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VISUAL NOTEBOOK

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Inspiration and research for my short film, 'The Second Hand'.

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VISUAL NOTEBOOK

  1. 1. VISUAL STUDIES BOOKThursday, 1 September 11
  2. 2. ORIGINAL INSPIRATION Whilst watching Keith Detective’ (2003), I found m G o r d o n ’ s ‘ T h e S i n g i n g entertainment values, to the yself drawn, in aesthetic and ho crime scenes. the opening scen mage to the stylised, witty very interesting, as well as cr e and chase scenes I found into the movie’s inspiration an eative and fun. I researched noir’ genre that I found bothd genre, discovering the ‘film entertaining filmmaking. to be very innovative andThursday, 1 September 11
  3. 3. ORIGINAL INSPIRATION Whilst watching Keith Detective’ (2003), I found m G o r d o n ’ s ‘ T h e S i n g i n g entertainment values, to the yself drawn, in aesthetic and ho crime scenes. the opening scen mage to the stylised, witty very interesting, as well as cr e and chase scenes I found into the movie’s inspiration an eative and fun. I researched noir’ genre that I found bothd genre, discovering the ‘film entertaining filmmaking. to be very innovative andThursday, 1 September 11
  4. 4. BILLY WILDER I N S P I R A T I O N ms ‘Double m noir, I came across the fil of which I As I was looking into fil set Boulevard’ (1950) - both Indemnity’ (1944) and ‘Sun noir films, and both by director Billy found particularly inspiring , camerawork, lighting and direction I Wilder. His characters, sets opriate to what he wanted to convey. found very inspiring and apprThursday, 1 September 11
  5. 5. ‘DOUB LE INDEMNITY’ ANDLER [...] AND ER AND R AYMOND CH OLD STANDARD OF REPARTEE BY WILD H DIAMOND-HARD APHY BY THE GREAT JOHN SEITZ, THIS IS THE G “WIT GHOULISH CINEMATOGR N THE LINE.” (JWin, ‘Time Out London’) ‘40S NOIR, STR AIGHT DOW The first noir film I watched was Wilder’s ‘Double Indemnity’: I was particularly inspired by the use of lighting on set, used to highlight and conceal; the use of venetian bli nds to cut sha dow s acr oss otherwise bland surfaces; the dead- man-walking narrative of Walter Neff, an honest, regretful character try ing to red eem him sel f; and , finally, the iniquitous femme fatale Phyllis Dietrichson. Her immorality, det erm ina tion , sel f-in volvem ent and lust for power inspired me to look at the femme fatale’s motifs in more depth, and eventually base my film upon the “deadly women” of noir.Thursday, 1 September 11
  6. 6. el, Phyllis’ entrance - first in nothing but a white tea tow her then casually descending the staircase, buttoning up ive. dress - was striking, rememberable and subtly seductand I aspire to use similar techniques with mise-en-scene camera movement to create the same effect. VIDEO CLIP - WALKING DOWN STAIRS Phyllis’ reaction when Walter kills her husband (similar to that of Kathie as she kills in Jacques Tourneur’s 1947 noir ‘Out Of The Past’) is blank, emotionless, with the delicate hint of a sadistic smile: VIDEO CLIP - FACE it is all at once haunting and telling of just who she is. WHEN NEFF KILLSThursday, 1 September 11
  7. 7. ‘SOME LIKE IT HOT’ Wilder’s acclaimed 1959 comedy ‘So inspiration: opening minutes of chas me Like It Hot’, whilst not a film noir, still gave me with e the noir genre, and the mise-en-scen scenes through streets and alleyways were reminiscent of luxurious, the perfect interior desig e of the Funeral/Bar and the Florida hotel was ornate and darker and grimier to fit into the filmn of what I wished to capture in my own film, only slightly noir genre.Thursday, 1 September 11
  8. 8. ‘FILM NOIR’ ALAIN SILVER & JAMES URSINI R E S E A R C HThursday, 1 September 11
  9. 9. NA RRATIVE IS O FLEETING A OIR PROTAGONIST A NN IB L E A N D “THE PAST TOIT N IS R E A L A N D T G PHANTOM . MENACING.” and found it hool’s library,taught me the the sc I found this book in l and informative: it as both incredibly usefu ves, characters and directors,. ati range of noirpnarrnt visual conventions of the genre well as the im ortaThursday, 1 September 11
