Trinity Poole, Katie Massey, Tommy Kha
Final
After After Hours: May 4, 2011
This film is a series of images and shots of a landscape, it is dark, and there is the hint of human presence but no figures are ever seen, just the aftermath, such as shadows or an empty swing after someone has left it.
There is the feeling of being all alone in this darkness, but not quite because someone has just been here or is hiding in that darkness. It feels creepy.
The main idea we started with was totally different. This idea came about as we were editing for it, and started seeing all of these images.
The theme or premise is as I stated above, being alone in this darkness but not quite.
Main tension, I would say, is the not knowing who or what is making these shadows and noises. I think that the visuals are the strongest part of the film.
Problems areas, I think I would like to see it a bit longer.
Journal-type notes on your own learning process, discoveries, and frustrations.
This project was a collaboration with myself, Katie and Tommy. I really feel that the film took on a life of its own, and went in a slightly different direction that originally intended, and I am very happy with it. I love the visuals, I think that there are aspects of all of our aesthetics there. I love the feeling I get from it, its creepy, and beautiful.
This was probably the most fun project to shoot, mostly because we got to play with horses. It was challenging because we were on a farm with no lights except from the small vehicle we were driving around and a small lantern. I think we did a pretty good job of solving the challenges that we faced. We definitely got dirty, and had a lot of mistakes and issues. We killed the battery on the Mule the first time we shot because we left the lights on without it running, and had to be towed out of the horse field with a tractor. We got very muddy and wet. Stepping in horse poop was a given. Our actress (who got edited out) was shocked by the fence twice! But it was all worth it.
Tuesday, May 3, 2011
Tuesday, April 19, 2011
Crit on crit: last week-Empty Vessel
There were a lot of suggestions made, most of which I agreed with. The best one was the sequence of the film, to break it up and match the actions, such as the scrubbing of my face with the scratching out of the words on the notepad. I was told my audio was terrible, which I already knew. It was suggested to take out the clip of me locking the door, and I did. I also got rid of the fades (Tommy)I changed the credits a bit, and like the look better. It was suggested that I begin in the bathroom, and that changed the whole tone of the film. I got rid of the music as well.
Self-crit-midterm final edit
I really took to heart the feedback given last week. I agreed that I should try to match actions back and forth in the sequence, so that it appeared as though the fight was a memory. I really wanted to take out all of the sound except her one line, but that line had too much presence in the background and it sounded terrible. I am pretty happy with the result, it is a lot better now. I think that the visuals are strong and I am glad I took out most of the dialogue.I know that my audio could still be somewhat better but it is much better than it was. I am glad that I did this project, I have been doing self-portraits for a long time in photo and it was a great challenge to take myself out of the comfort zone of stills, into video. The performative aspect of my photo pieces is the part that I have never let anyone see.
Monday, April 18, 2011
Script
Opening scene:
Character crouching to the ground to light the lantern.
She then picks it up and sets off.
There will be cuts to her face and her surroundings.
(The lantern will serve as guide to not only her but the audience.)
She is traveling at a hurried pace, looking back constantly.
She stops after about 15 seconds of walking to consider where she should now go.
She decides upon the distant woods and gathers the lantern and her things and continues on.
When she reaches the outside of the woods she comes to a barbed wire fence, this is her last obstacle left to obtain her freedom from the mundane.
She awkwardly and slowly climbs over the fence tearing her shirt along the way.
She looks at her shirt almost discouraged, she regains her composure and continues on resolute.
We then have a full shot of her walking into the woods, not looking back and disappearing in its brush.
Character crouching to the ground to light the lantern.
She then picks it up and sets off.
There will be cuts to her face and her surroundings.
(The lantern will serve as guide to not only her but the audience.)
She is traveling at a hurried pace, looking back constantly.
She stops after about 15 seconds of walking to consider where she should now go.
She decides upon the distant woods and gathers the lantern and her things and continues on.
When she reaches the outside of the woods she comes to a barbed wire fence, this is her last obstacle left to obtain her freedom from the mundane.
She awkwardly and slowly climbs over the fence tearing her shirt along the way.
She looks at her shirt almost discouraged, she regains her composure and continues on resolute.
We then have a full shot of her walking into the woods, not looking back and disappearing in its brush.
Production of Design Statement
The aesthetic choices will greatly influence the piece because being at night time will be meant to create an uneasy feeling for the viewer therefore allowing them to relate with the uneasiness of the character who is leaving her secure and familiar home to go out into the unknown. Our character will be a young woman who will be portraying this time of transition of wanting more than what has been built around her.
Woods are also metaphorical for the unknown and often are associated with the unexplored which causes anxiety.
Using the lantern is giving her an object of security something that she keeps with her and helps her see her way. It enables her to explore the unknown but does not control where she goes.
The lighting will provide more dramatic aesthetic added with her fleeing to convey a sense of urgency and secrecy.
Woods are also metaphorical for the unknown and often are associated with the unexplored which causes anxiety.
Using the lantern is giving her an object of security something that she keeps with her and helps her see her way. It enables her to explore the unknown but does not control where she goes.
The lighting will provide more dramatic aesthetic added with her fleeing to convey a sense of urgency and secrecy.
1 sentence description
A girl attempting to run away from a place that is no longer her home to the woods which represent new possibilities of the unknown.
Final project- revised
New Pitch for Katie Massey, Trinity Poole and Tommy Kha. We propose instead of doing stop motion which was suggested was too difficult to do instead a scene at night with a theme of running away. This will still be incorporating photography because of the lighting needed for this movie and the concept which was inspired by a photographic series. We will be doing this in Arlington on a farm to create a feel of isolation and also have free reign on where we shoot. We will not be including audio with this to allow the viewer to solely focus on the visual aspects.
List of Props:
Lit Lantern
Not sure on clothing yet... will be decided throughout the week (we welcome feedback)
Location:
A farm located in Arlington.
Shot at night time.
