CTMethods: Difference between revisions

Revision as of 10:40, 27 September 2023

WHAT, HOW, WHY

old version:

What ‘’Nooit meer terug’’ is an experimental coming of age film about the journey of a girl who lost herself in an addiction where she thought she found herself in.

In this movie we’re following two characters. The character 10 years ago and the character 4 years ago. The younger character is surrounded by nature and calmness. But while being there she develops some kind of feeling of anxiety because she is ‘alone’. She starts panicking and runs to a big ignorant building. This building seems to be a maze where she meets the 10 years older version of herself. This 10 years older character seems to get lost in this maze as a symbolic representative for her addiction. While the two characters are losing their way deeper and deeper in this maze, the little girl will be able to get the older addicted character out of there by making her face her younger self.

How This story is told in a very symbolic and referring way. For example, the little girl stands representative for the intrinsic motivation someone with the disease ‘addiction’ needs to feel to get better. The ‘maze’ is a symbol for the struggle with addiction and slowly losing sight of reality which entails an addiction. Because the film contains a lot of ‘unlogic’ moments which I like to call ‘emotional realism’, that some people do and some people don’t notice, it seems that this movie is about conveying a feeling (in this case a struggle) and not telling a logical story. The film doesn't only exist about these symbolic methods of narration. There’s a third layer, the voice over, that narrates a real life interview between the narrator and a psychologist that refers to the visually shown symbols.

Why I made this film in this specific symbolic form, because I was looking for a way to tell my biggest untold story. My past struggle with addiction. Until the day I started this production, this was the hardest and most unspoken thing for me, ever. Because I was going to make this film I also started a journey to develop a visual translation for something that was this hard to actually ‘speak’ about. I found out that this film actually became the tool for telling and eventually closing this period of my life and started processing it.

new version

What ‘’Nooit meer terug’’ is an experimental coming of age film about the journey of a girl who lost herself in an addiction where she thought she found herself in.

In this movie we’re following two characters. The character 10 years ago and the character 4 years ago. The younger character is surrounded by nature and calmness. But while being there she develops some kind of feeling of anxiety because she is ‘alone’. She starts panicking and runs to a big ignorant building. This building seems to be a maze where she meets the 10 years older version of herself. This 10 years older character seemed to get rid of this anxious feeling of being alone, where the little girl was running from. But got lost in this maze as a symbolic representative for her addiction. While the two characters are losing their way deeper and deeper in this maze, the little girl will be able to get the older addicted character out of there by making her face her younger self.

new corrections: how long is the film? are you working with actors? did you write a script? go through the whole process give a concrete description

How This story is told in a very symbolic and referring way. For example, the little girl stands representative for the intrinsic motivation someone with the disease ‘addiction’ needs to feel to get better. The ‘maze’ is a symbol for the struggle with addiction and slowly losing sight of reality which entails an addiction. The film contains a lot of ‘unlogic’ moments which I like to call ‘emotional realism’, that some people do and some people don’t notice. Because of the use of this emotional realism, the audience can let go of realistic structure and just let themselves be guided by the feelings they get while watching the movie. In addition to these symbolic methods of narration that you can find in both visual and audio layer, there is a third layer, – the voice over. The voice over narrates a real life interview between the narrator and a psychologist that refers to the visually shown symbols.

new corrections:

tell a bit more about the process try to tell more about the journey how you were going to ‘tell’ this story what did work, what didn’t work? what was this learning process? how did you work with the young actor?

Why I made this film in this specific symbolic form, because I was looking for a way to tell my biggest untold story. My past struggle with addiction. Until the day I started this production, this was the hardest and most unspoken thing for me, ever. Because I was going to make this film I also started a journey to develop a visual translation for something that was this hard to actually ‘speak’ about. I found out that this film actually became the tool for telling and eventually closing this period of my life and started processing it. And by developing this visual translation, more untold stories will be told in the future.

