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March 31, 2008

Lisa Project 2

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For this project I tried to imitate the scene I chose fairly closely, but I was so taken with Kara Hearn’s work that I wanted to try playing all the parts myself. There were a number of difficulties that cropped up in doing that, so I had to modify or remove some of the shots in the original scene. Hugging, for example, was difficult, so I enlisted someone (who looks nothing like me) to replace the other “me? for those shots.

There were plenty of other difficulties that had nothing to do with who was playing which character. The lighting in the scene from Garden State was difficult to replicate; it was supposed to be very warm and dimly candlelit, but we started shooting in the early afternoon when the sun was shining full-bore through the green translucent shades. To deal with this, I taped towels up underneath the shades to block out the sun and then set up lights with makeshift red tissue paper filters. Then I had problems white balancing, so the lighting turned out a little funky. There were a couple of shots where I accidentally left the microphone unplugged, and the bathtub made a lot more noise than I thought it would, so the sound turned out a little funky too. There were also several continuity errors, ill-timed bodily noises, and other random hardships and mishaps. But in going through all of these frustrating things, I really learned a lot about how much effort and thinking and attention to detail it takes to put together a scene so that it seems natural and effortless.

In a lot of ways I think it would have been easier to have found someone else to play one of the other characters. It’s easier to react to someone when they are actually there and you don’t have to imagine them. But it was interesting to play both characters because I had to switch back and forth between roles a lot, and then be doing other things, and I imagine that is what Zach Braff had to deal with in writing and directing Garden State as well as acting in it. Plus I learned how to create a scene with two “me?s interacting, and I think it turned out pretty well.

This project was easier than the last in that I didn’t have to come up with a completely original idea; I at least had a starting point. But it was a lot harder than I thought it would be to recreate a scene. A lot harder. There are so many things one has to remember and be thinking about, and so many opportunities for error that it can be very discouraging. Considering all of the things that went wrong, though, I am happy with the way my project turned out.

March 20, 2008

Lisa--Visiting Artist Response

Amy Youngs' lecture

I attended Amy Youngs’ lecture last Wednesday, and I thought her work was really different and fascinating. Her mission is to get people excited about interacting with the natural world. As a child she bred bunnies, and that concept of working with nature to create a “perfect? organism has continued to inspire her art. She uses a combination of organic matter (live plants, animals, etc.) and technology. Lately she has been using sustainable systems in her pieces.

The driving force behind Youngs’ work is her desire to get people to remember their relationship with nature and to appreciate it. Some of her artwork focuses on bringing people’s attention to animals that we barely notice, but that are essential to our survival, like insects and worms. One of my favorites, Intraterrestrial Soundings, amplifies the sounds of compost worms doing their thing. Other pieces have you communicating with crickets or watching compost creatures eat your dinner leftovers. I think bringing the viewer/participant into close contact with these creatures in a gallery environment would make the encounter more pleasant and would encourage people to think about how close our ties still are to the earth despite the technological advances we’ve made. Some of Youngs’ other pieces, like Micropropagation and Rearming the Spineless Opuntia have more to do with altering nature—how and why we might do it. Micropropagation has more of a political tone, questioning our tendency to focus on what is good for humans over what is good for the world and turning that idea on its head, asking what might humans be deprived of if we were the ones being bred for someone else’s consumption? This piece also has a scary undercurrent of realization that it might someday be possible to grow brains in dishes and harvest them. The images of the double heads certainly have a disturbing quality to them. Rearming is a more lighthearted piece, but still has to do with the concept of what is good for humans versus what is good for everything else. The opuntia cactus has no spines, which is good for humans but not for the cactus. In this piece Youngs rearms the cactus with technology, but the defense is imperfect—you could just unplug it. To me, this demonstrates how delicate ecosystem is, and how difficult it can be to set it right again, even with all of the technological “fixes? we now have access to. All of Youngs’ work is very focused on nature and pro-nature, and though it can be humorous and at times ridiculous there always seems to be a serious message underneath that ridiculousness.

