I have a meeting tomorrow with Phil Smith, who taught the Dreams on Film class I took this summer. This class was a big inspiration to me in the content I want to address, which affects both the manner of story and the visual aesthetic it is treated with. Now that I am preparing my pitch for him tomorrow it has really come to my attention that I think part of what I wanted to show originally has gotten lost in all of the elements I have been dealing with, so I'm going to try to write it out.
Something that has been important for me to show and that I have wanted to show for a while is the idea of the dreamscape, and the space of the mind made physical. I thought that this idea would assert itself in the narrative I had created because of the non-linear and segmented manner it has been cut into. Now, however, I feel that a more appropriate way to describe it would be to find the dreamspace and allow the narrative to come from that. I think that I feel too rooted in 'making sense' right now, but the core idea, and the atmosphere, and the ambiguity I want to describe does not necessarily make sense - I probably feel stuck because I am contradicting my own vision.
While I enjoyed working with the set I think I really need to let go of some of that technique in order to achieve the aesthetic that I want. At Ottawa one of the panels that really impressed me was Thurop Van Orlen's presentation on the piece he has started pre-production on, Black Forest. He is creating this piece in stop motion, with a flattened sort of look to it.
I really liked the use of lighting and textures in the concept work he showed and it allowed me to consider stop motion again without using a full stand up set. I have seen this in Pjotr Sapegin's work as well - I think I just need to update it for my own personal technique and practical goals.
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