Question A: I feel confusion. I feel out of place. As I imagine each group of people I see that I am not a part of any of them. I think of them as puzzle pieces, I'm trying to put them together, but I come up with nothing. I feel like I'm missing out on a bigger picture than what I only see. At the end of scene one I feel disconnected and powerless. The room is a very cold color to me, the wood room feels Gothic and stands tall. I cannot imagine any dialogue, I hear almost nothing except for the sounds footsteps and clanging culinary utensils.
Question B: I feel like there is a sense of imprisonment within this scene. Very claustrophobic and the feeling of being forever trapped, it's unsettling. The only thing I could think of is the person tearing up after the failed attempt to move. I also imagine a fly landing on their face, flying free around the room, taunting the person in the wall.
Question C: I have no real idea what you are trying to say, but I can only tell you how it makes me feel. I feel like there is not enough to put me in right mindset. Because I am not imagining a film, I am imagining still images because that is all you have described in each scene.
Question A: I am not really feeling any emotions to be honest. I am just visualizing the room in my head. I was able to visualize a wood room, a log cabin for me. It is a very small room. I see windows that open into the room and air gushing in so fast, that no one can see out, as described. Once you started to list the people who were in the room, I shut it out and felt those people weren't important to the story because their were so many of them. If anything, it is a crowded room with chaos.
Question B: For this "scene" I image those people on the sides of corners that spray paint their whole body to either be gold or silver. One of those people literally in a wall if their head only functioning and moving. Pretty much just a talking wall that makes comments as people walk by him. It is comedic to me.
Question C: I am still imaging a long cabin, by a lake where two people are on the couch talking to one another about an intellectual conversation. My feeling is just it feels like a relaxing day for these characters that could be on a vacation. The items that are motives don't play any part for me, if anything they are just placed in the room.
1) Confusion and a little disappointment… I read it and immediately felt like I ways at the beginning of a very bad joke, you know "a cowboy, a fire firefighter, and a pedophile walk into a room…" But I was also very intrigued, what the heck are all of these people doing in one room and why can't they see the outside world and what's up with the guy in the bathtub?
2) I think the author is trying to make the reader/audience feel a little hopeless and trapped. The only thing I think that could make this image stronger would be to put something in front of the person attached to the wall just out of their reach.
3) I can't even begin to fathom what the story is about. After reading your film journal, I'm still confused because the journal seems to indicate that there is a story and your script just totally throws me for a loop. Yet as confused as I am, I'm still very interested in your project and I can't wait to see where it goes!
Question A: So my first thought as I was going down the list was "are the transexuals able to be mixed in with the other groups?" for example, if I thought of a transexual chef, or lawyer am I wrong?
The best attempt I can come up with is similar to Trent with still images. I read group at a dinner table and I see something similar to the "last supper" in that none of the people are actually eating and what they are eating is not important. I would be very curious as to how I would feel if this exercise was done in person as like a Yoga exercise where everyone is forced to close their eyes and breath heavy. Now I am just rambling, but I get the feeling that is more of the results you wanted, not a transexual chef :(
Question B: I see Han solo. What? I do! Sorry if I like Star Wars (in 2D) but I can't help it...
A way that I would suggest to make this image (for me) more unsettling (hence stronger) is, instead of having the wall be solid, have it be like quicksand. I want to see this person struggle. But no matter how much they do, it is useless. Maybe this is what you were referring to, but I was not sure.
Question C: I don't quite get this section. Maybe as more information is given, I can try again.
Patricia, Patricia... I was sitting at home eating some Greek food wondering how the great sABIO rAMOS was going to trump her 300 film, directing film and demo reel, and I decided it just isn't possible. "She can't out do herself... can she?" I thought as I shoved pita bread into my mouth. Then I opened your "script" and saw 3 pages. Guess what I thought? "What the fuck?" Yup, and I'll probably repeat that same dialogue MANY more times before this semester is over.
