Easter thoughts, and hot cross buns

Film thoughts. I've been thinking, writing, doing (procrastinating), reading - I've had a few days break, a mini-residential at Gladstone's library in Wales, and a presentation at a crit this week at the art academy.

http://islingtonmillartacademy.blogspot.co.uk/2016/03/our-next-open-crit-and-potluck-dinner.html

Some notes and thoughts are below, with images - all very unprocessed.

Missing words -

(missing)
Brief / notes.

typed,
digital
version.

Notes from last week, the workshop at the Academy, are below.

I'm really interested in the question of how, and how much, or if, the audience, or receivers of the proposal, will know about how it has been made, And if that's important. It feels like two different things - that art piece, (the ideas) - the project proposal, about the tilm.

And how my ideas and work around this, can take a form of it's own. How I document it, describe it. Let me know about it - how, and how much I want to tell people,
or / and,
and   let them experience.
- the moment of it.

Get Everything

Had a brilliant meeting at the Art Academy today, working on planning, goal setting - focus, some very interesting ideas,* incredible inspiration, and a clear vision, focus and -
well, loads of stuff for the film, the proposal, the approach - particularly looking at the first year, the year ahead (now) where I am now, what I want to do over the next 3, 6, 12 months, and beyond.

Loads of brilliant ideas - all to be digested, with cake, over the next few days and weeks. A great (visionary) starting point, or slogan, project, motto, or approach - for year one. - Below.

I'll post more ideas as they form, settle, digest and process.

A massive thanks to Morry - for all the wonderful vision, focus, inspiration and ideas, to Lisa, for organising, and to everyone there for a great event, loads of ideas and inspiration. (2)
Image below,
and a link to the art academy blog.
More to follow.


* Questions -
Some insightful, clear, and quite profound (and very simple, but important, questions)

(2). - Cake.

http://www.islingtonmillartacademy.blogspot.co.uk

Beckett Love

Beckett love triangle,
and inverted love triangle
(After Maslow.)

Stationary Notes

Supervision - January

Had an amazing supervision meeting on Monday. I'm going to research this book, by Yukio Mishima.

Co-incidentally, I bought a copy for a friend last year, and have this book at home, which has been on my bookshelf since last summer.

In the meantime, here are my supervision drawings, notes, and diagrams from the meeting

 

Drawing no. 1

 

Drawing no. 2

Drawing no. 3

 

Drawing no. 4

Drawing no. 5
(held for safe-keeping with the magic pencil)

Supervision Notes

Maximum impact minimum means

I cam across this quote in the book I was reading about Music in Japan, in reference to the 'aesthetic principle of the Japanese no Theatre'. I love it.

Partly because it feels very Japanese. I like the idea of saying as much as possible, with as little as possible. In colour, shape, tone, story, character etc.

I have been exploring this idea in my teaching work. That if in a painting you were to use a limited colour palette, there are ways of applying this principle to animation too. In terms of colours, shape, textures. Character and style of character, or styles of drawing.

And also in the animation palette, in how that exists. A limited number of movements and movement styles that are used repeatedly to build the work and tell the story. The reference clip that I refer to with this is the Thomas Beale Cipher, by Andrew S Allen. There are parts of the story that seem to be created using one expression, or set of keyframes, where the motion moves and loops, without very much happening with the characters. It is a great way of building motion along the timeline. And stylistically it serves to link all the scenes together and create a strong style of motion for the work.


The Thomas Beale Cipher from Andrew S Allen on Vimeo.

Brecht uses this approach too. Particularly in the set design. I have been reading, or have just started reading Mother Courage and Her Children. In part as a way of exploring character. And because of the anti-war themes in the play. I am going to write and post more about this as I read through it.

In his notes on the set design he talks about a few trees representing a forest, pulling back on objects and, or to, include more of the imagination and a response from the audience I suppose.

The quote applies to the trailer posted below too. About the colours. The impact, the use of audio. The storytelling. This is one of the strongest pieces of work I have seen in a long time. The power of it is in the visual language and storytelling. What is absent as well as present. And the simplicity of it.