Sunday 24 October 2010
Thursday 21 October 2010
Thursday 23 September 2010
Fifth Panel Meeting held on 26th Aug, 2010
After showing my animatic, I was advised to make certain corrections and improvements in terms of shots and camera compostion. It was suggested to me that the dream sequences be treated differently from those depicting reality, unless it was my intention to keep the sequences ambiguous until the end.
Once again I was asked to consider adding some more information about the character of the girl, in the form of descriptive sequences, either in the beginning or an exposition towards the end.
During this meeting I also exhibited some of the background scores and effects, and was asked to show a complete final draft of the animatic that included the changes suggested beforehand, along with the audio aspects.
In conclusion, we agreed that I would deliver a final version of the animatic at the next meeting, approving which, I would begin production of the film. This animatic, so to speak, would be more “descriptive” than the usual animatic, incorporating the ‘key’ drawings which would then be used during animation.
Once again I was asked to consider adding some more information about the character of the girl, in the form of descriptive sequences, either in the beginning or an exposition towards the end.
During this meeting I also exhibited some of the background scores and effects, and was asked to show a complete final draft of the animatic that included the changes suggested beforehand, along with the audio aspects.
In conclusion, we agreed that I would deliver a final version of the animatic at the next meeting, approving which, I would begin production of the film. This animatic, so to speak, would be more “descriptive” than the usual animatic, incorporating the ‘key’ drawings which would then be used during animation.
Wednesday 22 September 2010
Monday 6 September 2010
Script_Update2
PART ONE
Inside the bus.
He stands all alone in the bus.
He looks puzzled, almost like he doesn’t know how or why he got there.
As he turns to look one way, he spots the figure of a girl watching him from one end of the bus.
Inside the airplane.
He sits all alone in the plane.
He looks puzzled, almost like he doesn’t know how or why he got there.
Once again the figure of the girl watches him from a distance.
PART TWO
Inside the bus at the airport.
SFx:
1.Closing of bus door
2.Ominous Background Score
The door hisses shut as he stands alone, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
A man stands nearby, appearing to look at him.
He looks back, nervously.
They exchange looks, and with each glance he gets more nervous.
He appears to be afraid, gulps slowly and shrinks away.
The dark shapes begin to gather closer together while he looks from them towards the parked airplane.
SFx:
1.Opening of bus door
2.Starting of aircraft engine
PART THREE
Inside the airplane.
Sfx:
1.Aircraft Ambience
He sits in the window seat, fiddling with his seatbelt. (Metallic sound)
He bites his lip, frowns and turns to look at a passenger seated near him.
Cue Score.
The passenger has just picked up a packet of nuts, which he now rips open. (Ripping plastic packet sound)
He shuts his eyes forcibly. (Single frame shot showing maggots crawling around in decomposing food?)
The man begins to pour some nuts into his hand. (Plastic packet sound)
He clenches his fist tightly.
The man puts some nuts into his mouth and begins to chew. (Chewing sounds)
He winces.
Close up on the passenger’s mouth chewing loudly, completely oblivious. The mouth begins to appear grotesque (long teeth, forked tongue?)
Close up on his eyes shifting back and forth rapidly.
He turns to look ahead, visibly troubled.
Scratching sound heard.
Another passenger scratches his face behind him. (Scratching sounds)
He turns his face to look at the source of the noise from the corner of his eye.
Man continues to scratch, getting louder. His nails appear to be long and claw-like.
He loosens his tie, and gulps.
The passenger’s face now appears to be pale and white, visibly scaring him.
He shuts his eyes tightly, opens them and reaches into his pocket.
He takes out a plastic vial and taps out a few pills into his hand.
He swallows some and shuts his eyes.
PART FOUR
Inside the bus.
He stands all alone in the bus.
He looks puzzled, almost like he doesn’t know how or why he got there.
As he turns to look one way, he spots the figure of the girl watching him from one end of the bus.
Inside the airplane.
He sits all alone in the plane.
He looks puzzled, almost like he doesn’t know how or why he got there.
Once again the figure of the girl watches him from a distance.
He looks down at his hands.
He is horrified at the claw-like nails and the pale white hands he sees.
He turns away, looking at the window.
The reflection of his face is grotesque, his mouth much like that of the passenger that was eating next to him.
He wakes up with a start back in the airplane.
He looks out the window to watch the terminal coming closer.
