FOR BRANDON:
– discuss screenplay finalization
– come to terms on cinematography/what we both want
– re-watch Napoleon Dynamite
– re-watch Lines
– take screencaps for inspiration
FOR HANNAH:
– go to location and take pictures/video
– watch vimeo short films and other films to get ideas
– take screenshots for inspiration
– create rough draft shot list (shooting at the end of the month!!!!)
CINEMATOGRAPHY
– minimal and simplistic
– mostly handhelds
– wide shots on sticks
– natural lighting, nothing too harsh
– Napoleon Dynamite-esque
COLOR
– grey
– characters will be wearing darker colors
LIGHTING
– natural and realistic lighting
COMPOSITION
– wide shots on sticks
– close ups handheld
MOVEMENT
– minimal camera movement
CINEMATOGRAPHY
– minimal and simplistic, yet still “artsy” (aka 50mm shots, bokeh, you know the deal, etc)
– natural lighting to convey a light atmospheric and realistic mood. nothing too harsh
COLOR
– female lead will be wearing darker clothes to convey her disheartened spirit
– male lead will be wearing a more eccentric, bright color to show his loss of stability
LIGHTING
– natural lighting inside
– to be filmed either in the early morning or late afternoon to achieve a golden look for the sprinkler/final scene
COMPOSITION
– Simple shots using the rule of thirds
– We’ll get more up close and personal with the actors as the film progresses, and the final scene will have the most close-up shots (I think I want the final shot though to be a wide shot of them running through the sprinkler together)
– Also, both characters have rather distinct faces, so I want to get close-ups to highlight their features
MOVEMENT
– minimal camera movement until the last scene
– most of the shots will be stable
– the last scene will have more hand-held shots so we can feel more personal with the two characters, and see and feel that they have gotten closer
Chapter 1:
This book is of a series of interviews Francois Truffaut had with Alrfred Hitchcock. We learn that Hitchcock was born in London in 1899, and that he had a very strict father who even went as far as to send him to the police station when he was a little boy to teach him a lesson. I thought it was funny that Truffaut remarked that Hitchcock was an average student. When he was younger, he wanted to be an engineer, but then he became interested in drawing and filmmaking. He was twenty-three when he made his first picture. Also, Hitchcock tells us about how much of a disaster it was, and it made me feel better about my own projects…
Chapter 2:
Hitchcock talks about his first successful film, The Lodger. It was the first true Hitchcock movie, he says. He talks about how he presented this narrative very visually, and this was his first time doing so in a movie. Hitchcock prefers to use not a lot of special effects. He used to use them more in his earlier movies. He brings up that he uses handcuffs in a lot of his films. The two go on to talk about a few of his other films, including The Farmer’s Wife, The Ring, and Champagne. Towards the end of the chapter, the two talk about how the introduction of sound to the filmmaking world changed the game completely. Before, filmmakers had perfected the silent movies, but sound jeopardized all that. At that point, Hitchcock said, people were so focused on sound and less so on cinematography, since they were just learning how to use it.
Chapter 3:
In this chapter, Hitchcock talks about his first sound film, Blackmail. He talks about the process of creating a sound film, and how different it is from silent ones. They go on to talk about European directors and that they brought something different to American cinema than Hollywood directors filmmakers were capable of doing. They essentially offer a different perspective, of course, and a more critical look at America. They also talk about suspense and the purpose of it (Hitchcock is the king of suspense).
indfilm 