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-==what, how, why==
+WHAT, HOW, WHY
-Piece 1 - House Of Psychedelia
+'''old version:'''
-What:
+What
+‘’Nooit meer terug’’ is an experimental coming of age film about the journey of a girl who lost herself in an addiction where she thought she found herself in.
-In 2018 I embarked to create a documentary on a man named ‘Royce Wells’ who was facing the eviction from his own home in Adelaide, South Australia of 78 years. Royce’s house included a extensive personal collection of historical artefacts, records and books. Housing authorities deemed the space unsafe and inhabitable, forcing to push Royce from his home in which he was so deeply connected to. The documentary takes a neutral and observational approach, following Royce through his home as he shares stories of its colourful history. Tragically, Royce has since died and the house has been demolished by a developer. The footage now serves as a poignant reminder of a person and place which no longer exists.
+In this movie we’re following two characters. The character 10 years ago and the character 4 years ago. The younger character is surrounded by nature and calmness. But while being there she develops some kind of feeling of anxiety because she is ‘alone’. She starts panicking and runs to a big ignorant building. This building seems to be a maze where she meets the 10 years older version of herself. This 10 years older character seems to get lost in this maze as a symbolic representative for her addiction. While the two characters are losing their way deeper and deeper in this maze, the little girl will be able to get the older addicted character out of there by making her face her younger self.
-How:
-Given the fragility and personal approach of this documentary, much of the work was founded upon building an Interpersonal relationship with Royce before filming, as to build trust and realise his most authentic expressions. This period of building a relationship occurred over the period of a month prior to filming. Within these meetings, I would jot down notes and begin to formulate a plan as to how I would film the documentary, as well as establish the questions I would propose.
+How
+This story is told in a very symbolic and referring way. For example, the little girl stands representative for the intrinsic motivation someone with the disease ‘addiction’ needs to feel to get better. The ‘maze’ is a symbol for the struggle with addiction and slowly losing sight of reality which entails an addiction.
+Because the film contains a lot of ‘unlogic’ moments which I like to call ‘emotional realism’, that some people do and some people don’t notice, it seems that this movie is about conveying a feeling (in this case a struggle) and not telling a logical story. The film doesn't only exist about these symbolic methods of narration. There’s a third layer, the voice over, that narrates a real life interview between the narrator and a psychologist that refers to the visually shown symbols.
-Why:
-The documentary aims to explore the political abuses of power on individual human rights, showing the direct harm it can produce on an individual. The documentary also serves to remember Royce, using the house as a key piece to tell stories of the many people who had passed through it walls. The stance of the documentary has shifted due to its temporal nature. Establishing itself now as more of an archive than a political piece.
+Why
+I made this film in this specific symbolic form, because I was looking for a way to tell my biggest untold story. My past struggle with addiction.
+Until the day I started this production, this was the hardest and most unspoken thing for me, ever. Because I was going to make this film I also started a journey to develop a visual translation for something that was this hard to actually ‘speak’ about.
+I found out that this film actually became the tool for telling and eventually closing this period of my life and started processing it.
-Feedback
+'''new version'''
-What:
+What
+‘’Nooit meer terug’’ is an experimental coming of age film about the journey of a girl who lost herself in an addiction where she thought she found herself in.
-What is the approach, technical choices, or decision to approach.
+In this movie we’re following two characters. The character 10 years ago and the character 4 years ago. The younger character is surrounded by nature and calmness. But while being there she develops some kind of feeling of anxiety because she is ‘alone’. She starts panicking and runs to a big ignorant building. This building seems to be a maze where she meets the 10 years older version of herself. This 10 years older character seemed to get rid of this anxious feeling of being alone, where the little girl was running from. But got lost in this maze as a symbolic representative for her addiction. While the two characters are losing their way deeper and deeper in this maze, the little girl will be able to get the older addicted character out of there by making her face her younger self.
-What is my position. Were there any other approaches? History of the significance of the archives, more context to as why his story has resonance beyond the personal.
+new corrections:
+how long is the film?
+are you working  with actors?
+did you write a script?
+go through the whole process
+give a concrete description
-Add more about why he faced eviction, the reasoning behind the eviction, the policy behind it.
-Community around the situation.
+How