One of the things Youngs said that I thought was very compelling was that she wants people to know how she creates her pieces and be able to duplicate them. She was excited about the fact that a random website was “selling? one of her pieces that she had no intention of selling because she thought it might encourage people to make their own piece like it. It seems to me like the current artistic community is really into being original and exclusive, so it’s refreshing to see someone who gladly shares everything about their work and even encourages people to duplicate her work.

I liked her presentation. I felt like she was holding back a little in discussing her pieces, or maybe she just didn’t want her lecture to be too serious or preachy. I thought overall that it was informative, particularly the question and answer session, and everything flowed well. Her personality was completely different than what I was expecting, but in a good way. She came across as charmingly nerdy and very likeable.

March 12, 2008

Louis Adams - Project 2 Proposal

The scene I decided to do for this project was the 28th scene (one-on-one rematch) from the movie Love and Basketball. At first I was going to do the second scene from Stomp the yard where Chris Brown gets killed, but that scene only fit for this project for the wrong reasons. The reason I chose the Love and Basketball scene was because there are a lot of people who cried during this scene for the correct reasons corresponding to this project. Also the scene seemed to be fairly simple in terms of shooting and editing. I will enjoy putting in effort to act out this scene for my project.

There are approximately 15 different camera shots for this project. The entire scene takes place at a basketball court in Monica’s (Woman character) back yard. The scene is about Monica and Q (the two main characters) playing one-on-one for Q’s love. The first half of the scene concludes Monica scoring the majority of her points against Q while he only gets a few points. Mid way through he starts scoring more points on her. This is where the scene started to make my friend cry because she starts taking her clothes off as he continues to score because they used to play that way when they were dating earlier in the movie. She gets the ball back, misses her lay up and Q gets the ball and slam-dunks it for the win. After he looks at her with no emotional feeling, she begins to get real emotional and almost cries. After she almost walks out of the setting, he says, “Double or nothing? and the hug and kiss. This is where my friend started crying really hard.

My first step in making this production is finding someone who can play the female part. This is hard because I don’t know many women who can play basketball. I will try to remake this scene in the late evening because it was night-time in the movie. It is very cold out so I will try to reserve a gymnasium so I can play with the lighting to make it look right. I will borrow a lighting kit from the Rarig Center to add to the details. I will add sound effect in later using a microphone or from the sounds on my computer. Finally, my technique will be to shoot each shot for shot according to the movie.


March 10, 2008

Project 2: Proposal

I will be remaking the scene in The Royal Tenenbaums, where Ritchie attempts suicide.

I will be remaking the scene from The Royal Tenenbaums, where Ritchie Tenenbaum attempts to kill himself. This scene made my girlfriend cry. When I asked her why, she said she cried because Ritchie was killing himself.

The scene begins with a straight shot of Ritchie’s face, looking into a mirror. The lighting is blueish, which separates it from the rest of the film. Throughout the scene, Needle in the Hay by Elliot Smith plays in the background. The song keeps the momentum of the scene moving until it ends at the beginning of the next scene.

Ritchie begins by removing his wristbands, then his headband. His sunglasses remain on. Throughout this section you can see steam rising from out of the frame. A jumpcut shows his hair wet as he begins to cut his long hair off. He then begins to trim his beard, being careful and meticulous to shorten it almost all the way down to his skin. He finally removes his glasses after satisfactorily trimming all of his beard. Jump cuts are interspersed throughout the hair trimming process. After he removes his glasses the camera cuts behind him as he turns the over sink light on. The scene receives a harsh white light in addition to the blue tones. Richie begins to lather shaving cream between his hands. The camera cuts to a tight close up on his face, he take one stroke with his razor and says, “ I’m going to kill myself tomorrow.? The camera cuts to his hands as he removes the razorblade from the safety razor. A montage of clips flash by depicting, Ritchie as a young child, margot as a child, both of them as adults, as children sleeping in the museum, mordecai with his mask, mordecai without his mask, and royal and etheline as they existed in his childhood. A cut to a downward view of the sink shows blood streaming down his arms. No wounds are visible. Cut to a profile shot of Ritchie from the chest up. He is hunched over the sink. The camera moves with him as he slides down the wall.

