At the animatic crit I got some really useful feedback. Everyone seems to be saying that the whole animation needs to be more dramatic, more explicit. Especially at the point of Ariel’s transformation. This is great because I completely agree, I felt the same way when I played back the finished animatic. The more recent Medea inspired character designs will also fit with this, showing a more obvious shift in costume than I managed to express in my first animatic. In fact there were quite a few things I really didn’t convey in the story boards, for example the sets, the shift in costume and the double exposures that were really important. I think I just needed a lot more detail and more panels, so the idea was clearer. Good practice though! I’m going to work on the improved one today.
I want to add lighting effects and stronger camera angles, and possibly even limit the back drops to plain black, and have a single sliding one when the moon appears at the end. Looking at Kenneth Anger’s Inauguration of the Pleasure Dome [above] is really helpful for inspiring visual drama; the ornate style of opera combined with the makeshift aesthetic of renegade filmmaking, the extreme coloured lighting with the context suggested by a few props.
A couple more pics from Ninagawa’s Medea. Such a phenomenal piece of theatre! I love the melodrama and the tragedy. The costumes and stage effect are all breathtaking too. If you know the story, then you know the fate of her two children above…
This film is just unbelievable! One of those films that you appreciate more and more after you’ve finished watching, if a little challenging to watch at the time. Things of great complexity often are like that, they take longer to interpret but are so rewarding in the end.
I’ve been looking back at Medea (I posted Ninagawa’s theatre version earlier.) This is Pasolini and Maria Callas on the set of the Medea film. Her costumes are really wonderful, I want to bring some of this into Ariel’s costume. I like the cultural hybrid that makes up the film, Pasolini invented his own history, this is exemplified in the choice of music (parts are traditional Japanese music) and costume design.