Of Visions and Mixtures

The vision in mixtures

For my film opening I'm going to start the film with the narration as a stream of consciousness, the visuals will  mirror  the disjointed thought pattern to add a sense of abstract realism. As the pattern of thought gradually settles, the narration will shift  into a narrative form,. the visuals will be shown more steadily, they will unveil progressively as the film introductions and moves toward a more structured atmosphere.

As to the sound: Besides the voice over narration, I will be using  diegetic-sound  on the stream of consciousness  but for the for the actual narrative, I will use as a non-diegetic sound the sound of classical a septet. I chose the septet because it  belongs to the romantic era of music, it will add warmth and closeness in addition, the current where it developed paid emphasis on their structure and composition, so to chose a structured piece without much severity and unsteady facets, will aid to contain the diverting ideas in a soothing background.

As for the acting: To express the ambiguity of time in the person as well as their enduring essence I will shift my character's age on the visuals. For example for the character of the grandmother, which the narration will describe her using elements that revolves around anciently and decay, she will be portrayed as a  young woman in the visuals and her liveliness will be enhance on the angles shots. In précis, the narrative will represent the time and the visuals will represent the being.

A Confession of Purpose

A Confession of Purpose

How to mend the danger of the single story of time...

"Telling a story from another point of view saves people as-well as ideas."

There are moments when we say that some people have their "inner child" who doesn't age throughout the years. Or say that there are people that  are wise beyond their years. We have all seen the special innocent smile that some elders sometimes wear, and we also have seen the deep and almost sage expression on some of the infants' gazes. When we see those details, they seem to captivate and almost tell an unspotted secret about us. In such times we presence an untold story...

Society is structured by time, everything has  a date and an hour: birthdays, deaths, journeys, breakups, anniversaries. It helps us keep track of events and important things, but more often than not is also constrain us in the form of deadlines, stress and anxiety. People worry about getting older of loosing youth, people worry about  aging and about growing. People tend to forget about those smiles and gazes that once reminded them that there is something bigger and greater than time...

I took the challenge to remind the people about that something, The idea of truing that notion inside-out to the the people is to surprise and innovate by remembering. It is meant to make people see explicitly what in reality is  tacit and veiled. It is a statement about how much real and how much weight our inner presence has and contrast it to the austerity and relativity of time and age with is often weighed and valued blackguards.

The film will be an experience that will bring the viewers closer to their atemporality and immensity. It is an honor for me to provide with the medium and the production of that experience as I know that  reality sometimes portrayed time as  something intimidating, I have dealt too many times with  the idea of the passing of time and its inevitableness, I have seen theres anxiety and even the depression that it brings. By reminding the people that there are some aspects of our being that never seems to be affected and  by highlighting the people that some other aspects are in constant growth through the experiences and enrich our lives,  they can achieve  state of wholeness and empowerment as they  feel an  embrace and a consolation.

From the foundation to its color

Decisions, desicions, special comment about my decision on my main theme

"After a weary an indecisive track, I stumble upon many  precious insight about how architecture can elope with most of our human angst. So I decided to cut down the chase and blindfolded picket one analogy. I chose the atemporality of the being and its decay and remerging  through the passage of time. "

My mother is a fish!
Now that I have a solid  base line, I may continue to the craft my dialogue, and to that I'm choosing to present it as a narrative, more specifically on a stream of thought.  After reading Faulkner and and Proust, I grow very fond of conveying an insight through a stream of consciousness and detailed narrative. Unlike Proust I will not base upon a specific memory, rather by series of diverting observations that collide in a stream like Faulkner, but with the detailed depth of Proust.(http://www.shmoop.com/as-i-lay-dying/writing-style.html) The composition of the narrative will reflect some of the characteristics of my character, as in the example, and even I may venture to connect different narration of the characters, who knows?

Tchaikovsky is He the One?
Meanwhile the stream continues to warms in my brain. I will like to find inspiration in music. I will like to enhance my dialogue with it, and what a better way to open a film that with an overture.(http://en.wikipedia.org/wiki/Overture) I would like to feature Tchaikovsky for his dreamy atmosphere, listening to 1812 Overture, setted my standards pretty high. My subject of my narrative has to be solid enough to keep up with the clamor. The piece speaks of hope and dignity,  if I would talk about those themes I would choose it, but I'm looking for something more diluted. I will want to convey the atemporality of existence as it ages, so I want a lot of pauses, silences and repetitions. Any suggestions? I have in mind a lapse of hundreds years from now. I will be interesting to convey in modern time a tone created so long ago, besides antique music is generally disposed to the public domain, its a combo!
Music for the public domain can be found on:  https://musopen.org

A Sketch

Rough Sketch Of Introductory Dialogue:

I can be a kindergarden, I may pull back my hat and unlace my shoelaces and our youth can be  shared. And as I  grow up, I can  be a tall building of a big city, made of steel. And  I may pull a solid very grey tie and a shiny shoes to claim adultness.  

I distress then now as I think about it because I have to keep it  realistic, sometimes I have to tie my shoelaces so I don't fall and turn my hat around for the sun, and for the future near to come I may relax my tie on summer and stain my shoes on its rainy days. Does that meant that I become less of a kid, or less of an adult?A disappearing flight overcame my senses. Oh I hope not to disturb my bricks by these melancholic schemes.