Talent:
Kristen Rambo
List of Props:
Lit Lantern
Not sure on clothing yet... will be decided throughout the week (we welcome feedback)
Location:
A farm located in Arlington.
Shot at night time.
Talent:
Kristen Rambo
Wednesday, April 13, 2011
final project
from Tommy's blog.
I'm really interested in creating a film under one minute. I did this once and it was awesome, to the point.
Maybe extreme short films?
Lots of possibilities.
We are currently arguing over the last final project.
from me-
I am interested in doing stop motion, if we can make it happen i am all for it. we will be discussing it further.
I'm really interested in creating a film under one minute. I did this once and it was awesome, to the point.
Maybe extreme short films?
Lots of possibilities.
We are currently arguing over the last final project.
from me-
I am interested in doing stop motion, if we can make it happen i am all for it. we will be discussing it further.
Self-crit-DVD build
I used a picture for the background that is a self portrait, I think it is a good choice. I plan to add my photo portfolio to it, and a cd rom section with resume on it. I had an issue with one button always looking selected, and no one could figure out why.
Tuesday, April 5, 2011
Crit on crit: Empty Vessel
During the screening I was taking my own notes before the crit started and basically everything that was said was written down already, so I felt that the crit was right on target. I took everything that was said to heart and used most of the suggestions when I went for my edit.
Self Crit: Empty Vessel Final Edit
I was in agreement with everything everyone said during crit, so I applied those edits and I am much happier with the results. I like how the sound changes a little in some frames, I feel that it increases the tension going along with the jump cuts. I feel that it is much more effective as a less linear and shorter film.
Final Pitch
Group Project: Myself, Katie and Tommy
1. A stop motion depicting a man moving across time and space.
2. The stop motion will encompass both digital cinema and photographic techniques. The stop motion will be made up of frames. Each frame depicts a man in a different scene, scenario, clothing and time. By matching the man’s movement in each individual frames, the man will move across the short film fluidly.
3. We intend to create a poetic, experimental short film telling of a man’s transitioning period in life.
4. Our aesthetic choices includes an original score, utilizes different photographs and the stop motion technique.
5. Structure Analysis:
There are no Acts but there is “visually” a beginning and end.
Sample Video:
1. A stop motion depicting a man moving across time and space.
2. The stop motion will encompass both digital cinema and photographic techniques. The stop motion will be made up of frames. Each frame depicts a man in a different scene, scenario, clothing and time. By matching the man’s movement in each individual frames, the man will move across the short film fluidly.
3. We intend to create a poetic, experimental short film telling of a man’s transitioning period in life.
4. Our aesthetic choices includes an original score, utilizes different photographs and the stop motion technique.
5. Structure Analysis:
There are no Acts but there is “visually” a beginning and end.
Sample Video:
Wednesday, March 30, 2011
Tuesday, March 29, 2011
Empty Vessel: Rough Cut Self Crtit
Trinity Poole
Midterm Project
Empty Vessel: 3/30/11
The main character is emotionally detached and unable to sustain relationships, and faces inner turmoil because she feels she cannot change.
I want this piece to evoke empathy from the audience, and for them to relate to the main character.
This project came about because of a mixture of personal experiences, and is important to me because I concentrate on self-portraiture in my photography, so the progression for me was to perform in a film.
I feel that the theme has become more about self-isolation.
The main conflict or tension is that there is no resolution; the character continues a self-defeating cycle.
Problem areas: Cutting the video down to the time limit, and being able to include enough material without taking away from concept and visuals. Technical troubles and frustrations… Lost several audio clips and had to redo them, and files kept going offline. Files kept needing rendering, it seemed like I did that 5 or 6 times. I don’t know if I missed something and was doing something wrong.
Midterm Project
Empty Vessel: 3/30/11
The main character is emotionally detached and unable to sustain relationships, and faces inner turmoil because she feels she cannot change.
I want this piece to evoke empathy from the audience, and for them to relate to the main character.
This project came about because of a mixture of personal experiences, and is important to me because I concentrate on self-portraiture in my photography, so the progression for me was to perform in a film.
I feel that the theme has become more about self-isolation.
The main conflict or tension is that there is no resolution; the character continues a self-defeating cycle.
Problem areas: Cutting the video down to the time limit, and being able to include enough material without taking away from concept and visuals. Technical troubles and frustrations… Lost several audio clips and had to redo them, and files kept going offline. Files kept needing rendering, it seemed like I did that 5 or 6 times. I don’t know if I missed something and was doing something wrong.
Tuesday, March 8, 2011
Empty: Script Breakdown
Script Breakdown
This is the story of a highly withdrawn woman who suddenly realizes that she does not feel like a real person, and is disturbed and upset about it.
The opening scene functions as a way to show the main character’s past experiences with relationships, and the repetition that occurs, as well as her beginning a relationship with her new girlfriend.
Act 1: Scene 2: This scene is a way to show the interactions between the two women, to really get a sense of both whom this main character, Savannah, is, and who they are together. It also introduces the catalyst for Savannah’s change.
Act 2: Scene 1: Morgan is gone, Savannah is alone, and we begin to see her in her environment alone and changing. She reveals how she feels about herself.
Act 3: Scene 1: This scene shows her attempt to bring about some change in herself, and the struggle she has. The ending cut functions not as a resolution but as an image of this character’s acceptance of who she is.
Savannah’s small amount of dialogue speaks to her issues and personality. She is very closed off emotionally. The voice-overs of her previous relationships speaking the same lines reinforces that this is an issue that she has been experiencing for quite some time. It is the norm for her.
The transitions will include imagery of locks in some scenes to emphasize the way she keeps herself closed off.
Morgan functions more as a catalyst for Savannah’s experience than as a relationship.
This is the story of a highly withdrawn woman who suddenly realizes that she does not feel like a real person, and is disturbed and upset about it.
The opening scene functions as a way to show the main character’s past experiences with relationships, and the repetition that occurs, as well as her beginning a relationship with her new girlfriend.
