Rabbit Hole

Artist Statement (late)
This video is from the film Rabbit Hole (2010). The film centers around a mother and father who lose their son in car accident. This scene is when the mother finally meets the boy who was driving the car that killed her son. It is an intense moment where the two are able to finally talk about what happened and come to terms with the guilt and remorse that they are feeling.

I chose this scene because i really wanted to experiment with my ability to direct actors and try to get them to an emotional level. I had been playing with this idea the last half of the semester. I chose this scene to contrast my last one, since this film was both emotional and redeeming/heart warming. I think the acting was great, not too much my doing either. They were able to follow my direction and portray the characters exactly as i had hoped, which was great. I also worked with some technical aspects to achieve depth in the scene. I used the recurring musical theme (which is pushed a bit too much) as well as juxtaposition of imagery--dead trees, the statue resembling them, etc. I also did a slow progression inward from wide to medium to close ups, which matches the scene's tone fairly well i believe. Good acting, great scene.

Artist Statement

Revolutionary Road (Scripted Scene with coverage)

(I realized that this never got posted, my bad)

This was by far the most difficult scene I took upon myself. The content is heavy, the thematic elements are pretty dark, and overall it required certain elevated levels of commitment that I worried about achieving. All in all, I am overly satisfied with the end product. I was really trying to go for the raw emotion, the conflicts of couples who love one another but that love is complicated, and tainted also with slivers of hatred and loss. I mostly shot for a focus on the blocking and style of camera work. I wanted April's character to constantly be backed up against a 'wall,' while still trying to lash back from this cage. I wanted Frank's character to be violent and evasive, controlling and harmful--but still held in by the love he knows he has.

I played with camera style by using handheld shots, close and up in the action to add a sense of reality/documentary feel. The original plan was to build tension this way, though with some editing conflicts, we jumped to the handheld much quicker than I anticipated. I wanted the distant handheld shots to convey an overseeing audience feel, and hit you right in the feels, which i think worked well. Overall, the editing was the bulk of the time mixed with finding and emotionally sufficient soundtrack. Kudos to 'bensound' for the score, and for my amazing actors who committed much more than i could have ever hoped, finally to Drew for his excellent skill with camera work. Great job everybody.

Projection

(Wednesday) This was a fun image with a lot of contrasting lines; i like the mixture of curved and vertical lines mostly. Theres also a nice symbolic connection with the church and the feeling of 'broadcasting' itself to the world, or receiving a message from above. 

"For Dust We Are"

(Thursday) I have to admit that i stole this idea from Ammon. I really likes the smoke mixture with light idea, so i went for one. I am happy with the subtle focus being on the random floating specs, while the background is a dynamic blur. 

Encroaching

Another cool image of lines, very Kubrick style i guess. I really like the harsh straight lines trying to hold up against the jagged curves of nature that is slowly creeping onto the frame. It is also interesting that the tree, though smaller in size, is still 'taller' in the frame than the harsh building.  

Symmetry 2

I just really like how well everything lead directly to the law building. The trees line up nicely, the pavement gives a clear shot, and even some of the rivets on the mountain lead you down to the building. Also, that sunset.

The Line


(Monday) I just thought this looked interesting, almost like competing lines between the trees and the parked cars. I tried to line it up with the rhythm and line of the shot, leveling out to a nice central vanishing point.

A Fire in the Sky

Again, just a nice opportunity. I really like the slow lead of the mountain line to the sun. Although i think it would have worked much better going left to right, not right to left. On a deeper level its interesting to see nature (the mountain) overshadowing industry (the building), but its still ambiguous, since we don't know if the light is coming or going.

Exhausted Tree

(For Wednesday November 25th) Pretty straight forward. I saw a cool opportunity, and pulled out my camera. The very obscure angle, with all the jagged lines, is nice, and the smoke does add a nice effect with the cold nature of the photo.

Earthquake

(For Tuesday November 24th) Just juxtaposing the symmetry, with dynamic lines and structure. I really like how it changes the feel of a picture so much, by a simple turn. The front pole dirtying the frame is nice, i also wish i had centered the dome in the middle so that it still led to the same spot as the last one.