This is where I will be ending the scene. If all goes well I will film the additional reaction footage.

My problems with filming this are going to be mostly with timing, and color. As painstakingly art directed Wes Anderson’s films are, I think I will be able to replicate them in spirit pretty easily. Lighting will affect the color the most, and I will have to be careful to film in correct and consistent lighting. Making sure that the timing is right will also be a large factor in the emotional impact of the scene. The jumpcuts serve to create a sense of tense foreboding.

March 6, 2008

Soundtrack Pro tutorial


exhibition culturing nature :: culturing technology

culturing nature :: culturing technology
Nash Gallery Hours: Tuesday – Saturday 11 am – 7 pm

an exhibition presented in conjunction with
Wonder Women :: Art & Technology 1968-2008 (phase 1)

participating artists:
Kelly Dobson :: Sheila Pinkel :: Andrea Polli :: Sabrina Raaf
Gail Wight :: Diane Willow :: Amy Youngs

february 26 – march 27, 2008
Opening Reception: February 29th 6:00 - 8:30 pm
in collaboration with the Spark Festival

Wonder Women :: Art & Technology 1968 – 2008

Schedule of Events

Wonder Women :: Art & Technology 1968 – 2008 (phase 1)

:: March 12
Visiting Artist’s Talk, Amy Youngs
7 pm Regis Center for Art, , InFlux

:: March 13
Moving the Moving Image
Artist Steina Vasulka and Art Historian Jane Blocker
with artists Sharon Grace and Amy Youngs
7 pm Walker Art Center

:: March 14
Please register for the free Studio Action Workshops and Visiting Artists Panel
by sending a message to: wowo@umn.edu ~ registration is limited for these events.

Studio Action Workshops
9am 12 noon
Leah Buechley ~ the Lily Pads, soft circuits and wearables ~ Regis W123
Beatrix *JAR – circuit bending ~ Regis W121
2pm – 4 pm
Kelly Dobson ~ Sensing and making your own sensors – Regis W123
Viv Corringham – sound art ~ Regis W121

Wonder Women Visiting Artists Panel
12 noon – 2pm, Regis Center for Art, InFlux
Amy Youngs, Kelly Dobson, Gail Wight, Diane Willow
Discussion related to the exhibition ~ culturing nature :: culturing technology

March 5, 2008

Kong project 1 critique

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My video^^^

When I first started this project, I had no clue what I should do or what to use on this project. But as I worked more on the project in class I learned more about how to take a good still photo, timing, and many more things from both my classmates and teacher.
The story line for this project is a guy dreams that his car is stolen from his garage and each time he sees that his car is not in the garage, he wakes up to be in the same dream repeating the process a couple of times. Then the guy wakes up the last time in real life to find that his car is really missing. He tells his brother what happens but finds out that his brother just moved the car to the front of the house. At the end he feels embarrassed and should have looked to see if the car was at the front of his house.
The tricks that were used in this project were to have the car disappear and reappear when the guy goes to the garage to look for his car. Another trick used in this project is to make the car seem like it had its own mind. Because I had the car appear in front of the garage and had the hood open and close on its own. The last trick in this project was to have a still photo of the guy sleeping in bed with his glasses on and make it disappear. The reason was to make the scene look like it was changing from a dream to real life. This project has some sound from IMovie in it to make the still photos look mysterious and funny. The different sounds that I had in there was heartbeats, mysterious sound, car revving, and a funny sound at the end of the animation. There were not that many techniques used in this project but I wanted to keep it simple. The techniques were dissolves and some kind of fading.
There were a couple of endings that were suggested to make this project better. Like I could have the car disappear or drive away on its own at the end to make this animation look mysterious. But as I said I wanted to keep it simple so I just had the guy feeling embarrassed at the end.
Things that are good about this project are the way the guy was walking when he was dreaming. He made the scene look more realistic and funny. Also the sound helped the animation because having no sound just seemed a little boring to watch it. Some things that this project needs improvement on are some better photos of some scenes and better movement. There is a scene where I am talking to my brother but it is in black and white. Those pictures did not fit in with what happened next.