PART FIVE
Inside the airport.
The girl awaits his arrival.
She spots him and smiles.
He smiles back at her.
They hug each other.
The two are seen leaving the airport together.
PART SIX
Inside another bus.
The girl and he sit next to each other.
She smiles at him.
He smiles back.
She touches his cheek.
He continues to look at her.
Another passenger looks in their direction, rather puzzled.
She sits in her seat, reaching out into thin air, smiling.
The seat next to hers is empty.
Inside the bus.
He stands all alone in the bus.
He looks puzzled, almost like he doesn’t know how or why he got there.
As he turns to look one way, he spots the figure of a girl watching him from one end of the bus.
Inside the airplane.
He sits all alone in the plane.
He looks puzzled, almost like he doesn’t know how or why he got there.
Once again the figure of the girl watches him from a distance.
PART TWO
Inside the bus at the airport.
SFx:
1.Closing of bus door
2.Ominous Background Score
The door hisses shut as he stands alone, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
A man stands nearby, appearing to look at him.
He looks back, nervously.
They exchange looks, and with each glance he gets more nervous.
He appears to be afraid, gulps slowly and shrinks away.
The dark shapes begin to gather closer together while he looks from them towards the parked airplane.
SFx:
1.Opening of bus door
2.Starting of aircraft engine
PART THREE
Inside the airplane.
Sfx:
1.Aircraft Ambience
He sits in the window seat, fiddling with his seatbelt. (Metallic sound)
He bites his lip, frowns and turns to look at a passenger seated near him.
Cue Score.
The passenger has just picked up a packet of nuts, which he now rips open. (Ripping plastic packet sound)
He shuts his eyes forcibly. (Single frame shot showing maggots crawling around in decomposing food?)
The man begins to pour some nuts into his hand. (Plastic packet sound)
He clenches his fist tightly.
The man puts some nuts into his mouth and begins to chew. (Chewing sounds)
He winces.
Close up on the passenger’s mouth chewing loudly, completely oblivious. The mouth begins to appear grotesque (long teeth, forked tongue?)
Close up on his eyes shifting back and forth rapidly.
He turns to look ahead, visibly troubled.
Scratching sound heard.
Another passenger scratches his face behind him. (Scratching sounds)
He turns his face to look at the source of the noise from the corner of his eye.
Man continues to scratch, getting louder. His nails appear to be long and claw-like.
He loosens his tie, and gulps.
The passenger’s face now appears to be pale and white, visibly scaring him.
He shuts his eyes tightly, opens them and reaches into his pocket.
He takes out a plastic vial and taps out a few pills into his hand.
He swallows some and shuts his eyes.
PART FOUR
Inside the bus.
He stands all alone in the bus.
He looks puzzled, almost like he doesn’t know how or why he got there.
As he turns to look one way, he spots the figure of the girl watching him from one end of the bus.
Inside the airplane.
He sits all alone in the plane.
He looks puzzled, almost like he doesn’t know how or why he got there.
Once again the figure of the girl watches him from a distance.
He looks down at his hands.
He is horrified at the claw-like nails and the pale white hands he sees.
He turns away, looking at the window.
The reflection of his face is grotesque, his mouth much like that of the passenger that was eating next to him.
He wakes up with a start back in the airplane.
He looks out the window to watch the terminal coming closer.
PART FIVE
Inside the airport.
The girl awaits his arrival.
She spots him and smiles.
He smiles back at her.
They hug each other.
The two are seen leaving the airport together.
PART SIX
Inside another bus.
The girl and he sit next to each other.
She smiles at him.
He smiles back.
She touches his cheek.
He continues to look at her.
Another passenger looks in their direction, rather puzzled.
She sits in her seat, reaching out into thin air, smiling.
The seat next to hers is empty.
Fourth Panel Meeting held on 19th Aug, 2010
During this review I was asked to present the finished Animatics with audio but unfortunately due to a major hard drive failure, I was unable to present the animatics.
Owing to this rather unfortunate mishap I had to redraw many of my storyboard frames on paper to show at the meeting.
I was informed that after looking at the storyboard thumbnails that my narratives still lacked more detail and I need to work on the treatment of many sequences. The panel felt that I had not changed much of the original storyline, instead just adding a twist towards the end, and changing the point of view to another character altogether. They expressed their doubts that this twist would work because the bulk of the narrative is built around the central figure of the man.
