CREATIVE CRITICAL REFLECTION

Here it is! Enjoy!

Click here to watch the CCR for Panacea.

PANACEA.

 This is it. I can't believe it's done.

Click here to watch Panacea!

THE END IS NIGH

Wow, it's been a journey. And it's almost over, too! Since the next two posts won't be the customary type, I figured I would use this one to reflect upon the process leading up to this point, now that the project is done. 

It began with an idea - and not a very well-developed one, at that. I had a vague clue of the direction my film opening was going to take, but no concrete information that would help me begin the quest. By researching into the genre, I was able to gather more points to be incorporated into my project, and, about a week into the study, inspiration came to me. This is all illustrated throughout the first week of the portfolio assignment, of course, and available for any reader who comes across this blog. 

Over time, the polishing of what once was a rather unclear goal was aided both by my own investigations and feedback from classmates. In comparing my product to others', I could see what mine was lacking, and devised ways to fill in the gaps. Thus came the idea for the character, who, until now, had remained both nameless and faceless. 

Throughout the process, the overarching concept never left my mind: I wanted to do a descent into madness. Looking back, I see I may not have followed my own advice in some aspects, namely, holding back on the "madness" aspect. Still, knowing that an actual breakdown scene would be much more dramatic and powerful than the one included in the end of the opening, there is still room for more chaos. That is, the frustration in the opening passes as just that: vexation, but a well-based, motivated one. Still, it foreshadows that something much worse is about to come. 

Though I do have some issues with details in the final product and in the overall process - I definitely should have timed myself better, and maybe chosen a better time of the day to record - it is a satisfactory outcome, in my opinion. Additionally, the mild complications that arose along the way only helped me better understand the technologies I have been working with (you can accompany my marvel at the camera app in one of my old posts).

Well, this is it. You can expect Panacea to be posted within the next two postings. Until then... 

Farewell, my dear readers.

LAST MINUTE DECISIONS

There is no clearer example of impulse decision than what I just did. I'M SCRAPPING ALL THE FOLEY OUT OF THE OPENING. Now that the project is done, I finally took time to carefully watch every second of the piece and... I found the added audio quite distracting. I had known from the start that the Foley would have to be toned down in order to allow "space" for the soundtrack, but even at 35% of its original capacity, the sounds take away from the overall feel of the piece. Here is a comparison of a scene with and without the Foley:

I did try to incorporate more of the sounds towards the end, but, if they aren't used throughout, they seem out of place. Thus, the only bit of "homemade audio" left is the door closing at the very end, which puts an end to the entire sequence. This is also much more symbolic, as it represents the end of this crazed research session and the jumping into the actual body of the movie.

And with this, I conclude the making of Panacea. 

FONTS

In order to give a more "academic" feel to the whole piece, the font I plan on using for the titles is inspired by the one commonly used for old science textbooks, Bookman. The font is also seen in papers about alchemy, a topic that is present in my opening.

Bookman typeface

Sadly, iMovie only has a couple of fonts available, and the closest I could get to the old Bookman typeface, which appears to be the font used in such writings, was Baskerville Italic. At least it also gives off the academic tone, and seems professional. 

Baskerville Italic

the "science feel" I was talking about

FOLEY AND FINALIZING

There are few edits left to do! I still need to put text and adjust some stuff, but, overall, it is manageable. I've been using daytime to edit and record sounds, and nighttime to film (since I can only manipulate light in the darkness). The bright side is that much of the sounds I intend to use don't need to be "invented" - the actions shown in the recordings actually do produce the intended sounds. Still, I intend to use some asynchronous sounds to imply actions and act as a sound bridge (maybe). One example of this would be the sound of crumpling the paper before the paper ball is seen rolling on screen, then some of it while the image appears. The only other sounds I intend to use are grunts and sighs, which will have to be included as voiceovers.

I have been recording in my room (or my sisters', depending on the time and which is the quietest). I've also been using my sister's iPhone to capture the sounds as videos, then turning them into audios on iMovie.

The schedule is tight, and I have had complications with reshooting since we needed to use the dinner table (the "desk" in my opening) for Passover. But as long as I don't fall behind even more than I already am, I can still produce something worth watching.

A MUCH NEEDED BREAK

Ah, spring break. No other time in the year would have been most proper for this much-needed break. With one week of "no school" (the assigned homework and readings make the quotation marks a necessity), I was able to catch up on filming, and finally was able to get someone to collaborate and hold the camera while I dictate which shot is next. That said, a lot more was done than simply shooting - if that could even be the adverb, knowing the amount of work that went into planning each shot. I also revised the storyboard, adding bits here and there as was judged appropriate. Additionally, some planned images did not work so well, and had to be scrapped. What aided me in the production process the most, however, was overlapping with the post-production: nearing the end of filming, I started to edit bits together to see what worked best. Upon noticing some segment that did not fit - either in tone or sequence-wise - the narrative, I made a note to reshoot each one. In the place of each soon-to-be re-recorded fragments, black squares were left, resulting in images such as the one below.