I am not quite sure what you are up to with this, but I can't help but be intrigued. Can we put some slow motion in it? and maybe some shots in reverse? :)
Question A: I am intrigued. I really like the idea of not going off of a traditional script. I like the boldness of this. I think the different people you put in the room are interesting and can interact to create some very interesting scenes. However, I am not sure where this is going. I know that may be your intent, but I want to know at least your objective with this scene to understand what you're going for. At this point, it feels like a psychological experiment more than a movie, which is fine. I honestly think it would be interesting to just film a bunch of different people in a confined room and see what they do. But at this point I can't tell if that's what you're going for or if I'm totally off. Other than intrigue, I am not really sure what I feel. Like others, I feel confused. I see the color/light of the room as secondary to the actual actions, whatever they may be. I see this being like "Dogville" somehow- a very weird, minimalistic set in the midst of people interacting.
Question B: Emotions I feel the author is trying to show here are maybe isolation, claustrophobia, loneliness, smothered, trapped, etc. I know those aren't all really emotions, but those are the things I think of. Something that could make this stronger is maybe some really stylized lighting, like a spotlight on this person to really isolate him or her.
Question C: Maybe this story is about generational things. I might just be thinking this because of the fact that the people are different ages, but a sewing machine seems like an older item, I'm not sure about the plants, and for some reason I think of a lullaby when I think of the song, maybe something an older person sings to a younger person.
Again, I am intrigued. I want to know more. I don't know how I feel about everything, but what I do know is that I admire that you are an artist, not worrying about making the same kind of movies everyone else does. I like when things don't necessarily make perfect sense so I'm excited to see what comes of this. However, I do think that as your classmates/collaborators, we need to be on the "in" of what you're trying to portray so we can help you get there and give the best feedback as we can. If you withhold from us, we can't give you as much feedback that will be helpful to you. So I hope that we get more information soon because I really am interested!
Also, I agree with Jason- slow motion and shots in reverse please, maybe with a lot of flames or something. You could even put your name in flames!!!!!! COOL!
Was it Professor Plum, with the Candlestick in the Study?
I am going to comment before I answer the questions. I honestly have no idea what is going to happen in this film. With you, that is never a bad thing because I know you have something in your head that I am sure will show up on screen. I am interested to see what you are going to make just like everyone else. However, it is hard to do without a traditional screenplay. I understand that you either don't want to give away what it going to happen, or you're going to have it evolve as it goes along. I read through your journal it is clear that you know what you want to do with it. I am interested to see how it winds up and what directions you plan on taking it. I, as much as everyone else in this class, would love to offer more feedback and ideas on your story whenever you are willing to let us help.
With that being said I will answer the questions you have posted. They may not be the greatest answers because I don't know anything else about your film. I am a very visual person and this thought has spawned some interesting thoughts but I have no idea which way you're going so its hard to actually comment on your "screenplay".
A: Confusion, intrigue, whimsy, fantasy. I see a lot of different stuff going on depending on whom the story is being focused on. I see a lot of different elements being intertwined all at once.
B: Isolation, trapped, vain.
C: The transition from youth to elderly. The different dynamic between the two and the way that relationships are formed and information is passed on. The way that people interact between each other and how each can help one another learn from the past and move on.
I am definitely confused, but I like it. It’s about time someone explores his or her creative potential through a more experimental film structure.
Questions A, B, and C: The emotion and feelings I have for scene 1 are of wonder, amusement, and curiosity. I suspect my feelings would differ much more once I know the nature of the groups interactions or lack there of. I suspect you may try to explore the realities formed by each respective group in order to make some sort of statement about the nature of perception. Just a guess. I imagine many heated discussions and confliction viewpoints. I imagine the chiefs working furiously with sharp utensils flying around, white suits and tall white top hats. I can’t really imagine their special arrangements, yet I imagine it to be a fairly vast room separating the groups with black voids. I very much like the image of a person encrusted in a wall whose efforts to move are in vain. Sounds very metaphorical, and I am extremely curious to see how you connect the 4 scenes described. I am unsure of how you aim to explore the dichotomy between the internal and external world of the characters, although it is truly fascinating. I am also very curious to see how you incorporate the psychologists mentioned in your journal. Who listens to Freud these days anyways? Interesting stuff.
