Jujube/scenes

homemaking

LOCATION: fabric station, Bree

Bree discovery of: - journal from Leah - this New Life (Dante) from Amelia - recipe books

haircut

Two characters: M & J.

Stake?

What does M want?

- To get a haircut

What does J want?

- To be with company

- To confide <-- that's an action, why does she want to confide? <-- To feel okay by talking to another person

Blocking:

1. [off screen]J opens door. J offers tea. [lv rm]M browses the books.
2. [lv rm]M picks a book. Goes about noticing new things.
3. J enters the living room with tea and snacks. M asks J about the book she has picked out.

ETC ETC ETC

See complete:

File:S1-storyboard.pdf and File:S1-shotlist.pdf

production notes

Jujube/scenes-production-notes

editing notes

Simon:

- What is this film about? That will help you will the editing. ("It is a film about two women coming together and showing vulnerability.")

- The shot of the bangs evoke tactility. It changes the motions. The tea shot is a conventional, comfortable social distance.

- Start with the voice track, it is the script. The visuals are performance. Visuals are not necessarily real-time.

- The visuals are music, you can turn them up and down.

other notes

Simon

- Develop a grammar.

- Think carefully: how you reflect the ebbs and flows of small changes (through shots)

- You are constructing social interactions. There are different layers in a social interaction. Think about boundaries.

David

- What is your style? Currently there are inconsistency in the shots. The first shot is casual, almost as if you did on a phone, it establishes a distance between me and what I am watching. The shot through the door is voyeuristic.

- My observation is that you want to convey through highly composed shots.

- Think about the meaning of the image and set up your shot.

Ine

- Home/belonging is universal. It speaks to a lot of people.

- The haircut closeup has a lot of shadow in the beginning. The composition is so minimal that this becomes distracting.

Cem (in response to David's and Ine's comments)

- We can support the first shot with panning close-ups of the shelf.

- We shoot 4K and Premier can zoom as far as 200%. The first shot is way more zoomed in that seen in the rushes.

- Can probably use a mask for the shadows in the haircut scene? (Ask Barend tmrw)

My own (in response to the tutors)

- I stopped writing the literary prose where nothing happens. In plays actions are reflected in the dialogue. I know the motivation behind the lines. But when it comes to film (in the first year), it becomes telling. How can I make film that is not exposition?

- I did plan the wide shot first in the storyboard then in the shot list. It's been there all along. I recognize the significance. But somehow when it comes to the shot it's not conveying the meaning to you. There is a gap. What is this gap?

- In a sense the wide, establishing shots become b-roll and the close-ups become a-roll. I am not making the kind of conventional documentary (think portraitures from the learning period during Jullie: Jujube/ambacht#reading.2Fseeing). I am not setting up an interview and shooting the actions, objects as b material. The actions and objects ARE what carries the story.

homecoming

checklist

- Home is shelter.

- Home is abundance.

- Home is safety.

- Home is free of judgement.

- Home is quiet.

- Home a collection of small, yet necessary activities.

- Home is a collection of objects.

Den Haag

I decided to rent an apartment for a few days in the Hague, to have a meaningful birthday and pass some time with intention.

I am a guest to an empty home full of another person's things. I am at her home. Is this the home I lost?

Use this opportunity to test: how to compose the everyday with shots?

notes

• How does an object imbue meaning?

- shot length

- camera movement/focus change

- blocking

• The rules I am developing for these shoots:

- Bring objects.

- Frame objects in a way that shows care and affection. Frame like it is a hug or a gentle touch.

- No face, but hands doing things.

- Domesticity

feedback and thoughts

Barend: You mentioned showing small changes in close-up, the establishment of space might not be important

Me: Still gonna shoot a few wide shots. Just to see. Perhaps won't use them.

Barend: Are you going to let the viewer know if these objects are brought into the space? Or make it clear that these are other people's homes?

Me: Not sure. I could shoot some unveiling scenes soon. (but don't see it in the narrative rn.) I see it in the context of the documentary. It's another storyline. It's like a dream... Dream of home.

Me: I am seeing a future shot (done in the studio) of the objects isolated against a minimal backdrop. They exist, but they are not grounded.

Antwerp

shot list

+ Make yourself at home.

Wide shot: kitchen.

Shot: grind beans (fill the grinder, action, pour out the grounds into filter)

Shot: make coffee.

+ Roasted Romanesco and kale. Pumpkin seeds.

Shot: romanesco.

Shot: cut romanesco.