Overall, the production process was quite fun, although it required a lot more thinking than I'd previously judged. For instance, to get the right lighting and angle for a shot, I had to figure out a way to position each component such that the end result was satisfying enough. Eventually, solutions came as a response to my many failed attempts (the image on the right is a result of trial and error - many experiments were made until the idea of perching the lamp on my shoulder finally came to me).

There is still a lot to do, but I am content that at least editing is underway. Of course, that also means that Foley, text, and many more necessary edits are approaching too. But that will be a subject for my next posts.

FILMING CONTINUES

As it is evident by the title, I am still filming. Every now and then I use some more fabricated props, not unlike most of the objects used in shooting the opening. At least, now that I have the lab coat, the production process is going faster. As for the "warmer" light I had mentioned wanting, the group meetings we did recently were particularly helpful: one of the group members told us she had been using light emitted from her computer screen to get the intended hues. While the technique may fit her genre, cyberpunk, a bit better - with the neon colors and bright aesthetics - it can also be very useful in my own creation.

But, ultimately, I have found a better way to get the proper "feel" of an academia aesthetic, and that is done by applying filters over the footage. Take, for instance, one of the shots I had taken, featuring the newspaper articles. Using WeVideo, I changed the temperature to allow me to convey the proper tone, and, apparently, it worked! Still, one problem has surfaced from using the online tool as the editor: the product comes with the website's watermark, which is... not great. I will try to find a way around it. This is it for today! I will come back with more updates soon.

COPYRIGHT AND OTHER ISSUES

While filming the shots for the opening, I often listen to the soundtrack I intend to use as background music for the scene. That is, at every minute spent shooting, I envision the image set to Chopin's "Nocturne in E flat major, Op. 9, No. 2." At this point in producing the flick, I imagined it was time to actively look for downloadable versions of the song, when I noticed that simply stating that the composer's work is on the public domain is not enough to be allowed unrestrained use of the tune. What I mean is that, although the famed piece is available for widespread use, each player holds rights on their interpretation of Chopin's song, and those audios are not free for use.

This factor had not been taken into my account when I first decided on the song to which the scene is set. In fact, I had even rejoiced, celebrating that my desired soundtrack was available for use. Once I found out otherwise, the realization at first frightened me, but I soon got to work, wondering if there was any version that was, in reality, in the public domain. Luckily, after researching for a while, my hypothesis was not rejected: I found an non-copyrighted file! The track, performed by Martha Goldstein, appears to be free for sharing.

Now armed with the fitting audio, I should be able to proceed with no complications, right? Well, not quite. Although I had the track, I was still faced with another problem: the Goldstein audio is about 4 minutes long, and the opening is 2 minutes at most. This issue, however, I had already envisioned, as you can see from one of my earlier posts. 

There were two ways of approaching the length problem: making the track faster or cutting it. I have attempted the first one, and, despite the quicker tempo being somewhat appropriate, I still have not found a way to accelerate the tune without it distorting. One could argue that such distortion would also be suitable for the story I am trying to tell in the opening, since it follows the corruption of the scientist's mind. Still, I am afraid it may look amateurish or be seen as an excuse for my lack of digital skills. Thus, I opted for chopping the file. This option turned out to be far easier than expected, given the song's own nature: it repeats again and again, only increasing in the number of flourishes overtime. Although chopping bits may cut the "development" of the song, it still includes the rise and fall that has inspired much of the story. 

Now is perhaps the time I should mention that I did manage to get my computer working again! So, using my loyal companion, iMovie, I shortened the once 4:13 minute song into a 2:05 piece, sewing segments together in such a way as to disguise the abrupt cuts. However, as I've mentioned before, the repeating themes within the track help in hiding the edits made. Below you can see some of the "matches" made when trying to piece together the fragments of Chopin's "Nocturne." 

rearranging a masterpiece

Although I have used the trustworthy app for this part of the project, it is worth noting that it does not necessarily mean that it will be the one I will go to when editing the video: the options mentioned in my previous post were rather appealing, and could be useful in making a satisfactory product. But, for now, good old iMovie is my preferred editor.

SOURCES:

Culture. (n.d.). Set Chopin Free. Culture.Pl. Retrieved March 20, 2021, from https://culture.pl/en/article/set-chopin-free

Rosen, R. J. (2013, September 9). The Complete Works of Chopin, for Everybody, for Free. The Atlantic. https://www.theatlantic.com/technology/archive/2013/09/the-complete-works-of-chopin-for-everybody-for-free/279471/

TECHNICAL DIFFICULTIES

This posting may come as a stark contrast from one of my prior posts, in which I praised the wonders of technology: this time the "wonder" has become an inconvenience. Luck certainly has not been on my side: just this week, my computer broke down. This issue with the hardware is only made worse by the consequences on my use of software - not only did the laptop contain all of my downloaded footage, it was also the only computer in the house that had iMovie, the editing program I intended to use (and the only one I know how to). 