Act 1: Scene 2: This scene is a way to show the interactions between the two women, to really get a sense of both whom this main character, Savannah, is, and who they are together. It also introduces the catalyst for Savannah’s change.
Act 2: Scene 1: Morgan is gone, Savannah is alone, and we begin to see her in her environment alone and changing. She reveals how she feels about herself.
Act 3: Scene 1: This scene shows her attempt to bring about some change in herself, and the struggle she has. The ending cut functions not as a resolution but as an image of this character’s acceptance of who she is.
Savannah’s small amount of dialogue speaks to her issues and personality. She is very closed off emotionally. The voice-overs of her previous relationships speaking the same lines reinforces that this is an issue that she has been experiencing for quite some time. It is the norm for her.
The transitions will include imagery of locks in some scenes to emphasize the way she keeps herself closed off.
Morgan functions more as a catalyst for Savannah’s experience than as a relationship.
Empty: Location Confirmation
Location confirmation:
The location is confirmed. I live here so I have unlimited access to it. The sound quality is decent, I imagine, but since I do not know much about sound, I may be wrong. There is a power outlet on two opposite walls in the bedroom, and windows for natural light. The living room also has two outlets, but no natural light. The kitchen has only one outlet and will be the most problematic, as it is located in an area where it will most likely show in the shot, but I have extension cords. There is natural light in there. The bathroom has no outlets but there is one in the room beside it. There is minimal light in there.
Scheduling:
This will be shot over a ten day period ideally.
Shots with Savannah only will be shot in 3-4 days.
Shots with both will be shot in 3-4 days.
Montage shots will be done in one day.
Schedule-
Date Location Time Scene Actors
3/15 Duplex 3 pm A1S2 Megan, Trinity
3/16 “ “ A1S2 “
3/17 “ “ A1S2 “
3/18 “ “ A2S1 Trinity
3/19 “ “ A2S2 Trinity
3/20 “ “ A3S1 Trinity
Scheduling after this will be dependant of what reshoots are needed and what the deadline is.
The location is confirmed. I live here so I have unlimited access to it. The sound quality is decent, I imagine, but since I do not know much about sound, I may be wrong. There is a power outlet on two opposite walls in the bedroom, and windows for natural light. The living room also has two outlets, but no natural light. The kitchen has only one outlet and will be the most problematic, as it is located in an area where it will most likely show in the shot, but I have extension cords. There is natural light in there. The bathroom has no outlets but there is one in the room beside it. There is minimal light in there.
Scheduling:
This will be shot over a ten day period ideally.
Shots with Savannah only will be shot in 3-4 days.
Shots with both will be shot in 3-4 days.
Montage shots will be done in one day.
Schedule-
Date Location Time Scene Actors
3/15 Duplex 3 pm A1S2 Megan, Trinity
3/16 “ “ A1S2 “
3/17 “ “ A1S2 “
3/18 “ “ A2S1 Trinity
3/19 “ “ A2S2 Trinity
3/20 “ “ A3S1 Trinity
Scheduling after this will be dependant of what reshoots are needed and what the deadline is.
Empty: Logistics
Logistics
Actors:
Voiceovers- at least 10, undecided at the moment who they will be
Savannah- Trinity Poole
Morgan- Megan Webster
Scenes:
Morgan- A1S2: 3 minutes
Savannah- A1S1 1: 5 seconds
A1S2: 3 minutes
A2S1: 1.5 minutes
A2S2: 2 minutes
A3S1: 3 minutes
Locations:
My duplex, Midtown Memphis. Bedroom, living room, kitchen and bathroom, as well as foyer and street shots.
There will be no special effects or stunts.
Costumes and makeup:
I would like to keep it very simple. Makeup will be minimal. Costuming: Morgan will wear the type of clothes that the actress wears. Slacks, t-shirts, casual. Savannah will wear long sleeve shirts to cover the actress’ tattoos, business casual clothing.
Props:
Bed, bathtub, bathroom mirror, clothing that Savannah puts away.
Actors:
Voiceovers- at least 10, undecided at the moment who they will be
Savannah- Trinity Poole
Morgan- Megan Webster
Scenes:
Morgan- A1S2: 3 minutes
Savannah- A1S1 1: 5 seconds
A1S2: 3 minutes
A2S1: 1.5 minutes
A2S2: 2 minutes
A3S1: 3 minutes
Locations:
My duplex, Midtown Memphis. Bedroom, living room, kitchen and bathroom, as well as foyer and street shots.
There will be no special effects or stunts.
Costumes and makeup:
I would like to keep it very simple. Makeup will be minimal. Costuming: Morgan will wear the type of clothes that the actress wears. Slacks, t-shirts, casual. Savannah will wear long sleeve shirts to cover the actress’ tattoos, business casual clothing.
Props:
Bed, bathtub, bathroom mirror, clothing that Savannah puts away.
Among an Empty Vessel: Script
ACT 1
Opening Scene:
Montage of closing doors, hands locking doors, gathering people’s things, cars driving off interspersed with Savannah sinking into red chair blankly over and over. V.O. of different people repeating the same line. “What are you?” or “Is there anyone in there?”
S- (blankly into air)
Fuck.
FADE TO:
Montage, fast paced, of first dates into the relationship with Morgan. Images of Savannah opening doors to allow Morgan in.
FADE TO:
Shot of them embracing. Their interactions are loving but distanced.
CUT TO:
Scene 2:
INT. NIGHT.
S- (locks door behind her and M)
I’m so tired, let’s go to bed.
M-
Can I have a hug first?
S-
Of course. (One shot with this response and one without)
They hug for 15 seconds, then walk through kitchen to bedroom, kicking shoes off and plopping onto bed. S puts arm around M, leaning against the headboard, but looks off blankly. There is a 10 second pause while they relax together. Savannah is looking more at ease. Morgan jumps up and grabs sweatpants and t-shirt and changes as she begins to speak.
M-
Can we talk about that thing?
S- (eyes close tightly, she sighs)
Now?
M-
Yes.
S-
Really?
M-
Why can’t we just have a conversation?
