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).