Owing to this rather unfortunate mishap I had to redraw many of my storyboard frames on paper to show at the meeting.
I was informed that after looking at the storyboard thumbnails that my narratives still lacked more detail and I need to work on the treatment of many sequences. The panel felt that I had not changed much of the original storyline, instead just adding a twist towards the end, and changing the point of view to another character altogether. They expressed their doubts that this twist would work because the bulk of the narrative is built around the central figure of the man.
Third Panel Review held on 10th Aug, 2010
I was advised to look closely at the narrative, bringing it more clearly without getting lost in translating the script into visual elements.
The panel felt that I need to communicate the story better, and in spite of it being a good idea, it runs the risk of losing meaning and emphasis.
They were concerned that the narrative does talks about the main character’s paranoia/hallucination but it does not gives much impact over the main character. This might need explanation during viewing this as a film.
I was then asked to begin work on a preliminary storyboard and animatic so that they could see what the film might feel like.
In conclusion, the panel wanted to see a complete storyboard at the next review.
The panel felt that I need to communicate the story better, and in spite of it being a good idea, it runs the risk of losing meaning and emphasis.
They were concerned that the narrative does talks about the main character’s paranoia/hallucination but it does not gives much impact over the main character. This might need explanation during viewing this as a film.
I was then asked to begin work on a preliminary storyboard and animatic so that they could see what the film might feel like.
In conclusion, the panel wanted to see a complete storyboard at the next review.
Script_Update
Part One
Inside the bus at the airport.
SFx:
1.Closing of bus door
2.Ominous Background Score
The door hisses shut as he stands alone, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
He appears to be afraid, gulps slowly and shrinks away from them.
The dark shapes begin to gather closer together while he looks from them towards the parked airplane.
SFx:
1.Opening of bus door
2.Starting of aircraft engine
30 seconds approx.
Part Two
Inside the airplane.
Sfx:
1.Aircraft Ambience
He sits in the window seat, fiddling with his seatbelt. (Metallic sound)
He bites his lip, frowns and turns to look at a passenger seated near him.
Cue Score.
The passenger has just picked up a packet of nuts, which he now rips open. (Ripping plastic packet sound)
He shuts his eyes forcibly. (Single frame shot showing maggots crawling around in decomposing food?)
The man begins to pour some nuts into his hand. (Plastic packet sound)
He clenches his fist tightly.
The man puts some nuts into his mouth and begins to chew. (Chewing sounds)
He winces.
Close up on the passenger’s mouth chewing loudly, completely oblivious. The mouth begins to appear demonic almost (long teeth, forked tongue?)
Close up on his eyes shifting back and forth rapidly.
He turns to look ahead, visibly troubled.
Scratching sound heard.
Another passenger scratches his face behind him. (Scratching sounds)
He turns his face to look at the source of the noise from the corner of his eye.
Man continues to scratch, getting louder. His nails appear to be long and claw-like.
He loosens his tie, and gulps.
The passenger’s face now appears to be pale and white, visibly scaring him.
He shuts his eyes tightly, opens them and reaches into his pocket.
He takes out a plastic vial and taps out a few pills into his hand.
He swallows some and shuts his eyes.
Part Three
Outside the airplane.
The skies around the plane are filled with clouds.
The clouds morph into dragon-like creatures that fly around the plane, first playfully, then with more animosity.
Their expressions suddenly change from happy to evil and they attack the aircraft.
The aircraft lurches and the engines are heard failing.
He wakes up with a start.
He heaves a sigh of relief as he realises it was just a dream.
Part Four
Inside the airport.
A girl awaits his arrival.
She spots him and smiles.
He smiles back at her.
They hug each other.
The two are seen leaving the airport together.
Part Five
Inside the bus.
He stands next to her in the bus, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
He appears to be afraid, gulps slowly and shrinks away from them.
The girl looks at him.
He looks back at her, his expression still fearful.
She takes his hand.
He looks down at his hand in hers.
He looks calmer now, although still afraid.
The silhouettes gather closer together.
Inside the bus at the airport.
SFx:
1.Closing of bus door
2.Ominous Background Score
The door hisses shut as he stands alone, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
He appears to be afraid, gulps slowly and shrinks away from them.
The dark shapes begin to gather closer together while he looks from them towards the parked airplane.
SFx:
1.Opening of bus door
2.Starting of aircraft engine
30 seconds approx.
