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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...
Looks good Tom. :)
ReplyDeleteLooks good, I can feel the tension! and I like the idea of the grandmother going from being sweet at the beginning to being quite motionless, silent and creepy once the lights go out :)
ReplyDeleteEvening Tom - so one thing I'd say straight away is you need dial back the 'strangeness' of the environment after the lights go out: your expressionism jumps from 0 to 60 and really, in terms of your visual strategy you need to be much more subtle about the strangeness - it needs to seep into your story, as opposed to go off bang! If you make the room too expressionistic too immediately, it will be difficult for the subtle creepiness to stand its ground. If you made a rule that '5' is the 'most expressionistic (including camera angles and lighting etc) and '1' is the least expressionistic, then you need to take your direction from 1 through to 5. with the lights coming on jumping us back to 1 again in a snap.
ReplyDeleteI like the jump scare ending - I guess by 'the monster' - you mean 'the monster gran' - because it would be confusing if this monster was something different? I would say this however... you risk covering some old ground... always difficult in terms of horror and its tropes... https://vimeo.com/82920243 ... can you consider an ending that makes us think it's the ending we're expecting, only to deliver the scare from the other direction?
Just in animation terms, I think you could reduce the interaction between the gran and the boy at the start - the whole 'go on then' could just be an exchange of glances and the boy grabbing a sweet - it could be done with faces and eye-contact, for example.
So my advice is the same as it ever was: it's time to put this script to the test and 'really' storyboard it - with a commitment to directing the action as precisely and purposefully as possible; get placeholder dialogue, get some kind of sound design - and commit to the nuts and bolts of the action...