Exposition: Establish the character and setting. Serves questions to audience and the journey we discover as to why Tara is leaving and how the setting self reflects her mood and situation. Tara speaks in a soliloquy to reveal her inner emotions. Involving audience by a rhetorical question and the audiences’ relation to their own lives.
Development: (non linear narrative). Series of flashbacks and flash-forwards to tell her story.
Complication: For the audience to understand why she is leaving her home.
Climax: dropping keyring into the sand and it being swept away by the waves. Sand slipping through her fingers as a metaphor for how you can’t stop life passing and you lack of control over it.
Resolution: A reflective message and a wave of optimism which has the element of catharsis and end with a quote by Edward Bond saying...
"I am a pessimist by experience, but an optimist by nature, and I have no doubt that i shall go on being true to my nature. Experience is depressing, and it would be a mistake to be willing to learn from it."
Tuesday, 24 February 2009
Monday, 16 February 2009
First draft of statement of intentions
The emotions and message I want to convey through “Bridging waves of emotion” is something every viewer will of felt or eventually feel which is loss and the toughest thing in life is to say goodbye. The themes of pessimism play alongside optimism in this short film. The strongest message I hope to communicate is the significance of the expression “life goes on”.
“Bridging waves of emotion” is about an 18 year old girl called Tara will start off by asking the audience the rhetorical question; "Have they ever experienced or contemplated the proverb, 'Don't cross that bridge till you come to it?'", emphasizing how life reaches the final chapter in which it must close. This raises several enigmas. Who is this girl? What has happened in her past? Why is she leaving? What has the maguffin got to do with the plot which will be a locket? She begins reminiscing about the life she must leave behind, now that she has decided to leave her hometown with the promise of travel in her future. The film will have a series of flashbacks, in which she is saying goodbye to her friends and family. Tara has a dark secret the audience is not aware of.
The film will show Tara in a soliloquy about how life relates to the water of the sea. It is cruel, deep and trapping. The film's main setting is at a bridge. Tara expresses how she must build her own bridges to walk over, how she must burn some bridges behind her and how some need mending by mistakes made in one's own life. The film's ending will leave the audience with an optimistic view on the future, rather than the play's previous tone of pessimism. This I want to show by the camera techniques of a pan down from the bridge to the waves lapping below which gives a reflective and mutative mood. My aim is for this film is for the audience to pause in through and to relate and draw similarities between Tara and themselves.
Narrative structure is what will hopefully define my film. I want the film to start off in the present and shift as her memory progresses into a series of flashbacks. This film has physiological element as we explore his memories and see how it affects her in the present. My narrative has to be carefully constructed is in the form of a monologue. Other speaking parts will be the friends and family in the memories and will be brief.
My influences were by many roles, e.g. different directors, cinematographers, composers, poets, playwrights... The first one being a creative journal task which was to take a proverb and construct a story around it. The proverb I chose was “Don’t pass that bridge till you come to it” which is how my idea for the film escalated.
I took a lot of my own inspiration from my own life’s events and I incorporated this from filmmakers works.
My second inspiration was a poem called “The Road Not taken” by Robert Frost.
Some lines in this poem overwhelmed me and married with my own original ideas. Verses such as...
· TWO roads diverged in a yellow wood, and sorry I could not travel both
And be one traveller, long I stood
Yet knowing how way leadsoon to way
I doubted if i should ever come back.
Two roads diverged in a wood, and i-
I took the one less traveled by,
And that has made all the difference.
Here is a link to read the full poem-http://www.bartleby.com/119/1.html
Joe Wright’s “Atonement” largely inspired my film. It explores the theme of regret and the emotion of things left unresolved and corrupted. This film follows a similar narrative to mine in association with the use of flashbacks and a voiceover In Atonement it was the character of Brioney who we followed but in mine we will follow Tara. My film is also inspired by the neo noir genre, when it came to the conventions of the genre in relation to the use of low key lighting and flashbacks. A film which inspired these creations in my film were “Double Indemnity” directed by Billy Wilder.
Cinematographer Claudio Miranda greatly influenced by film. Especially for his work on David Fincher’s “The curious Case of Benjamin Button”. The visual style in content to lighting, mise en scene, and colour was spectacular. I remember sitting tin the movie theatre and being so overwhelmed by emotion and knew I wanted my film to follow this cinematography style. Coincidently this film was my greatest influence as it had my favourite director David Fincher and cinematographer Claudio Miranda working on the same production. There is a scene in “The curious case of Benjamin Button” which was an idea of where I would like my film to be set. It was at a bridge with a pier and the cinematographer gave me an idea to film it at sunset and edit in post production by the colour temperature.