Shot: find jar of pumpkin seeds.

Shot: roast pumpkin seeds.

Shot: put the ingredients together (roasted romanesco on top of bed of kale, cut tomatoes, veggie balls; add seeds; drizzle dressing)

+ Eating

Shot: find fork in cutlery drawer.

Shot: bowl, hands, wine glass.

+ Cleaning

Shot: wash the dishes. -- take one is too generic - how to construct a more intimate close-up.

- Tidying

Shot: put the dishes back to the shelf.

+ Mending

Shot: prepare needle and thread.

Shot: mend.

+ Clothes

Shot: hang raincoat.

Shot: get shirt from a hanger.

feedback (from group crit 15/10)

"Comfortable with the space"

"Ritual"

"The coffee scene edit conveys the changing of geography"

"They are much more about objects (and also perceived through the quietness)"

"Finding home in oneself -- but not much is shown about the body" -- Response: I have a strong interest in my hands. It is with my hands that I do. Doing seems very important to me, and the repetition that comes with it.

confirmation

- continue these acts, esp. regarding coffee - toothbrush/earrings - stone

- use checklist from above to develop the shots

London

I want to use the audio from the conversations in London.

From the bones of lemon to Adam and Eve.

I was able to have these conversations because I was in an extremely comfortable place: a nice kitchen/living room (physical space) and with Nuri (psychological space).

- Transcripts first -- this could be a publication -- but I am seeing shots happening in the photo/video studio as in an epic journey (dramatic lighting and all). I am seeing hands performing: showing lemon seeds and peeling apples.

logistics

cinematography and lighting: Sonia

sound: _______

cast: _____ as W1, _____ as W2

W1 has knowledge of Spanish, ideally a native speaker. (Marta?)

W2 likes poetry. (Myself?)

location: large photo studio (reserve)

time: likely week 44 (28/10)

pre-production

tbd

script

objective:

W1: to juice a lemon W2: to finish a thought (finishes with horror)

CLOSE-UP OF HANDS. WOMAN 1 CUTS LEMON ON A CUTTING BOARD. WOMAN 2 DRINKS COFFEE FROM A CUP.

W1: I don't know why in Spanish these are not called seeds... they are called bones.

W2: Bones?

W1: You would say: los huesos... Weird, no?

CUT-TO. CLOSE-UP. WOMAN 1'S HAND, KNIFE GOING THROUGH LEMON A FEW TIMES.

W2: When you look at them they do look kind of bony... with a ridge even...

W1: Bone of lemon...

W2: The bone of lemon. (beat) Pablo Neruda was obsessed with it.

W1: With lemon?

W2: Which yellow bird fills its nest with lemon? (beat) He's obsessed with the color yellow.

CUT-TO. EXTREME CLOSE-UP. SEEDS OF LEMON IN THE FLESH.

W1: Amarillo...

CUT-TO. CLOSE-UP. WOMAN 1 SQUEEZES THE HALF LEMON ON THE JUICER.

CUT-TO. CLOSE-UP. WOMAN 1 POURS THE JUICE INTO A GLASS.

CUT-TO. EXTREME CLOSE-UP. A SEED LEFT IN THE JUICER.

W1: Look, a bone.

W2: Whoever called it the bone saw the human in the lemon.

CUT-TO. EXTREME CLOSE-UP. SEEDS ON AGAINST THE FLESH OF THE PALM. SOUND OF WATER POURING INTO GLASS.

CUT-TO. EXTREME CLOSE-UP. MOUTH DRINKING LEMON JUICE.

CUT-TO. CLOSE-UP. THE USED HALF LEMON.

transcript

- Are there a lot of apples trees, um, in Hooke, where Luis is?

- It's quite nice actually... No, I haven't seen plantations of apple trees

- orchards

- chestnut tree, apple tree, um...

- Uh...

- What's this other one... Chestnut, yeah. A lot of berry, blackberries, wild berries,..., lemon, elderflower, just a lot of wild things combined

- Mm. That sounds like an English garden

- Uhmmm. English gardens are so beautiful, I realize, it's like very curated but also kind of wild, it's not the French trimmed super human work garden. It's really nice

- Yeah. I guess in Kew Gardens it will still be kind of planned

- Cause it's more greenhouse... And it's also royal

- (laughs) Why is everything royal so — maybe the term royal just means it's needs to be manicured... by other humans. It's kind of a metaphor for hu — for class. You have the humans who take care of the trees, like the gardener, is such a staple figure in, like, the royal

(tap water running)

- But the funny thing is, the history of fanciness, or royalness... is so weird... Too many things, to many ornaments

- Yeah I guess the period of Baroque... The Romantic Period

- The Romantic Period never ended... no?