As of this moment, I write from a school computer; I am not sure if I will be able to download an editing software on this device (though, if it comes to it, I can certainly learn how to operate a new program). That said, I have been looking into both online and downloadable options I could use for the post-production process - WeVideo, a web-based tool, is a viable alternative if I am unable to recover iMovie, and it has a few tutorials to aid users in making their own videos. On the bright side, WeVideo has many more editing options when compared to my preferred application, so perhaps changing to this editor will not be too bad. Another option, and this is possible only if I can download an app to the school computer - it's worth a try, at least - is DaVinci Resolve, an editing tool that has been used and recommended by quite a few classmates. As opposed to the Apple alternative, DaVinci is a much more advanced editor, with specific pages to assist in every step of post-production. 

Just in case, though, I am trying to get my computer fixed. Still, after exploring different programs, I will let quality determine which software is best - even if I do manage to get iMovie back. Until then, I will use the spare time provided by the upcoming week to explore the editing apps and finish shooting.

please standby

SOURCES:

Damen, A. M. (2021, January 1). Edit Videos Like a Pro: The 12 Best Free Video Editing Software Programs for 2021. Shopify. https://www.shopify.com/blog/best-free-video-editing-software

Wells, T. (2021, March 16). 24 Best Free Video Editing Software Programs in 2021 | Oberlo. Oberlo. https://www.oberlo.com/blog/best-free-video-editing-software

DETAILS

Since I have not been able to record any shots with the actual character in them (the coat, an essential prop to give Dr. Narcissa more credibility, was left at school), I have focused mainly on the more static shots. The latter can forward the story and shed light on the protagonist's motives and overall situation. These shots are comprised primarily of close-ups, relying heavily on the mise-en-scene and angles to convey meaning.

As outlined on my storyboard, I have plenty of shots with this very purpose. However, upon watching HBO's award-winning miniseries, Chernobyl (dir. Johan Renck), I noticed that, as opposed to my previous belief that there must always be some movement in the shot, there is no necessity for nonstop action. In fact, any gesticulation included in the opening scene for the series' pilot episode, "1:23:45," is minute; mostly static shots are featured throughout the first few minutes of the screenplay. The stabler shots do not appear to be photographs, as was my fear in attempting to emulate such stillness. Besides the subtle movements - smoke blowing, a clock moving - the opening compensates for the lack of motion by creating a vivid atmosphere with sounds and lighting. 

This was a factor I had not considered, given that my initial plan was to "overwhelm" the viewers with motion, avoiding becoming too much of a documentary rather than a motion picture. Now, knowing which factors I can use to make my scenes less monotonous, I can focus on creating foley sounds and using the music and angles to compensate for the static images (though I still like the idea of having some action, akin to the movement of a clock in the opening of the aforementioned series).

AH, TECHNOLOGY!

Welcome back, my dear readers! Today's post is brought to you by the wonders of technology. That is, besides the obvious technological aspects, the contents I am about to discuss relate directly to the features I only just discovered in my sister's iPhone, which I am using to film. Before I get to that, however, allow me to show you my final setup:

the dining room-turned office/lab - the first version

 

The picture above was a tentative approach to lighting for the final scenes, using two different lamps in an attempt to "blind" the camera. However, using distinct sources, unsurprisingly, did not create darkness, but made the scene better lit - such an unexpected outcome, isn't it? My struggle with the lamps, documented in detail on my previous posting, was finally solved when, by accident, I found out I could control exposure on the camera app! 

 

 

This discovery not only allows me to set the mood for the piece, but also helps conceal the background, which, as I have mentioned before, was another complication I have had to deal with. To better illustrate the effect this unearthing has on the shots, I have included a picture of the set on the left. It must be noted, though, that shots under this lighting will only be used towards the end, lest the opening look poorly lit - nobody studies in the dark. For the remainder of the scene, I will rely on the lamps seen in the first picture to create a more sophisticated environment, using the angles to build the illusion that it is an office desk and not a dining table.

Another revelation that came to me was the ability to do focus racks, as shown below. This way, I can connect the experiments to the subjects my scientist studies, and have the audience link one fact to the other, rather than have the character actively go through pages explicitly stating what she is reading. 

 

Overall, the recordings made so far have themselves provided me with feedback on what needs to be changed. For instance, filming the entire opening under the dim-lit atmosphere takes away from the ambiance, and the original setup proves to be more effective. I had originally planned on shooting most of the scene this week/weekend, but I unfortunately forgot my lab coat at school, where it is being used as a prop for our troupe's production of 9 to 5: The Musical. As soon as I get it back, I will try to finish the production process and jump into editing. For now, have this behind-the-scenes image for the filming of Panacea.

 

LIGHTS, CAMERA, LIGHTS AGAIN

And so, I began the long-awaited production process for the movie opening. The results were... rather disappointing. I had planned on using a yellow-ish desk lamp (the one featured in my prop-making post) to create the "academia" feel. However, not only was the light irreversibly attached to the computer cord and other cables, it was also too heavy to be manipulated. With that, I had to resort to my own desk lamp, which, as opposed to the intended one, does not cast the warm glow - it is very brightly white. But perhaps this inconvenience was for the best since, from my other experiments with the lights, I discovered that two different sources are necessary. 