I remember what my grandma use to say when she referred to the unusual countenances of  the tablecloth, as she aired it, in her mischievous paused voice said: “The impediment  seeing the tangible aspects of it may not be a problem, the problem is when people cease to see a meaning in it and forget its an illusion.”

Her gaze was all wrinkle but  her smile and eyes remained unaffected. And although her gaze seemed more heavy and more attached to the bone she attained  the kind of dignity a fainted facade bestows on its longevity…

Research on Architequture

In the midst of the feeling

Research:

Source 1:

Architecture, unlike all other arts, serves a functional

as well as an aesthetic role.

The architect Louis Kahn once commented that

while a painter can paint square wheels on a cannon to express the futility of war,

and a sculptor can carve the same square wheels, an architect must always use

round wheels.

Although he was making a polemical point, his aphorism does

hold true: a building must not just look good; it must also serve a purpose.

https://www.academia.edu/2291027/How_do_buildings_mean_Some_issues_of_interpretation_in_the_history_of_architecture

by: WILLIAM WHYTE

Source 2:

Each nuance that a building emits comes together to become more than the sum of its parts. And often, that sum can be said to be an inherent character that a building exudes. But where does such character come from? And how do we know that a building has personality?

Even something as simple as the way a handrail feels as you glide your hand along it while going up the stairs can feed into what you perceive as an environment’s personality. Those details that feed the senses come together to engage you — just as the sounds that a building’s materials make as you walk across the floor can tip you off about that space’s characteristics. Again, such details all come together to yield more than the sum of their parts. But what does this mean? Why care about your building’s personality?

In all of the places where your architecture “touches” its occupants, its personality gets formed. And this is true for all those that experience your building — both for those within it and for those who experience it from the exterior. This means that your building also gains personality in the way it relates to its neighbours — where it takes its own place within a larger context. Perhaps that means it has a role to fulfil or that it has a message to convey.

Whatever the case, know that when you design, you need to think about how your building will take its place, as it “touches” its occupants in meaningful ways. And each time that your building interacts with occupants, it is revealing a piece of its personality.

http://sensingarchitecture.com/8743/what-gives-a-building-its-personality/

Comments:

It make me think that architecture sometimes has to scarify some of its meaning for usefulness and to bare with reality, I wonder it it happens the same with us, we also tend to chop down some of our expressions to make an effort to move with our respective roles: I no longer see adults run on streets or smile too much, maybe they are contracted with too much utility and functionality. They have cease to give a meaning of fun and leisure, even friendliness, for their functions as “adults.”

Also there is the idea that as life happens it appears to faint our facade. Our expression seemed more heavy and more attached to the bone, silly lines tend to curve our in expressions.We must not forget that life is gives us character and courage, they are an impression of a lifetime. 

Of Boundaries and Mountains

Part one: Fabricating an idea using the limitations of the environment as a starting points.

Before any sort of story can be presented, the director must bear to see the boundaries and the limitations of tools that will aid to the confection of his or her creation. By the light of creativity and imagination one can overcome the boundaries with the conviction that the idea must be born and must come to exist.

Introduction:
My boundaries will be listed as an apparent statement. Then a question may arise to give the reflector to a chance to tame the impossible. The answer may contain an insight to the creation of the story or further search of information may be stated. Then an example may lead to an idea and the idea to a possibility.(lightbulb)

Lets begin:

Statement: People available to use as characters are constrained.

Question: How I am going to create characters without using persons?

Answer: By alluding to personification and animation of still life.

Example: The architecture itself can be a character (Sidewalls, 2011)

Light bulb: The main character may dialogue with the structures; each will create its identity and aid to the interpretation.

The things around may also, in their own utility, serve as a parlors and focal points to the main character. (The beauty and the Beast, Disney)

 Additional materials:

A study of personification can be use the architecture of an accessible location (Florida: Weston, Miami). Search for the form and geometry of personality, look for trends (Art deco maybe) and use them to develop the character. Use common sense: Let the forms be inferred (Picasso aggressive sharp straight lines or smooth calm curvature)

Search for the most common materials at hand, and gather their character.

Light bulb: The main character can be discovered thorough the animated characters

Who I’m not in order to know who I’m to be me?

Statement: Quality of the camera and its dimensions only provides a single lens.

Question: How can I create new lenses)?

Answer: Water (in all of its phases) and Glass allies.

Idea: Our main character may be described in first person; water could be use during stages of confusion and or illusion. Glass can be use to connote a feeling of separation.

Additional Materials: Search visual effects of water, mirrors and plastic.

Light bulb: Main Character may be abstract or never found. Misguided spirit, curious angel?

Worm-wrap(aka foreshadowing): The opening could be used to foreshadowing the quest for discovery by they to be decipher the setting.

Welcome

Welcome to the journey of an idea that took flight in a short film opening!

Through this blog, you special visitor, will be witnessing the process of that idea, the dissemination of its purpose and intention. In addition, you will understand how, through discovery and research, and more importantly through inspiration, one can materialize a reality.