S-
It’s been a really long day.
M stares angrily for a few seconds and then gets back in bed and turns over to go to sleep.
S gets up and turns off the light, still in her clothing from the day. She is laying uncomfortably on top of the covers.
A few seconds pass and M gets up and turns the light back on. She stands over S.
M- (angrily)
What the fuck. I told you some really personal shit the other night and you didn’t say anything or react or share anything back. Your face never even changed.
(S looks on at her blankly, fueling M’s anger)
M- Do you have anything to say? Fuck. I can’t read you. It’s like the longer I know you the farther away you are.
(S doesn’t say a word but curls up protectively in the bed on top of the bedding, appearing smaller)
M-
What are you? You don’t even seem to care. Can you say something? Do you even have any real feelings? Fuck it. I might as well be sleeping alone.
(Camera on S, she hears the door slam, jumps a little. Sighs and looks at door.)
FADE OUT
ACT 2
S wakes up, makes up her side of the bed, leaving Morgan’s side rumpled. Picks up a bunch of M’s clothes and things and folds them into a pile. She puts everything in one tidy spot on M’s side of the room. Sits on side of the bed. View of her back.
V.O. of M:
What are you?
S falls back on bed, stares at ceiling. Dusty ceiling fan.
Scene 2:
JUMP:
Desperation is shown in a series of jump cuts of phone calls and finding clothes to wear to go out. She gets dressed to go out, looks at self in mirror for a few seconds, she shakes her head at herself, (changes mind about going out), sees the journal in the mirror, then gets journal to write in. She sinks into the chair she was in at the beginning.
JOURNAL ENTRY: (Camera view of her writing)
What the fuck? I remember reading about that robot program that is supposed to make them feel human emotions. Step 1- Recognize the feelings. Step 2- Imitate. Step 3- “Feel TRULY alive!”
S-
Works for a fucking robot.
ACT 3
S is running a bath. She has changed her mind about going out. She locks the door. Climbs into the full bath with her clothes on. Lays down in the water and goes under. Still for a few seconds and then comes up gasping and choking. Water drains out while she is still.
JUMP:
Mirror is steamed up, S wipes off the mirror and looks at herself. Her face is now clean but is still blank. (Another take with makeup still on, but faint.)
FADE TO:
Ending credits.
Opening Scene:
Montage of closing doors, hands locking doors, gathering people’s things, cars driving off interspersed with Savannah sinking into red chair blankly over and over. V.O. of different people repeating the same line. “What are you?” or “Is there anyone in there?”
S- (blankly into air)
Fuck.
FADE TO:
Montage, fast paced, of first dates into the relationship with Morgan. Images of Savannah opening doors to allow Morgan in.
FADE TO:
Shot of them embracing. Their interactions are loving but distanced.
CUT TO:
Scene 2:
INT. NIGHT.
S- (locks door behind her and M)
I’m so tired, let’s go to bed.
M-
Can I have a hug first?
S-
Of course. (One shot with this response and one without)
They hug for 15 seconds, then walk through kitchen to bedroom, kicking shoes off and plopping onto bed. S puts arm around M, leaning against the headboard, but looks off blankly. There is a 10 second pause while they relax together. Savannah is looking more at ease. Morgan jumps up and grabs sweatpants and t-shirt and changes as she begins to speak.
M-
Can we talk about that thing?
S- (eyes close tightly, she sighs)
Now?
M-
Yes.
S-
Really?
M-
Why can’t we just have a conversation?
S-
It’s been a really long day.
M stares angrily for a few seconds and then gets back in bed and turns over to go to sleep.
S gets up and turns off the light, still in her clothing from the day. She is laying uncomfortably on top of the covers.
A few seconds pass and M gets up and turns the light back on. She stands over S.
M- (angrily)
What the fuck. I told you some really personal shit the other night and you didn’t say anything or react or share anything back. Your face never even changed.
(S looks on at her blankly, fueling M’s anger)
M- Do you have anything to say? Fuck. I can’t read you. It’s like the longer I know you the farther away you are.
(S doesn’t say a word but curls up protectively in the bed on top of the bedding, appearing smaller)
M-
What are you? You don’t even seem to care. Can you say something? Do you even have any real feelings? Fuck it. I might as well be sleeping alone.
(Camera on S, she hears the door slam, jumps a little. Sighs and looks at door.)
FADE OUT
ACT 2
S wakes up, makes up her side of the bed, leaving Morgan’s side rumpled. Picks up a bunch of M’s clothes and things and folds them into a pile. She puts everything in one tidy spot on M’s side of the room. Sits on side of the bed. View of her back.
V.O. of M:
What are you?
S falls back on bed, stares at ceiling. Dusty ceiling fan.
Scene 2:
JUMP:
Desperation is shown in a series of jump cuts of phone calls and finding clothes to wear to go out. She gets dressed to go out, looks at self in mirror for a few seconds, she shakes her head at herself, (changes mind about going out), sees the journal in the mirror, then gets journal to write in. She sinks into the chair she was in at the beginning.
JOURNAL ENTRY: (Camera view of her writing)
What the fuck? I remember reading about that robot program that is supposed to make them feel human emotions. Step 1- Recognize the feelings. Step 2- Imitate. Step 3- “Feel TRULY alive!”
S-
Works for a fucking robot.
ACT 3
S is running a bath. She has changed her mind about going out. She locks the door. Climbs into the full bath with her clothes on. Lays down in the water and goes under. Still for a few seconds and then comes up gasping and choking. Water drains out while she is still.
JUMP:
Mirror is steamed up, S wipes off the mirror and looks at herself. Her face is now clean but is still blank. (Another take with makeup still on, but faint.)
FADE TO:
Ending credits.
Sunday, February 27, 2011
Sirk vs Haynes
SPOILER ALERT! If you havent seen All That Heaven Allows and/or Far From Heaven, don't read this if you don't want it spoiled!
