Idea #2) - Inspired by my work on the memory piece, I would like to tell the story of a young man who is dying (not sure of what yet), and how he comes to terms with his own mortality at such a young age, and the way he deals with it. I want to show the friends who are supporting him during his last days, and his thoughts on "the end", and what it's like to die young, and to not have the rest of his life ahead of him, as so many others will. Yet another opportunity to involve dialogue and monologue in my work.
Idea #3) - A 'road movie' - two, or three friends on a trip into the big city. Showing their trials and tribulations as they pass from state to state, seeking adventure, and coming across an assortment of characters along the way. this idea isn't as strong as the other two, but i like all three of them, because they would feature things i haven't yet done with my filmmaking, and have been itching to try.
8 comments:
All three seem sort of like big production films. You need to find a way to compact it so it's not going to be so cumbersome for a 10 minute or less movie. Each one but especially the first one is going to require extensive preproduction and I'm concerned with the first one where you can shoot (except out in the country) a car chase. However, despite the difficulties I'm liking the first one the best. It's just a logistically difficult film. The dying and road movies just seem way too sentimental.
I'm with Jessi on liking the first idea the best. Also, does the "chase scene" have to be with cars? While I think there are ways you could pull that off, you could also stage an on foot chase in one of Memphis's creepy buildings, I don't know, that might be lame, but I'm picture some really nice Kubrick tracking shots.
Just a thought.
Ideas one and three appeal to me most.
If doing idea one, be sure to capture the action in a way that it does not appeal cheesy, unless it is intentional. From your fascination with Broccoli's films, it seems as if you are trying to avoid this. Continuity is also a very important thing to remember. Your shots must flow in a way that the viewer does not lose track of where the characters have been and where they are going.
Number three may require more preproduction, considering how authentic you want the different landscapes to seem to the viewer. There are definitely ways to fake different environments and places within the country... just make sure locations, lighting if necessary, and days needed to film are planned with utmost care.
Thanks for the feedback. I will definitely take all the comments into consideration. And, yes, a foot chase is not out of the question, and seems the most logical. I can also think of ways to compact the story in the 1st idea, and keep it simple so it doesn't become a monster in terms of production. Oh, and a BIG yes to Kubrick-like tracking shots.
i personally am drawn to the road-trip idea b/c i too, have thought that would make an interesting movie. I think I am so compelled by it because there are those intimate moments within the car, where everyone can connect and converse during the continuous driving. mixed with the spontaneous things that may happen at stops.
I think the second idea seems the most original and i am drawn to it simply because no specific imagery and ideas come to my mind.
I think you should go with idea#3 you seem really interested in making it a reality and it seems like it could be a very entertaining and humorous piece.
I'm drawn to idea three the most. It would be cool to have a chase scene if it's not too much trouble or cheesy. I'm curious to see what kinds of characters will be encountered on the trip.
In idea three you mentioned trials and tribulations. What if you combined ideas two and three? I'm not saying the entire film has to be about idea two or overtly sentimental.
What if dealing with dying young was a subplot or something only one of the characters was dealing with?
Maybe the purpose of the trip was to help the friend deal with his/her situation. The people they encounter during the trip can play roles in moving the story along or reinforcing concepts.
Maybe one of the characters deals with dying young internally. His friends don't know about it.
I think the chase is definitely the most compelling, and the most likely to be done successfully in the scope of this class. Your chase can be your whole film, either starting in the middle of the chase (and having maybe some quick, minor flashbacks to explain what's happening) or by starting with an event that immediately creates the chase.
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