Question A: I am completely invested and very intrigued. I think that this has "Patricia" written all over it and I love the ways in which you tell stories and execute things. I think that the types of people you've placed in the room are representative of a majority of the world, and I like to think that you'll give us an interesting perspective of one (or more) of those. I agree with Kristine in that this could be similar to "Dogville" in the sense of non-traditionalism and minimalistic approach to filming. I love it!
Question B: When I first read that a person was encrusted to a wall, I was a bit confused because "encrusted" wasn't really defined. With that being said, I would feel isolation, and resentment. It almost reminds me of Jack Sparrow's father from "Pirates of the Caribbean: Dead Man's Chest" where he is part of the ship with barnacles and pieces of the ship being a part of who he is. So I imagine that this character is in holding, is bound to something, be it mentally or literally physically, but that leaves me feeling hopeful. I would suggest having very stylized lighting and some very good art direction in this scene so that you can tell a unique story with it.
Question C: I honestly haven't a clue what this story IS talking about, but perhaps what it COULD be talking about is life in general, and the ways in which every object is connected, though not in a "save the planet, AVATAR" sort of way. I'm very intrigued by this idea, and I can't wait to see it come to fruition!!
Even though I know you always pull something out and I have enjoyed your ideas and work in the past, I think it's really important for you to make a screenplay or something similar or at least have someone help you out. I agree with Adam in the fact that you need to be able to communicate what is happing in the story at any point in time, and that going into development we need to see more of that with your work. I think this will help you in the long run and I think it's important that you find someone who knows exactly what your going for because it'll seriously save you soo much work and time. I just want to make sure that you will be more than prepared when trying to make this film. It has a lot of potential and I like the ideas you have given.
A: the feeling of never being complete, an script with no end
B:imprisonment. I think if you can convey how he got there would be interesting, and is there a possibility for escape.
C: I think it is talking about perspective, and how things interact, react, and inspire actions. I think you are trying to say that everything has a reason, and that occurrences can affect people in different ways.
A) Confusion, unease, curiosity, and an all-around sense of WTF!?
B) Disturbed... really, really disturbed. And looking for an exit out of this place.
I think that if the wall was made out of people, with the rest of them either being faceless or having their backs to the room, the image would be more disturbing.
C) Part of me wants to say it's about the dreams of youth (Room A) being crushed and stolen by entering marriage, which traps the person in their own private wall (Room B). Room C is where you see the actual prisoner, and Room D is the means by which they are trapped.
Pretty sure that's wrong, but that's my smart answer. The majority of me is thinking I don't have any idea.
I am getting used to your games or ways in which you like to incorporate people's perception of your work even before the work has actually been done, more and more. You have done this before. And I think it's a good idea, for whatever helps you make a good story. As I was telling Jeff, to me it doesn't really matter if the formatt this or the formatt that. As long as you are able to transmit a good, nerative story. We live in the U.S. and they DO have a standard and usual formatt in which one must fallow. This is the formatt they teach us at school and the one they require from us. Why? To show them whether or not we understood what they were talking about and also so that when we get out into the professional world, they can see that we are well prepared because really, who wants to work with someone that isn't. Now, i'm not saying i'm a pro at the formatt either, but just hear me out. In Europe, however, I know or have been told that it's slightly different. It may just pertain to certain countries like France but I have heard that filmmmakers usually write basically just a treatment and go from there. Or write the thing as they are filming as long as they have the general idea of what the story is about and what they are trying to convey. That being said, I like this "game" you have presented to us, but to really see whether or not you can write a functional story, therefore even being capable of, then I would really like to see a more fleshed out, properly formatted (by the school's version, at least)screenplay in order to give proper feedback since that is what this blog thing is for. That being said, yet again, I have no doubt you will do good for you have a mind that no one can catch but full of imagination. So, don't let me down. Please. Cause I know I have to say or else you'll say, "I don't care if I let you down, i'm doing this for myself" hahahahahahahahaaha!!!! Now to answer your oh so intriguing but vague questions.
