Film 7 - PHILOMENA

https://vimeo.com/163118262

The first word that comes to mind with this project: wow. I must admit that out of every single project I’ve completed in the course of this semester, this gave me the most stress. Philomena (2013) is an incredible film, and the scene Jeff and I choose together was the climax of the movie. Originally, the scene called for five characters, four of which were over the age of 40. I knew immediately that if I were to film this scene, I would only do so with mature actors. And that is where all my stress came in.

Thankfully, after many many people saying no to me, my friend Anne Sward-Hansen said yes. For her, I am incredibly grateful. Steve Lesser was a joy to have on set as the Priest. I’m grateful to Michelle for all her work and effort, as well as my friend Garret for stepping in to play Martin. This project gave me an incredible appreciation for my friends and fellow classmates. Brett, Cameron, Steven, and James all helped in countless ways and made the shoot possible.

My biggest regret is the exits and entrances of characters. I did not film coverage of the actor’s entering the space. After I got all my actors into the space, I realized that everything I had planned with composition and blocking (literally, everything) was null and void. The actors were uncomfortable with it and a lack of memorization made for me working/rehearsing with them for two of our three and a half hours. During this, I planned what little I could with their blocking and flew by the seat of my pants for compositions and purposeful images of each actor. In composition, I’m glad I chose to go handheld instead of locked down. I think it adds a personal closeness to the situation. I’m incredibly proud of my actors and their performances. What a lucky guy I am to have worked with each of them. Another regret I have is coverage for when Martin goes to tell Hildegarde to say sorry. The way I shot it makes it feel like he is yelling at Philomena, which is not the intended story.

This was most certainly a stretching experience. I’m proud of the final product, and feel it says something of weight that I wanted to say. I’m also proud that I was able to completely distance myself from my “wry outlook” and quirkiness to produce a film wholly without.

April 4-8: Photos

I wanted this week to incorporate macro photos. Here is the first of the series. It is of the connection point of an old pipe. I love how macro shots are inherently ambiguous space. The fall of of the black on the right is really fascinating, especially how it improves the ability of the viewer to see the texture of the pipe.

This is the screw and nut protruding from a metal barrier on a concrete slab. With this photo, I love the rust colors and the blues that come out in certain spots. The shallow depth of field creates an incredibly stimulating image with the different layers of the tip of the bolt to the nut to the washer and ultimately to the plate of metal beneath.

The first and only non-symmetrical photo in the bunch. There is so much that this handle tells you. There is so much dust, indicating a lack of use, but the shine and polish appear to have come from many hands turning it over and over. I love the shine of the handle contrasting with the matte of the brick.

Macro photos really do let you notice things you've never seen before, like the elegant beauty of a dandelion ready to seed. Each little piece together creates almost a chorus of angles to those unaware of the fact it is a dandelion beforehand.

Also not symmetrical, so the third is not the only one. I'm blown away by the beauty of dandelions today. AND the capability of the iPhone 5s to capture macro shots. Goodness. This flower head could not have been more than a penny in size. Some of the little twists look like little people. I specifically chose to show this last to show a severe contrast of color between this flower and the other photos.

Director's Statement of Intent: Final Film - PHILOMENA

1.     What is the story--the beginning, middle, and end--of this scene in three or four sentences? In other words, what happens in this scene as it starts, as it progresses, and as it ends?

Martin confronts Hildegarde for her hypocrisy. The Priest and Sister Claire threaten to call the police. Philomena forgives Hildegarde.

2.     What, specifically, must the audience understand narratively? How do you intend to communicate that information?

The audience must understand that Philomena has taken the highest road attainable. She has forgiven her enemy. While the dialogue certainly communicates this, I wish to frame Philomena in a position of power, even as she forgives. 

3.     If this scene is from a longer piece, what is the narrative, emotional and thematic purpose of the scene in the larger story?