Part Two
Inside the airplane.
Sfx:
1.Aircraft Ambience
He sits in the window seat, fiddling with his seatbelt. (Metallic sound)
He bites his lip, frowns and turns to look at a passenger seated near him.
Cue Score.
The passenger has just picked up a packet of nuts, which he now rips open. (Ripping plastic packet sound)
He shuts his eyes forcibly. (Single frame shot showing maggots crawling around in decomposing food?)
The man begins to pour some nuts into his hand. (Plastic packet sound)
He clenches his fist tightly.
The man puts some nuts into his mouth and begins to chew. (Chewing sounds)
He winces.
Close up on the passenger’s mouth chewing loudly, completely oblivious. The mouth begins to appear demonic almost (long teeth, forked tongue?)
Close up on his eyes shifting back and forth rapidly.
He turns to look ahead, visibly troubled.
Scratching sound heard.
Another passenger scratches his face behind him. (Scratching sounds)
He turns his face to look at the source of the noise from the corner of his eye.
Man continues to scratch, getting louder. His nails appear to be long and claw-like.
He loosens his tie, and gulps.
The passenger’s face now appears to be pale and white, visibly scaring him.
He shuts his eyes tightly, opens them and reaches into his pocket.
He takes out a plastic vial and taps out a few pills into his hand.
He swallows some and shuts his eyes.
Part Three
Outside the airplane.
The skies around the plane are filled with clouds.
The clouds morph into dragon-like creatures that fly around the plane, first playfully, then with more animosity.
Their expressions suddenly change from happy to evil and they attack the aircraft.
The aircraft lurches and the engines are heard failing.
He wakes up with a start.
He heaves a sigh of relief as he realises it was just a dream.
Part Four
Inside the airport.
A girl awaits his arrival.
She spots him and smiles.
He smiles back at her.
They hug each other.
The two are seen leaving the airport together.
Part Five
Inside the bus.
He stands next to her in the bus, surrounded by dark silhouettes.
He looks over his shoulder towards the back of the bus.
He is greeted by darkness. The silhouettes shift in shape slightly.
He appears to be afraid, gulps slowly and shrinks away from them.
The girl looks at him.
He looks back at her, his expression still fearful.
She takes his hand.
He looks down at his hand in hers.
He looks calmer now, although still afraid.
The silhouettes gather closer together.
Sunday 5 September 2010
Second Panel Review held on 31st July,2010
After seeing some of my explorations, the panel suggested I try different approaches in terms of execution, for example using Maya, rendering it to look like a 2d animation. I could also use a 3d environment and put a 2d character into it. However, they felt that the medium should not restrict my idea; instead I should allow the idea to mould the medium.
I also showed a rough animatic, along with a frame that suggested treatment. Upon seeing this, the panel remarked that they prefer that I begin with thumbnail sketches and move on to a formal storyboard, following which I should present an animatic.
The panel also wondered as to how I would show the paranoia of the character, without making it too literal. Since the theme of the film deals with a mental state, they were concerned about how I would show it on screen.
The linear structure of the story also seemed to be cause for some concern, and it was suggested that I approach the narrative in a slightly non-linear manner.
I also showed a rough animatic, along with a frame that suggested treatment. Upon seeing this, the panel remarked that they prefer that I begin with thumbnail sketches and move on to a formal storyboard, following which I should present an animatic.
The panel also wondered as to how I would show the paranoia of the character, without making it too literal. Since the theme of the film deals with a mental state, they were concerned about how I would show it on screen.
The linear structure of the story also seemed to be cause for some concern, and it was suggested that I approach the narrative in a slightly non-linear manner.
Tuesday 13 July 2010
First Panel Review held on 8th July, 2010
During this first review, the panel members were concerned about the following points:
THE STORY
1.What is the key with the central character? Is it that he has to learn to live with the paranoia?
2. Am I trying to escape having to create a plot by dismissing plot as unnecessary to the narrative?
3. If the character is driving the story, it gets tougher. I have three
aspects to think about:
a. I have to create a situation in which I can place the character
b. Otherwise, the character creates the situation.
c. How do you show character by revealing mental states visually?
4. What exactly is the narrative - it cannot just remain flat.
I felt that using sound, other devices like fast cutting, slo mo, warped angles etc would help me establish characters. The panel asked me demonstrate this at some point.
We discussed using certain references , primarily from cinema.