The Dome

(For Monday November 23rd) Just looking for opportunities of symmetry with lines. This one is still a little crooked, but i like how it guides your eye to the center. It is pretty well balanced, except for the tree.

Brother Waltz and His Sidekick

(For Friday November 20th) Same as last picture, we were just playing with the coincidence lighting/tone alongside concealing the subject (Wes). Trying to do both is difficult, but it adds emphasis on the fact that one is hidden.

Chris Waltz

(For Thursday November 19th) We were trying to mimic some non coincidence of tone from Spectre. This works well to conceal the subject, and adds a sense of horror, since we can't see who the subject is... AH!

Looking for the Indian

(Late Wednesday) This was a moment i saw, liked and wanted to capture more than anything. I really like the dynamic nature of the diagonal lines, the dim light coming through the attic window casting shadows, and only lighting the subject with a slight outline. It all looks very cinematic.

https://youtu.be/dj580XfdYi8

This is an interrogation type scene from The Usual Suspects. The script was very loose as far as the action goes, so i played a lot with making actions that represented the characters and combining that with camera angle and camera movement. I tried to pay close attention to the dialogue and how it applied to the characters specifically, in who was in control at what part of the conversation. I really tried to play with power switch and power struggles over all.

I think overall it worked out very well, and i hit a lot of the marks i was aiming at.  I spent more time on lines and acting with this video, and i feel like that helped achieve the idea I wanted. This was definitely a great learning video experience.

...But Not of the World.

(For Tuesday) This was mostly just playing with the focus and color elements of pictures. I had to be pretty open due to the light outside, so the background is not as soft as i would have wanted, but the focus switch and color boost (with red against mostly complementary greens) help draw the eye to he single falling leaf. Compositionally its almost perfect as well, just shy of the third.

Peeking Through Autumn 

Just some more fun nature shots. I really like the gold colors on the leaves, and the whole dynamic nature of the shot with vertical and diagonal lines. It just looks like autumn, before everything dies. 

...To the Soul. (For Friday)

This is a fun picture i took outside my house, i really like its use of characterization of the building. Houses have some innate feature, like cars, to look human, especially in this case with the windows representing eyes. While eyes help you glance into the soul of a being, windows can give you an unshielded view into someone else's home and private space. The reflection on the window is really nice, if you look closely there is something hidden deep within the home, trapped like a bottled up emotion that will die if it is not let out. Not that dark guys, but it turned out pretty nice.

The Bridge (For Thursday)

I was enjoying some fall nature shots. I had seen this street a few weeks ago and really like the long line of trees, so i wanted to come get some depth shots looking down the barren sidewalk. I really like how almost everything in the shot is nature, besides the sidewalk itself. It gives a very nice Shire-esque type feel that i really enjoyed. 

WHERE ARE THEY?!

I am planning on going for a interrogation style for my next project, so this lighting setup appealed to me as we were just messing around with some lights at the FSSSSS. I like the dramatic feel but the nice backlights, giving some separation. This gave me some nice ideas for my upcoming project as far as lighting goes.

Brothers.

Just thinking a little on production design, i thought this was a funny set up. Having matching color vehicles, but of a very different connotation could be used to do a lot of characterization in a film between the rough and tough, and the simple and nice. 

(For Monday) Contemplation

I saw an opportunity for something that looked nice, so i took it. I wanted to try and capture the beauty in autumn, with maybe some leaves falling, the golden light, etc. I really like the nice contrast of sun and color, and think this one turned out pretty great.  

(For Friday) An Actual Walk in the Park

I was just playing with the space around me during a break. I wanted to try and get some depth seen by the difference in sizes of objects. It turned out okay, but not as well as i had hoped.

