1. Idea:
As like in a real theater play where camera is representing the audience, it can be positioned in front of the play and be left still for the entire performance to happen in one long take.
2.Idea:
The other for camera work is to have it much more involved in the play. Much like in Alfred Hitchcock's Rope , all the action would still be revealed in one long take, only this time carefully both considering camera's movement and staging of characters to tell the story.
The best examples of such idea are these two following videos:
http://www.youtube.com/watch?v=RKukDFyupd8&feature=BFa&list=PL93BDEF0C54209CB4&lf=mh_lolz
Philips Carousel from The Foundry on Vimeo.
yep - either way, the idea of continuous story-telling - fluid narration is a genuine storytelling challenge and it while require you to really simplify what is seemingly complex about all those personifications and symbols in your story. Personally, I think you need to surrender the idea of trying to make your wolves 'be' all those characteristics, but rather establish a visual system in which you can communicate the differences effectively; the very fact that you have characters representing a 'binary opposition' rather means your audience is primed to understand it as symbolic. As in good theatre design, allow the audience and critic some room to arrive at the meanings themselves. An instance of 'showing' not 'telling'.
ReplyDeleteLOVE that set design by the way - there is something about theatre's use of colour - a certain departure from the real - that is so mouthwatering to ponder - and when I see your own love of colour, I really encourage you to be bold in terms of lighting design - depart from the world, enter the theatre!
I agree, we intended to capture a select few of the described qualities of the wolves, not all of them as it would indeed be too convoluted. See our latest post for our current line of thought so far.
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