Requiem for a Dream, Wanted, works of the director Alejandro Jodorowsky (to understand shifts between reality/insanity), Bergman's Persona were some of the films discussed.
The idea of referring to fictional characters (Gollum, Dr Jekyll and Mr Hyde, the
protagonist in Kafka's The Trial and the Castle ) was also brought to my attention.
The panel members felt that expressiveness of my character has to go beyond my preliminary explorations. It is very important to consider body movement, postures, gestures, emotions on
the face, etc. as well as the manifestation of key characteristics.
I now have to do visual studies to get to the right expressions, postures, gestures that will establish my central character best.
A suggestion was made that I use live action footage to refer to when executing my storyboard and/or animatics for the film.
Finally, the jury decided to give me until the 15th of August to submit the film animatics, which will include background, timing, sound, important animation action keys as well as environmental audio.
THE STORY
1.What is the key with the central character? Is it that he has to learn to live with the paranoia?
2. Am I trying to escape having to create a plot by dismissing plot as unnecessary to the narrative?
3. If the character is driving the story, it gets tougher. I have three
aspects to think about:
a. I have to create a situation in which I can place the character
b. Otherwise, the character creates the situation.
c. How do you show character by revealing mental states visually?
4. What exactly is the narrative - it cannot just remain flat.
I felt that using sound, other devices like fast cutting, slo mo, warped angles etc would help me establish characters. The panel asked me demonstrate this at some point.
We discussed using certain references , primarily from cinema.
Requiem for a Dream, Wanted, works of the director Alejandro Jodorowsky (to understand shifts between reality/insanity), Bergman's Persona were some of the films discussed.
The idea of referring to fictional characters (Gollum, Dr Jekyll and Mr Hyde, the
protagonist in Kafka's The Trial and the Castle ) was also brought to my attention.
The panel members felt that expressiveness of my character has to go beyond my preliminary explorations. It is very important to consider body movement, postures, gestures, emotions on
the face, etc. as well as the manifestation of key characteristics.
I now have to do visual studies to get to the right expressions, postures, gestures that will establish my central character best.
A suggestion was made that I use live action footage to refer to when executing my storyboard and/or animatics for the film.
Finally, the jury decided to give me until the 15th of August to submit the film animatics, which will include background, timing, sound, important animation action keys as well as environmental audio.
Sunday 11 July 2010
Project Proposal
PROJECT BRIEF:
I'd like this animated piece to deal with visualising the psychological aspects of a character. It would describe the inner workings of his mind in the ways that he perceives reality, juxtaposing it with his warped paranoid consciousness. Using styling cues inspired by genres of animation and film such as Film Noir and Suspense cinema, I'd like to create a convincing persona of this paranoid man, as well as his environment. Attention would also be paid to the soundscape of this piece, as I feel the aural environment is just as powerful as the visual, sometimes even more effective at invoking and sustaining an emotion.
-----
ATMOSPHERE
“The air inside the bus is stale, sure evidence of disuse. As the door shuts with its hydraulic hiss, he looks around in panic. A familiar nausea begins to set in, fuelled by the heady mix of odours. A strong women's perfume mixes with warm, salty sweat, evaporating into the heavy air.
The dark, heavyset man peers furtively over his shoulder at the lone woman standing with her child near the window, his eyes darting rapidly between her legs and her chest. She turns her gaze quickly from him, looking outside, while pulling her child closer towards herself.
Beads of sweat trail down the side of his face and drop into his shirt. The cotton absorbs the droplet, and a small wet patch remains, paying homage to its final resting place.
A mosquito breaks away from its swarm in the back and lands lightly on the side of his neck. He doesn't feel it until its needle like mouth pierces his skin. He raises his arm to swat the insect away but years of evolution stand in his way. The mosquito swallows its share of blood and flies away long before its host decides to intervene.
The attendant standing outside nods an affirmative to the bus driver, who revs the engine in reply.
He stands still, clutching his bag, silently waiting for his building paranoia to abate. As the bus begins to move, the crowd inside seems to grow thicker, suffocating him with every breath. The people around him push in even closer, forcing him to look upwards for fresh air. There is none to be found, however, for the air itself is now thick with the smell of fear. He shuts his eyes tightly fighting that familiar feeling.”
-----
LOGLINE
A man trapped by his own paranoid mind, realises that he can do little to escape its vicious cycle.
