tv: sense8 season 2

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  • looking through news articles, saw it being described as an ’emotional catharsis’ – would agree entirely, able to capture heightened and very real, grounded emotions in a way I’ve never experienced with another TV show before
  • able to recapture the feeling and essence of the first season whilst expanding plotlines and having character development
  • makes me very happy that there is representation of an asian female main character who’s character/personality doesn’t revolve around their ethnicity, is given major plot lines and able to go through the journey a main protagonist would
  • love seeing diversity of all 8 main characters together on screen, championing unity freedom, love and peace

films: in the mood for love/chunking express

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Chungking Express (1994) – Wong Kar Wai

  • most striking cinematography style: slow motion blurred tracking shots moving through backdrop of Hong Kong locations
  • stunning neon colours, captures the vibrant energy that I view my city as through my eyes
  • matter of fact, fragments in time way of storytelling, feels very real and ‘slice of life’, very refreshing and perfect way to capture the contrasts of a HK lifestyle

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In the Mood for Love (2000) Wong Kar Wai

  • unusually vibrant colours used to depict ‘period’ setting of film, refreshing compared to muted colours commonly used
  • slice-of-life storytelling of forbidden love, subtle in how the protagonists never fully express their feelings for each other, are ships in the night connected at this one point in their lives

–> animation inspiration: bold colours, slice-of-life style of storytelling

animation research: The Maker

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  • tonally – very effective in capturing sombre mood, mysterious tone
    • helped through colour scheme + lighting, muted colours, minimal lighting
  • under 5 minutes but able to capture effective, moving story with two characters
  • quirky, not-of-this-world aura and style –> inspiration for our animation, aim to capture similar mood and tone
  • thematically: raises questions of passing on, life after death, inheritance, futility of life
    • very existential ‘wider’ themes, also touched upon in aesops fables

film: LA LA LAND

PODCAST: deconstructing the ‘Audition’song 

  • pop songs = adjective
  • musical song = verb
  • voice leading music and accompaniment like in real life audition
  • interesting to see individual layers stripped down: each instrument getting its time in the song to shine and add depth and meaning

THOUGHTS ON FILM

  • MAIN THEME: beautiful and reflects story centred on Mia and Sebastian
  • JAZZ EXISTENTIALISM, RIFFING AND ABOUT COMMUNICATION WITHOUT LANGUAGE TROUGH WORDS
  • Theme: ART – WHAT DO WE DO IT FOR, WHAT IS THE DREAM WORTH? KEEP STRIVING FOR BIGGER HEIGHTS
  • cinematography: LONG SHOTS, amazingly planned and choreographed
  • motto: LOVE DOESNT ALWAYS WORK OUT
  • THE HEARTACHE OF ART, the struggle

 

 

 

film: arrival

  • cinematography, shadows, editing!!!!!
  • lack of sound in flashbacks
  • edge of your seat
  • language start = end!!!!!!
  • time is a language!!!!
  • divorce positive representation within a relationship +no kiss!!!!
  • language + dialogue = action replacement!!!!!
  • the end is the beginning
  • working  together, aliens are good
  • representation=cooperation is key!!!!!!
  • black vs white = perception vs reality of good and evil
  • arrival is the departure of another
  • absence of info, what is not said, cut when louise first talked to alien, didnt tell us what happened
  • placement + evolving alien ship position/shape

 

DIRECTOR: Denis Villeneuve

PRODUCTION DESIGNER: Patrice Vermette  – article with interview about Arrival’s production design

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  •  ‘high art take on the extraterrestrial spaceship and language’
  • ‘…so we all have some preconceived idea of what an alien ship should look like. We wanted to take a different route and explore various shapes.’

DESIGN PROCESS:

  • read script
  • collect images (books, personal library, internet)
  • emotional response to words
  • assemble images into mood boards
  • brainstorm visual directions for film with director, set decorator, art director

  • inspo for spaceship from photo of oval exo-planet outside solar system, a smooth stone
  • hovering spaceship = refrain from human contact, humans have to initiate contact
  • ship interior, false gravity/direction change: to create mixed motions of danger and fascination, ‘light at the end of the tunnel’ visual metaphor

 

  

 

  • contrast of alien tech to modest tech used by humans to access aliens, matter of fact practical approach
  • wall texture = resembles sediment rock, built up layers of history/wisdom of alien civilisation
  • main chamber = resembles classroom, metaphor for aliens teaching humanity
  • juxtapose peaceful alien chamber with chaos in military tents

 

further reading: The Verge film review/discussion