Floor Plan and Lighting Plan for Shot by Shot

Shot by shot pre production material: Shot list, and shot by shot of original

*Shot list is separated into the shots/setups and detailed description provided for each main shot/setup, along with specific actions on shots as scene is edited together. (Shot by shot follow setup list) Shot order:

SU#1: 1,2B,4,7,9,12,14,16,

SU#2: 18, 20, 22, 26, 28,30,32,34

SU# 3: 21,24,27,29,31,33

SU#4: 5,10, 17

SU#5: 13, 15, 25

SU#6: 2A, 3, 8,11

SU#7: 19

SU#8: 6,23

Setup #1

Camera/lighting specs: 24mm, low key lighting with a harsh lighting source down in lower left, mimicking the TV. The couple is separated through composition of door frame. Shot at low angle, likely also to mimic TV and allow for framing.  Angle from right side, allowing Jackie to look right to left, contrasting the normal left to right, implying opposition. Only movement in a pan in shot one, introducing the area, following shots are static. Line created by their eye-lines create separation, considering he is looking left but not at her, while she looks right but not at him. Director's intent is to separate the two characters, living in different worlds. Colors are very bland and mute, against the bright TV screen colors, shows contrast between boring life and exciting lottery; reality differs from dreams.   

1) Pan shot, opens us up to the setting, reveals characters. Low

angle, TV pov. Light coming from 'TV.' 24mm. Wife and husband

in separate 'frames.' Jackie pulls out lottery ticket. Shows focus, him

on lottery, her not caring.

2B (Same setup as 1, static) Jackie rubs

hands happily anticipating numbers.

4, (same as 1) Jackie asks for his wife to bring him his apple tart.

7(same as 1)Static, husband complains, saying that the “lot has already started.” Gestures with hand

9 (Same as 1) Jackie crossing off first number Telling wife to 'bring me my tart, we've got the

first one.” Wife still in background not caring.

12 (Same as 1) Jackie crosses off second, number saying. “Jeepers Annie, can you believe it, ive got the second.”

14 Similar to 2  (static) in lighting and set up, more punched in from mid shoulders up, used as contrast against open TV, intensity starts building.

16 Back to 2 setup again. Jackie is excited with 4th number, wife finally looks up. “Can you believe it Annie, number 7! Will you come (cuts to CU of her) in out of there, we've got the first four!”

Setup #2

This set up is similar to #1. The camera angle has shifted, almost directly in front of Jackie, implying a change in his opposition, it's not impossible anymore and the dream is slowly becoming a reality. The shift also allows her to place the bowl right on the third, and gives him a slight space for nose room, on the left. The movement in this setup is crucial to the scene, with a slow dolly forward allowing intensity to build. The color is same as #1, contrasting the bright TV. The tone clothing on Annie contrasts Jackie's, she is a cut and dry person with clear separations, while he is a more colorful and spontaneous. The CU movement from the dolly allows a focus on his face and emotion. Same low key, and low placed lighting. All in all, to build intensity.

18 Barely punched in more than 1. MCU of Jackie, with Annie standing next to him, apple tart in hand. “Shush, shush.” Static.

20  Same as 18, with slow dolly in on Jackie, building intensity. “Annie, we've got it.”

22 Same as 20/18. Continued dolly in on Jackie, increasing intensity, building to CU on face. “God help us...God help us..”

26Same setup as 22 (20/18). Static on Jackie celebrating as the last number is called out. “Yes, yes.”

28 Exact same as 22 (20/18). Static as Jackie rips up ticket. “Yes, yes, yes.”

30 Same as 22 (18/20) Jackie finishes ripping ticket and steals apple tart. Still tight to play against the intensity that just left.

32 Same as 22 (18/20) Jackie responds, “No, but it got me apple tart brought in now didn't it?”

34 Back to 22 (18/20). The cut on the slap. And his shocked face.

Setup #3

This is a MCU shot on Annie as she enters the living room to join Jackie. Camera (35mm) movement has a slight dolly to be focused on just her and her expression. Lighting is a little higher on Annie, likely coming from a house light in the ceiling. She is not lit by the TV, she is lit by the house, there may be some significance there. Still low key, dramatic lighting. Shot is dead center, again focusing on Annie and her emotion as she thinks they've won, and the confusion when we learn they haven't. She stands just outside the door frame, still slightly separate from Jackie. She is also on the left side, looking right, allowing for a SRS switches. Much brighter tone here than #2.

21) MCU of Annie, with slow dolly in. Same lighting set up as 1, 13, etc. Compares with 20, also building intensity, and increasing connection between the two. “Jesus, Jackie...that's 5.”

