*Updated version*
One out of three. Sunday morning, I had finished watching Guitarmmongot.
This moment
I went to our bedroom to disturb Paz’s Sunday morning, triggering a fluctuation in both of our behaviors, partly because of my annoying input but also parallel to ongoing tensions beneath our relationship. Right after the situation was over, I asked her if she was willing to recreate it. She said no, but I know this woman. I set up the camera and sound recorder, she agreed, and we got this footage ― plus an extra half an hour.
The video
The purpose behind this experiment was to capture a series of dramatic annotations from a real-life situation that had already happened. In regard to these behavioral fluctuations I mentioned, I was interested in studying their potential in terms of character development and the construction of dramatic structures within scenes.
The outcome
Real life provides your film with unsynthesizeable complexity. As soon as your film idea is put in action, it deals with gravity, wind, hunger, lack of clarity, psychological profiles, light, airplanes, knowledge, talent, contradictory political views, the presence of the camera, the mic and the crew, and so on. Life provides an endless complexity that is technically framed and registered, in rich layers of sound and image. A film exercise can work not only as proof of concept, but its main value could reside in bringing up that complexity within the details. Details that could be have been caused by technical accidents, improvisation, a cloud diffusing the Sun, or a couple of dogs fighting in the background that trigger a third idea in the mind of the sound designer. What if these incidents, or residual third ideas triggered by them, were discussed and taken back to the screenwriting process, to be fine-tuned and considered as resources that would enrich and further construct that scene and the broader project.
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