SYNOPSIS
In a bus at an airport, a young man is seized by a sudden fear. He feels trapped and claustrophobic inside the vehicle and this feeling is exacerbated by the crowd inside. His entry into the designated aircraft does nothing to allay these fears, but instead worsens them. As the plane takes off, an intense paranoia takes hold of him, forcing him to resort to medication to soothe his troubled state. Drowsy from the pills, he soon falls into a disturbed sleep. He dreams of terrible apparitions, and disaster, sleeping rather fitfully. When he rises from his slumber, however, his condition appears to have been alleviated. Much relieved, he disembarks from the aircraft, and upon receiving his baggage, proceeds to the receiving area.
His lover awaits his return and the two leave the scene rather cheerfully. All seems to be well as they board a van to leave the airport. It is then that he feels familiar stirrings within him. As his paranoid mind begins to manifest itself once again, he can do little to keep himself from being swayed by its power.
BACKGROUND
I'd like the project to be an investigative venture into the paranoid mind, touching upon some basic points such as the causes and effects of paranoia, the alterations it brings to reality, and some of the tangible side-effects it might have on an individual.
The story idea would prove to be even more meaningful if I could place it in a context, probably a current situation, thus making it easier to relate to. For example, situating the character in an Indian airport, where more and more people travel everyday, could perhaps lend itself to the storyline.
The predominant focus of popular animation films has been on action-oriented plots, often viewed just as a form of entertainment. More often than not, the themes that they touch upon are out of context and not contemporary. The values that they have imparted to us in the past have been derived from stories told over generations (read classic Disney) and their characters seem to our modern sensibilities rather black and white.
It is in the grey areas that I find my character. He is neither black nor white, just human. I'd like my project to focus on capturing and describing accurately the psychological world of a character. I have no doubt that I would have to resort to some of the cliches of popular cinema, but they are cliches for the very simple reason that they work. However, I also want it to be a foray into the mind of a character and instead of creating a rollercoaster-ride of enthralling events, I'd like to create a deeper understanding among the audience.
QUESTIONS+POINTERS:
What are the elements that constitute a genre?
How does a genre influence the personalities of characters and their interactions with environment?
Are there certain mannerisms and traits that these characters display and how do they differ from those coming from a different genre?
How does one visually portray an intangible psychological aspect of a character? (using behavioural responses, mise en scene, sound, lighting etc.)
How has psychological characterisation been used in the past, and how can I incorporate it into my story idea?
What could push an individual to a point where it becomes difficult to cope with reality, and in what manner does that individual cope?
RESEARCH + PROCESS:
My research would focus on works concerning human psychology, as I feel this would allow me to add more depth to the character in the story. I'm also looking for recorded interviews and research papers concerning mental disorders, and hope to use them to build my script.
It would also be concerned with the representation of mental disorders in cinema, animation and fiction.
The question of converting the written description into a visual has been an essential preoccupation from the very beginning, and I hope to achieve this by combining animated characters with stylised effects. For example, in order to describe a smell, and convert it into a visual form, I would use a mist-like effect, possibly colour it according to its character- a dark murky green for a disagreeable smell, or a soft blue for a pleasant odour.
The building paranoia of the character would translate into quicker, more jagged camera cuts and angles, repeatedly showing what he sees, and magnifying its effect on his mind by using an effect to warp the way a character appears.
I suppose I could employ certain physical idiosyncrasies to add depth to the character as well, attempting to describe his mental or emotional state. For example, he begins to fidget with his shirt button when he is nervous, or he shuts his eyes tightly before he enters a closed space etc.