  10. 10. FEM ME FATALE APPED IN A M A L E - G WO M E N T R “[ .. .] ST R O NUNIVERSE, WHO WERE WILLINXUALIT Y, G TO USE DOMINATED N, INCLUDING THEIR OWN SE ANY WEAPO E PLAYING FIELD.” TO LEVEL TH on e character ly informative ble thsight on the ib This book was incred iving me a valua in traits, e fatale, g of the femm rns of the characters, on their help in twists and tu weaknesses, that gave me a lot of strengths and creation and development. my characterThursday, 1 September 11
  11. 11. CARAVAGGIO C I N E M A T O G R A P H YThursday, 1 September 11
  12. 12. plays off ing, espe cially how it nd shado w very inspir ces. ggio’s use of light a lour and tone to his pie I find Carava in and adds such co the human skThursday, 1 September 11
  13. 13. PAOLO ROVERSI C I N E M A T O G R A P H YThursday, 1 September 11
  14. 14. ‘THE GREAT I LLUSION’ I love Roversi’s use play of the shadow of experimental shadows; the u a g a in s t a p la in b s and light cutting across eachse and cinematography (an a c k g r o u n d r e m in d m e o f th other helping make an oth d it’s favoured use of venetian e n o ir erwise ordinary pictu blinds) in re extraordinary.Thursday, 1 September 11
  15. 15. ‘STY LE NOIR’ photoshoot is in inspiration from this t brutal sexualThe film noir lov the almosthe very title: Ias the use of selective lighting and epresence, as wellstume, hair and make-up are alsoshadows. The coinspirations.Thursday, 1 September 11
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  17. 17. NICK KNIGHT C I N E M A T O G R A P H YThursday, 1 September 11
  18. 18. His use of the silhou angles and ligh ‘SKINH power it g ettes against th ting are partic ives. e blinding ular EADS’ white, anly inspiring in th d the sens e of anis photograph: I lo onymity, d anger and veThursday, 1 September 11
  19. 19. PETER LINDBERGH C I N E M A T O G R A P H YThursday, 1 September 11
  20. 20. ‘KATE THE GRE AT’ There is a sense of ‘sleazy glamour’ in these photograp femme fatale. I find the use of focus and blur interesting hs that I think perfectly encapsulates the and hope to experiment with a similar effect. on the photograph of her putting on make-up,Thursday, 1 September 11
  21. 21. ‘LEADING LADY’ esting results I would like to The obvious and severe use of light in this editorial has effective and inter le, less incongruous to its achieve in my film: however, I would like the light source to be more subt surroundings.Thursday, 1 September 11
  22. 22. EMIL NOLDE C I N E M A T O G R A P H Y il Nolde’s I love German Expressionist Em almost d use of heavy, thick outlines an e way . Th seeping stokes in his portraits and white he uses pitch black shadow m ir e th e lig ht is st ri ki ng , an d I ad reality surrealistic detachment from es and star conveyed in the unattached visually disillusioned faces. I hope to tachment, connect this darkness and de ht, into lig as well as his use of dark and my production.Thursday, 1 September 11
  23. 23. CHRISTIAN DIOR RUNWAY SPRING 2010 W A R D R O B E A N D M A K E U PThursday, 1 September 11
  24. 24. WA RDROBE x ous fabric; ers of sheer, lulauris - the idea T ine a pearance: lay he very femins andp eams, seductive reds and b ck cr the dusky pinkdued colour palette for day of a muted, sub a n d b la c k s ) ls ( b a s ic c a m e gainst a sultr y, juxtaposed a lette for se xualised coloublupa, blacks). r es night (bold reds,e noir input of There is also th - modernised, the trench cont li g h te r, b u t a a d s h o r te n e d g a n e le m e n t o f in tr o d u c in o iconography. powerful machThursday, 1 September 11
  25. 25. AC CESSORIES es are co otations of black, holding glannourous and All of the accexsorise, as well as danger. es pen m elegance and sparse yet selective jewellery. classic pieces,Thursday, 1 September 11
  26. 26. HAIR & M AKE-UP “A PROV FATALE OCATIVE, S EYE HA WITH A SIDMOULDERI IRDO AN E- NG F D REDPARTED, OVE EMME LIPS” (ww The make-up in th R- w.style. ONE- noir: the seducti is show was very com) enhanced by flir ve lips make the bold and common of film powerful flawless. The hair tatious eyelashes, the s statement, eyes style: stylised bu is glamorous and remin kin pearly and t not fixed and sti iscent of the 40s ff.Thursday, 1 September 11
  27. 27. MAGAZINE CLIPPINGS W A R D R O B EThursday, 1 September 11
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  29. 29. MAGAZINE CLIPPINGS V I S U A L S T Y L EThursday, 1 September 11
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  35. 35. LOCATIONSThursday, 1 September 11