This is the climax of the story. Philomena has suffered countless horrors in her life, and has just discovered more in reference to her son. Instead of succumbing to these terrors and make antagonists of her framed enemy, she instead forgives Hildegarde. Hildegarde was present when Philomena was forced to give her son up to adoption. Hildegard denies Philomena’s son his mother even as he dies. And Philomena forgives her.

4.     What emotion do you want to communicate in this scene? How do you intend to do this?  

I want to communicate rage in the beginning with Martin’s mannerisms and frantic framing. He is upset, and I want that to fuel Hildegarde’s stubbornness. That way, when Philomena forgives Hildegarde, the entirety of the scene becomes tender reverence.

5.     What is the first image of the scene? What is the final image of the scene?

The first image of the scene is of Martin locking the door to confront Hildegarde. The last image of the scene is Martin walking out of the room, leaving Hildegarde alone.

6.     Why is this scene personal to me? What previous personal experience(s) does it remind me of? Why do I need to make this scene?

For a long time, thanks to social media and fellow classmates participating as social justice warriors, I’ve felt that too often good intentions only lead to making enemies of people who don’t have to be. I find forgiveness to be one of the hardest experiences in life, and the closest to godliness. I need to make this scene because I want to communicate that making enemies of each other is not the answer. We don’t have to do that.

7.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene?

I am going to dress all four characters present beside Philomena in greys and black. Philomena will be the only one dressed in either white or color. That way, she will starkly contrast the other four who have not ascended to her level. Camera movement in the start will be jagged and fierce, matching the intensity of the situation. The end will contrast this with smoothness and stillness. This will better emphasize the starting rage and the ending peace.

8.     What are two or three potential obstacles to creating a successful scene? How can you be prepared to overcome these? Be specific!

This will be the largest cast for any of my projects. On top of that, it will be the first time I’ve used anyone over the age of 30 (and I need four of them). I will have to seek out and talk with many people to find the right actors. I’m worried it will come off forced. To avoid this, I will have to devote even more attention to casting.

Master With Coverage - Barton Fink

First the things I am exorbitantly happy about with this project. The location was stellar, and helped create the austerity I was hoping for with my framing. My actors filled their positions with great enthusiasm. The set was incredibly relaxed and everyone got things done efficiently. The subtlety and the references to the remainder of the movie were in place, I believe.

Now for some of the things I could work on or things that could have helped the shoot even better. The location became an issue about 30 minutes into us being there. Even though I had talked with four different people in the Smoot building and was eventually led to the campus police (thank you for the help there, Jeff), the janitorial supervisor had an incomprehensible beef with our presence. Just as we were about to begin shooting at 6:30 PM, she came at us with a full on assault. She was incredibly nervous and angry, and very adamant that she could not work around us and needed the small space we were in for three hours. I was able to calm her down and remove any hard feelings on her end, but we were kicked out nonetheless. Thankfully, my actors and crew were able to push back the shoot three hours until 9:00 PM, and the police helping us into the building were happy to help later as well. This was not anywhere near ideal, as I wanted to have everyone out by 9:00 PM instead of midnight, but the shoot still had a great air of camaraderie. In fact, the extra three hours before shooting really helped my two actors get comfortable with each other.

One thing I would have changed is exhorting my actors not to view the source material before the shoot. It led to a hard time ensuring that even though the performance was not the same as the original, it was excellent in the way I had been intending when I was orchestrating the scene. He did very well, but he was consistently not happy with his delivery.

I think my use of the space is interesting, but if I had the chance for a do over, I would likely use it with more subtlety. The extreme wide on Chet’s character are visually exciting, but they may be a touch past the line of the feeling I was intending. Also, there were some bumpy equipment moves with the tracking shot and a dolly in in the middle. I’m sad for these things, but it didn’t take away too much from the scene. This scene was about the location and anxiety Barton fink’s character is experiencing, and I think I stayed true to that central piece.

