This work explores the tense and hidden emotional world of an elderly couple, amidst the hustle and bustle of a busy shopping strip. On the surface, we see the Wife's kindness and concern for bums and beggars as well as the Husband's clear disapproval of them. We are initially led to believe that the husband is miserly and uncompassionate. But as the story unfolds, we move deeper into the Husband and Wife's relationship, and partially discover a deeper more tragic reason for their behavior. There is also a chance of redemption where the Husband must decide what is more important to him: The healing of relationships or his own pride.
I am fascinated by this story because, while it may appear to be simple, there are layers of relationships that are gradually revealed to us until the last, most critical moment where an important relationship is hinted at but remains largely a mystery. The idea of information being hidden or out of reach is very strong, and that really ignites the audience's curiosity and sympathy for the characters. Revelation of the dynamics of relationships will come out directly through dialogue and action, and indirectly through silent looks, facial expressions, pauses and even the environment. The overall look would have a cartoony, stylized look where people have distinctive, easy to read shapes and faces. It would be akin to the french animation style of The Triplets of Belleville. This film would be made for an adult audience who can comprehend the subtlety of the story.
In Act 1, we are introduced to the characters and the world. Normal camera angles and ambient sounds give us a clear idea of the energetic and “everyday” consumer world. Everyone is preoccupied with shopping. There is a sense that everything seems all right. When we're introduced to the Husband, Wife and Beggar, camera angles become tighter, more personal, bringing you into closer encounter with them.
In Act 2, the camera angles will gradually build up to more dynamic, tilted and close up shots as we are confronted by the secret that the couple knows but are not talking about. Sounds of the outside world become more muffled and far away while smaller, more personal sounds are accentuated (e.g. sounds of teacups). Internal sounds (breathing, heartbeats) come in to describe the characters' internal struggles. A wider camera angle also shows the couple in relation to their surrounding world. While the couple's inner world is rocking, the outer world is oblivious to their turmoil. The sound of a plate crashing signifies a crucial confrontational moment for the couple, but is in fact just a small inconsequential event of passing interest to the people surrounding them.
In Act 3, the camera pulls out showing us the bleak end of the couple's encounter. It also telling us that we are coming to the end of our time in this couple's lives. As the camera pulls out of the shop, the couple will carry on wrestling with their problems, but we are no longer privy to what will happen. We can only guess. Sounds and camera angles revert back to the norm as in Act 1, and the audience is left with the knowledge that while we've just experienced something very intense and important to the couple (and perhaps now to us), the event has very little effect on the larger world that they are in. The world still carries on buying and selling, and the beggars still exist in the shadows.
"Man down! We have a man down! What the hell are you doing, kid??"
"But he's--"
"You three, get him out of here! We're too near the fight! Move your asses before they come back!"
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T.P. (Agents & Behaviour) from Lindy Lou on Vimeo.
We were tasked to create a simple and preferably non-figurative character for this project and put it into a simple situation e.g. waiting for the mail, putting on some shoes. The animation didn't have to be long, but it did have to show the character's personality as clearly as possible.
I wonder how successful I was at it. I know I have a long way to go to create more mature and thoughtful animation... I've realised over a long time that I had a problem with the Timing and Posing of my characters. It looks 'regular' somehow and I feel I've not pushed it far enough to really get to the essence of the characters. Sometimes I wonder if I'm afraid to... It is something that I would need to really figure out.
Anyhoo, This took maybe... 3 days to do. If I started this assignment EARLIER, I would have had time enough to clean it up and make it presentable. Another thing I shall improve on is Discipline. I'll have to find another time to clean it up proper. I've had too much unfinished work in my life... It is becoming a bit sad. =___="
We'll learn as we go along...
{STYLISH ANIMATIONS}
BUILDINGS & VAMPIRES combines crochet dolls, 2D
animation and the imagination of a child, to create a unique and absolutely charming story >u< The characters are brilliant, and it's just amazing how every little detail in this piece fits together from design to the voices! I'm intrigued by how they integrated the 2D and live action elements together!!!
Buildings & Vampires from Nico Casavecchia on Vimeo.
AUBADE A person finds an injured bird and tries to help fix it. I love the techniques the film makers have used here. Was reminded about what David Atkinson said about using different materials and textures in our cutout animation to create richer more interesting characters and worlds.