The setting of my "studio" allows for two options: facing the door or facing the family portraits. Because I can't move everything around, my solution was to create a "blind spot" by directing the beams towards the camera. This way, I can have the focus on my subject, and a dark, indistinguishable (almost) background. The same effect can also be achieved by placing the lamp right beside the camera.

 

In addition to that, it is taking me a while to figure out the perfect angles so that the lighting behaves the way I want it, and so the production will look uniform and not simply different shots compiled together. Below you can see one of my attempts at getting the illumination right. Using the two sources as the key and fill lights would not work in this situation; although the opening is centered around a realist plot, using a more "natural" lighting takes away from the darker tones I want to convey.

Even better, the darker background, paired with the correct lighting, can give the impression that the warmer light is being used, as seen in the second picture above. Still, that may just have been because the paper used is less "vibrant."

Below are some of my attempts at controlling the lighting and getting the right shots - both were... less than successful, but I will work on improving them.

 

 (this last clip shows another problem I mean to avoid: the light beam can be seen in the shot, and betrays the "darkness" I am trying to build)

 

I tried to record myself filming the scene, but the video was too big, and so I am unable to post it. I'll try to figure that out too, to give a look on the process of finding the perfect angles. But I guess that's a job for the next post.

PROPS: THE SEQUEL

For my final steps before filming, I had to make sure all props worked according to the plan. While I was able to fabricate some models and pages of writing, the experiments still caused some complications: I do not have any chemical indicators to my disposition, and messing around with the cleaning supplies did not seem to be the safest choice. So, to give the extra science-y look to the opening, I had to find an appropriate substitute to the chemicals. Luckily, my sister had the solution.

Since she likes painting, we have accumulated quite a sum of different types and hues of watercolors, all of which could work as a plausible alternative for my experiments. The only problem, however, was the paint's extremely diluted form. Because it is meant to be used in a less concentrated state, it often does not provoke the high-contrast effect when added, drop by drop, to water - and, if it does, it is too light to be captured by camera. It took a few attempts, but we solved it: by choosing a brighter color and not getting the watercolors from the diluted source, we could make a more vibrant liquid pouring into the "beaker." The successful trial can be seen below.

As for the container, the video above clearly shows another issue: the Publix watermark. I have attempted to hide the green logo; it is now only visible if held against a light - which can be fixed when shooting.

Some other props were gathered and transformed into scientific utensils. With a cardboard box, I made a stool for my "test tubes" (I am hoping to avoid the amateur look by painting the structure in silver).  The original plan for the test tube holder was updated as I worked on it: initially, I had done two thin strands holding the horizontal bar. This did not work very well, as the pillars kept bending under the weight of the water. By cutting larger strands and adding vertically-cut bars under the superior base,  it became much more stable. While I am still having some trouble with the rack - it keeps toppling over! - I can probably use it as a prop if balanced correctly.

 

original plans

semi-final product

As of this point, the inventory is ready. Over the course of the next week, I plan on shooting the opening, and maybe even begin editing so that I can see if any segments need to be re-shot. My main concerns, for now, are the lighting and angles, since I am counting on an illusion to make the dinner table look like a desk. But enough waiting - it is time to dive in and let the action begin.

AT LAST, STORYBOARDS

As promised, I have finally gotten to sketching storyboards for the opening. Still, I find myself rushing to include the character, rather than using the props I have acquired/made/am making. Even worse, I constantly fall into the dangers of "telling" instead of "showing" - though I don't plan on including dialogue, the inclusion of newspaper articles and will explicitly show the objective of the experiments. In addition to that issue - which I will try to work out, perhaps in another, revised batch of drawings - I have made some changes to the idea I described last post. But, to make my point clearer, allow me to show you some of the panels I have done so far.

my most recent storyboard

One big decision I've made is that of delaying the reveal of my protagonist. Originally, I had planned on starting similarly to my old, unrelated storyboards, with a focus rack from a fuming test tube to the scientist's eyes. This way, I can focus on the details, and give a bit of exposition before throwing in the action. Moreover, this way I can create a slower pacing, that may or may not get faster as the piece goes by, showing how frantic Dr. Narcissa gets as her experiments fail. 

Yet another change, is done with respect to my previous posting, in which I mentioned the use of jump cuts. While repeating shots of similar composition may help in developing the character's mental state and showing the passage of time, I have decided to include such repetitions in such a way as to create a motif of trying again, and again, and again, and starting over every time. By spreading the similar shots throughout the piece - as seen on the second and the last panels of the storyboard above - I can show that her frustration is gradual, and that careful experimentation is done. Furthermore, I can also give the impression that it is not one, condensed study session, as I had feared before. By changing the scientist's clothes (a minimal touch, really), I am able to imply that the work was done in different days. Of course, if, in editing, I find that this method does not work, or looks a bit too Groundhog Day-ish with all the "restarts," I can change it back to the quick cuts and sequential shots. 