Ashley Kreidler "a fish out of water"

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My animation is the depiction of a man who goes on a journey through space and time. The man is shown as he is pulled by varying catalysts through different situations. The main character has the ability to interact with his surroundings in a way that defies all of our preconceived notions of movement. For example, he is carried into the sky by a balloon, he is picked up by butterflies, and his cuckoo clock explodes a substance that swallows his living room and then his city. This animation is meant to represent how people are sometimes unable to control themselves and their environment. One aspect of the animation relies the character’s ambivalence to the situations that arise, even though it is obvious that he is utterly lost throughout the whole story. For the duration of the animation, he repeatedly allows his surroundings to whisk him off into various circumstances without hesitation. Even when he gets back home, he takes the situation with an air of nonchalance, as if his journey was not surprising to him in the least. The only time he seems worried is when he sees that his clock has exploded and is coming to consume him. It is as if he recognizes that he has met his end.
The animation was made using collage format. Essentially, I created characters and sets by cutting and pasting together old magazines. To minimize clutter, I used large pieces of off-white newsprint as a background. This served as a backdrop to the action taking place.
My idea underwent a dramatic change from start to finish. Initially, I planned to create a physical world that could compare to our actual surroundings. As the progress of the animation progressed, however, I saw the endless possibilities that the format allowed. I realized that I could create any environment, and therefore was not bound to create a world anything like our own. Therefore, my idea went from portraying a character who becomes lost in his physical world to portraying a character who is taken from one surreal environment to another, and in the process loses all control over himself and his surroundings. I suppose the aspect of becoming lost was taken from my initial idea inasmuch as the character is lost in terms of space and time. This notion was taken further in the end result, however, because he is truly lost to himself and his surroundings.

Zack Project 1

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The scene I am going to be working with for this project comes from the winner of best motion picture in the 78th Annual Academy Awards, CRASH. When I told my friend the perimeter of this project, he told me only one scene comes to his mind. He said the scene where the little girl gets shot, made him cry when he first watched the movie CRASH and he admitted that he still gets nervous about it. I was surprised he chose this scene because this same scene happens to be one of my all time favorite scenes. Afterwards, I went online and surf the net to see what other people’s take was in this particular scene. Not surprisingly, a lot of people are touched and were forced to tear up by this powerful scene. And this gave me the extra motivation to take up this rather hard task with an effort to recreate this powerful scene that touched the lives of many.

The scene begins with the store owner sitting in his car looking through his side mirrors. Then a white Van pulls in one of the drive ways. Then we get a cross cut and we see the inside of a house with a little girl running to the one of the windows. The scene cuts to an outside shot. The man gets out of his car carrying a gun, walks up to the locksmith and confronts him at gun point. The little girl, who is watching all this through the screen doors, runs outside to save her dad. In the middle of all this the old man fires his gun and the little girl gets shot. However, with the works a miracle, the gun was loaded with blanks and the little girl’s life was spared.

I’m going to try to have the same set up. Since it’s a shot that’s mostly composed out side in a sun light, I don’t think I will need much lighting equipment. However, I will have to bring reflectors to guide the sun light to different directions. This is a scene that many shots, I will try to keep the same shot compositions as in the original. To get a better sound quality, I will use shot gun microphones and take out field audio mixers. The biggest challenge would be finding the right location for the shoot. However, I will try to find a spot that resembles the original scene.

Louis Adams - Project 2 Proposal

The scene I decided to do for this project was the 28th scene (one-on-one rematch) from the movie Love and Basketball. At first I was going to do the second scene from Stomp the yard where Chris Brown gets killed, but that scene only fit for this project for the wrong reasons. The reason I chose the Love and Basketball scene was because there are a lot of people who cried during this scene for the correct reasons corresponding to this project. Also the scene seemed to be fairly simple in terms of shooting and editing. I will enjoy putting in effort to act out this scene for my project.

