Since the script has been changed from a more crime based drama to something more in tune with a psychological thriller type deal, my 'inspirations' and places I am drawing technique from have changed, mostly gone have the noir and crime film ideas and in there place stand one mans body of work, David Lynch.
Because the film now concerns someone experiencing (or dreaming, or hallucinating even) a terrible event from his past, the films impact will mainly derive from how real we, as a collective film crew, can make this man's suffering and torment feel.\
David Lynch's films, specifically Mulholland Drive (2001) and Lost Highway (1997), have an extreme dream like (or, even, nightmarish) quality that is at once very cerebral and of the subconscious as well as terifying and unnerving. Lynch achieves this through eery camera movement and placement, an impeccably designed sound plan and situations within the script that seem both real, scary and nightmarish.
Because the shot plan is the thing that I am directly responsible for, I will look at Lynch's use of camera in his films.
The scene in which Fred describes his dream to Renee, although different in story is quite similar in effect to the direction I want to take the film. The sequence uses a collection of shots that naturally fit together and create a disorientating effect. There is also a very warped sense of space in the sequence that would be perfect for the room in which we are to shoot, as it more or less resembles the character Michael's headspace.
The sequence also, through static close-ups using harsh lighting creates a severe angst in the character which would wonderfully with the pain that Michael is feeling in the script. The lighting, deep, dark and moody using very soft filler and strong harsh cross lighting is almost exactly what I had imagined from the first moments of receiving this script.
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