lights etc) they give me so many ideas. This is what I feel comfortable with. I think I might be on to something... Turning an every-day thing into something out of this world. Things aren't always what they seem.
The blink of an eye and a slice of time --- the slice of time plays out something that the blink of an eye can't quite capture in one moment --- or can it? If it can capture the speed of light, it can capture the magic in movement --- these photos just prove it! It's all about light and movement...
I want to do a film that focuses deep into colour.
( My Motorway Surrealism Photography )
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| It's late, I might ramble |
[23 Mar 2007|02:12am] |
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Today I went to The Photographer's Gallery to see three separate exhibitions by the photographers;
Philippe Chancel "DPRK"
Anders Petersen "About Gap & St. Etienne"
Fiona Tan "Mirror Mirror"
I was mostly interested in Fiona Tan's work. Her history has lead her to explore the meaning of cultural and personal identity through her work using archival and found photographs, film footage as well as her own material and combining these elements in film and video installations.
Often drawing from the dynamic between the still and moving image, she examines how identities have constructed their impact on wider cultural attitudes towards strangers and what this tells us about ourselves.
Fiona Tan presented hundreds of family-photos/scraps-and-memories on two white walls. There was so much to look at, it's as though you are walking through someone's life, seeing them from young to old, pasting the photos together as a moving image in your mind.
Even though the exhibition was so small, it's set off a few ideas in my mind --- some of my photos have also helped do this. All the ideas I've come up with don't really have any narrative. It's more visual ideas; like an egg cracking, a feather falling, a pen scribbling on someone’s neck, someone whispering in someone else’s ear, blue soup and green eyes --- Simple things = Weird things. I can do both.
For my first film project, I focused on memories. I was able to use a lot of the visual stuff I'd come up with in my research. I'm hoping I can do something similar for this project. Memories, sensations, feelings. Picking one simple thing and making something abstract from it.
( Rough Brainstorm of ideas )
I'm off to Birmingham for four days. I'm hoping to take a lot of photos whilst I'm there.
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| William Klein |
[21 Mar 2007|02:53pm] |
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William Klein (born April 19, 1928) is a photographer and filmmaker. Though born in New York City and educated at City College of New York, Klein is predominantly active in France. He has directed a number of feature films, including the 1966 film "Who Are You, Polly Magoo?" and the anti-American satire "Mr. Freedom." Klein's photography won the Prix Nadar in 1956.
Source
As an artist using photography, he set out to re-invent the photographic document. His photos often blurred or out of focus, his high-contrast prints (his negatives were often severely over-exposed), his use of high-grain film and wide angles shocked the established order of the photography world and he earned a reputation as an anti-photographer's photographer.
Inspired by Moholy-Nagy and Kepes, he began to experiment with juxtaposing abstract painting and photography. Alexander Liberman, painter and director of 'vogue' America met Klein at one of Klein’s Parisian sculpture shows and was fascinated, both by his sculpture (kinetic light panels on photosensitive glass) and by the photographs Klein had recently begun to take. He invited Klein to come to New York to discuss a job.
Source
( Film Stills )
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| Movie Day |
[20 Mar 2007|11:49pm] |
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Rented some films from the library today. Some of which I've seen (but want to see again, purely for ideas/research on cinematographers) others I have yet to see.
1. The Red Shoes (1948)
--Directed by Michael Powell & Emeric Pressburger
--Cinematography by Jack Cardiff
2. Down by Law (1986)
--Directed by Jim Jarmusch
--Cinematography by Robby Müller
3. Blue Velvet (1986)
--Directed by David Lynch
--Cinematography by Frederick Elmes
4. Apocalypse Now (1979)
--Directed by Francis Ford Coppola
--Cinematography by Vittorio Storaro
5. The Cook the Thief His Wife & Her Lover (1989)
--Directed by Peter Greenaway
--Cinematography by Sacha Vierny
Today I watched Blue Velvet.
Need to begin putting all my research in my sketchbook.
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| FIlm Update |
[19 Mar 2007|11:11pm] |
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Today I watched:
~Hard Candy - David Slade
~The Wicker Man - Robin Hardy
~High Anxiety - Mel Brooks
The film The Wicker Man had a lot of rhythm in the soundtrack, which moved really smoothly with the use of shots (editing*) Even though the film was edgy and had a morbid ending, there was a really upbeat feel to it due to the soundtrack. It'll be helpful with editing ideas, that's for sure.