TIMELINE:
I have attempted to delineate various phases along with a rough duration of the production process I intend to follow, as well as important computer software usage:
(some phases will be executed simultaneously, or combined, depending on production requirements)
1.PRE-PRODUCTION:
Scripting + Storyboarding (2 weeks)
Character design (1 week, Corel Painter)
Environment design (2 weeks, Corel Painter)
Animatic creation with rough arrangement of sound (1 week, Adobe Flash+Soundbooth)
2.PRODUCTION
Rough animation, followed by cleanup (2 weeks, Adobe Flash)
Painting animated frames(2 weeks, Corel Painter)
3.POST PRODUCTION
Compositing (2 weeks, Adobe After Effects)
Editing+Sequencing (1 week, Adobe Premiere)
RESOURCES:
In order to lend the story idea credibility and style, I expect to draw inspiration from various bodies of work from literature, cinema and animation, some of which I have listed below:
Edgar Allan Poe- The Black Cat, The Telltale Heart
Philip K. Dick- A Scanner Darkly, Blade Runner
Roald Dahl
Henry James
Tim Burton- The Nightmare Before Christmas, Corpse Bride, Vincent
Richard Linklater- Waking Life, A Scanner Darkly
David Cronenberg- The Fly, Naked Lunch, eXistenZ
Ingmar Bergman- Through A Glass Darkly
Werner Herzog- Nosferatu
Fritz Lang- M, Metropolis
Alfred Hitchcock- Psycho, Vertigo, Rear Window
Wes Craven
Ray Harryhausen
Obviously, this list is not absolute, and as the project progresses, I expect to locate more source material.
LEARNING OUTCOME:
Accurately communicating an emotion or a state of mind within a short period of time is a big challenge. Through this project I hope to be able to achieve that very goal.
The devices required for this task are numerous, and I hope to successfully use some of them to my advantage. For example, the usage of generic elements and the creation of a convincing soundscape could strenghten the story idea and allow an audience to be able to connect with the psychological character of the film.
I'd like this animated piece to deal with visualising the psychological aspects of a character. It would describe the inner workings of his mind in the ways that he perceives reality, juxtaposing it with his warped paranoid consciousness. Using styling cues inspired by genres of animation and film such as Film Noir and Suspense cinema, I'd like to create a convincing persona of this paranoid man, as well as his environment. Attention would also be paid to the soundscape of this piece, as I feel the aural environment is just as powerful as the visual, sometimes even more effective at invoking and sustaining an emotion.
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ATMOSPHERE
“The air inside the bus is stale, sure evidence of disuse. As the door shuts with its hydraulic hiss, he looks around in panic. A familiar nausea begins to set in, fuelled by the heady mix of odours. A strong women's perfume mixes with warm, salty sweat, evaporating into the heavy air.
The dark, heavyset man peers furtively over his shoulder at the lone woman standing with her child near the window, his eyes darting rapidly between her legs and her chest. She turns her gaze quickly from him, looking outside, while pulling her child closer towards herself.
Beads of sweat trail down the side of his face and drop into his shirt. The cotton absorbs the droplet, and a small wet patch remains, paying homage to its final resting place.
A mosquito breaks away from its swarm in the back and lands lightly on the side of his neck. He doesn't feel it until its needle like mouth pierces his skin. He raises his arm to swat the insect away but years of evolution stand in his way. The mosquito swallows its share of blood and flies away long before its host decides to intervene.
The attendant standing outside nods an affirmative to the bus driver, who revs the engine in reply.
He stands still, clutching his bag, silently waiting for his building paranoia to abate. As the bus begins to move, the crowd inside seems to grow thicker, suffocating him with every breath. The people around him push in even closer, forcing him to look upwards for fresh air. There is none to be found, however, for the air itself is now thick with the smell of fear. He shuts his eyes tightly fighting that familiar feeling.”
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LOGLINE
A man trapped by his own paranoid mind, realises that he can do little to escape its vicious cycle.
SYNOPSIS
In a bus at an airport, a young man is seized by a sudden fear. He feels trapped and claustrophobic inside the vehicle and this feeling is exacerbated by the crowd inside. His entry into the designated aircraft does nothing to allay these fears, but instead worsens them. As the plane takes off, an intense paranoia takes hold of him, forcing him to resort to medication to soothe his troubled state. Drowsy from the pills, he soon falls into a disturbed sleep. He dreams of terrible apparitions, and disaster, sleeping rather fitfully. When he rises from his slumber, however, his condition appears to have been alleviated. Much relieved, he disembarks from the aircraft, and upon receiving his baggage, proceeds to the receiving area.
His lover awaits his return and the two leave the scene rather cheerfully. All seems to be well as they board a van to leave the airport. It is then that he feels familiar stirrings within him. As his paranoid mind begins to manifest itself once again, he can do little to keep himself from being swayed by its power.
BACKGROUND
I'd like the project to be an investigative venture into the paranoid mind, touching upon some basic points such as the causes and effects of paranoia, the alterations it brings to reality, and some of the tangible side-effects it might have on an individual.