A: Confusion, mostly for myself and not as to what the characters are feeling. I see people doing the activities that they would do considering what they do for a living or who they are, obviously. I see people smiling. I see people just standing around, huddled in a corner, feeling rather frightened and for some reason I pictured the transexuals doing this.
B: Desperation, a feeling of complete lonelyness or felling trapped. Brings to mind scenes from the Saw movies or Nightmare on Elm Street when the Blonde girl was being killed in her dreams, in her bedroom.
C: Perhaps a grandmother retelling a story to her grandchild. First thing that came to mind. The house, like a ranch in a vast plane with mountains in the far distance.
What is the point of doing this? I respect you as a film maker, I think you are creative and have an ability to make films that are unique and artistic, but this is just silly. This isn't even a script. It's something that should be in your journal and the fact that you have chosen this route makes it impossible for anyone to give you feedback. My question for you is, why go to film school if you are unwilling to let anyone help you in making your work as strong as it can be? I am not going to answer your questions because you can't give us the respect to submit a story, so why should we try and help you when you clearly don't want it.
I'm not yet done with my feedback but this can't wait...
ReplyDeleteYOU AMAZE ME :)
can't wait to work on this project :P I will post my feedback tomorrow
Question A: I feel confusion. I feel out of place. As I imagine each group of people I see that I am not a part of any of them. I think of them as puzzle pieces, I'm trying to put them together, but I come up with nothing. I feel like I'm missing out on a bigger picture than what I only see. At the end of scene one I feel disconnected and powerless. The room is a very cold color to me, the wood room feels Gothic and stands tall. I cannot imagine any dialogue, I hear almost nothing except for the sounds footsteps and clanging culinary utensils.
ReplyDeleteQuestion B: I feel like there is a sense of imprisonment within this scene. Very claustrophobic and the feeling of being forever trapped, it's unsettling. The only thing I could think of is the person tearing up after the failed attempt to move. I also imagine a fly landing on their face, flying free around the room, taunting the person in the wall.
Question C: I have no real idea what you are trying to say, but I can only tell you how it makes me feel. I feel like there is not enough to put me in right mindset. Because I am not imagining a film, I am imagining still images because that is all you have described in each scene.
Question A: I am not really feeling any emotions to be honest. I am just visualizing the room in my head. I was able to visualize a wood room, a log cabin for me. It is a very small room. I see windows that open into the room and air gushing in so fast, that no one can see out, as described. Once you started to list the people who were in the room, I shut it out and felt those people weren't important to the story because their were so many of them. If anything, it is a crowded room with chaos.
ReplyDeleteQuestion B: For this "scene" I image those people on the sides of corners that spray paint their whole body to either be gold or silver. One of those people literally in a wall if their head only functioning and moving. Pretty much just a talking wall that makes comments as people walk by him. It is comedic to me.
Question C: I am still imaging a long cabin, by a lake where two people are on the couch talking to one another about an intellectual conversation. My feeling is just it feels like a relaxing day for these characters that could be on a vacation. The items that are motives don't play any part for me, if anything they are just placed in the room.
1) Confusion and a little disappointment… I read it and immediately felt like I ways at the beginning of a very bad joke, you know "a cowboy, a fire firefighter, and a pedophile walk into a room…" But I was also very intrigued, what the heck are all of these people doing in one room and why can't they see the outside world and what's up with the guy in the bathtub?
