Nyx and I have become set on the aforementioned story, and planned out the direction we want it to take, including the format as to what sections of the story would take up how much time and what they would represent.
The initial 30 seconds would be introducing the character and setting, mainly used to present the necessary credits in the opening. The shots used to present these takes inspiration from 1917's ending, slowly closing in on the main character, using natural light and expansive scenery to portray a, for lack of better words, happy ending. They institute light-hearted tones and definitive-ness in its use of lighting, scenery, and shot. The opening will be portrayed similarly through mainly using my living room as the setting, which has lots of natural light entering. The room's contents, sofas, carpet, maybe the tv as well depending on its difficulty, will be removed out of frame so that the room is presented as expansive, limitless, a metaphor for the endless inspiration and ideas an artist can have. Using natural light and the same expansiveness, light-hearted tones will be conveyed, and because of the story centering around art and painting, the introduction will also portray the artist's deep passion.
From then on to 1:15 would portray the artist's freedom in painting, and her deep passion for it, portrayed mainly through accumulation of shots, and possibly sound, rather than facial expressions or direct conveyance. I feel a direct presentation of the emotional values of painting to the artist would degrade the product, and using shots, sound and editing (through slow movements, elongated cuts, maybe jazz? I'm simply a big fan of jazz) would portray our skill in filmmaking, and how we can implement the techniques we've learned in class through implementation of our product. This timeframe would also include rising anxiety of reaching an artist's block, unbeknownst to the artist herself that the block is coming - only feeling the anxiety like the artist. This would be portrayed generally through editing and sound. We will include faster cuts, closer shots, and sound, through maybe stings of a ticking noise or an increasingly louder ringing, to portray this anxiety until its final accumulation. At this point, there will be a supernatural, mind-bending moment where at this peak of anxiety the sounds, quick cuts, and all would cease and in place of it, there will be a large obstructing piece, as described in the previous post, about 9x5 feet in dimension. What will be on it is to be determined, however, Nyx found a large canvas we could use from Amazon that would be perfect for it - it's cheap so... literally perfect.
As seen in the planning sheet, there are storyboards of a transition that includes the obstructing piece and the artist looking at it. It transitions, passing closely behind the artist's head, closely to be able to include a cut for the transition, to the opposite side of the artist's head, with the obstructing piece now replaced with the title. This shot takes inspiration from a previous film opening project, available through Ms. Stoklosa's wonderful website, which I will link in a moment. The project use the character's movement to present the title appearing slowly, as the character moves from the left side of the screen to the right. It was beautifully and creatively done, which we will use in our own way. The title will appear in similar fashion, or simply blatantly appearing without the clever appearance the students used, instead to represent that the artist is seeing this obstructive piece in her mind - that it simply doesn't exist in reality, only in her mind that is representative of her artist's block. I realize I've been talking about this character without explaining a crucial part, casting. Simply, my sister will be the actor. This hallucination will be detailed further, so that the audience definitively understands that it is a hallucination by using other shots to portray it. This definitive-ness is necessary since films often use transitions with titles only for creative purposes, so the audience may interpret it as creative technique, not hallucination.
The storyboards, finalized obstruction piece, and possibly filming, will start the next week.
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