WHAT DO I MAKE: Difference between revisions

Latest revision as of 10:08, 21 April 2021

What do I make

On the one hand I have the desire to get to know more about how people live there lives and do their jobs. I want to indulge myself in their story’s and I am looking to what we can learn from them. To place the focus on the story and it’s emotions I find myself filming either way close-ups/macro or taking some distance from the subject and choose a larger frame: the wide shot in which it all reveals.

On the other hand I feel this urge to film what is already there but if you look closer something else, more beautiful reveals. I make big (because I would like them to be projected big) abstract video’s, mostly filmed (but not always) from one point of view.

I have a series of 4/5 works now - Carwash - Buttermilk - Bubbles - Shadowflicker or shadow work. - Bubbles 2

What do these images grap me? They give me focus. They give me the power to make something extraordinaire form something ordinary. When I find an image like that it just fills my heart with positive tension, like being in love.

Some notes:

What is my intention?

Does it work better without sounds?

Is it a moment where people can reflect and get space? (this is when it is in a bigger documentary)

Is it about looking?

How to set it into context?

What kind of filmmaker am I

Narrative charge

What is the purpose of fascination?

I have to direct the intension.

@@ Line 1: / Line 1: @@
 What do I make
-On the one hand I have the desire to get to know more about how people live there lives and do their jobs. I want to indulge myself in their story’s and I am looking to what we can learn from them. To place the focus on the story and it’s emotions I find myself filming either way close-ups/macro or taking some distance from the subject and choose a larger frame: the wide shot in which it all reveals.
+On the one hand I have the desire to get to know more about how people live there lives and do their jobs.
+I want to indulge myself in their story’s and I am looking to what we can learn from them.
+To place the focus on the story and it’s emotions I find myself filming either way close-ups/macro or taking some distance from the subject and choose a larger frame: the wide shot in which it all reveals.
-On the other hand I feel this urge to film what is already there but if you look closer something else, more beautiful reveals. I make big (because I would like them to be projected big) abstract video’s, mostly filmed (but not always) from one point of view.
+On the other hand I feel this urge to film what is already there but if you look closer something else, more beautiful reveals.
+I make big (because I would like them to be projected big) abstract video’s, mostly filmed (but not always) from one point of view.
 I have a series of 4/5 works now
 -	Carwash
@@ Line 11: / Line 16: @@
 -	Bubbles 2
-What do these images grap me? They give me focus. They give me the power to make something extraordinaire form something ordinary. When I find an image like that it just fills my heart with positive tension, like being in love.
+What do these images grap me?
+They give me focus. They give me the power to make something extraordinaire form something ordinary.
+When I find an image like that it just fills my heart with positive tension, like being in love.
 Some notes:
 What is my intention?
 Does it work better without sounds?
 Is it a moment where people can reflect and get space? (this is when it is in a bigger documentary)
 Is it about looking?
 How to set it into context?
 What kind of filmmaker am I
 Narrative charge
 What is the purpose of fascination?
 I have to direct the intension.