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The Cabinet of Dr Caligari by Robert Wiene made in 1920 is a silent movie set in the German town of Holstenwall. The movie opens with a f... -
This post contains my research notes and drawings from the third city depicted by Italo Calvino, the city of Diomira. I've noticed a d... -
I've spent the morning trying to figure out how to draw children so I could create a facial design which looks like a young me at roughl...
Hey Tom - my thoughts are that the teeth in the glass shouldn't happen until after the power-cut - as something glimpsed in the bathroom - a moment of horror - it's too unsettling to have it coming before the shift in the boy's comfort: Nan should only become 'strange' after that moment. I'd say the same for everything 'before' the change - as I felt there's something a bit nightmarish about the start of it too! At first glance, I'd suggest there's something rather too subtle about the second act - there are no set-pieces (which is one of the reasons I think for moving the teeth into the bathroom and making more of the strangeness of an old woman's private stuff. I think it would be worth you re-watching Polanski's Repulsion to embolden you in terms of playing with spatial effects much more so - changing the relative sizes of the rooms etc post power-cut. I also think you'd benefit from watching Polanski's The Tenant too - another of his paranoid films in which the 'home' is anything but homely. I know it's really early days, but I want you to think about expressionistic sound design as integral to conceptualising this short film. Another film I want you to watch and learn from is Svankmajer's Down To The Cellar - this is a master-class in chiles-eye uncanny and I think it will really help you get under our skin a bit more! :)
ReplyDeletehttps://www.youtube.com/watch?v=9flixRapXqQ
.... sorry 'child's-eye uncanny' !
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