24)  Same as 21, just a moment of her as she stares at screen. Again, to build intensity. Very slight rest of dolly in, as announcer speaks in background

27)Same as 24, after zoom. Annie looks down as Jackie begins to rip up lottery ticket. Showing her confusion.

29) Repeat of 27, as Annie stares awkwardly at Jackie ripping the ticket. Again, to focus on the confusion/ emotion on her face.

31) Another repeat of 27. Annie is till very confused, looks at TV, then at Jackie asking, “Have we won?”

33) Same as 27, culminating her utter confusion. CU again, emphasizes her state of loss.

Setup #4

Med shot of Annie as she sits in the kitchen, ignoring her husband. The composition is accented here, already mentioned in #1, and helps show lack of interest/connection with her husband's struggles. Very well lit in the kitchen, showing contrast between dark surroundings. Med shot also emphasizes the lack of interest from eye-line, since she looks forward, but right passed Jackie. 50Mm lens, no camera movement. As she leaves kitchen, the shot helps helps emphasize a slight joining of the two spouses since we can see her complete action in more detail here than #1.

5 5 MCU of wife telling husband to 'get it yourself.' Again, focuses on lack of communication, she is in a separate frame. 50mm. Soft kitchen lighting

10 Same as 5. Static, still not caring

17 Same as 5. Annie gets up from table, grabs plate of apple tart, and enters living room.

17B Pan from Jackie to Annie, CU on face. A little tighter than 14. 50 mm, move camera step closer. CU on his face panning up to Annie as she walks in. Intensity, and emotion capture on both faces, they are now in this together, she is supportive him.  “You're having me on.”

Setup #5

Very harsh lighting on TV, coming from lower right. Emphasizes the dramatics. Color contrast is seen again here as the bright blues and oranges differ from the bland brown that surrounds the house. The shot begins far away, med shot, on a 35/24mm, simply setting the stage, allowing for a nice dolly in later. Very subtle dolly in, mostly on shot 25. Fairly dynamic with the harsh shadowed lines across the back. Composition allows TV to be character with Jackie, looking from left of screen toward left screen where he is.  

13  Slightly pulled back from 2A. 3rd number called out. Shot is revealing more of living room area. Hard, low lighting in lower right side. Used in contrast with CU of Jackie face that follows. Allows for slow build up as we get closer to TV.

15 (Same as 13). 4th number introduced.

25 Back to setup 13, now revealing all the numbers, and a dolly into the tv as the last number is called out. Matches the other dolly shots and culminates the intense moment.

Setup #6 This is a very similar shot setup as #5, only camera has moved. Punching in a little bit more, from 24/35 to 50mm. This allows for a contrast in the reverse shots, but also to more adequately show the process of the lottery balls falling, in building for anticipation later. This shot differs from setup #5, because #5's focus was reveal portions of the house as well, while here the focus is simply the TV. Same lighting as #5, appearing now to come from slightly higher on right side, very low key emphasizing the dramatic effect. Composition remains the same, with camera angle still allowing reverse shot.

2A Lottery introduced on TV. Identifies from where the lottery numbers will come from, gives us focus.

3 (Same setup as 2A=2) number Introduced. Slightly more punched in.

8 (Same as 2A) First number introduced.

11 (Same as 2) Second number introduced.

Setup #7

Same lighting and angle setup as #5, but punched in on a 85mm. Showing emphasis on all the numbers, and building intensity with the closeup. TV brightness contrasts the dark background. Same color separation scheme.  

19. Same setup as 13, but punched in, 85mm. Revealing only numbers up top, as 5 number rolls out. Static.

Setup #8:

These are extreme close ups on the the TV screen to hone in on the drama as the numbers are revealed. Lighting is all from the screen, no contrast to surround house is seen. Angle is dead on. Colors, again, are used in this shot as a contrast to the house/life. Camera (85mm) movement is static. We are so close to the screen it almost feel claustrophobic, an overwhelming of the lottery moments.

6 (same as 2, but only TV in shot, 50mm) Static shot of TV screen, numbers start rolling.

23 Similar to 19, 13, but extreme CU on TV as last number rolls out. Climax of intensity.

(Shot by shot.)