ReplyDelete2) I think the author is trying to make the reader/audience feel a little hopeless and trapped. The only thing I think that could make this image stronger would be to put something in front of the person attached to the wall just out of their reach.
3) I can't even begin to fathom what the story is about. After reading your film journal, I'm still confused because the journal seems to indicate that there is a story and your script just totally throws me for a loop. Yet as confused as I am, I'm still very interested in your project and I can't wait to see where it goes!
Question A: So my first thought as I was going down the list was "are the transexuals able to be mixed in with the other groups?" for example, if I thought of a transexual chef, or lawyer am I wrong?
ReplyDeleteThe best attempt I can come up with is similar to Trent with still images. I read group at a dinner table and I see something similar to the "last supper" in that none of the people are actually eating and what they are eating is not important. I would be very curious as to how I would feel if this exercise was done in person as like a Yoga exercise where everyone is forced to close their eyes and breath heavy. Now I am just rambling, but I get the feeling that is more of the results you wanted, not a transexual chef :(
Question B: I see Han solo. What? I do! Sorry if I like Star Wars (in 2D) but I can't help it...
A way that I would suggest to make this image (for me) more unsettling (hence stronger) is, instead of having the wall be solid, have it be like quicksand. I want to see this person struggle. But no matter how much they do, it is useless. Maybe this is what you were referring to, but I was not sure.
Question C: I don't quite get this section. Maybe as more information is given, I can try again.
Patricia, Patricia... I was sitting at home eating some Greek food wondering how the great sABIO rAMOS was going to trump her 300 film, directing film and demo reel, and I decided it just isn't possible. "She can't out do herself... can she?" I thought as I shoved pita bread into my mouth. Then I opened your "script" and saw 3 pages. Guess what I thought? "What the fuck?" Yup, and I'll probably repeat that same dialogue MANY more times before this semester is over.
I am not quite sure what you are up to with this, but I can't help but be intrigued. Can we put some slow motion in it? and maybe some shots in reverse? :)
Question A: I am intrigued. I really like the idea of not going off of a traditional script. I like the boldness of this. I think the different people you put in the room are interesting and can interact to create some very interesting scenes. However, I am not sure where this is going. I know that may be your intent, but I want to know at least your objective with this scene to understand what you're going for. At this point, it feels like a psychological experiment more than a movie, which is fine. I honestly think it would be interesting to just film a bunch of different people in a confined room and see what they do. But at this point I can't tell if that's what you're going for or if I'm totally off. Other than intrigue, I am not really sure what I feel. Like others, I feel confused. I see the color/light of the room as secondary to the actual actions, whatever they may be. I see this being like "Dogville" somehow- a very weird, minimalistic set in the midst of people interacting.
ReplyDeleteQuestion B: Emotions I feel the author is trying to show here are maybe isolation, claustrophobia, loneliness, smothered, trapped, etc. I know those aren't all really emotions, but those are the things I think of. Something that could make this stronger is maybe some really stylized lighting, like a spotlight on this person to really isolate him or her.
Question C: Maybe this story is about generational things. I might just be thinking this because of the fact that the people are different ages, but a sewing machine seems like an older item, I'm not sure about the plants, and for some reason I think of a lullaby when I think of the song, maybe something an older person sings to a younger person.
Again, I am intrigued. I want to know more. I don't know how I feel about everything, but what I do know is that I admire that you are an artist, not worrying about making the same kind of movies everyone else does. I like when things don't necessarily make perfect sense so I'm excited to see what comes of this. However, I do think that as your classmates/collaborators, we need to be on the "in" of what you're trying to portray so we can help you get there and give the best feedback as we can. If you withhold from us, we can't give you as much feedback that will be helpful to you. So I hope that we get more information soon because I really am interested!
Also, I agree with Jason- slow motion and shots in reverse please, maybe with a lot of flames or something. You could even put your name in flames!!!!!! COOL!