There are approximately 15 different camera shots for this project. The entire scene takes place at a basketball court in Monica’s (Woman character) back yard. The scene is about Monica and Q (the two main characters) playing one-on-one for Q’s love. The first half of the scene concludes Monica scoring the majority of her points against Q while he only gets a few points. Mid way through he starts scoring more points on her. This is where the scene started to make my friend cry because she starts taking her clothes off as he continues to score because they used to play that way when they were dating earlier in the movie. She gets the ball back, misses her lay up and Q gets the ball and slam-dunks it for the win. After he looks at her with no emotional feeling, she begins to get real emotional and almost cries. After she almost walks out of the setting, he says, “Double or nothing? and the hug and kiss. This is where my friend started crying really hard.

My first step in making this production is finding someone who can play the female part. This is hard because I don’t know many women who can play basketball. I will try to remake this scene in the late evening because it was night-time in the movie. It is very cold out so I will try to reserve a gymnasium so I can play with the lighting to make it look right. I will borrow a lighting kit from the Rarig Center to add to the details. I will add sound effect in later using a microphone or from the sounds on my computer. Finally, my technique will be to shoot each shot for shot according to the movie.


Visiting Artist Response - Ken Shores

Response to the Graffiti Research Lab's talk during the Spark festival, presented on the 27th of February, 2008.

The visiting artist lecture I attended was the Spark Festival-hosted talk of Graffiti Research Lab (GRL). They are a group of freelance artists driven to enhance graffiti as art, and spread ideas to help everyone accomplish this. A majority of their presentation focused on the various gadgets they’ve devised. From “LED throwies? to the portable overhead projector that uses a laser pointer to write on buildings, they’ve distributed their ideas as being in the public domain, so anyone who has access to materials can copy, even build on their designs. They heavily oppose their ideas being marketed for profit, and more and more are building new projects with that theme in mind.
Their most publicized idea they’ve introduced is that of LED throwies, which essentially is a magnet, battery, and LED glued together. They describe the construction in detail through multiple videos on their site, and show videos of members of the public joining in on random “LED graffiti.? When they were out tossing around the throwies, random people joined in for the fun of it. This was contrasted to a situation where traditional graffiti mediums, such as spray paint, would send the public in the opposite direction, perhaps even calling the police. They also talked about modifications to the throwies, including motion sensors, on/off switches, and complex displays of LEDS that can be stamped on to buildings with a broomstick and tag board.
After explaining devices, they showed examples of their technology in use: assisting an over-seas hip-hop group by setting up a portable mixer table, helping design equipment for cost-effective “bullet time? for a music video, and freely training and loaning out projector and speaker-equipped bicycles. They showed how major corporations such as Coca Cola and Cartoon Network have used their ideas for publicity stunts, but talked about how they wish to provide their ideas and technology cheaply and effectively, and try to avoid large companies profiting from the ideas. This comment was repeated a few times, and I found the goal to be noble, but because they are attempting to provide these, ideally, as tools for graffiti artists, the goal of keeping big companies from using the ideas as well is difficult, if not impossible.
They also commented on the “Moonenites? publicity stunt in Boston, and how they were initially implicated because the LED throwies concepts were used in the displays there. They talked briefly on both the marketing of the movie premier as an unintended use of the throwies, as well as the risks they take when they give out instructions on making such tutorials, even if the idea is legally in the public domain. This was good to bring up, as well as the point of bringing up that traditional spray painting is, by default, an illegal activity, because I had wondered if they would address how they can do this type of work and slide it through the legal system. It seems that a high level of caution and a close attention to detail has kept them (though they said, not most of their graffiti-artist friends) out of trouble with the law.
The presentation as a whole was a strong reinforcement of much of the material you can find on their web site, but also filled in many questions I had about the group. I will continue to follow their work, because much of it has potential application to many of the groups I participate in and coordinate, and because the GRL’s work is continually being updated and worth learning about.

Michael Sable - Project 2 Proposal

Project 2 - Remake

For my project, I would like to do a scene from the movie The Professional. The particular scene I would like to is most of the following, excluding several small parts (such as the explosion at the end or possibly the quick cut of the little girl):

My friend Jessica and I watched this movie together not too long ago, and this is the scene she cried at. I asked her later what about this scene got her teary-eyed, to which she replied “he almost made it home; he was literally walking out the door to a new life and he got shot.? This scene depicts the protagonist, Leon, walking away from the destruction of his home towards a public street and being subsequently shot from behind. Mathilda, who over the course of the story became similar to Leon’s daughter, runs down the street to Tony’s to wait for Leon to return (though unbeknownst to her, he will never come back). The scene ends with Leon killing himself and the antagonist Stansfield in a final act of retribution for Mathilda.

