So here are a few more ideas for the placement of type in my title sequence, although I've started to think it's all getting a bit more "complex" in a way than it should be. I still feel as though the key factor is tying in score with imagery and simplicity of the type to the simplistic nature of the short film though.
comps6-13
Luckily, I've been told that it is not supposed to rain the rest of the week. Hopefully this is the case, as it will certainly make my filming adventure all the more expedient. Have my fingers crossed!
Wednesday, October 22, 2008
comps...
... so I think I may be stuck, but I'm not sure. In my background studies/ideation, the theme of the short film "Hotel Chevalier" is certainly captured in what I am looking to do for the project, yet due to the simplicity in which Anderson presents the story in the film visually, I am worried it may be too simple. I think that it would certainly fit in to the visual aesthetic of the film, however, I am worried (in a grade sense) that it may indeed be too simple. The first major part of the film opens with the main character's feet... which is what I am planning to show during the opening sequence:
a dual perspective primarily on a man's feet walking down an urban streetside, and in the beginning the same only with a female subject walking in an opposite direction (the secondary character in the film), but only briefly. I suppose the hardship in my project is making something free from convention, yet still holds true to the visual and emotional style of the film as well as the photographic quality/technique. Anderson uses a very simple visual language that follows the dialogue plainly, shot-to-shot of the main characters conversing with each other. So I want to apply the same feeling in the video that I shoot, but in a more distant nature; prefacing the story/main characters, but not revealing anything exclusive about them.
By using only feet/walking shots on an urban street setting, I'm hoping to bring the title sequence into the movie, and hence, leading up to the first shot of the main character; resting on a bed, showing only his feet, elevated and relaxed.
There is only one inclusive type treatment for the film, and that is the production studio that it was made for, right before introducing the main character. It is a very simple and appropriate sans serif typeface (perhaps gill sans) in a yellow color, which relates to the bulk of the short film being in such colors. I want to continue that treatment for not only owing to Anderson's aesthetic, but the "subtitle" quality that it offers, especcially since the story is between two Americans in a foreign country, however I don't feel that it's neccessary to have all of the type set in such a manner.
Being frivolous with type treatment and placement would, in my opinion be detrimental to the essence of the film, which is letting the dialogue, cast, and score do the primary emotional transmission of the story (which is, of course, simply a prologue to one of the primary characters of the film "The Darjeeling Limited")
The short itself starts out directly with the high saturation yellow from incandescent lighting, and only until the end does it resort back to a more (slightly) monochromatic city-scape feel of the streets of Paris. I'm hoping to use the same color scheme in the end of the film to convey an essence of the "street/urban" feel in my simple "prologue" to the "prologue" of The Darjeeling Limited. In essence... I'm just timid about the visual language of the movie by now, owing to the highly illustrative/authoritative nature of the class, however, after much deliberation, I feel that keeping the type and imagery/video simple is key to opening up the film.
I suppose that I'm just not really willing to "re-invent" the visual style or presentation of the film, and hence, all my imagery/video will be in an attempt to play towards expanding upon the president set forth by Wes Anderson in this short film.
a dual perspective primarily on a man's feet walking down an urban streetside, and in the beginning the same only with a female subject walking in an opposite direction (the secondary character in the film), but only briefly. I suppose the hardship in my project is making something free from convention, yet still holds true to the visual and emotional style of the film as well as the photographic quality/technique. Anderson uses a very simple visual language that follows the dialogue plainly, shot-to-shot of the main characters conversing with each other. So I want to apply the same feeling in the video that I shoot, but in a more distant nature; prefacing the story/main characters, but not revealing anything exclusive about them.
By using only feet/walking shots on an urban street setting, I'm hoping to bring the title sequence into the movie, and hence, leading up to the first shot of the main character; resting on a bed, showing only his feet, elevated and relaxed.
There is only one inclusive type treatment for the film, and that is the production studio that it was made for, right before introducing the main character. It is a very simple and appropriate sans serif typeface (perhaps gill sans) in a yellow color, which relates to the bulk of the short film being in such colors. I want to continue that treatment for not only owing to Anderson's aesthetic, but the "subtitle" quality that it offers, especcially since the story is between two Americans in a foreign country, however I don't feel that it's neccessary to have all of the type set in such a manner.
Being frivolous with type treatment and placement would, in my opinion be detrimental to the essence of the film, which is letting the dialogue, cast, and score do the primary emotional transmission of the story (which is, of course, simply a prologue to one of the primary characters of the film "The Darjeeling Limited")
The short itself starts out directly with the high saturation yellow from incandescent lighting, and only until the end does it resort back to a more (slightly) monochromatic city-scape feel of the streets of Paris. I'm hoping to use the same color scheme in the end of the film to convey an essence of the "street/urban" feel in my simple "prologue" to the "prologue" of The Darjeeling Limited. In essence... I'm just timid about the visual language of the movie by now, owing to the highly illustrative/authoritative nature of the class, however, after much deliberation, I feel that keeping the type and imagery/video simple is key to opening up the film.