Another factor, though this one has more to do with the production rather than planning, is that, although the character is under pressure, I do not intend on using canted angles or shaky cameras - at least not in the opening. Given the doctor's professional field and position, I want to show the same professionalism by maintaining the shots steady as well - that is, as steady as I can, given my limited supply of materials and cameramen.Still, I plan on including movement in each shot. Particularly, using the scientist's reflection and shadow as she moves along the office. This practice not only makes the shots more interesting and less like stills, but also draws back to inspiration I gathered watching Black Swan. That is, the constant use of mirrors - particularly distorted ones - throughout the movie builds onto Nina's fear of replacement and her belief that someone like her, better than her, is nearby, waiting to steal her place. Similarly, using the shadow or the reflection can show how outsider's expectations for my character have also influenced her into entering the downward spiral. Not to mention, she both figuratively and literally casts a shadow over her past achievements as she aims for the unattainable.

Another relevant part of my storyboards is the one I had planned from the start. In fact, initial sketches of this ending can be seen in one of my old posts, on a pink post-it note. Now, having studied my idea better, I have refined those panels, seen below.

From this, you may have notice that I now have a working title: Panacea. I figured it is most appropriate, though a little cheesy and obvious, since it is the subject of the protagonist's obsession. Still, given the "alchemical" meaning of the mystical concoction as a cure to all problems, the solution would be quite helpful to fix Narcissa Châtelier's situation. 

As I have mentioned before, the storyboards will serve to guide me in filming the scene; however, it is not definite, and I may change or add shots while recording or editing. But, as of now, it's good to have a clearer view of what is ahead.

POSTMORTEM INSPIRATION

Before proceeding with my storyboards (which will be done soon, fret not), I decided to take a closer look at "study scenes" to understand how to fill the two minutes in a meaningful and entertaining manner. At first, my new, more niche research led to nothing - none of the scenes captured the precise emotion I aim to evoke. Suddenly, as if struck by lightning, inspiration came to me; the perfect science-scene opening was in my repertoire all along! Research for previous projects had led me to the world of stop-motion, a realm which, once again, I would dive into for my latest case study: Corpse Bride (2005). 

Directed by Tim Burton and Mike Johnson, the animated musical begins the very moment the score sounds its first melancholy notes. Though the tone of this flick is quite different from the one in my opening, it utilizes many techniques that can be rather useful in establishing the subject of a character's fascination - for Victor, it is butterflies.

In the scene, tight shots at first show not the character but his preparations to begin the study. Additionally, dissolves between the images add to the pacing and fluidity of the clip. Notably, the protagonist's characterization occurs through the mise-en-scene before the "acting" itself - Victor's face is only revealed near the end of the sequence. Another factor I could possibly emulate are the "jump-cuts" (kind of) while the character is drawing - shots of similar composition but different contents, and separated by dissolves, illustrate the process of drawing and studying the butterfly. Inserts also showcase the rest of the room (with posters beside the desk) and develop Victor's personality. And, of course, when analyzing Burton's movies, one could not leave out the manipulation of colors to convey a colder atmosphere.

 

While the opening above was beneficial with respect to each shot's editing and composition, I needed to look for other scenes that more closely emulated the pacing I was going for. Luckily, the answer was not too far from my last example: The Nightmare Before Christmas (1993) includes a few scenes depicting experiments. In particular, one isolated study session proved to be somewhat similar to what I aim to achieve.

 

a POV shot through Jack's microscope

The segment, not unlike my envisioned creation, includes minimal dialogue and instead uses other methods to convey Jack's exasperation. For instance, close-ups on the materials and point-of-view shots, followed by the skeleton's reaction to the failed trial, works to reinforce his examinations' ineffectiveness and create greater tension on the character as he struggles to obtain significant results. The scene is relatively fast-paced, with one experiment following the other and simple cuts - as opposed to the other movie's dissolves - sewing the sequence together. Also included in the montage is a variety of different angles and shot types: some are close-ups, others are medium shots, and more can be observed as well. It is also worth noting that each experiment appears to happen sequentially, as the flick is edited in chronological order - that is, no cutaways of other trials while one is showing; each attempt is captured in its entirety before another is displayed.

With base on these, I plan on having an opening of similar style. The idea of having various experiments failing one after the other is interesting, but, in order to make the opening a bit more entertaining, all the while showing the protagonist's scrambled thoughts, I will try to play around with the order of the experiments with cutaways. Additionally, the jump cuts can be used (as I am trying to do below) to show how she keeps trying to get at it, but keeps failing - in a way it is the same concept behind having Jack's failed experiments back to back.

a sketch of a possible sequence of jump cuts I intend to make, which can show the passage of time, the protagonist's insistence, and her deteriorating mental state.

SOURCES: 

Corpse Bride (2005). (2005, September 23). IMDb. https://www.imdb.com/title/tt0121164/

MovieTitles. (2020, October 9). Corpse Bride (2005) title sequence [Video]. YouTube

Cinema Cut. (2015, January 14). The Nightmare Before Christmas (1993) Science [Video]. YouTube. https://www.youtube.com/watch?v=U821I_GqhEg

IT'S ALL IN THE NAME

As I have mentioned yesterday, my character's two-dimensionality was quite an issue in my pitching the story to colleagues, all of whom had thought out backstories for their protagonists. Especially in this case, when the subject requires a more introspective approach, it is key to understand who my character is, and why does she behave the way she does. We have figured out her general goal, and why she is pursuing it - you can check that out in one of my previous posts - but there is no depth to it. Even worse, the character - the face of the project! - does not even have a name. So let's start with that.