  36. 36. AER0PLANE Trains are a common convention in noir, visually my film in this way, with an opening shot connot symbolic of the theme of escapism: I wanted in introduce with a more contemporary form of transportatioating ideas of escapism. Instead of a train, I decided to go scenes in David Fincher’s cult classic Fight Club n: an aeroplane. I was heavily inspired by the noir-esque different place - a desire of my protagonists - (1999): the idea of waking up as a different person in a wa December 2010, en-route on a family holiday to Am s appealing and relevant. I will shoot the footage in will use editing and voiceovers to my advantage. erica: unfortunately my actors cannot be on plane, but IThursday, 1 September 11
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  38. 38. I wanted to use a shot out of the window of the aeroplane for the ultimate high angle shot: a God down at the Earth. It would make both my protagonist and her tale smaller, almost insignificant shot looking - the millions of them in the world, an idea inspired by the closing narration of the ‘Naked City’ just one in television show and the opening of Jules Dassin’s noir film of the same title, ‘The Naked City’ (1948). VIDEO CLIP - VIDEO CLIP - THE NAKED CITY NAKED CITY ENDING OPENINGThursday, 1 September 11
  39. 39. S TREETS / A LLEYWAYS osphere of to recreate the omnipresent noir datmfind streets to e real stre et locations in Belfast establishing a level of realism. I trie around filming I wanted to us d populated isolation, as well as and moving/carrying clau strophobia an itable, for the be nefit of my actors e noir world I wished to capture. that were accessliblylosu tions that would easily translate into th equipment, as wel as caThursday, 1 September 11
  40. 40. ‘JOY’S ENTRY’ ALL I found this small alley st EY it’s enclosed, towering st reet in the centre of Belfast, called ‘Joy perfectly captured the fil ructures, that ran not in a straight lin’s Entry’. I was immediately drawn to lighting will be difficult, bu noir mise-en-scene. Claustrophobic, e but were curiously angled - I felt it m t fortunately the traffic go the only ing through the alleyissues are space and people: seems sparse.Thursday, 1 September 11
  41. 41. THE ‘A LBERT CLOCK’ in with my script, and so need a strong presence in my film, fitting ’s towering structure, with its I want the idea of time to be nders throughout. The Albert Clock almost constant visual statues and the way it leans slightly to one side, reminded me of-scene an remi Germ of gothic architecture and noir mise-en Expression, and the bold, simplisti c clock face reminded me of the film simplicity.Thursday, 1 September 11
  42. 42. THE MER CHANT HOTEL my film rather than creating a set that I wanted to film in a real hotel, s in Belfast, I came across The To enhance the realism and quality of results. After researching many hotel s presence and would be low-budget and yieto meorer diately, with it’s strong, gothic architecture, luxurioued and emailed ld po imme Merchant Hotel: it appealedgive my film some glamour, juxtaposing the subject matter. I phon in the hallway inherent elegance. It would me access to one of their rooms twice, as well permission to film the hotel and they permitted erchanthotel.com. and outside. Photographs: www.themThursday, 1 September 11
  43. 43. THE LIGHTING r films, yet my location I wanted to re-create the effect of the venetian blinds seen so frequently in noi Y venetian blinds using internet to create my own D.I. didn’t have venetian blinds. I got the idea from the tionately across the box, I set it up in front of the light a cereal box and scissors; after cuttingetian propor e shadow across the room. slits blind typ - that, when turned on, then cast a venThursday, 1 September 11
  44. 44. DIANE C H A R A C T E R S Diane is the dame of the tale, as we for power and control, but has fou ll as the protagonist. She has entered the world of crime femme fatale, luring men to their nd it controlling her. Stuck in this world of crime and de in a search ce explores her entrapment, as welldeserved or undeserved fate. The film is one of her man it, she is a redemption or reverie, but, in noir as her lust for dominance. At the end of the film y stories: it fashion, is stuck in the life she has she finds no made for herself.Thursday, 1 September 11
