My film is going to be focusing on embodied sensation of flowing water, stripped back and focusing on movement of the body. It is not representing water but becoming water.
I’d like the look and feel to be semi-abstract, a metaphor for the more elusive internal states – Movement and the body depicted less figuratively and sharp to allow a sense of reflection, less narrative, more a feeling – blurs, extreme-close-ups, moving in and out of focus, ghostly sense of presence
I might explore mixing the atmosphere of a black backdrop – the lighting and focus on the body against the black backdrop can bring more attention to the body and movement. It would mean having a second day of filming in a studio, perhaps Shaftsbury Sq/Belfast theatre
We will need to have a rehearsal. I need to get to grips again with my camera.
I want the soft and fluid movement of bodies and their warmth to be juxtapositioned with the hard, cold and rigid old and dying interiors. Riddel’s Warehouse fits well for what I have in mind. although, there won’t be many, if any, long-shots. Only barely seen in close-ups and some mid-shots. the areas below the upper floors, with the rough exposed brick walls and pillars have an intimate and eerie sense that could be a sharp cold and static contrast to the warm sensation of movement of limbs. There is also a sense of rigidity on the steps with various depths of shadows that may work well against the dancers’ bodies.
I’m thinking of the feeling of slow flow of water, rather than rapid torrents, almost hypnotic sense that holds you in its form, in its movement. Perhaps sporadic at times, maybe repetitive. But always emotive. Fluid without the prominence of drums etc, more tender so that the attention remains on the visuals and the sound enhances the mood without taking over.
I’m looking for a less classical sound, more an experimental sound that is very emotive, moving and reflects sensation.
I’m seeing all this in the dancers, in the sound, in the edit. The length, go with your gut and what flows in you. Is that possible? The film I anticipate will be anywhere between 5-10 mins. So I may loop the music, have silent moments…
I’ve been listening to Sigur Rós’s Valtari and it’s the kind of sound that I think would sit really well with what I’m trying to do. There is fragility and power and I feel myself carried in the ‘flow’ of the music. The same sense I get with the tracks Acquiescence and Lamentations that I made with Toby Marks for the docu film Ancient Skies.
I’m waving between its haunting sound or a very sparse sound of strings like cello perhaps. I came across these in my research that I think sit well:
- Forever Reverie by Daniel Zamzow: https://danielzamzow.bandcamp.com/album/forever-reverieA
- Lightning Cloud by Daniel Zamzow: https://danielzamzow.bandcamp.com/album/praying-mantis
Boy in Water glove by Slow Meadow: https://slowmeadow.bandcamp.com/track/boy-in-a-water-globe
- Ruby Mandala: https://pauljordanost.bandcamp.com/album/original-soundtrack
- Also parts of this, the less dramatic sound of the cello, sound very interesting: https://www.youtube.com/watch?v=5FSofJ4r4bg
I want to choreograph the edit to the music or elements of it.
I need to work with Hannah Harvery on the track she is producing so that it has the right feel, I need to feel a sense of ‘becoming’ with the music when I hear it. It needs to be harmony with what I see and feel in my mind for this film. It needs to flow with what I see/feel.