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The Picture of Dorian Gray
Pitch Document
2011‐02‐05
Thomas Beg
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The Studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the
trees of the garden, there came through the open door the heavy scent of the lilac, or the more
delicate perfume of the pink‐flowering thorn...
In the centre of the room, clamped to an upright easel, stood the full length portrait of a young man
of extraordinary personal beauty...
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"The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick
with longing for the things it has forbidden to itself. " – The Picture of Dorian Gray
Overview
The Picture of Dorian Gray (2011) is a re‐imagining of Oscar Wildes's 1890 novel of the same
name. Thomas Beg, the CG Artist behind the recent recreations of The Garden of Earthly
Delights and Under the Volcano is about to introduce to the world, an explosive retelling of
a classic novel. Harnessing Wilde's original exploration of human sin and the latest
computer animation technology, a well worn classic is about to be reinvented.
This new vision of The Picture of Dorian Gray is a 1:30‐3:00 digital animation, intended to be
projected onto a wall or any suitable surface. The audience will be plunged into a dark
Faustian fantasy which explores the relationship of sin and its impact on the soul of an
individual.
The Picture of Dorian Gray (2011) builds on tried and tested animation techniques and
building methods but also pushes the boundaries in a number of key areas:
Projection: The use of video projection will open a portal into the world of the animation. It
breaks free of the computer or TV Screen with the intent of giving the animation a far more
theatrical and tangible quality. By projecting onto a wall, door or any other suitable surface
the audience is allowed to approach close‐up, touch and become part of the animation. The
animation is designed with the full length portrait shape in mind, giving it a dynamic aspect
ratio which drives much of the design of the animation.
Visuals – Taking influence from a wide variety of eclectic sources including: Gothic Horror,
German Expressionism, Film Noir, Eastern European Animation and Italian Futurism, The
Picture of Dorian Gray (2011) boasts a stunning, abstract and beautiful adaptation of
Victorian era London and the characters within the novel.
Software – Using the power of Autodesk Maya 2011, Adobe Photoshop, Adobe After
Effects, Adobe Premier Pro and additional scripts and plug‐ins. Innovative approaches within
the software give the animation an entirely unique look.
Story – Wilde's story remains a timeless classic. The animation condenses Wilde's original
text into a much shorter précis of the novel. Techniques such as non‐linear narrative help
aid the shortening of novel allowing much unimportant text to be removed, without losing
the key narrative.
Sound – A high quality voice‐ever from an experienced industry professional provides the
audience with the narrative, using passages taken directly from the novel. A lavish music
track is also used to accompany the voice‐over.
After years of formulaic approaches, The Picture of Dorian Gray (2011) is the artistic vision
the novel has been longing for.