I watched the Douglas Sirk film, All That Heaven Allows, as well as the Todd Haynes film inspired by it, Far From Heaven. Both films are set in the 1950's, Sirk's is filmed then and Haynes' was filmed in 2002. I decided to compare and contrast the two.
They are both basically about a woman who is in a relationship deemed inappropriate by her social circle. She is well-to-do, and is in the upper class, therefore expected to behave a certain way. She falls in love with her gardener.
The main differences between the two, are that in Sirk's classic the gardener, played by Rock Hudson, is a white man, while in Haynes' version the gardener is a black man played by Dennis Haysbert. Also, in the original, the protagonist is a widow, while in the new one she is married to a high profile executive who turns out to be gay.
Both deal with issues of class. Far From Heaven takes it to more of an extreme, including the issue of homosexuality in the 50's, as well as interracial relationships and prejudice. They both deal with the issue of the repressed woman during this time, but it seems that in the original there is more of a resolution, "happy ending" style, where she gets her man in the end after realizing she shouldn't let society dictate her behavior.
In All That Heaven Allows, the gardener also has more power in the world than Haysbert's character does, being a black man. It would have been far more dangerous for them to have carried out their relationship.
Both films use the classic Hollywood style of filming, and both portray the women as very soft spoken and polite. The issue of appearances is very obvious, especially in the remake, as she tries to hold it together even as her world falls apart.
It was interesting to me how different the films were while being so similar. I think aesthetically they were very different even though the costumes and cinematography were so similar. I enjoyed the aesthetics of them for different reasons. The remake seemed to really push the visuals of it in the same way that Sirk pushed the melodrama of his. (Don't get me wrong, they were both extremely melodramatic!)
I would recommend anyone who watches these, to watch them both, in a small space of time so that you can see the differences and similarities for yourself.
I watched the Douglas Sirk film, All That Heaven Allows, as well as the Todd Haynes film inspired by it, Far From Heaven. Both films are set in the 1950's, Sirk's is filmed then and Haynes' was filmed in 2002. I decided to compare and contrast the two.
They are both basically about a woman who is in a relationship deemed inappropriate by her social circle. She is well-to-do, and is in the upper class, therefore expected to behave a certain way. She falls in love with her gardener.
The main differences between the two, are that in Sirk's classic the gardener, played by Rock Hudson, is a white man, while in Haynes' version the gardener is a black man played by Dennis Haysbert. Also, in the original, the protagonist is a widow, while in the new one she is married to a high profile executive who turns out to be gay.
Both deal with issues of class. Far From Heaven takes it to more of an extreme, including the issue of homosexuality in the 50's, as well as interracial relationships and prejudice. They both deal with the issue of the repressed woman during this time, but it seems that in the original there is more of a resolution, "happy ending" style, where she gets her man in the end after realizing she shouldn't let society dictate her behavior.
In All That Heaven Allows, the gardener also has more power in the world than Haysbert's character does, being a black man. It would have been far more dangerous for them to have carried out their relationship.
Both films use the classic Hollywood style of filming, and both portray the women as very soft spoken and polite. The issue of appearances is very obvious, especially in the remake, as she tries to hold it together even as her world falls apart.
It was interesting to me how different the films were while being so similar. I think aesthetically they were very different even though the costumes and cinematography were so similar. I enjoyed the aesthetics of them for different reasons. The remake seemed to really push the visuals of it in the same way that Sirk pushed the melodrama of his. (Don't get me wrong, they were both extremely melodramatic!)
I would recommend anyone who watches these, to watch them both, in a small space of time so that you can see the differences and similarities for yourself.
Tuesday, February 22, 2011
Video Concept
I have one character that I have been thinking about quite a bit as the main character. She will have a love interest, who I have not developed yet. The rest of the people will be extras.
There are still gaps in this phase of my development but I am taking notes all the time when ideas come to me so there is more to be added soon.
Say Something...
Storyboard, map and shot list
This is a companion scene to the previous one. For the first one, it was supposed to be conventional editing. This one is unconventional.
Wednesday, February 16, 2011
Holy Smoke! Jane Campion
In a previous blog where I reviewed Breathless, I mentioned that I originally was more interested in Sweetie, a Jane Campion movie. Since I couldn't find it, I rented Holy Smoke, another of hers. This is a film about a woman who has a religious experience and stays in India in the ashram, (it is labeled a cult, though I can't figure out why) and her family hires a man to deprogram her.
I would call it a somewhat dark comedy, it definitely had me laughing, but also had some very disturbing elements. The mother character was very memorable. I felt really sad for her in some instances, even related her to my own mother at times. Other times I just thought she was adorable.
The characters were all very well developed, and odd. The sister-in-law who is trying desperately to have an affair is somewhat psychotic. There is a moment when one of her children falls down and she just stares at her and screams bloody murder!
I paid close attention to the cuts, in an effort to start understanding better how to make my own more smooth. This is something I have been doing with everything I watch lately, it is starting to become a habit.
I enjoyed the movie mostly for its hilarity and absurdity, but I also recognized the underlying themes about women, relationships, and society. I can't understand why this religion was labeled a cult, maybe that is part of the point Campion was trying to make. The dichotomy of the world Ruth has come from and is drawn back into, and that of the Indian ashram are notable. The Indian world is looked at as Other, they are seen as behaving "exotically" and uncivilized, while the Westerners are the civilized people even as they have affairs, lie to each other, and behave outrageously. I certainly recommend this movie, and am looking forward to getting a hold of Sweetie, and any other Campion movies.
I would call it a somewhat dark comedy, it definitely had me laughing, but also had some very disturbing elements. The mother character was very memorable. I felt really sad for her in some instances, even related her to my own mother at times. Other times I just thought she was adorable.
The characters were all very well developed, and odd. The sister-in-law who is trying desperately to have an affair is somewhat psychotic. There is a moment when one of her children falls down and she just stares at her and screams bloody murder!
I paid close attention to the cuts, in an effort to start understanding better how to make my own more smooth. This is something I have been doing with everything I watch lately, it is starting to become a habit.