Not unlike my character, I need everything to be perfect. For that, I looked at name meanings: I figured that the character's downfall could be hinted at in her title, showing that, from the start, she was doomed to fail. Still, the few words that evoke the meaning of "failure" or "madness" were pretty blatant and obviously chosen with the aforementioned purpose. Besides, a person named "Doom" is not very likely to succeed in an environment where career advancements depend on other people's decisions - studies have shown preferences for one type of name over the other in the business world, and defeatist titles are not particularly favored. I settled, then, for a "double-edge-sword:" Narcissa. The name, of course, is a direct allusion to the myth of Narcissus, whose obsession with himself led to his untimely ending. However, the term has gained popularity due to its other meaning: daffodil. The latter, too, relates to the myth, but only to its brighter aspects; Narcissa becomes, then, a common enough name that it does not signal the character as an outcast in the corporate world. 

As for the last name, living in the shadow of some great chemist could drive the character even further into her pursuit of greatness. That is, having the same last name as renowned scientist symbolizes how the character has "big shoes to fill" to live up to her name. From this concept was born Dr. Narcissa Châtelier, experienced pharmaceutical scientist. Armed with a new moniker for the scientist, I could officially begin the character study.

Henry Louis Le Châtelier, the French chemist known for his work on equilibrium

Dr. Narcissa Châtelier is in her mid-30s, but is nothing short of accomplished for her age. Having excelled all throughout her career, she always attempts to defy expectations, and yet managed to succeed every time. The scientist was never one for religion, but her secular practices never stopped her from believing that there was some truth to the centuries-long search for a universal cure. Narcissa herself had come face to face with ailment - at a young age, she witnessed firsthand the somber decay of human life as her brother fell ill, and no treatment available reversed the tragic circumstance. After being awarded the Dreyfus Prize in the Chemical Sciences for her work in pharmacology, Narcissa quickly announced her latest and most ambitious project: creating a panacea. 

She had considered taking on the challenge for a long time now; motivated by her past experiences, and knowing the renown such a feat would garner, the search for a true cure-all was but another business deal. However, soon after setting the unachievable standard, Narcissa began to doubt. Was there even such a thing as a real panacea? There had to be - think of the good it would do, the lives she could save! But, to any who do not share the same vision as the acclaimed scientist, it was clear that the pursuit of the mystical concoction was pure madness. 

Thus, Narcissa's self-imposed pressure, plus the peering eyes of all the scientific community (not to mention hopeful citizens), contribute to her ever-growing belief that it is possible to solve the mystery. As the doctor strays farther and farther from true chemistry, venturing into alchemy and witchcraft, her colleagues and relatives attempt, in vain, to warn her. Still, she is obsessed with her work, and rapidly secludes herself from any who may discourage her practices - though she is still painfully aware of what others may say about her. 

Narcissa's fear of failure is a widespread character fault, seen in all of my case studies. Her ego, besides the increasing tension and anxiety, only pull her farther down into the abyss - not unlike Whiplash's Andrew or Black Swan's Nina. Now, knowing my character well enough, it is time to go full force ahead.

SOURCES:

Insider. (2016, September 2). 15 ways your child’s name sets them up for success — or failure. Business Insider. https://www.businessinsider.com/what-you-name-your-kids-will-affect-their-success-2016-9?international=true&r=US&IR=T

Terry, E. D. A. G. (2020, June 3). The 94 worst baby names in existence - and their terrible meanings. Closer. https://closeronline.co.uk/family/news/worst-baby-name-bad-meaning-girl-boy/

Dreyfus Foundation. (2021, February 24). About Us. https://www.dreyfus.org/about-us/

A LITTLE HELP FROM MY FRIENDS

After meeting up with my classmates today, I received valuable feedback on my idea for the project. To begin with, I only then came to notice how underdeveloped my character was, and how, all at once, I gave the audience the entire plot of my creation. As one of my colleagues said, "the biggest twist is the character descending into madness." That is the purpose of this specific "subgenre," after all. And so, I must hold back, so that throughout the rest of the movie a greater change must happen, and the viewers get a satisfying plot-twist at a point later in the story. 

 

Moreover, this beginning will rely heavily on the mise-en-scene to establish context. That does not mean, however, that everything should be explicitly shown onscreen. During the call, I was suggested to include some interaction to show how the scientist is ignoring others' advice, and setting herself an unrealistic standard - one physically impossible to achieve. "Maybe someone could call her," one classmate proposed. Though that could provide me with with the "social interaction" aspect seen in my drama case studies, I suppose the advisor I had envisioned would be more like Pi's Sol - Max's instructor, who told him time and again to refrain from pursuing the pseudoscience. This person, however, would not appear until later in the film - the first two minutes will not focus necessarily on their interactions, though I can hint at a possible connection through notes and other minute factors. Yet another suggestion - and this I thought quite helpful - was to include an outside perspective of my protagonist "escapade." This could be done through newspaper articles, building up not only to the expectations for scientist, but showing how some are explicitly against her controversial idea. 