Going into college tomorrow to pick up some DVDs from the library and possibly a few books.
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| Rosie Photos |
[19 Mar 2007|02:31am] |
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Took some photos on the Hampstead Heath earlier today. They've given me a few "visual ideas" --- not much narrative stuff though.
( Photography )
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| The Tracey Fragments |
[17 Mar 2007|07:46pm] |
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"This film may have been shot in only 14 days but, it took them about nine months to edit it. No wonder, since the director Bruce McDonald took the "Fragment"-part of the title by word.
The film consists of hundreds of fragments of pictures, each showing different perspectives of the same moment mixing up reality and thoughts and fantasies of Tracy, the 15-year old protagonist. There are only rare scenes in which there are less then 3 fragments to be seen on screen. And the more emotional the protagonist gets, the more fragments appear.
So, thus confusing you with just too much information it leaves you overwhelmed with impressions and emotions that are just too plenteous to handle. Off course, McDonald did this on purpose. It's all just a try to visualize what a teen must have to go through in puberty. After a while you get sucked into a world of bullies, disturbed parents, unanswered love, doubts and fantasies, sympathising more and more with Tracy."
Source --- Review from IMDB
( I really want to see this film )
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| Bright Eyes Gig |
[17 Mar 2007|01:29am] |
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I was cold in a dream, somewhere close to the surface. Between the ice and the stream, there is three inches of air. So I swam towards the light, I let my breath get there first. When I opened my eyes, I saw myself in the mirror and I knew I would do like my father has done. Yes, we will never break from these chains, your life is gonna course like a history book. Don't be frightened of turning the page, cause it's is all the same. It will always be the same.
---Bright Eyes (Mirrors And Fevers)
( Bright Eyes Gig --- Photography )
But if the hunger is still there, buried somewhere inside, covered up by the boredom we've been trying to hide. Then dig it up and devour and it will be more like a song and less like its math. If you pull on my hair, and bite me like that and the truth is that I can't hardly wait. And I don't care if we stay up too late. Don't answer the phone, don't answer the phone.
---Bright Eyes (Pull My Hair)
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| Music & Photography |
[17 Mar 2007|12:45am] |
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I've obviously been watching too many Lynch films lately. When I saw the colours in these photos, I automatically thought of David Lynch --- Red and blue. The two vivid colours he uses in his films.
Anyway. I really like how these turned out. The lighting is perfect. I've got more photos but they are of the band Bright Eyes. I'm going to post them in the next entry.
( Photography )
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| Ti and Rhi |
[16 Mar 2007|01:38am] |
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These photos are pretty self explanatory. I went over to my friends flat for the night and happened to have my camera on me --- (I take photos mostly everyday, so it's always on me.) I edited the colours and made them darker. I think they look better like that - sort of dated-looking, in a way. They capture the memory of the whole night, for me anyway.
( Photography )
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| Rain in the kitchen |
[15 Mar 2007|04:19pm] |
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My tutor emailed me yesterday, with a list of about 25 films and cinematographers I should look at. I seriously need to go and raid the chelsea library or some random film store (or the BFI Library) asap.
Gave in my SOI & Bibliography & Action Plan today.
One less thing to worry about.
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| Twin Peaks |
[14 Mar 2007|04:18pm] |
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My Statement of Intent is underway. I'm currently working through my Action Plan. It's quite hard to predict what sort of research I'll be doing in a months time, when I don't even have a clue what sort of film I'll be making. I'll just keep it very basic I guess.
Today I watched the film (not the series) Twin Peaks "a disturbing mystery about the life of a seemingly typical small town". Disturbing, yes. The movie has left me feeling very bewildered and honestly, quite uneasy. The storyline is very hard to follow if you haven't seen the series but either way, I was so captivated by the music and the visuals.
As strange and unsettling as it is, I'd watch it again because it really is, visually arresting. There's so much in it that links to other stories in Lynch's films, also - especially with the colour blue - and Laura, she reminds me of the main character in Inland Empire.
The twist was extremely TWISTED, but I guess it brought the film to an end --- which feels good after 2 hours of sitting there going from one new character to another; then one new storyline to another - always saying "what, who, how, when?" to the person next to you.
"Part murder mystery, part soap opera spoof, part comedy, part supernatural drama and part homage to classic movies and other cultural icons; Twin Peaks is completely entertaining and engaging, filled with images, music, mood and characters unlike any you've seen before" --- Source
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| Clippets from my SOI |
[13 Mar 2007|01:15pm] |
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Talked to my tutor about my project this morning. It put my mind at rest - which allowed me to write my Statement of Intent (finally.) Here's a few bits of it --- Basically explains what I'm doing.