I enjoyed the movie mostly for its hilarity and absurdity, but I also recognized the underlying themes about women, relationships, and society. I can't understand why this religion was labeled a cult, maybe that is part of the point Campion was trying to make. The dichotomy of the world Ruth has come from and is drawn back into, and that of the Indian ashram are notable. The Indian world is looked at as Other, they are seen as behaving "exotically" and uncivilized, while the Westerners are the civilized people even as they have affairs, lie to each other, and behave outrageously. I certainly recommend this movie, and am looking forward to getting a hold of Sweetie, and any other Campion movies.
Tuesday, February 15, 2011
PVC-1: Review
This movie is about a woman who has a bomb strapped around her neck with a demand for money. It is shot without cuts, in one continuous shoot. It is interesting because it gives me the feeling of being a silent observer, almost in documentary fashion with no narration.
The thought of being able to go an hour and a half shooting without making a mistake detrimental to the film is bizarre, but it does seem to make it more realistic. Perhaps it is because as Walter Murch said in his interview, we do not see life in cuts.
This type of filming works well for this because it is based on true events and seeing all of this in real time makes the viewer feel a part of it, increases the tension. This would not work for just any film, we don't always want to see every moment. In this case, however, every moment counts.
The thought of being able to go an hour and a half shooting without making a mistake detrimental to the film is bizarre, but it does seem to make it more realistic. Perhaps it is because as Walter Murch said in his interview, we do not see life in cuts.
This type of filming works well for this because it is based on true events and seeing all of this in real time makes the viewer feel a part of it, increases the tension. This would not work for just any film, we don't always want to see every moment. In this case, however, every moment counts.
Unspoken: Self-critque
Trinity Poole
Project 2
Unspoken, 2/16/11
A woman is in a kitchen on a computer when another woman walks in. It is clear that she is not happy to see her come in. The second woman tries to initiate contact and the first woman walks out angrily, denying her a chance to resolve a conflict.
I wanted to show the awkwardness and intensity that exists between people in conflict.
The main idea I started with was communication. Since it needed to be nonverbal, I thought about how what one doesn't say can say more than words, looks can be very powerful. Walking away can say just as much as shouting. This idea of communication is important to me because I sometimes have a lot of trouble with it.
The premise of the film as I saw it upon viewing is the isolation that can be felt as a result of conflict between close people.
Main tension/conflict: One person wants to resolve the issue and the other does not.
Strengths: Because I used myself and my girlfriend in the film I feel that we portrayed what really happens between us in this situation pretty well.
Problem areas: Jumpy cuts. I had trouble making them seem smooth, even using matching eyelines and actions.
During the process I learned the value of coverage. I also learned how important it is to map out each shot beforehand and about shooting not in chronological order but from each camera position.
Project 2
Unspoken, 2/16/11
A woman is in a kitchen on a computer when another woman walks in. It is clear that she is not happy to see her come in. The second woman tries to initiate contact and the first woman walks out angrily, denying her a chance to resolve a conflict.
I wanted to show the awkwardness and intensity that exists between people in conflict.
The main idea I started with was communication. Since it needed to be nonverbal, I thought about how what one doesn't say can say more than words, looks can be very powerful. Walking away can say just as much as shouting. This idea of communication is important to me because I sometimes have a lot of trouble with it.
The premise of the film as I saw it upon viewing is the isolation that can be felt as a result of conflict between close people.
Main tension/conflict: One person wants to resolve the issue and the other does not.
Strengths: Because I used myself and my girlfriend in the film I feel that we portrayed what really happens between us in this situation pretty well.
Problem areas: Jumpy cuts. I had trouble making them seem smooth, even using matching eyelines and actions.
During the process I learned the value of coverage. I also learned how important it is to map out each shot beforehand and about shooting not in chronological order but from each camera position.
Review: Breathless
Breathless: Jean-Luc Godard
Assignment: Watch and review a movie by one of the directors to study unconventional style.
Breathless was not my first choice for the movie I wanted to review, I was really more interested in Jane Campion's Sweetie, but could not find it anywhere in town. Having said that, I am glad that I watched it because it is not a movie I would have picked to watch but I learned from the research I did prior to the screening that it has influenced just about all action films since its making.
What I found striking was the sheer volume of jerky jump cuts, meant to disorient the viewer and create a sense of recklessness. The protagonist is a scoundrel who kills a police officer in the beginning, but this fact is played down throughout the movie through his "charm" and humor. He stays one step either behind or ahead of the police who are pursuing him, depending on how you look at it.
Assignment: Watch and review a movie by one of the directors to study unconventional style.
Breathless was not my first choice for the movie I wanted to review, I was really more interested in Jane Campion's Sweetie, but could not find it anywhere in town. Having said that, I am glad that I watched it because it is not a movie I would have picked to watch but I learned from the research I did prior to the screening that it has influenced just about all action films since its making.
What I found striking was the sheer volume of jerky jump cuts, meant to disorient the viewer and create a sense of recklessness. The protagonist is a scoundrel who kills a police officer in the beginning, but this fact is played down throughout the movie through his "charm" and humor. He stays one step either behind or ahead of the police who are pursuing him, depending on how you look at it.
Tuesday, February 8, 2011
Kitchen Film: Shot List
Camera View | Action
2 Megan at the computer, kitchen table
3 Megan looks up for a sec as door opens
1 Door opening
3 Megan looks back down at screen
1 Trin sits down, stares at Megan, tries to get attention with eyes
2 Est of Trin staring at Meg
3 Trin’s view of Megan looking at computer
2 Eyes meet for a sec
1 Trin reaches for Megans hand
2 Shot of hand reaching as Megan pulls away, stands up and leaves
2 Closer shot of just hand action
3 Show Trin reaching across, Megan leaves
1 Trin reaches over, Megan leaves
3 empty seat
1 Trin after Megan leaves
2 Est of Trin alone at table
3 Swinging door
2 Megan at the computer, kitchen table
3 Megan looks up for a sec as door opens
1 Door opening
3 Megan looks back down at screen
1 Trin sits down, stares at Megan, tries to get attention with eyes
2 Est of Trin staring at Meg
3 Trin’s view of Megan looking at computer
2 Eyes meet for a sec
1 Trin reaches for Megans hand
2 Shot of hand reaching as Megan pulls away, stands up and leaves
2 Closer shot of just hand action
3 Show Trin reaching across, Megan leaves
1 Trin reaches over, Megan leaves
3 empty seat
1 Trin after Megan leaves
2 Est of Trin alone at table
3 Swinging door
Tuesday, February 1, 2011
Sense of Place revised
I did not do a lot to it, there was still more I wanted to do but trying to create the transition was more difficult than I thought it would be. I would like to try it again.