1) Pan shot, opens us up to the setting, reveals characters. Low 2A) Lottery introduced on TV. 24mm. Identifies  

angle, TV pov. Light coming from 'TV.' 24mm. Wife and husband from where the lottery numbers will come from, gives us focus.

in separate 'frames.' Jackie pulls out lottery ticket. Shows focus, him

on lottery, her not caring.

2B (Same setup as 1, static) Jackie rubs 3) (Same setup as 2A=2) numbers              4 (same as 1) Jackie asks for his wife to bring him

hands happily anticipating numbers. Introduced. Slightly more punched in.           His apple tart.

5 MCU of wife telling husband to   6 (same as 2, but only tv in shot, 50mm)    7 (same as 1)Static, husband complains, saying that the

'get it yourself.' Again, focuses on     Static shot of tv screen, numbers start rolling.    “lot has already started.” Gestures with hand.

lack of communication, she is in a

separate frame. 50mm. Soft kitchen lighitng

8) (Same as 2) First number introduced. 9) (Same as 1) Jackie crossing off first number  10) Same as 5. Static, still not caring.

Telling wife to 'bring me my tart, we've got the

first one.” Wife still in background not caring

11) (Same as 2) Second number introduced.

12 (Same as 1) Jackie crosses off second, number saying. “Jeepers Annie, can you believe it, ive got the second.”

13. Slightly pulled back from 2.3rd number called out. Shot is revealing more of living room area. Hard, low lighting in lower right side. Used in contrast with CU of Jackie face that follows. Allows for slow build up as we get closer to TV.

14. Similar to 2  (static) in lighting and set up, more punched in from mid shoulders up, used as contrast against open TV, intensity starts building.

15) (Same as 13). 4th number introduced.  

16. Back to 2 setup again. Jackie is excited with 4th number, wife finally looks up. “Can you believe it Annie, number 7! Will you come (cuts to CU of her) in out of there, we've got the first four!”

 

17. Same as 5. Annie gets up from table, grabs plate of apple tart, and enters living room. Static.

17 B) A little tighter than 14. 50 mm, move camera step closer. CU on his face panning up to Annie as she walks in. Intensity, and emotion capture on both faces, they are now in this together, she is supportive him.  “You're having me on.”

18. Barely punched in more than 1. MCU of Jackie, with Annie standing next to him, apple tart in hand. “Shush, shush.” Static.

19) Same setup as 13, but punched in, 85mm. Revealing only numbers up top, as 5 number rolls out. Static.

20) Same as 18, with slow dolly in on Jackie, building intensity. “Annie, we've got it.”

21. MCU of Annie, with slow dolly in. Same lighting set up as 1, 13, etc. Compares with 20, also building intensity, and increasing connection between the two. “Jesus, Jackie...that's 5.”

22) Same as 20/18. Continued dolly in on Jackie, increasing intensity, building to CU on face. “God help us...God help us..”

23. Similar to 19, 13, but extreme CU on TV as last number rolls out. Climax of intensity.

24) Same as 21, just a moment of her as she stares at screen. Again, to build intensity. Very slight rest of dolly in, as announcer speaks in background.

25. Back to setup 13, now revealing all the numbers, and a dolly into the tv as the last number is called out. Matches the other dolly shots and culminates the intense moment.

26. Same setup as 22 (20/18). Static on Jackie celebrating as the last number is called out. “Yes, yes.”

27. Same as 24, after zoom. Annie looks down as Jackie begins to rip up lottery ticket. Showing her confusion.

28. Exact same as 22 (20/18). Static as Jackie rips up ticket. “Yes, yes, yes.”

29. Repeat of 27, as Annie stares awkwardly at Jackie ripping the ticket. Again, to focus on the confusion/ emotion on her face.

30. Same as 22 (18/20) Jackie finishes ripping ticket and steals apple tart. Still tight to play against the intensity that just left.

31. another repeat of 27. Annie is till very confused, looks at TV, then at Jackie asking, “Have we won?”

32. Same as 22 (18/20) Jackie responds, “No, but it got me apple tart brought in now didn't it?”

33) Same as 27, culminating her utter confusion. CU again, emphasizes her state of loss.

34) Back to 22 (18/20). The cut on the slap. And his shocked face.