All in all, considering the feedback on my idea, I have also gone back on my take for the opening. By making the opening a singular "study session," the obsession may seem to already be full fledged, and that is not my intent since the downfall will occur only gradually. I will toy with the idea of making it different days - maybe even change the song to a more intense, faster one - by changing the character's clothes and repeating the same shots, but with different details to illustrate the passage of time and the slow, but certain, deterioration of the protagonist's sanity. 

Overall, the feedback has helped me rethink how to approach the opening, and helped me even more in developing the storyboards, which, until now, were quite vague. For the next couple of posts, I intend to include a full character description - beginning with finding a name, a task I had been avoiding to do for a long time - and a clearer yet view of the scene, in addition to storyboards. Throughout the next couple weeks, then, I will begin arranging props and the appropriate costuming to begin filming. It's a lot, but necessary steps in order to make the final product satisfactory.

PLANNING (FEAT. CHOPIN)

storyboards from last year

As I delved deeper into the making of my project, I came to the realization that my idea was not so original as I had once thought it to be. What is most peculiar, however, was that the idea from which I borrowed was... also mine. At the beginning of the year, we were instructed to create a series of storyboard slides, an activity so we could become acquainted with the widely used technique. There was no story needed; the only requirement dictated that the sequence of 15 drawings had to have a beginning, middle, and end. From that exercise, I came up with a few sketches: a crazy scientist, a few potions brewing atop Bunsen burners... nothing worth spending too much time thinking about - or so I thought. Apparently, the brain really does work subconsciously: I have been thinking about this project since then! Still, since no real narrative was developed at that time, I must use these old storyboards merely as an inspiration as I work on more precise ones. But first, I have to decide on which shots I wish to use to convey the tone of the opening, and, for that, I'm creating a shot list:

the shot list. A bit vague as of now, but I need to get a better feel to understand if the fragments work together in a montage-like fashion, all the while showing the character

You may have noticed, in the above picture, that I already have a choice for the soundtrack. Chopin's "Nocturne Op. 9 No. 2" has probably been overused to the point that including it almost feels cliche. Still, the melody and descent nearing the end of the piece evoke the exact feeling I aim to include in the opening. That, and this video (though more of a comedic and particularly accurate take on the song) inspired me to include it in the first two minutes of the project. Additionally, the classical music adds a certain melodrama to the movie, not uncommon in the genre I am going for. Please note that this may change - nothing is concrete as of now. Nonetheless, is good to know that there is at least one song in the public domain that fits what I have in mind. To give myself a challenge (that will probably fail), I will attempt to either accelerate or cut the song so that it fits within the time-frame (a faster tempo would go in compliance with the tone as well).

the table beside the window

As for the setting, I am limited to the confines of my home, and so I must adapt. I would like to have the scientist framed against the window, so that there is always someone watching her - or that is how she feels. Though my original storyboards from September also featured a mad doctor beside a large window, my intent then was only for the drama of it all. I might play around by gluing drawings and schemes against the glass, partially blocking the character from the world as she closes in on herself. And to further accentuate the mood, I will film at night, when the lighting can be manipulated to my liking.

As I'm sure you have noticed from the images above and beside, the table is made of glass - not ideal for the laboratory setting, but it is what is available to me. Yet another complication is the fact that it is a large dinner table, not a desk as I had originally envisioned. That said, I am hoping that by capturing shots from a high angle similar to the one on the right, the issue may be overlooked. With respect to lighting, a darker color scheme and dimmer lights go best with the story.

There are many more decisions to make, and many more experiments to help me decide what the next step should be - or if I should go back and change something. We'll see how it goes.

SOURCES:

 Nocturne op.9 no. 2: Chopin’s most famous piece. (2020, April 17). PianoTV.Net. https://www.pianotv.net/2016/09/nocturne-op-9-no-2-chopins-famous-piece/

 

ORGANIC CHEMISTRY AND THE ART OF PROP-MAKING

I know I should probably work on the shots and storyboards before jumping straight into prop-making, but I was so excited to try out my little experiment that I couldn't help it. So I've started making props! Of course, not all scenery can be produced at home, lest the end product look sloppy or amateurish. Still, given that the object of my creation will not be a major feature (even though it can be a major species... a little chemistry joke over here), my homemade model certainly was fun to make, and will be useful in establishing the protagonist as a scientist along with the rest of the mise-en-scene. Allow me to walk you through the process of modeling some molecules:

I don't have a modeling kit, and buying one would be rather expensive if its sole purpose were as an object in the background; making my own, then, seemed quite favorable. Using the picture above, I drew my "skeleton," which would guide me throughout the process. Luckily, I had some polymer clay and paperclips laying around at home, so I gathered my materials and began rolling black and white blocks into atoms.

The process was painful - one wrong move and the whole thing would fall apart. Even worse, the double bonds had to be put in such an angle so that not one, but two paperclip fragments could be stored within the miniature (or should I say giant?) model. And I still had to keep in mind the 120˚ angle for each carbon. After some arduous work, the structure was done and ready for firing. 