In my personal opinion, the climax of this scene is the shot of Leon’s first-person perspective. He is shown looking at the “light at the end of the tunnel? when a white light floods the foreground. The light is meant to reflect the muzzle flash from the gun Stansfield fires at him from behind. After the white light and a muted noise (gunfire), Leon hits the ground slowly while piano plays softly in the background. I plan to capture this particular moment by using the camera “over-the-shoulder? and adding in the light swell and sound effects in post.

As for the rest of the video, I will most likely play either the part of Stansfield or Leon and have a friend play the part of whatever I don’t. I would like to do this instead of playing both parts myself since there are shots where they are both seen together. I think it will alleviate any character confusion, and also help make the shooting a little less stressful. Besides Stansfield and Leon, I may also add in the quick cut to Mathilda running down the street, which would involve a 3rd actor.

As far as technique goes, I’m not yet sure where to shoot; this is something I’ll have to scout for in the next couple days. The actors will be appropriately dressed (black jumpsuit with mask and the other wearing a suit) and will have the couple props that are presented in the scene (pop cans painted black to look like grenades, toy gun, grenade pin, fake blood). The sound effects and speech will both be added in post (I’ve learned that speech usually turns out better if its overdubbed later using decent microphones).

March 4, 2008

Ashley project 2 proposal

For my second project I plan on remaking the scene in Harold and Maude when Maude tells Harold that she is in the process of committing suicide. The scene takes place in her house on her birthday. I plan to play the part of Maude and my friend Jason will play the part of Harold. The movie is about a young man named Harold, who is a bit of an outcast, and an old woman named Maude. The two of them meet in a cemetery at a funeral of someone neither of them know. Although their difference in age, the two of them fall in love throughout the movie. When Harold’s mother (who tries to set him up with girls of his own age) finds out about Harold’s relationship, she sends him to a psychiatrist. Harold simply tells the psychiatrist that he is planning to marry Maude. Despite initial disgust or mockery at their relationship, the audience eventually realizes that the love they have for each other is genuine and respectable.

I chose this scene for a number of reasons. Firstly, it is the climax of the movie when Harold realizes that their love has come to its end. Secondly, although this scene makes lots of people cry, it made my friend Luke cry. He said the reason it made him cry was because it was the point in the movie when Harold was forced to admit to himself that he would have to move on from Maude, and that he had his whole life in front of him. In other words, Maude's death is a turning point for Harold. It also made him feel like the people in the film who looked down upon Harold and Maude were given a victory over their relationship.

Studio B/E and theater equipment checkout


March 3, 2008

Jeremy Sengly: Project 1

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My stop motion project ended up a lot different than I had originally conceived. It still deals with the same fundamental idea of searching for inspiration but I decided to abstract the search a little more.

The short begins with a view of me from the outside. I go through the motions of creating work robotically. My facial expression is intentionally distant and constantly changing. The appearance and disappearance of the items in my hand represent how I am making work that I don’t really care for. When I manage to make a marker appear, I am unable to make it disappear, because it represents an idea that has caught my attention. As I further investigate the idea it forces me to go within myself to attempt to develop the idea. I struggle for a while to find the key to the idea becoming frustrated. I wanted to express this through repetition. The animations repeat until the viewer gets visually frustrated. I am finally able to figure out how I will unlock the idea, shown through the materialization of the keys. From that point on a rush of ideas flow through. My brain sorts quickly through a mass of inspiration until I am able to pull the project out of this ephemeral realm and return to the outside world.