Clippets from my Statement of Intent
“The blink of an eye and a slice of time”
For the final project I aim to produce a film derived from my own photography. I am interested in the artistic aesthetics and visual look of film (the framing, the lighting, the exposure and colour) this comes from my enthusiasm for photography. As a very visual person, I find imagery more inspirational than the written word; I like to use pictures rather than stories as starting points for my films.
In a previous film project, I transcribed a Francis Bacon portrait into a film. I found this project very refreshing and motivating. The imagery of the painting spurred my creativity. I am therefore keen to work in a similar way again. This time however, I will work from one of my own photographs.
My photographs will have no themes initially as I want a chance to be spontaneous and explore different techniques and concepts. Once I have selected my final images, I will study them in great detail and draw out elements and ideas that I can use to produce my film. Whether I work from a single photograph or a series of photographs is something that I will decide later on in the experimentation process.
I do not want to restrain my creativity in the first stages of the project by setting a theme for my photographs. However, I would like to include some elements of portraiture, for example images of people going about their daily lives. I enjoy using people in my work both in photography and film, indeed, intimate studies of people have become somewhat of a recurring subject matter in my work.
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| Stuck |
[12 Mar 2007|11:11pm] |
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Dilemma: I'm working from photography to make this film --- but I currently don't have "the" photo (or photos) that I'm using, as of yet. And with the statement of intent, action plan and bibliography in mind, I wont be able to start them until I know what I'm basing my film on (I'm guessing) --- because I don't think I can get away with saying "I will base my film on photography" --- it's too basic and as far as research goes, I won't really know what I'm researching until I know the theme of the photograph.
I was talking to a friend online about my project and as I got chatting away, Nik (friend*) asked me to try and take a photo of something that interests me (because it seems I can't find anything from my photography collection that stands out and gives me ideas.) The one thing that I know interests me, is people. Then I said, "people going about their day to day lives" as an idea. Even though that is such a broad subject, it's close enough to being a theme (for now anyway.) Whether I manipulate the lives of these people by adding twists to the plot or bringing in situations that people aren't used to, is something I'll tackle later on within the research. I just can't sit on this any longer. I need to get moving and stop thinking so much because it won't get me anywhere. I'll talk to my tutor about it tomorrow.
Things To Do;
1. Begin taking pictures for the FMP; even if they are just experimentation. I can submit them here as visual-updates instead of written updates.
2. Write a SOI, Action Plan AND come write a basic bibliography by 15th.
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| Motivation |
[12 Mar 2007|10:39pm] |
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mood |
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missing someone |
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I just did an exercise to get my mind moving. I looked at a selection of photos online and gave them titles/captions off the top of my head. It’s quite a refreshing task to do when you’ve got a mind block... Now I'm really motivated with other ideas. I've just got to remember to:
STAY AWAY FROM THE COMPLEXITIES!
Refreshing the mind with ( words )
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| Research |
[12 Mar 2007|07:38pm] |
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Images by:
Gregory Crewdson
Elliott Erwitt
Nan Goldin
David LaChapelle
Cindy Sherman
Nadav Kander
Philip-Lorca diCorcia
Jeff Wall
behind the ( cut )
These are just some of the images I've found really helpful with ideas so far. I'm especially fond of Elliott Ewritt's work. The photograph with the elephant trunk and the child's arm is beautiful. His work tells a lot of day-to-day stories, whereas the stories in Nan Goldin's images come from emotion and intimacy. They are raw and real and what you see is pretty much what you get.
Her "snapshot"-esque images of her friends -- drag queens, drug addicts, lovers and family -- are intense, searing portraits that, together, make a document of Goldin's life. Goldin herself has commented on her photographic style and philosophy, saying, "My work originally came from the snapshot aesthetic . . . Snapshots are taken out of love and to remember people, places, and shared times. They're about creating a history by recording a history."--- Source
Jeff Wall, Crewdson and Kander are my top favourites out of the selection, when it comes to the narrative in the photos. They all have very earie moods, unforgettable styles --- (stunning lighting, colour, use of locations/props) and strange characters. They are the types of photos you can really work with because you can't really tell what's going on. You can make up your own stories from them.