The story idea would prove to be even more meaningful if I could place it in a context, probably a current situation, thus making it easier to relate to. For example, situating the character in an Indian airport, where more and more people travel everyday, could perhaps lend itself to the storyline.
The predominant focus of popular animation films has been on action-oriented plots, often viewed just as a form of entertainment. More often than not, the themes that they touch upon are out of context and not contemporary. The values that they have imparted to us in the past have been derived from stories told over generations (read classic Disney) and their characters seem to our modern sensibilities rather black and white.
It is in the grey areas that I find my character. He is neither black nor white, just human. I'd like my project to focus on capturing and describing accurately the psychological world of a character. I have no doubt that I would have to resort to some of the cliches of popular cinema, but they are cliches for the very simple reason that they work. However, I also want it to be a foray into the mind of a character and instead of creating a rollercoaster-ride of enthralling events, I'd like to create a deeper understanding among the audience.
QUESTIONS+POINTERS:
What are the elements that constitute a genre?
How does a genre influence the personalities of characters and their interactions with environment?
Are there certain mannerisms and traits that these characters display and how do they differ from those coming from a different genre?
How does one visually portray an intangible psychological aspect of a character? (using behavioural responses, mise en scene, sound, lighting etc.)
How has psychological characterisation been used in the past, and how can I incorporate it into my story idea?
What could push an individual to a point where it becomes difficult to cope with reality, and in what manner does that individual cope?
RESEARCH + PROCESS:
My research would focus on works concerning human psychology, as I feel this would allow me to add more depth to the character in the story. I'm also looking for recorded interviews and research papers concerning mental disorders, and hope to use them to build my script.
It would also be concerned with the representation of mental disorders in cinema, animation and fiction.
The question of converting the written description into a visual has been an essential preoccupation from the very beginning, and I hope to achieve this by combining animated characters with stylised effects. For example, in order to describe a smell, and convert it into a visual form, I would use a mist-like effect, possibly colour it according to its character- a dark murky green for a disagreeable smell, or a soft blue for a pleasant odour.
The building paranoia of the character would translate into quicker, more jagged camera cuts and angles, repeatedly showing what he sees, and magnifying its effect on his mind by using an effect to warp the way a character appears.
I suppose I could employ certain physical idiosyncrasies to add depth to the character as well, attempting to describe his mental or emotional state. For example, he begins to fidget with his shirt button when he is nervous, or he shuts his eyes tightly before he enters a closed space etc.
TIMELINE:
I have attempted to delineate various phases along with a rough duration of the production process I intend to follow, as well as important computer software usage:
(some phases will be executed simultaneously, or combined, depending on production requirements)
1.PRE-PRODUCTION:
Scripting + Storyboarding (2 weeks)
Character design (1 week, Corel Painter)
Environment design (2 weeks, Corel Painter)
Animatic creation with rough arrangement of sound (1 week, Adobe Flash+Soundbooth)
2.PRODUCTION
Rough animation, followed by cleanup (2 weeks, Adobe Flash)
Painting animated frames(2 weeks, Corel Painter)
3.POST PRODUCTION
Compositing (2 weeks, Adobe After Effects)
Editing+Sequencing (1 week, Adobe Premiere)
RESOURCES:
In order to lend the story idea credibility and style, I expect to draw inspiration from various bodies of work from literature, cinema and animation, some of which I have listed below:
Edgar Allan Poe- The Black Cat, The Telltale Heart
Philip K. Dick- A Scanner Darkly, Blade Runner
Roald Dahl
Henry James
Tim Burton- The Nightmare Before Christmas, Corpse Bride, Vincent
Richard Linklater- Waking Life, A Scanner Darkly
David Cronenberg- The Fly, Naked Lunch, eXistenZ
Ingmar Bergman- Through A Glass Darkly
Werner Herzog- Nosferatu
Fritz Lang- M, Metropolis
Alfred Hitchcock- Psycho, Vertigo, Rear Window
Wes Craven
Ray Harryhausen
Obviously, this list is not absolute, and as the project progresses, I expect to locate more source material.
LEARNING OUTCOME:
Accurately communicating an emotion or a state of mind within a short period of time is a big challenge. Through this project I hope to be able to achieve that very goal.
The devices required for this task are numerous, and I hope to successfully use some of them to my advantage. For example, the usage of generic elements and the creation of a convincing soundscape could strenghten the story idea and allow an audience to be able to connect with the psychological character of the film.
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