As the bulk of the action in my film occurs in an imagined dreamscape that represents the protagonists inner world I am interested in exploring experimental and unusual transitions. I would like to utilise the backgrounds to create a sense of organic flow from one scene to the next in the hope of evoking an amorphous space. A space that is responding to the narrative.
As part of my research I have been looking at the Catch Me If You Can opening credits and its use of strong graphic shapes that can represent a door one moment then a chair leg the next through the creative use of scale. The characters move in, through and across these shapes. The shapes themselves become wipes, like the airplane flyover transitioning to a freeway.
Another aspect of the work that requires research is the balance between abstract and figurative, the level of accessibility in the film as it must represent the protagonists individual world while remaining relatable to the viewer. One of the films I’ve watched in relation to this aspect is A is for Autism by Tim Webb. This film does a powerful job of visually representing the participants world while also maintaining a narrative thread for the viewer to follow. As a person on the autistic spectrum myself it also serves me personally as a confidence boost to trust my own visual language and how I see the world as represented through my film.
Another film I’ve used for research is A Different Perspective by Chris O’Hara for its inventive use of scale and movement of the characters through the foreground, middle ground and back ground planes. It plays with the conceit that though the layout may conventionally represent a three dimensional world, it is still also a flat drawing and the characters can interact with it on both levels. I’d like to try investigate using these techniques for my film especially in the wooden floor sequence with the transition from the foot stomp echoing down to the Melancholic Wife.