I presented Stranger Than Fiction to the group, citing its use of protagonist’s awareness of narrator as something that interests me.
Do I want the narrator/protagonist in my previous film to be aware of each other in the recomposition?
What happens if I use sounds from the alcove over the initial scene?
How do I feel about keeping the abuse scene in? (I notice I swallow a lot while watching it and I feel angry – don’t like it; feel stupid. Slight twinge in right shoulder).
How am I going to deconstruct the film? I stated I wanted to decompose and recompose. Matthew pointed out that decompose means rot.
What is the point of the new film? Is there one? The point before was to express and externalise. What is the point now? To play with it? Maybe inject humour?
My painter friend was told at art school to paint a blue line over her canvas if she got stuck – break it to make it.
What is the relationship of the image of the sofa to the off screen voices?
How might I respond to my film? What if someone else had made it? How might I respond to it then?
What if the song was somewhere else in the film?
What’s going to be my blue line?
Could reinterpret and film in a different way.
Could keep narrative and use different places/locations.
What is essential?
How is Caisie’s Tree related?
What could I do differently and make something new?
Lewis Carroll? Photos?
Film we’re going to watch next week: The Limey – re-imagining what a character does after the previous film. Could use Louise to act this – she is older than Charlotte (who played Alice in my previous film), is not an actor and looks ver different to Charlotte.
“You need to challenge and push yourself.”
Faith and sacrifice: in Stranger Than Fiction, Harold is prepared to sacrifice himself for a well written story. The writer sacrifices the story to keep him alive, resulting in a less well written story with a happier ending. Why is tragedy generally regarded as better than a happy ending?