As I aforementioned another director who inspired me to a great extent was David Fincher, especially on his Benjamin Button film. From the plot to narrative to overall direction was a film which scored my imagination to create my own. Fincher’s work on this film involved using a camera system called contour to capture facial deformation data from live action performances. David Fincher has also been known to have reminiscent with the classical film noir.
The composer Michael Giacchino in what has inspired me for my original score for “Bridging waves of emotion”. His instrumental music I have seen against the TV programs such as Lost and have been fascinated how it matches the action on screen. Giacchino uses music to build tension and suspense. He does so through the use of thunderous brass and “epic” sound. Another composer similar to Michael Giacchino’s work is Hanz Zimmer, especially his work on the “Pirates of the Caribbean” trilogy. A quote from Wikapedia to describe his work is “He is noted notable for integrating electronic music sounds with traditional orchestral arrangements.”
Through both of these influences I hope to produce an original score for my film. My intention is for it to be drum like and move into a meditative tone. I will do this through my own means of budget, resources and ability.
The lighting will hopefully be mostly natural as I’m filming at sunset, and want the use of shadows however as well, so I will use filler and key lights to contract against the brightness.
This film will have an emotional effect as I wasn’t the audience to feel Tara’s pain and my way of achieving this is they basically are her as they “slip in and out of her consciousness”. I also hope to add to this through the use of montage at the beginning to signify mental state.
“Bridging waves of emotion” is about an 18 year old girl called Tara will start off by asking the audience the rhetorical question; "Have they ever experienced or contemplated the proverb, 'Don't cross that bridge till you come to it?'", emphasizing how life reaches the final chapter in which it must close. This raises several enigmas. Who is this girl? What has happened in her past? Why is she leaving? What has the maguffin got to do with the plot which will be a locket? She begins reminiscing about the life she must leave behind, now that she has decided to leave her hometown with the promise of travel in her future. The film will have a series of flashbacks, in which she is saying goodbye to her friends and family. Tara has a dark secret the audience is not aware of.
The film will show Tara in a soliloquy about how life relates to the water of the sea. It is cruel, deep and trapping. The film's main setting is at a bridge. Tara expresses how she must build her own bridges to walk over, how she must burn some bridges behind her and how some need mending by mistakes made in one's own life. The film's ending will leave the audience with an optimistic view on the future, rather than the play's previous tone of pessimism. This I want to show by the camera techniques of a pan down from the bridge to the waves lapping below which gives a reflective and mutative mood. My aim is for this film is for the audience to pause in through and to relate and draw similarities between Tara and themselves.
Narrative structure is what will hopefully define my film. I want the film to start off in the present and shift as her memory progresses into a series of flashbacks. This film has physiological element as we explore his memories and see how it affects her in the present. My narrative has to be carefully constructed is in the form of a monologue. Other speaking parts will be the friends and family in the memories and will be brief.
My influences were by many roles, e.g. different directors, cinematographers, composers, poets, playwrights... The first one being a creative journal task which was to take a proverb and construct a story around it. The proverb I chose was “Don’t pass that bridge till you come to it” which is how my idea for the film escalated.
I took a lot of my own inspiration from my own life’s events and I incorporated this from filmmakers works.
My second inspiration was a poem called “The Road Not taken” by Robert Frost.
Some lines in this poem overwhelmed me and married with my own original ideas. Verses such as...
· TWO roads diverged in a yellow wood, and sorry I could not travel both
And be one traveller, long I stood
Yet knowing how way leadsoon to way
I doubted if i should ever come back.
Two roads diverged in a wood, and i-
I took the one less traveled by,
And that has made all the difference.
Here is a link to read the full poem-http://www.bartleby.com/119/1.html
Joe Wright’s “Atonement” largely inspired my film. It explores the theme of regret and the emotion of things left unresolved and corrupted. This film follows a similar narrative to mine in association with the use of flashbacks and a voiceover In Atonement it was the character of Brioney who we followed but in mine we will follow Tara. My film is also inspired by the neo noir genre, when it came to the conventions of the genre in relation to the use of low key lighting and flashbacks. A film which inspired these creations in my film were “Double Indemnity” directed by Billy Wilder.
