Thursday, 24 February 2011
As he moves from the bedroom to the kitchen, convention would mean he moves through a threshold (normally a door) and enters into the next space. That space in the film is portrayed through two mediums. One which is synthetic to the character and one which is physically logical to us as the viewer of a fabricated film set.
The corridor is a transitional space that connects the various spaces such as the kitchen to the archive. Each door is placed with a indicator above that shows whether the rooms are occupied. The rooms are intended to ambiguous notion of each individuals personal dwelling/cell of synthetic space generation.
After apparently leaving his apartment he enters the so called external world. Firstly he travels on the London Underground and then arrives at his stop. The stop then is revealed as a internal film set and constructed out of a selection of matte paintings and sets on trolleys that are moveable. This allows them to be switched and swapped to cater for the characters need of spaces on his journey to the archive. Once at this destination of the towers he travels up them into the building which the archive is situated.
The archive is the space in which the character finds himself at the end of each day. The space will feature throughout the film however it will only be features briefly in the beginning. The rationale behind this space is to provide a storage space/archive for each individual to place their personal logbook of spaces that they have remembered and imagined. Once the personal logbooks are there they are reviewed and processed by the synthetic space generators inorder to program the production of spaces for each individuals personal life and experience of their imagined spaces.
Tuesday, 15 February 2011
Thursday, 10 February 2011
The Logbook Archive
Wednesday, 2 February 2011
Along with the posts below this is the initial storyboard that I have designed. It has helped me establish a starting platform for the development of spatial concepts and ideas which at this time are steering towards some kind of critique of the blend between modernist architecture and filmic techniques of early 20th century cinema and also how this can be transposed into the future through an individuals perception as informed by his recollection of the past.
In terms of the rhythm of the edit I think it is important to produce a cyclical feel to it through repetition. What needs to be developed is the relevance and significance of each space as architectural and physiological spaces. They range between sterile/haphazard spaces in that, within the narrative they are highly polished and simultaneously they are completely low cost and fabricated through stage production methods.
This exposure/reveal must occur on screen, in ear and through the portrayal of the characters mundane existence with in the real world…..and his imagined fantasy world of escape.
This outline spatial proposal is something that I have been formulating over the past week. It began with an iteration as posted a few days ago and has now developed into this. The idea behind this was to try and develop a series of spaces that would feature in the film. I wanted all of these spaces to draw some sort of connection from the spaces that precede and follow them. One of the main points is that the spaces would all be constructed as temporary representations of spaces that we can usually associate with quite comfortably. Due to the temporary nature of these spaces they have started to be realised within a much larger spatial volume which at this moment in time is not fully defined, probably some sort of infinite warehousey space/tower block that is situated in what used to be London.