There was just one more problem... I don't have a furnace, and absolutely cannot be trusted with an oven. Funnily enough, the solution arose by accident. The project took some time to do - by the time it was complete, the natural lighting was dim enough that I had to turn on the lampshade sitting by the desk. A brilliant idea! The lamp, which by some malfunction keeps heating up, has caused me numerous burns throughout the years; this time, however, its weakness could be exploited for good. Placing my model under the scorching desk light, I waited for it to dry. And - who would have guessed - it worked!

firing the piece under the table lamp - it is unbelievably hot

Done!

"Ecstatic" is an underestimation of my emotions upon seeing the finished product. Yes, it did break down after some five minutes, but that can be solved with a bit of glue - nothing too serious. Knowing that it is possible to create molecules out of clay, I can make more particles to add to the scenery where the opening takes place.

In addition to making my own, I also got a few manufactured goods - a trophy, medals, and other prizes to signal that the scientist has had a history with recognition, and already has a crowd to please. Beside are some of the achievements that will adorn the scientist's shelves. 

Overall, this was a fun experience, albeit precocious. I have actually been working on developing the story - there is a shot list in the works. By the end of this week, I intend to have a storyboard at least halfway done, so that I may try to experiment with different shots and angles when production starts.

HOLLYWOOD'S NEWEST STAR

Nearing the end of the second week, only one last bit of research is left to do: the main character. Until now, the story had been the focus, and while it is more concrete now than it ever was, it will not be entirely done until the protagonist can be in it. And they can only be in it if I figure out who they are and what their motivations - their "spine," as Stanton called it in his lecture. Even more, I have to figure out a way to have the character embody the genre characteristics while appealing to a specific public. Let's get to it.

 

Yep, that's me (don't worry, this was a long time ago)

First and foremost, my target audience is primarily older teens to adults. Because I cannot get an actual adult to act for me à la Hollywood, the protagonist will have to be played by none other than me (my sisters refused the offer to star in the production). While this would undoubtedly restrain my target audience - I highly doubt any adult would enjoy watching a 17-year-old playing grown-up - I will choose to simply ignore the shift and pretend that the main actress is not, actually, a teenager. In addition to that, men do not commonly watch female-led movies (with some exceptions, of course; the content and genre of the feature play essential parts in this audience split). That said, yet another limitation is imposed on my ideal public. Regardless, my story is not necessarily a narrative about being a woman. In other words, the gender of my protagonist should not matter to the tale, even though it most likely will impact who watches it. Now You See It's video on the subject was particularly helpful in coming to this conclusion. 

 

Now, in regards to the overall characteristics of the drama genre, the main character has to be flawed. Since drama relates to realism and sensitive portrayals of the real world, the hero has to be human, above all else. That is the appeal of this style, and it's what makes people want to watch the flick until the ending. Besides, dramas aim to elicit strong emotions in response to the ups-and-down in the storyline, and, for that, the protagonist has to endure a series of misadventures. In my narrative, the character is clearly undergoing stress - both self-imposed and extraneous to her - and her downfall is reflective of her imperfections: no one can endure such pressure for endless amounts of time. 

 

From the start, my scientist is rational and lets reason guide her before any intuition. Trophies, medals, and ribbons only work to show how successful her past projects have been and how, as an accomplished person, all eyes are on her to succeed. After so many experiments, this next one was a logical step, not to mention the one she had been drifting towards from the beginning. Deep down, everyone wishes to get praise and validation, and that is no exception among pharmacologists and scientists alike. I do not mean to discredit any who strive to achieve something for "the greater good," yet none can deny the hint of selfishness and egotistical pleasure of being among the best and brightest. That is what motivates my protagonist, though her purpose grows murkier as she gives way to insanity.

 

Having set her mind on this impossible task, she cannot afford to give up. The chemist must prove to herself - and to others - that she is capable of greatness. Still, from that very moment, she is doomed to fail. There is no truth to the pseudoscience, and yet she hopes to uncover one. As I've mentioned, the desire for recognition eventually becomes the need for it to work, for there to be a mystical cure so that all her work would not be in vain - or worse, that she would have made a fool of herself. And so, the scientist plunges into work, firmly believing that she will emerge victorious - if she does emerge at all.

 SOURCES:

Is the film industry doing enough to engage female audiences? (n.d.). Screen. Retrieved February 21, 2021, from https://www.screendaily.com/features/is-the-film-industry-doing-enough-to-engage-female-audiences/5129915.article

MPAA Report 2016: 52% of Movie Audiences Are Women & Other Takeaways. (n.d.). Women and Hollywood. Retrieved February 21, 2021, from https://womenandhollywood.com/mpaa-report-2016-52-of-movie-audiences-are-women-other-takeaways-12320da989b4/

Now You See It. (2019, March 1). Writing Women [Video]. YouTube. https://www.youtube.com/watch?v=5asVUCGmmEE

A. (2018, November 1). Protagonist - Examples and Definition of Protagonist. Literary Devices. https://literarydevices.net/protagonist/