Today I read;
ART REVIEW Magazine Issue 09
--"David Lynch Takes on the Art World"
NEXT LEVEL Magazine Issue 10
--"Arja Hyytiainen" written by Peggy Sue Amison
--"Lise Sarfati" written by Clare Grafik
--"Michelle Sank"
--"Loretta Lux"
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| Headache |
[12 Mar 2007|05:14pm] |
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Had a group tutorial this morning; it was helpful hearing other's themes/ideas so far. When I shared mine with the group, I was given the suggestion of working from my OWN photography and not someone else’s (e.g. Jeff Wall.) It makes sense to do that (why didn't I think of that in the first place?) Thanks Max ♥
Essentially, I could either use a photograph I've already taken OR take a new one (with the idea of the film in mind.) I could therefore do some backup research on photographers and their work and get ideas (which I've actually been doing these last few days anyway.)
In some ways, if I begin taking my own photos FOR the film, I’ll have to consider what it is that I'm taking photos of --- meaning I’ll have to come up with a theme --- I can’t just take photos of anything and expect something GREAT to come from it, right?
Coming up with a theme is what I’ve found the most difficult so far, hence wanting to use other photographers for inspiration. I think too much. And all my ideas end up being COMPLICATED, which slows down the idea/research process for me. So what I've got to do is --- Try my best to stick with simple ideas and themes.
Simple.
Simple.
SIMPLE.
That's my biggest challenge yet.
I did a ton of research this morning. I’ll post it online later. Along with the photos I hope to focus on... I seem to be making a big habit of repeating myself.
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| Panic |
[12 Mar 2007|01:11am] |
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Chantal Michel's photographs are eye-catchingly interesting, but I don't feel there's enough "there" to work from as far as narrative goes. The location is awkward and the scenery appears quite complex. The characters are like blank canvases, they’re haunting - and not really in touch with the viewers. There’s just no connection, even though they are visually fascinating. I found an interview article on Chantal Michel (Link) It tells a lot about who she is, what her work is all about and how she feels about it. It gives you a lot more about her as an artist. Either way, I think that working with something so cut-off, might be difficult. I don't see much simplicity in her work, everything is back to front and too abstract --- I'd rather make my own conceptual world from something simple, than do the complete opposite. I'm not saying I want the easy way out, because I'm ready for a challenge, but take into account the time I have, the facilities and financial stuff - it's just best to stay away from complicated concepts.
So basically, tomorrow I need to go to the library, look through some photography books and find a photograph that I will base my film on. I'm looking for something very easy to work with --- not too dreamlike or abstract (but then again you never know, I might find something complex and turn into something simple.) I want to make a film that shows the events leading up to before the photo is taken. Either that, or use an element from the photo and create a film from it (which might be more difficult but we’ll see.) I have to have an idea by tomorrow night.
Photographers I have in mind for research:
Nadav Kander
Erwin Olaf
Anton Corbijn
Guy Bourdin
Jeff Wall
Eugenio Recuenco
Gregory Crewdson
Sally Mann
Nan Goldin
Martin Parr
Cindy Sherman
Elliott Erwitt
Chantal Michel
Others I might look at:
Man Ray
Brassai
Henri Cartier-Bresson
Cecil Beaton
Rankin
Chema Madoz
David LaChapelle
Richard Avedon
Bill Brandt
Magnum Photos --- Site I will be using for research
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| Films I've seen/need to see |
[11 Mar 2007|02:15am] |
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My film list shows films I love, films I want to see and films that people have recommended (in general and for my project.) I will edit the list throughout the project.
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| Inland Empire |
[11 Mar 2007|01:25am] |
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I went to see David Lynch's new film Inland Empire tonight (The title is a term referring to a cluster of suburbs south of Los Angeles, and while it's mentioned at one point deep in the film, it's not entirely clear whether any of the action actually takes place in the Inland Empire.) I don't really know where to begin when it comes to the storyline of the film. It's one of most uncomfortable/complicated films I've ever seen --- but visually, it was superb. There are empty numbered hotel rooms, creeps up darkened stairwells and down labyrinthine hallways; characters who awaken from one identity only to slip into another and a narrative that might make perfect sense or no sense whatsoever.
This is the first time Lynch has shot digitally, which sometimes makes his trademark imagery (red curtains, blue doors, sweaty close-ups) more unsettling than usual. Especially combined with offbeat lighting, editing that's both jarring and fluid, a soundtrack of groaning tones and eclectic songs and heavy visual graininess.