Cinematographer Claudio Miranda greatly influenced by film. Especially for his work on David Fincher’s “The curious Case of Benjamin Button”. The visual style in content to lighting, mise en scene, and colour was spectacular. I remember sitting tin the movie theatre and being so overwhelmed by emotion and knew I wanted my film to follow this cinematography style. Coincidently this film was my greatest influence as it had my favourite director David Fincher and cinematographer Claudio Miranda working on the same production. There is a scene in “The curious case of Benjamin Button” which was an idea of where I would like my film to be set. It was at a bridge with a pier and the cinematographer gave me an idea to film it at sunset and edit in post production by the colour temperature.
As I aforementioned another director who inspired me to a great extent was David Fincher, especially on his Benjamin Button film. From the plot to narrative to overall direction was a film which scored my imagination to create my own. Fincher’s work on this film involved using a camera system called contour to capture facial deformation data from live action performances. David Fincher has also been known to have reminiscent with the classical film noir.
The composer Michael Giacchino in what has inspired me for my original score for “Bridging waves of emotion”. His instrumental music I have seen against the TV programs such as Lost and have been fascinated how it matches the action on screen. Giacchino uses music to build tension and suspense. He does so through the use of thunderous brass and “epic” sound. Another composer similar to Michael Giacchino’s work is Hanz Zimmer, especially his work on the “Pirates of the Caribbean” trilogy. A quote from Wikapedia to describe his work is “He is noted notable for integrating electronic music sounds with traditional orchestral arrangements.”
Through both of these influences I hope to produce an original score for my film. My intention is for it to be drum like and move into a meditative tone. I will do this through my own means of budget, resources and ability.
The lighting will hopefully be mostly natural as I’m filming at sunset, and want the use of shadows however as well, so I will use filler and key lights to contract against the brightness.
This film will have an emotional effect as I wasn’t the audience to feel Tara’s pain and my way of achieving this is they basically are her as they “slip in and out of her consciousness”. I also hope to add to this through the use of montage at the beginning to signify mental state.
Tuesday, 3 February 2009
Treatment
Title "Bridging waves of emotion"
Duration: 4-5 mins.
Main Character(s): An 18 year old girl called Tara
Group of three friends
Boyfriend called Dennis
Mum and dad.
Synopsis: Tara will start off by asking the audience the rehetoriacal question; "Have they ever experienced or contemplated the proverb, 'Don't cross that bridge till you come to it?'", emphasizing how life reaches the final chapter in which it must close. She begins reminising about the the life she must leave behind, now that she has decided to leave her hometown with the promise of travel in her future. The film will have a series of flashbacks, in which she is saying goodbye to her friends and family. Tara has a dark secret the audience is not aware of. The film will show Tara in a soliloquy about how life relates to the water of the sea. It is cruel, deep and trapping. The film's main setting is at a bridge. Tara expresses how she must build her own bridges to walk over, how she must burn some bridges behind her and how some need mending by mistakes made in one's own life. The film's ending will leave the audience with an optimistic view on the future, rather than the play's previous tone of pessimism.
Soundtrack/Score: Haven't got that bit sorted as im looking into copyright issues at the minute, I was thinking of producing the score while filming in March. I no i want to have something along the lines of the composers who influenced me in terms of producting my own heavy base but instrumental piece.
SFX: Waves lapping under bridge.A series of voices in her head to show an unstable mental state.
Duration: 4-5 mins.
Main Character(s): An 18 year old girl called Tara
Group of three friends
Boyfriend called Dennis
Mum and dad.
Synopsis: Tara will start off by asking the audience the rehetoriacal question; "Have they ever experienced or contemplated the proverb, 'Don't cross that bridge till you come to it?'", emphasizing how life reaches the final chapter in which it must close. She begins reminising about the the life she must leave behind, now that she has decided to leave her hometown with the promise of travel in her future. The film will have a series of flashbacks, in which she is saying goodbye to her friends and family. Tara has a dark secret the audience is not aware of. The film will show Tara in a soliloquy about how life relates to the water of the sea. It is cruel, deep and trapping. The film's main setting is at a bridge. Tara expresses how she must build her own bridges to walk over, how she must burn some bridges behind her and how some need mending by mistakes made in one's own life. The film's ending will leave the audience with an optimistic view on the future, rather than the play's previous tone of pessimism.
Soundtrack/Score: Haven't got that bit sorted as im looking into copyright issues at the minute, I was thinking of producing the score while filming in March. I no i want to have something along the lines of the composers who influenced me in terms of producting my own heavy base but instrumental piece.
SFX: Waves lapping under bridge.A series of voices in her head to show an unstable mental state.
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