Photos March 21-25

This little square house is in the middle of my apartment complex. It is the most bizarre thing in the world, because the architecture and style do not match the rest of the place at all. To capture this feeling, I framed the square house as a flat object with other pieces of the complex with depth.

This has likely been the worst month in the last couple years for allergies for me. I wanted to get a close-up of the seemingly innocent pollen producers that have been hard at work trying to kill me. I love the shallow depth of field and the contrasting lines in every direction.

I am always astounded by the magnificent architecture we never admire here in provo. With this photo, I purposefully included the shadow on the ground to frame the picture's bottom. It also reminds me of I Am Legend.

With this picture, I wanted to capture how strange the light post looked to me and provide a dynamic photo. The Blue and green in this photo strongly separate the two planes, and the buildings on the right provide some nice depth. But what is up with the space under this lamp post?

Perhaps this is my lamest photo of the day. I wanted to see the roots growing into the fire hydrant. It is a strange happening that makes me imagine the roots reaching for life (aka water). My original intention was to provide the hydrant with powerful framing (a low angle), but I wasn't able to see the roots growing into it.

Director's Statement of Intent - Film 6

DIRECTOR’S STATEMENT OF INTENT: BARTON FINK

1.     What is the story--the beginning, middle, and end--of this scene in three or four sentences? In other words, what happens in this scene as it starts, as it progresses, and as it ends?

Barton Fink enters an empty hotel lobby. The strange and awkward Clerk, Chet, checks Fink in and makes him uncomfortable. Fink exits to his room.

2.     What, specifically, must the audience understand narratively? How do you intend to communicate that information?

The audience must understand that Barton is uncomfortable in the new situation. I will do this by enveloping him in his setting—making him appear small. Barton is a transplant in a new place and not confident in his ability to fulfill the role he has decided take. To communicate this, I will consistently place Barton in uncomfortable framing.

3.     If this scene is from a longer piece, what is the narrative, emotional and thematic purpose of the scene in the larger story?

This helps establish the location where Barton will meet Charlie Meadows. Barton develops a severe case of writer’s block and the hotel is a character that helps unsettle Barton even more.

4.     What emotion do you want to communicate in this scene? How do you intend to do this?  

I absolutely want to communicate discomfort. I intend to do this by purposefully negating continuity, placing Barton in bizarre framing within the hotel, and communicating formalistic acting methods to my actors.

5.     What is the first image of the scene? What is the final image of the scene?

The first image of the scene is of Barton standing alone in a hotel lobby. The last scene of the film is of Chet standing at the counter.

6.     Why is this scene personal to me? What previous personal experience(s) does it remind me of? Why do I need to make this scene?

I like the strange and bizarre, and I find speaking with lobby clerks to be incredibly awkward at times. I never know what to say, and I’m always worried they will think I’m crazy. I need to make this scene because it makes the clerk the fish out of water in the situation in addition to the man checking in. Equal playing fields.

7.     What two visual elements (line, shape, space, tone, color, rhythm, movement) will you use to help communicate the emotion of the scene? (Be sure these elements apply to the assignment as listed on Learning Suite; only choose elements that you have read about or that we have covered in class.)

I will use vertical lines to create a sense of domineering architecture, and these lines will separate Barton from Chet in dramatic ways. I will also use browns and greens to convey a sense of sickness. Flat space will also contribute to the quirky nature of Chet, whereas deep space will help illustrate Barton’s foreboding sense of doom.

8.     What are two or three potential obstacles to creating a successful scene? How can you be prepared to overcome these? Be specific!

For one, the scene is not very exciting and not a whole lot is discovered about the characters. I chose this intentionally to practice creating subtext and meaning out of lines that seemingly mean nothing more than their face value. There is a lot of stress behind Barton’s character, and I want to convey that without the actors saying it. To accomplish this, I will really have to focus on the differentiation of their framing and performance. I also am worried about finding a location for Monday night. To ensure I have a check-in desk, I have three locations that I plan on approaching in the next few days.