The Second Year

musings from james carroll

[the--second--year]

Blog Task #2

I have chosen Emmanuel Lubezki and Matthew Libatique as cinematographers that I believe have a similar style to what I wish to achieve through The Santification of Stardom. Below are clips of their work to reference to my research and opinion. Emmanuel Lubezki: https://vimeo.com/99452979 Matthew Libatique: https://vimeo.com/95602911

The reason I adore Lubezki is mainly because of his trademark stylistic tendencies. Firstly, his absolutely stunning command of natural night is to be noted. This is apparent in the past three Terrence Malick films he has worked on, through his improvisatory and often playful camera work. He creates something complex through beautiful natural lighting and produces really visually arresting images for contemporary film audiences. I believe that my piece can relate to this technique a lot, as I want visually eye popping images, but created through playful and often experimental camera work.

However, it is Lubezki’s work with visionary director Alfonso Cuaron that really showcases his ability to craft complex, yet extremely immersive long takes that guide the viewer through the unbeknownst of the cinematic world. Not only do I want to create a ‘one shot’ feeling throughout my short film, but implement the technical cheats and tricks which Lubezki utilises in some of his recent work. From his latest work on Birdman to the crazy car rigging of Children of Men, these can both be used as references. His ability to also shoot around special effects, yet create visually arresting images in their own right is purely incredible. Chivo has already accomplished some amazing cinematic feats in his 30 year career. However, the fact that he's only 50 years old hopefully means that we'll be witness to a hell of a lot more in years to come.  

The reason I believe Matthew Libatique is such a brilliant cinematographer is because he creates a visual language through atmosphere. He’s shot big-budget, glossy comic book films like Iron Man 2 and then gone to low budget thrillers such as Black Swan - but still keeps a very distinct visual style of producing darkness yet in strangely open spaces. I would love to reference his work on Black Swan for my short film. With it’s dark, moody lighting and imagery underscoring the inner psychological disintegration of an obsessive ballerina, his shots create a claustrophobic feel by virtue of exposure and also the texture of the film. Although we’re obviously not shooting on film, I believe that using mirrors, reflections and a black and white monochromatical colour palette could really assist in setting a clear tone for my piece. His way of lighting 360 degrees whilst moving the camera all around sets and atmospheres is inspiring and furthers the story, by opening up spaces and textures for the audience to witness.

In terms of their technical approach to filming, Lubzeki is extremely digital in his approach, but as I’ve previously mentioned - uses a large degree of natural lighting. Whilst on the other hand, Libatique figures out ways of lighting in the round as to shoot with a Fuji Vivid series 500 ASA, which mitigates grain to add an ‘old time’ feel to his work.

[the--second--year]

[REC] (2007)

REC is a Spanish horror that effortlessly frights, sending stress levels to the max, with it’s fast pace and eerie yet effective handheld camerawork. The superb acting combined with the genuinely engrossing plot, boasts enough twists and turns to keep the audience engaged. A truly horrific and consistent piece.

[the--second--year]

Claudia Rose Holmes - A Visual Portrait

From interviewing Claudia, I have truly learnt what a very content person she is. She’s someone that doesn’t take herself too seriously yet has so much knowledge and insight into film, something I adore. I truly wished to capture her almost as an emotion. The visual portrait isn’t meant to be taken seriously, it’s a parallel to the laughter, cheerfulness and element of surprise I feel upon speaking with her.

[the--second--year]

My drawing from the David Shrigley exhibition.

[the--second--year]

Audition (オーディション, Ōdishon)

Director: Takashi Miike; 1999.

Audition is a grisly and shocking film, a Japanese psychodrama that truly unsettles the sense and lingers with you for days after. The extreme build up of sexual tension provided a dreamlike state. Combined with the Grand Guignol ending, it serves as a melancholic masterpiece, not for the squeamish.

[the--second--year]

Blog Task #1 - Myself

I’m going to write a deliciously cliched introduction because every piece of work I seem to produce is so overfilled with cliches and nods to terrible tacky films I remember from my childhood, that just wouldn’t feel right not to.

Ever since I can remember I was obsessed with the moving image. My parents told me that at Kindergarten my teachers would have to drag me away from the only Windows 95 PC in the room because I had a tendency to just stare at any form of media file I could find. Whatever presented itself to me, I was always fascinated with the story it told. The emotion it provoked within me. I love reactive people and probably because I am one myself.

I’ve since been through every cheap model of video camera I could get my grubby hands on, whether it be filming ants in the garden or making recreations of Monty Python’s Flying Circus with Lego figurines featuring my cats as extras.

In my opinion, telling stories through film has truly become my life because it’s something it revolves around daily. Although my day to day activities may not be as exciting as the majority of situations on screen, there is always constant material that provokes an idea. It’s these ideas that make me jump out of bed, even when I’m exhausted, to produce something that will excite my senses and hopefully excite others.

In terms of my best aspects of myself - I seem more confident in visually piecing together a frame than writing it. I’ve never enjoyed writing. I can easily imagine a clear visual image and the underlying message the audience should receive, but never seem to be able to put pen to paper. Or fingers to keyboard.

I believe I’m a confident editor, but also need constant validation for my work. I need more confidence in my work, because if the work is good, why not have faith in it? Whilst I hardly doubt myself on a set and go with my gut instinct, I’ll spend hours debating over minimal elements of an edit or simply whether I like/dislike the work. There has been times when I’ve wanted to destroy something that I now reflect on as a brilliant creative moment.

I’ll only truly have the drive to create a short film, if I have a passion for the idea, subject or topic. Maybe that’s something I need to change about myself, I don’t know. But if I truly fall in love with a concept, there’s something within me that will somehow make it a reality.

Hopefully this was deliciously cliched enough!

"Art…affects a person’s emotions, not his reason…When you see a good film…you are disarmed & entranced from the start—but not by an idea, not by a thought…The idea of a great work…is as multi-faceted & indefinite as life itself. The author cannot therefore reckon on his work being understood in one particular way. All he can do is present his own image of the world, for people to be able to look at it through his eyes, & be filled with his feelings, doubts & thoughts…"

Andrei Tarkovsky