Was it Professor Plum, with the Candlestick in the Study?
ReplyDeleteI am going to comment before I answer the questions. I honestly have no idea what is going to happen in this film. With you, that is never a bad thing because I know you have something in your head that I am sure will show up on screen. I am interested to see what you are going to make just like everyone else. However, it is hard to do without a traditional screenplay. I understand that you either don't want to give away what it going to happen, or you're going to have it evolve as it goes along. I read through your journal it is clear that you know what you want to do with it. I am interested to see how it winds up and what directions you plan on taking it. I, as much as everyone else in this class, would love to offer more feedback and ideas on your story whenever you are willing to let us help.
With that being said I will answer the questions you have posted. They may not be the greatest answers because I don't know anything else about your film. I am a very visual person and this thought has spawned some interesting thoughts but I have no idea which way you're going so its hard to actually comment on your "screenplay".
A: Confusion, intrigue, whimsy, fantasy. I see a lot of different stuff going on depending on whom the story is being focused on. I see a lot of different elements being intertwined all at once.
B: Isolation, trapped, vain.
C: The transition from youth to elderly. The different dynamic between the two and the way that relationships are formed and information is passed on. The way that people interact between each other and how each can help one another learn from the past and move on.
I am definitely confused, but I like it. It’s about time someone explores his or her creative potential through a more experimental film structure.
ReplyDeleteQuestions A, B, and C: The emotion and feelings I have for scene 1 are of wonder, amusement, and curiosity. I suspect my feelings would differ much more once I know the nature of the groups interactions or lack there of. I suspect you may try to explore the realities formed by each respective group in order to make some sort of statement about the nature of perception. Just a guess. I imagine many heated discussions and confliction viewpoints. I imagine the chiefs working furiously with sharp utensils flying around, white suits and tall white top hats. I can’t really imagine their special arrangements, yet I imagine it to be a fairly vast room separating the groups with black voids. I very much like the image of a person encrusted in a wall whose efforts to move are in vain. Sounds very metaphorical, and I am extremely curious to see how you connect the 4 scenes described. I am unsure of how you aim to explore the dichotomy between the internal and external world of the characters, although it is truly fascinating. I am also very curious to see how you incorporate the psychologists mentioned in your journal. Who listens to Freud these days anyways? Interesting stuff.
Question A: I am completely invested and very intrigued. I think that this has "Patricia" written all over it and I love the ways in which you tell stories and execute things. I think that the types of people you've placed in the room are representative of a majority of the world, and I like to think that you'll give us an interesting perspective of one (or more) of those. I agree with Kristine in that this could be similar to "Dogville" in the sense of non-traditionalism and minimalistic approach to filming. I love it!
ReplyDeleteQuestion B: When I first read that a person was encrusted to a wall, I was a bit confused because "encrusted" wasn't really defined. With that being said, I would feel isolation, and resentment. It almost reminds me of Jack Sparrow's father from "Pirates of the Caribbean: Dead Man's Chest" where he is part of the ship with barnacles and pieces of the ship being a part of who he is. So I imagine that this character is in holding, is bound to something, be it mentally or literally physically, but that leaves me feeling hopeful. I would suggest having very stylized lighting and some very good art direction in this scene so that you can tell a unique story with it.
Question C: I honestly haven't a clue what this story IS talking about, but perhaps what it COULD be talking about is life in general, and the ways in which every object is connected, though not in a "save the planet, AVATAR" sort of way. I'm very intrigued by this idea, and I can't wait to see it come to fruition!!
Even though I know you always pull something out and I have enjoyed your ideas and work in the past, I think it's really important for you to make a screenplay or something similar or at least have someone help you out. I agree with Adam in the fact that you need to be able to communicate what is happing in the story at any point in time, and that going into development we need to see more of that with your work. I think this will help you in the long run and I think it's important that you find someone who knows exactly what your going for because it'll seriously save you soo much work and time. I just want to make sure that you will be more than prepared when trying to make this film. It has a lot of potential and I like the ideas you have given.