  45. 45. FRANK / MANC H A R A C T E R S oking for, but of the cruel noir fate. He is not the man Dianheis lo everyman, e is an Frank is Di ane’s victim, and a victim d into her life; his name mirrors his nature: n he catches Diane is entangle wn whe through a simple mistake a slight privacy problem and temperaments(sho meaningless to her, as it is with soul honest and sincere, pockets). He is killed as he wastes Diane’s time,ehi turns and finds the man she is Dian re looking through his oking for. At the end of the movie, when e Diane’s entrapment in her deadly cycle not the one she’s lo ally the twin of Frank: this is to symbolis looking for, he is visuhat she does, she cannot escape. and how, no matter wThursday, 1 September 11
  46. 46. THE GUN P R O P S ally for it’s size and I bought the gun from Amazon: it was a small, blue cap gun. I choose was drawspecithe style of this gun, and I this one n to design: a bigger gun would not have fit into Diane’s bag as easily,in style. as it reminded me of Phyllis Dietrichson’s, and is quite feminine ng it a matte black. I then bought black spray paint and sprayed the gun completely, leaviThursday, 1 September 11
  47. 47. THE PAPERWORK P R O P S working for, I wrote in a insight into the character of Diane and ing o she is of the man she is after. I wh To give the audience more paperwork, contain details short scene in which we see her pourint Ioverld use the font ‘Hammerkeys‘ (I choose it for it’s messy, g cou created the papers in Photoshop so tha on her victim. Then, to bulk it up, I printed out several pages of typewriter style). I wrote a short fact file I choose this specific book because of it’s themes on loneliness J.D. Salinger’s ‘The Catcher In The Rye’:slightly to make them look more worn and read, and annotated and confusion. I crumpled up the pages several pages and quick notes. ided the character of Diane would hide I hid the pag es in Paul Auster’s novel ‘The New York Trit: I chodec this book for it’s first story (‘City Of sigh logy’: I ose the paperwork, instead of keeping them in plain more about the human identity and reality, as well as Glass’) because, though it is a detective story, it is madness.Thursday, 1 September 11
  48. 48. THE SUITCASE P R O P S I After deliberation, I choose this suitcase because t: compac wanted the suitcase to be small, black andto reflect sleek and stylish, with minimum fuss, Diane’s lifestyle.Thursday, 1 September 11
  49. 49. THE BAG P R O P S a bag that gave the I bought this bag in a charity shop for the purpose of this production: Ibag I ted it gave that aura. The wan felt and gold chain on this impression of being expensive, and with the white silk shing Diane’s gun at the same time. white colour of the bag symbolises purity, ironically staThursday, 1 September 11
  50. 50. FRANK’S WARDROBE W A R D R O B E mal as possible, to reinforce him as an s wardrobe to be incredibly simple and as norck trousers and a white shirt, as well as a I wanted Frank’ ck shoes, bla everyman. I chose the basic everyman uniform of bla et, I attempted to find or borrow a man’s trench coat paisley printed tie to add some character. For his jack , the wrong design or too expensive for my budget. but had no luck: the ones I found were either too big asked him to wear it, feeling that it added a homely, I However my actor had his own large, woollen blazer: lower class feel to the character.Thursday, 1 September 11
  51. 51. DIANE’S WARDROBE W A R D R O B E For Diane’s wardrobe, I went through a lot of choices, from my own wardrobe, my sister’s and my friends. From my inspiration from I the Christian Dior Spring 2010 runway,ls: wanted to keep the day costume in neutra in strict beiges and black. And for the evening costume, I wanted to inject bold colour. I photographed each piece from a angles to try and get an idea of how it variety of wo on film, especially at extreme low angle uld look evening costume. s with theThursday, 1 September 11
  52. 52. I wante and luxd the jewelle cheap. e, avoiding ry to be ve M gold and y aspiratio things that ry sophistica pearl - b ns f wer ted oth of wor the colour e kitsch or hich ooz th e glamo eme was ur.Thursday, 1 September 11
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