- Yeah. I wonder when the Buckingham Palace was constructed. That will say a lot

- I don't know.

- Yeah, well... I am too — non-conformist tourist... We should just read the wikipedia don't

- Oh wait today's... Sunday at the Buckingham I think is the changing of guards

- Ooo

- I've never seen it couldn't be interesting

- Would, would it be on our way to the — to where Mo is?

- Not exactly, but no so far

- Yeah that could be a plan. Finally my third time in London maybe I should see something (laughs)

- Uhmm

3:30

- The seeds...

- I don't know why in Spanish these are not called seeds they are called bones

- Really?

- Yeah, you would say los huesos

- Mmmm

- That's weird no?

- Interesting but when you look at it they do- do look kind of bony with like a ridge even

- ah yeah... bone of lemon

- The bone of lemon that's actually — ah no wonder pablo neruda is obsessed with it

- with lemon?

- He's obsessed with the color yellow...

- no wonder

- The bone of a lemon, wow

- Bone marrow of the lemon

- Cause yeah maybe... whoever came up with that term probably was thinking the human in the lemon. That's actually quite...nice

- Well apples. It's actually a fertility symbol. If you cut it

- Yes. I mean apple is like a loaded fruit with all its biblical meanings

- I know

- Treason

- Yeah fertility

- Or awakening of sexual

- Interesting contradiction...no?

- The part about god and adam and eve... is that in the new testament? I actually don't know. Cause I don't know, is apple a common thing in the Middle East? I feel it's more common in the slightly northern places

- Yeah you are right. Actually... I don't know. My knowledge of the bible is less —

- Mine is also. I've only recently got — or I think, I started reading many things at the same time, so sometimes if a theological or biblical reference came up, I also — I'm more interested than I used to, but I still don't know much

- We can reuse this

- Yes. But yeah that's another let's maybe wikipedia what, Buckingham Palace?

- and movement -- ?

- remembering the guy yesterday

- (slurping noise)

- so good

- then apple, adam and eve, which chapter

- fertility or lust

- or both

- or both

- well at one time fertility and lust were probably linked very tightly, but then they came up with like contraception that's like a modern... yeah

- ()

- totally they are all like moral inventions

- yeah exactly. or moral inventions or accumulation

- uhmm (eats apple)

- okay so I guess we decided that... cause it's the ten and it's started. I feel kind of guilty but it's okay

(long silence as N checks her phone)

- it's very good

- crunchy

- I normally don't peel the apple, but I think it's nice to just have the apple. It tastes nice...no?

- yeah

- no bitter

- totally

- have you ever tried to eat a peeled plum... Or like take away the skin?

- mmm maybe if it's a super ripe one

- it's so interesting it's like a flavor you don't normally disassociate from the peel, it feels a bit bitter

- the peel has like all the tartness, the other, the flesh is actually just super sweet

- super sweet so nice

- right before I came here I bought a box of plums and somehow these are these yellow Italian ones and

- they are very sweet these ones

- so yeah the center hhhh sweetness and the peel is like everything else. So you can very easily tell, yeah, dramatic

- mmm so tasty

homecarrying

tent

1. Pitching my tent

LOCATION: Friesland NL?

2. Sören

LOCATION: Southern Sweden

Saint Paul??????

body and language

the migration of mother tongue

Youching ?

A conversation carried out in two languages.

who is remembering

the photographer

Follow the protagonist to places where she takes photography with a 35mm.

What does she want to remember?

Things of beauty and intrigue:

- winding staircases near Kino

- butterflies

- what are the moments you associate beauty with?

Things with friends -- iconic human connection?

- elaborate dinners

- picnic, smiles

- beach, water, kite

Portrait?

- photo studio

Close-ups:

- looking

- framing

- focus? -- POV?

End scene:

She goes to the darkroom.

Screen goes dark, sound of loading film

Developing (all steps)

When the images emerge:

They are blank.

End scene alternative:

She goes to a vast space.

It's just the camera and her now.

Shots of her taking off the camera.

Shots of her opening the camera.

It's empty.

CF

Spend 10 thousand seconds create a scene.

Shoot with the heaviest equipment.

The CF card cannot be recognized in the camera.

previously

Jujube/home#genesis