THE BOOK OF ELI:
This opening shot provides a reference to an environment similar to the forest in our project, it is set in a post apocalyptic world covered in ash. The movement of the camera combined with the falling of the ash, the haze of the forest and the ambient sounds in the background help to add an atmospheric level to the environment – an element that we hope to achieve within our final outcome.
The Road is another piece of reference that is set in a post apocalyptic world, only it offers an insight into how films portray characters who are not as innocent as they are trying to appear. From the minute Viggo Mortensen’s character starts to interact with the man, who is in fact a cannibal, we can tell that he’s not quite normal. This view is derived from the subtle movements of the man, the slight smile that forms as he looks at the boy and the way in which he glances at the boy – showing that, visually the audience can be provided with hints towards the personality of a character. This is an element we are going to have to explore a little more, with our main character being deaf we need to provide a few visual cues/ reasons to explain why she pulls the gun on the stranger – the audience needs to see what causes her to realise that this man is no good – what does she spot that reveals him to be a cannibal?
The link below provides some useful information on the work and style of David Lynch films – his style is unique and mainly surreal creating an interesting impact and appeal to his productions.
“Lynch likes to use low frequency ambient noise to add texture and depth to the picture. It’s a very haunting experience and can add a lot of emotion to an otherwise uneventful sequence.” (Cinelinx)
Lynch’s approach to sound may be an area where we can gain a lot of inspiration, with it being set in a forest and the main character being deaf we will need to include a lot of ambient noise to help impact and create a sense of atmosphere to the environment.
PAUL THOMAS ANDERSON:
Paul Thomas Anderson’s camera language is what caught my attention, especially is exceptional use of stedi-cam, the link below provides some information on a couple of other techniques that he successfully employs:
However it is his use of stedi-cam that I admire the most and the video below explains the camera movement and how it reinforces the emotional motivation of the character with the camera:
STRANGER THINGS: ELEVEN
The character of Eleven is a reference point for our young girl. Eleven understands the world to an extent, however her judgement between good and bad can be a little muddled and throughout the season she rarely speaks but can notice a lot more. Again our with our character being deaf this means we will have to provide more visual cues, there’s going to have to be a high level of facial animation to successfully create the character we are imagining. With our short being set in a post apocalyptic world the characters have become adjusted to a different way of life, for example, the girl returns to her father with a new pair of shoes as his are old and worn out, we as the audience realise that these shoes must have belonged to the stranger and can only assume that the young girl has shot him as it is never discussed but her dad accepts the shoes without question and they continue on their journey. Obviously this is something that the characters have become used to, the line between good and bad is being warped – creating a character similar to that of eleven.
Fargo provides a good reference to the environment, particularly the road that will appear towards the end of our short – the opening scene of the original Fargo (car on the road) provides a lot of information that could be applied to our own road scene, the snow can act as a reference to how the ash may appear.
CHILDREN OF MEN:
Children of Men is another great reference for our post apocalyptic background, from the trailer we can see that the backgrounds are bleak and grey to showcase that the the world is dying, the people left are essentially just surviving until their time life ends. Though it may not be as relevant I found the link directly above an interesting watch, it offers an explanation as to why Alfonso Cuaron has allowed the camera to pan away from the main character repeatedly throughout the film to focus on the background action.