Compositional Elements: Rule of Thirds
This is the trailer to the 1984 movie The Killing Fields.
I watched this movie in an effort to study the Rule of Thirds in cinema. This movie won the award for best cinematography. It is a movie about journalists in war torn Cambodia, experiencing genocide. It is based on a true story. This is truly one of the most moving war movies I have ever seen, and a great deal of that has to do with the imagery, how everything is shot and framed. A lot of the movie is not in English, so there is a lot of the dialogue that I did not understand, and needed to rely on the imagery to understand what was going on.
I would say that just about every frame was shot using the ROT. This created a sense of balance that was needed amidst the chaos of the story line. The film is based in Cambodia, and there are many landscape shots, and the horizon line always falls just where it should, my eyes are led around the scene in the way it is intended. Everything seemed very intentional. I also felt that any deviation from this would have been distracting, unlike in other movies where it may have worked. For this movie I was able to get completely lost in the story and become attached to the characters because it felt more natural and I was not jerked in and out by a lack of balance. It was the type of movie where I felt invested in the characters.
There were all of the types of shots that we have learned about for the people, the close up, extreme close up, etc., and all of these matched up completely with how the viewer is intended to experience the moment. When a character is showing intense emotion on his face, most likely this is an extreme close up. The interactions between characters is captured well with the formula of ROT and the way the shots are framed. I can definitely understand why this film won as many awards as it did, and was nominated for quite a few as well.
And by the way any photographers need to watch this movie just to see John Malkovich's character make a darkroom out of a bathroom!
Saturday, January 29, 2011
Sense of Place: Crit on Crit
Trinity Poole
Project # 1
Sense of Place
1/26/11
The major suggestion that were made by students and instructor was that I needed more of a transition between the more concrete images and the abstract and quicker images, and that it was too short. I agreed with these suggestions and realized that during my edit I second guessed myself and edited out much of the footage that could have made the transition smoother. I learned that I should have tried more than one edit and compared the two and also had someone look at it before screening it.
Project # 1
Sense of Place
1/26/11
The major suggestion that were made by students and instructor was that I needed more of a transition between the more concrete images and the abstract and quicker images, and that it was too short. I agreed with these suggestions and realized that during my edit I second guessed myself and edited out much of the footage that could have made the transition smoother. I learned that I should have tried more than one edit and compared the two and also had someone look at it before screening it.
Monday, January 24, 2011
Sense of Place: Final Statement
After all of the thinking and writing about the concept of "place", I have been drawn to the idea of place as it is given to you. While it is up to an individual to decide whether not not to live in the "places" assigned to them, they can be very difficult and disconcerting to reject. In my short film I decided to record the associated emotions through imagery. Having dealt with numerous occasions of family rejection or unfair expectations, it is safe to say I am pretty familiar with them. I have experienced the feeling of being locked into other people's perceptions of me. There is a sense of dispair, panic, and darkness. There are times when living in my own skin is frightening and very uncomfortable.
Saturday, January 22, 2011
Sense of Place: The word
PLACE:
Origin:
ME, conflation of OE plæce and MF place, both < L var. of courtyard, area < Gk plateîa broad use of fem. platýs broad, flat1 ; (v.) late ME, deriv. of the platy-
O.E. "open space in a city, market place, square," from O.Fr. place, from M.L. placea "place, spot," from L. platea "courtyard, open space, broad street," from Gk. plateia (hodos) "broad (way)," fem. of platys "broad," from PIE *plat- "to spread" (cf. Skt. prathati "spreads out;" Hitt. palhi "broad;" Lith. platus "broad;" Ger. Fladen "flat cake;" O.Ir. lethan "broad"); extended variant form of base *pele- (see plane (1)). Replaced O.E. stow and stede. Wide application in English, covering meanings that in French require three words: place, lieu, and endroit. Cognate It. piazza and Sp. plaza retain more of the etymological sense. Broad sense of "material space, dimension of defined or indefinite extent" is from mid-13c. Sense of "position on some social scale" is from early 14c. Meaning "group of houses in a town" is from 1580s. Place-kick is from 1845, originally in rugby. All over the place "in disorder" is attested from 1923.
1. a particular portion of space, whether of definite or indefinite extent.
2. space in general: time and place.
3. the specific portion of space normally occupied by anything: The vase is in its place. Every item on the shelf had its place.
4. a space, area, or spot, set apart or used for a particular purpose: a place of worship; a place of entertainment.
5. any part or spot in a body or surface: a decayed place in a tree.
6. a particular passage in a book or writing: to find the place where one left off reading.
7. a space or seat for a person, as in a theater, train, etc.: Please save my place for me.
8. position, situation, or circumstances: I would complain if I were in your place.
9. a proper or appropriate location or position: A restaurant is not the place for an argument.
10. a job, post, or office: persons in high places.
11. a function or duty: It is not your place to offer criticism.
12. proper sequence or relationship, as of ideas, details, etc.: My thoughts began to fall into place.
13. high position or rank: aristocrats of power and place.
14. a region or area: to travel to distant places.
15. an open space, or square, as in a city or town.
16. a short street, a court, etc.
17. a portion of space used for habitation, as a city, town, or village: Trains rarely stop in that place anymore.