ReplyDeleteA: the feeling of never being complete, an script with no end
B:imprisonment. I think if you can convey how he got there would be interesting, and is there a possibility for escape.
C: I think it is talking about perspective, and how things interact, react, and inspire actions. I think you are trying to say that everything has a reason, and that occurrences can affect people in different ways.
Question A
ReplyDeleteFear, confusion, intrigued
What Ride is Patrecia going to take us on this time?
Question B
First thing i thought of was that dude in Pirates of the Caribbean. So use of crust and gross things.
Question C
I have no idea what is going on. But with your history of films, this is nothing new... And i love your movies.
A) Confusion, unease, curiosity, and an all-around sense of WTF!?
ReplyDeleteB) Disturbed... really, really disturbed. And looking for an exit out of this place.
I think that if the wall was made out of people, with the rest of them either being faceless or having their backs to the room, the image would be more disturbing.
C) Part of me wants to say it's about the dreams of youth (Room A) being crushed and stolen by entering marriage, which traps the person in their own private wall (Room B). Room C is where you see the actual prisoner, and Room D is the means by which they are trapped.
Pretty sure that's wrong, but that's my smart answer. The majority of me is thinking I don't have any idea.
I am getting used to your games or ways in which you like to incorporate people's perception of your work even before the work has actually been done, more and more. You have done this before. And I think it's a good idea, for whatever helps you make a good story. As I was telling Jeff, to me it doesn't really matter if the formatt this or the formatt that. As long as you are able to transmit a good, nerative story. We live in the U.S. and they DO have a standard and usual formatt in which one must fallow. This is the formatt they teach us at school and the one they require from us. Why? To show them whether or not we understood what they were talking about and also so that when we get out into the professional world, they can see that we are well prepared because really, who wants to work with someone that isn't. Now, i'm not saying i'm a pro at the formatt either, but just hear me out. In Europe, however, I know or have been told that it's slightly different. It may just pertain to certain countries like France but I have heard that filmmmakers usually write basically just a treatment and go from there. Or write the thing as they are filming as long as they have the general idea of what the story is about and what they are trying to convey. That being said, I like this "game" you have presented to us, but to really see whether or not you can write a functional story, therefore even being capable of, then I would really like to see a more fleshed out, properly formatted (by the school's version, at least)screenplay in order to give proper feedback since that is what this blog thing is for. That being said, yet again, I have no doubt you will do good for you have a mind that no one can catch but full of imagination. So, don't let me down. Please. Cause I know I have to say or else you'll say, "I don't care if I let you down, i'm doing this for myself" hahahahahahahahaaha!!!!
ReplyDeleteNow to answer your oh so intriguing but vague questions.
A: Confusion, mostly for myself and not as to what the characters are feeling. I see people doing the activities that they would do considering what they do for a living or who they are, obviously. I see people smiling. I see people just standing around, huddled in a corner, feeling rather frightened and for some reason I pictured the transexuals doing this.
B: Desperation, a feeling of complete lonelyness or felling trapped. Brings to mind scenes from the Saw movies or Nightmare on Elm Street when the Blonde girl was being killed in her dreams, in her bedroom.
C: Perhaps a grandmother retelling a story to her grandchild. First thing that came to mind. The house, like a ranch in a vast plane with mountains in the far distance.
Patricia,
ReplyDeleteWhat is the point of doing this? I respect you as a film maker, I think you are creative and have an ability to make films that are unique and artistic, but this is just silly. This isn't even a script. It's something that should be in your journal and the fact that you have chosen this route makes it impossible for anyone to give you feedback. My question for you is, why go to film school if you are unwilling to let anyone help you in making your work as strong as it can be? I am not going to answer your questions because you can't give us the respect to submit a story, so why should we try and help you when you clearly don't want it.