Today, we came back with our ideas for a short, non-dialogue film scenario that we were asked to develop over Reading Week, and in a circle, give feedback to one another. Mine was this -
We open on a night time shot of a bridge, a young woman, early 20s, seemingly standing on the edge, above the deep, dark river below, her face soaked in tears, her left hand clenched tight. We then cut back to some time earlier, where she meets a new neighbour, a young man, mid 20s, as he unloads boxes and moves into his new abode.
The two slowly become more acquainted, at points points even assisting each other, like him helping her with heavy bags of rubbish. Eventually, she invites him in, and this starts off a relationship as we see them spend time together (walking in the park, eating out, sitting together on the sofa during a quiet evening), in love. Then one day, as she prepares breakfast, she finds an opened letter addressed to him, on the kitchen table. Reading it, she finds that he has been recalled to military service after a court martial concerning his implication in some type of corruption among the lower ranks, something he had never told her about.
Heart broken, she confronts him with the letter, and despite his regret and remorse, she throws him out of the house. Cutting back to the night time scene from earlier, the last shots reveal that actually, she wasn’t going to commit suicide by throwing herself over the edge, but rather, she is throwing away some mementos from their time together, such as photos and cards, casting out the pain and memories as she walks away.
The feedback I got for it was tha, though they genrally liked the idea and felt it had 'legs', they questioned if it could be done within the short film format (here, about 3 minutes) and wondered if that would be enough time to convey a good amount of visual information to give the relationship and development between these two characters really strength and dramatic weight.
After, me and Jessica, along with our model, returned to the grove and began shooting the interiors, which we did by going downstairs and shooting literally next to the stairway, using an extra light to give the white wall the appearance of a studio. Most of these shots consisted of close-ups on the model's face and lips, in keeping with the typical scenes and imagery of most makeup advertisements. After, we said our thanks to her and went to DMW4 and began uploading our footage and importing it into Final Cut (after having some technical difficulties with computers that complained of limited memory, and my own memory backup unit not wanting to be compatible with the Mac for some reason), and we began assembling the clips on the timeline (1st rough) and then cutting them down to our liking (2nd rough). By the time we were done, it was nearing 7pm, so we agreed to leave it for Thursday to finish up.
To close, the loss of the screening, as mentioned before, is a bit sad but even so, the seminar is still the main draw, and the chance to discuss work with peers always make for interesting discussion. As for the shoot, Jessica and the model were great to work with, and despite being in a small space, we managed to pull off a surprising bit of visual deception, and when ti came time to edit, Jessica was fairly thorough in her choices and approach as I helped her put the advert together, frequently referencing the storyboard.