18. a building, location, etc., set aside for a specific purpose: He will soon need a larger place for his expanding business.
19. a part of a building: The kitchen is the sunniest place in the house.
20. a residence, dwelling, or house: Please come and have dinner at my place.
21. lieu; substitution (usually fol. by of ): Use yogurt in place of sour cream.
22. a step or point in order of proceeding: in the first place.
23. a fitting or promising opportunity: There's a place in this town for a man of his talents.
24. a reasonable ground or occasion: This is no place for such an outburst.
26.Drama . one of the three unities. Compare unity ( def. 8 ) .
27. Sports .a. a position among the leading competitors, usually the first, second, or third at the finish line.
b. the position of the competitor who comes in second in a horse race, harness race, etc. Compare show ( def. 27 ) , win ( def. 17 ) .
28. places, Theater . a call summoning performers for the beginning of a performance or an act.
29.room or space for entry or passage: to make place for the gentry.
Place:
Looking over all the various definitions of the word "place" and being in the position I am in today with some family stuff directed my thought patterns to an understanding of the word in relation to status. Place has to do with competition, prestige, having a position, a location to feel comfortable in, also physically but mostly metaphorically. Occupying spacewith the knowledge that you fit somewhere. Someone has made a space for you. There is room in life for you. Also it has to do with where you come from. My sense of place can be disrupted, it is not secure. I am conscious of the fragility and instability that comes along with where I stand in the world.
Origin:
ME, conflation of OE plæce and MF place, both < L var. of courtyard, area < Gk plateîa broad use of fem. platýs broad, flat1 ; (v.) late ME, deriv. of the platy-
O.E. "open space in a city, market place, square," from O.Fr. place, from M.L. placea "place, spot," from L. platea "courtyard, open space, broad street," from Gk. plateia (hodos) "broad (way)," fem. of platys "broad," from PIE *plat- "to spread" (cf. Skt. prathati "spreads out;" Hitt. palhi "broad;" Lith. platus "broad;" Ger. Fladen "flat cake;" O.Ir. lethan "broad"); extended variant form of base *pele- (see plane (1)). Replaced O.E. stow and stede. Wide application in English, covering meanings that in French require three words: place, lieu, and endroit. Cognate It. piazza and Sp. plaza retain more of the etymological sense. Broad sense of "material space, dimension of defined or indefinite extent" is from mid-13c. Sense of "position on some social scale" is from early 14c. Meaning "group of houses in a town" is from 1580s. Place-kick is from 1845, originally in rugby. All over the place "in disorder" is attested from 1923.
1. a particular portion of space, whether of definite or indefinite extent.
2. space in general: time and place.
3. the specific portion of space normally occupied by anything: The vase is in its place. Every item on the shelf had its place.
4. a space, area, or spot, set apart or used for a particular purpose: a place of worship; a place of entertainment.
5. any part or spot in a body or surface: a decayed place in a tree.
6. a particular passage in a book or writing: to find the place where one left off reading.
7. a space or seat for a person, as in a theater, train, etc.: Please save my place for me.
8. position, situation, or circumstances: I would complain if I were in your place.
9. a proper or appropriate location or position: A restaurant is not the place for an argument.
10. a job, post, or office: persons in high places.
11. a function or duty: It is not your place to offer criticism.
12. proper sequence or relationship, as of ideas, details, etc.: My thoughts began to fall into place.
13. high position or rank: aristocrats of power and place.
14. a region or area: to travel to distant places.
15. an open space, or square, as in a city or town.
16. a short street, a court, etc.
17. a portion of space used for habitation, as a city, town, or village: Trains rarely stop in that place anymore.
18. a building, location, etc., set aside for a specific purpose: He will soon need a larger place for his expanding business.
19. a part of a building: The kitchen is the sunniest place in the house.
20. a residence, dwelling, or house: Please come and have dinner at my place.
21. lieu; substitution (usually fol. by of ): Use yogurt in place of sour cream.
22. a step or point in order of proceeding: in the first place.
23. a fitting or promising opportunity: There's a place in this town for a man of his talents.
24. a reasonable ground or occasion: This is no place for such an outburst.
26.Drama . one of the three unities. Compare unity ( def. 8 ) .
27. Sports .a. a position among the leading competitors, usually the first, second, or third at the finish line.
b. the position of the competitor who comes in second in a horse race, harness race, etc. Compare show ( def. 27 ) , win ( def. 17 ) .
28. places, Theater . a call summoning performers for the beginning of a performance or an act.
29.room or space for entry or passage: to make place for the gentry.
Place:
Looking over all the various definitions of the word "place" and being in the position I am in today with some family stuff directed my thought patterns to an understanding of the word in relation to status. Place has to do with competition, prestige, having a position, a location to feel comfortable in, also physically but mostly metaphorically. Occupying spacewith the knowledge that you fit somewhere. Someone has made a space for you. There is room in life for you. Also it has to do with where you come from. My sense of place can be disrupted, it is not secure. I am conscious of the fragility and instability that comes along with where I stand in the world.
Sense of Place: Response
People help shape their own and others sense of place by the way we treat each other, and the way we react to each other. A person can promote or tear down another's sense of belonging with mere words or attitudes. An emotional or metaphorical place is much more powerful than a physical one. As the old saying goes, "where ever you go, there you are". People take their attitudes and ideas and insecurities with them not just through space, but throughout time. The sense of place that has been ingrained into a person from day one is the most powerful idea one will have about themselves, the hardest thing to change.
Sense of Place: Freewrite
Where do I belong? Not in this family. In my situation blood is never thicker than water. They keep me on the outside no matter how hard I try or how deserving I feel. I've become hardened to their locked doors and barred windows. Choosing family, family of choice- I choose where to belong or maybe I just settle in where I feel I belong. Society says that family is important. Daughters are supposed to love their mothers, grandmothers should pass on wisdom and not ignorance. Maybe sisters are the ones who help you keep it together. The day you realize the dysfunction and break free of it is the day you unlock the door to your own prison that was made for you before you were thought into being.
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