I suppose that I'm just not really willing to "re-invent" the visual style or presentation of the film, and hence, all my imagery/video will be in an attempt to play towards expanding upon the president set forth by Wes Anderson in this short film.
Monday, October 20, 2008
Music Process
Well, I made quite the long list of possible sound/music choices that seemed to suit the aesthetic of
"Hotel Chevalier." Included in it were:
"House of the Rising Sun" by Bob Dylan
"South American Getaway" by Burt Bacharach
"The Engine Driver" by The Decemberists
"How It Ends" by DeVotchKa
"Atlantis" by Donovan
"Miss Misery" by Elliot Smith
"By The Time I Get To Phoenix" by Glen Campbell
"Long Ago (And Far Away)" by Jo Stafford
"Chances Are" by Johnny Mathis
"Walk On The Wild Side" by Lou Reed
"I Wonder" by Louis Armstrong
"Wenn Ich Mir Was Weunschen Durfte" by Marlene Dietrich
"In The Aeroplane Over The Sea" by Neutral Milk Hotel
"Oh Comely" by Neutral Milk Hotel
"Boulevard" by Peter Sarstedt
"Lonesome Town" by Ricky Nelson
"I Summon You" by Spoon
"To Be Treated" by Terry Reid
"Baby I Love You" by The Yayhoos
I ended up narrowing the field down to six (Bacharach, Decemberists, Smith, Mathis, Sarstedt, Nelson) based on how feasible it would be cutting down the songs to 45 seconds - 1.5 minutes. In the end, the best one seemed to be the Smith song "Miss Misery."
Given that the film is only 13 minutes long, I decided that the opening credits (of which there are really none) should be quite limited in duration. There are also only 3 songs in the film; a brief background piece at the begining, one main song through the duration of the feature, and a short follow-up song during the end credits. Given that I thoroughly enjoy the primary song and artist of the film anyways, I wanted to try and find a song by a different artist with a similar feel and emotional quality, but could also make it's presence subtly and very briefly. I think this song does just that.
... but the alternative is kinda fun too though...
"Hotel Chevalier." Included in it were:
"House of the Rising Sun" by Bob Dylan
"South American Getaway" by Burt Bacharach
"The Engine Driver" by The Decemberists
"How It Ends" by DeVotchKa
"Atlantis" by Donovan
"Miss Misery" by Elliot Smith
"By The Time I Get To Phoenix" by Glen Campbell
"Long Ago (And Far Away)" by Jo Stafford
"Chances Are" by Johnny Mathis
"Walk On The Wild Side" by Lou Reed
"I Wonder" by Louis Armstrong
"Wenn Ich Mir Was Weunschen Durfte" by Marlene Dietrich
"In The Aeroplane Over The Sea" by Neutral Milk Hotel
"Oh Comely" by Neutral Milk Hotel
"Boulevard" by Peter Sarstedt
"Lonesome Town" by Ricky Nelson
"I Summon You" by Spoon
"To Be Treated" by Terry Reid
"Baby I Love You" by The Yayhoos
I ended up narrowing the field down to six (Bacharach, Decemberists, Smith, Mathis, Sarstedt, Nelson) based on how feasible it would be cutting down the songs to 45 seconds - 1.5 minutes. In the end, the best one seemed to be the Smith song "Miss Misery."
Given that the film is only 13 minutes long, I decided that the opening credits (of which there are really none) should be quite limited in duration. There are also only 3 songs in the film; a brief background piece at the begining, one main song through the duration of the feature, and a short follow-up song during the end credits. Given that I thoroughly enjoy the primary song and artist of the film anyways, I wanted to try and find a song by a different artist with a similar feel and emotional quality, but could also make it's presence subtly and very briefly. I think this song does just that.
... but the alternative is kinda fun too though...
Sunday, October 19, 2008
Title Sequence thoughts
So I've been trying to decide upon which film to do this project on, and narrowed it down to two. I had originally wanted (and suggested in class) to use "Hedwig and the Angry Inch," but upon closer examination it lost my interest, most especially after weighing the pros and cons between that and "Hotel Chevalier," the film short that precedes "The Darjeeling Limited." Anyways, I've been using the whiteboard in the second floor studio to write down ideas and then take pictures rather than writing things down on paper and then scanning in my thought processes. At any rate, here are some images of weighing the pros and cons of each film, and some ideas for a "Hotel Chevalier" sequence.
Hedwig vs. Hotel Chevalier
Hotel Chevalier
Hedwig vs. Hotel Chevalier
Hotel Chevalier
Monday, October 13, 2008
Wednesday, October 1, 2008
6 sounds
Found a few miscellaneous sounds that I thought were somewhat interesting. I mostly looked for longer clips so that I would not have to end up looping the tracks. Anyways, I posted them on my onid webspace
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