+This story is told in a very symbolic and referring way. For example, the little girl stands representative for the intrinsic motivation someone with the disease ‘addiction’ needs to feel to get better. The ‘maze’ is a symbol for the struggle with addiction and slowly losing sight of reality which entails an addiction.
-How:
+The film contains a lot of ‘unlogic’ moments which I like to call ‘emotional realism’, that some people do and some people don’t notice. Because of the use of this emotional realism, the audience can let go of realistic structure and just let themselves be guided by the feelings they get while watching the movie. In addition to these symbolic methods of narration that you can find in both visual and audio layer, there is a third layer, – the voice over.
+The voice over narrates a real life interview between the narrator and a psychologist that refers to the visually shown symbols.
-How did I meet this character, was I looking for a character etc.
-How was I connected to the story, how has this affected his responses.
-What were the strategies involved to build the relationship.
-The eviction itself, how past affects present
-Why:
-Personal touch, how is it archived? Highlight the separation between archive to political.
-Experiments, things that failed or went wrong
-How the death has affected the footage
-Abuse of power or welfare? Detail on this
-What:
-In 2018, during a film course, I embarked to create a documentary on a man named ‘Royce Wells’ who was facing the eviction from his own home of 78 years in Adelaide, South Australia. Royce’s house was located within my local area and was always a standout, with its bright and multi coloured facade, becoming known to locals as ‘The House Of Psychedelia’. Royce’s house included an extensive personal collection of artefacts, records and books of significant historical value. Housing authorities deemed the space unsafe and inhabitable, forcing to push Royce from his home in which he was so deeply connected to. Unfortunately, the documentary was cancelled by my tutors due to the unsafe conditions. However, I later revisited the project and edited the footage which I had captured. By this point, Royce had tragically fallen ill and died, and the house demolished by a developer. The remaining footage now serves as a poignant reminder of a person and place which no longer exists.
-How:
-I became aware of Royce’s situation due to talk within the community. Having never met him, I decided to knock on his door where we then conversed for a few hours. Within our discussion, I proposed the idea of a documentary which he agreed upon. Given the fragility and personal approach of this documentary, much of the work was founded upon building an interpersonal relationship with Royce before filming, as to build trust and realise his most authentic expressions. This period of building a relationship occurred over the period of a month prior to filming. Within these meetings, I would jot down notes and begin to formulate a plan as to how I would film the documentary, as well as establish the questions I would propose. During the three days of filming, I wanted my stance as a filmmaker to be as removed as possible, taking a neutral and observational approach, following Royce through his home as he shared stories of its colourful history.
-Why:
-The documentary aims to examine the powers of government over individual rights. Whilst Royce’s home was classed as unsafe, is it still his right to live there? In order for the government to protect the welfare of its citizens is it morally correct to use such a power as evicting someone from their own property? Whilst this type of commentary is concerned with politics, the documentary allows the viewers to empathise with the individual at the heart of this circumstance. The stance of the documentary could now seem to have shifted due to its temporal nature. It could also be viewed as a personal memoriam to Royce, his home, and the many who passed through its walls. The documentary now a representation off all things which do not exist anymore, a frozen artefact of a place in time.
-Edits 2 - ending seems ambiguous..
-Piece 2 -
+new corrections:
-LC Box
+tell a bit more about the process
+try to tell more about the journey how you were going to ‘tell’ this story
-What
+what did work, what didn’t work?
+what was this learning process?
-How
+how did you work with the young actor?
 Why
+I made this film in this specific symbolic form, because I was looking for a way to tell my biggest untold story. My past struggle with addiction.
-In collaboration with two colleagues we created an installation for local night club ‘Sugar’ .
+Until the day I started this production, this was the hardest and most unspoken thing for me, ever. Because I was going to make this film I also started a journey to develop a visual translation for something that was this hard to actually ‘speak’ about.
+I found out that this film actually became the tool for telling and eventually closing this period of my life and started processing it. And by developing this visual translation, more untold stories will be told in the future.
-The installation consisted of a box which displayed a mirrored video feed of patrons with animated effects using a surveillance camera and video mixer. The box was placed in an area of the club, allowing patrons the opportunity to interact with the installation naturally throughout the night. Affirmative text was placed on the box, and each night recorded, creating an artefact
-Firstly the box was constructed out of wood,