"Inland Empire opens and contracts in your imagination while you watch it -- and you're still watching it well after it's left the screen. It's a long but thoroughly absorbing three hours (perhaps necessary for a movie that continually readjusts perceptions of time), but I feel like it's not over yet. It's still playing in my head, like a downloaded compressed file that's expanding and installing itself in my brain. This David Lynch, he put his digital virus in me." ---Source
That review tells it like it is when it comes to the after-thoughts/feelings from the film. Every David Lynch’s film is narrative and believe it or not, you can explain each of them in 2-3 sentences. However, his style of narration is not simply to SHOW you the story, he wants to pull you into the film and make you feel the same emotions that the main character has. Therefore, you're left feeling what Lynch has created for you.
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| Films from developing countries |
[09 Mar 2007|11:30pm] |
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This evening I went to the Birds Eye View Festival at the ICA to watch a selection of extraordinary short films from developing countries - from breathtaking animation to engaging drama." They showed five pieces overall (three short films and two animations.)
Paola Barreto from Brazil, Director of Mare Capoeira attended the event and stayed afterwards for Q&A's. She talked a lot about her work, how she made the film, what got her into film --- and what it's like to be a women film maker from a developing country. You can find her film here --- Part 1 and Part 2 (YouTube.)
I especially enjoyed the animation Printed Rainbow by Gitanjali Rao. It's a visually stunning piece of work and so beautifully drawn. It actually linked back to my idea of turning a black and white world to colour.
What I found about each short that I watched, was the storylines were so incredibly simple - yet they really touch your emotions. That's the one thing I've really got to take into account when planning my film - "Stick with simple ideas."
Still quite rusty with ideas.
But I'm getting there.
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| Rambling |
[09 Mar 2007|01:47am] |
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Today I was able to share my (sack-load) of ideas with other students and I got some great feedback. I've somewhat come to the conclusion that it's best I stick with the idea of working from photography. I'd feel more at ease working from something visual like a still image, rather than working from a made-up image/idea in my head.
I also love the idea of re-creating a piece of art (painting/sculpture etc) or even changing it to fit with how I percieve what I see. The great thing about all this, is it links back to the Remix project - which I actually found the most inspiring and motivating out of all the projects I've done so far.
I'm not 100% certain I'm going to use Chantal Michel's images for the FMP. Although, as an initial idea it's probably beneficial that I keep her in my mind. Who knows, I might change my idea half way - or at least develop it. For now I'm sort of floating with themes; which I'll have to stop doing by the weekend as I need to get going with my Statement for Intent and Action Plan.
I was looking through old A Level books today and I found some photographs I took that reminded me of Chantal Michel's work. These photographs came purely from experimentation with SLR cameras; there was no concept behind them.
( A Level Photography )
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| FMP Stuff |
[08 Mar 2007|12:49am] |
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For the FMP, I plan to explore some of my key interests within the research. I especially want to look into photography or text (for previous art projects, I began experimenting with text in my paintings. I focused on work by Richard Prince, Barbara Kruger and Tom Philips; all of which had very strong, yet diverse styles in medium, concept and skill.)
Re-creating a story, a piece of writing, a song or poem, a painting, a photograph or a sound - through film, are the main ideas that have been stuck in my head since I began brainstorming initial ideas. Using some form of visual image or story feels like a great starting point for me --- sort of like a development from the Remix Project, which I found quite motivating. I think coming up with a story of my own, from scratch, feels a little overwhelming right now. I need something to work from - which I guess is when research comes in?
I'm slightly disorientated, I think I’ll sleep on it.
Friday I'm off to go see some short films at the BEV Film Festival 2007. Hopefully that might kick my brain into gear.
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| Continued |
[07 Mar 2007|03:09am] |
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I just found a photographer that I've completely fallen in love with (Chantal Michel.) It's really bizarre because a lot of her work really relates back to ideas I had for previous projects. My original ideas for Audio Hijack (working with sound) revolved around paranoia and claustrophobia --- having a character lose control in a room full of mess. But as time goes on, the objects around the person start to disappear (thoughts of using stop-motion photography was something I was quite eager to do.)
I also had an idea of placing a person in a glass box. I don't really know where I was going with that idea, but I wanted to try to experiment with the feelings of claustrophobia --- and Chantal Michel's work shows pieces that would have really helped me back then.
I'm thinking of using some of her photos (and videos*) for inspiration for the FMP.
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