My biggest problem when approaching the development of this concept was my timeframe and the skills I had with animation. Both were at an uncomfortable low. As I developed my skills and worked on the project more, I realized that the full-fledged animation that I had originally planned would not be possible under current conditions. So I looked elsewhere to translate my idea. I found the solution in an abstraction of my thought process. I wanted to turn parts of my body associated with imagemaking, my head and hands, into abstracted forms. I did this by using the photobooth program’s mirror filter. The sense of confusion is further enhanced throught the flashing of magenta, green, and blue in the background.

In the end it felt pretty disorganized, I used the song “Never do that? by Dan Deacon. The music helped to give a sense of continuity to the animation, it also helped me to emphasize certain points. When the keys start to shake back and forth I timed it with a screeching noise within the song.

If I were to do this project again I would try to push the abstraction further. Although the sense of repetition is deliberate, I feel like I would rather have the pace escalate instead. The hands would layer more and more and I would try to break the symmetry of that section.

Matt W - Project 2 Proposal

The scene that I am choosing to re-enact is from the movie, Dancer In The Dark, starring Bjork as the main character. The scene is towards the end of the movie and it is Bjorks character, Selma, walking to her death sentence.
The scene involves Selma walking from her jail cell to the area where she will be hanged for murder. Selma is blind at this point in the movie, she had something wrong with her eyes where they gradually become worse and worse in the movie. Selma is actually very sweet, and has been wrongly charged with the death sentence after a terrible incident with a friend that wanted to die. Because Selma is blind she finds beauty in life through what she hears in the outside world around her. She often makes up songs from the noises she hears going on. The movie, and particularly this scene, turns into a musical. In this scene, there is a police woman who has taken a liking to Selma while she has been in prison. The police woman is helping Selma get up to walk to her death sentence and Selma is scarred and can’t do it. The police woman starts to march, so that Selma has some noise to listen to in her last moments of life. This is significant and emotional because earlier on in the movie when Selma is sitting in her jail cell talking to the police woman, Selma says that jail is so scary because it’s so quiet and she can’t stand to live with silence. Selma wonders if there is even marching from the prisoners that she can listen to, to make a song out of. So while Selma and the policewoman are marching, they start to count each step as they go and walk, as if they are Selma’s last steps and she is trying to add them up and take what life she has left along with her. The counting becomes very rhythmic and this is when Selma starts to hear a song out of it and starts singing. The scene signifies all that Selma has to live for and shows who she really is and it becomes very tragic to watch, especially because you know that she is going to be hanged.
I was given the idea to do this scene from my older sister. This is one of her favorite movies and the reason that she cried at this particular scene was because it is a
very powerful and touching moment to see both the great strength and fear in
Selma's character as she is walking to be hung.

Project 2 Proposal- Katherine Lung

The scene I chose for this project is from the prologue with Hugh Grant narrating on love, from Love Actually. I personally don't see why this is a cry scene, but I can see that it does tug at the heart a bit. Hugh Grant talks about when he's down, he likes to think about the people that just came off from the plane at the airport - and the film scopes on the first moment of arrivals, reunions, and moments that shows intimacy between two people. And that love is actually all around.

I hope to shoot the scenes either by actually going to the airport, or waiting outside and get footage by chance technique, or just simply recreate it with friends. The focus is on the meeting of two people and the interactions and the different kind of intimacy so the setting would be set simple, perhaps using one of the studios from the theatre/dance building. Sounds I will try to look for a file with a simple ambience mood, and the narration would be by one of my friends/or last resort, me. Rather then having the actors being up front, I hope to have enough people in front of them so it seems like looking through a microscope.

Breanne Subias: Project 2 Proposal


Although I’m not sure if this is acceptable since it is a show and not a film, I would be interested in remaking the scene from the end of the “Casino Night? episode of the Office, where Jim tells Pam that he is in love with her and she responds “I can’t.? They are alone in the parking lot outside of where their office’s casino night is taking place,
and it just kind of comes out of him very suddenly. The resulting scene is something very genuine and easily relatable. The scene I would like to remake occurs between 1:04 and 2:53 in the attached video.

My friend Cat suggested I do this scene, as we have both watched the show since the first episode and understand the dynamics of the relationship between Jim and Pam and the sense of longing that exists between the characters. This is what made her cry about it. At the point of this episode, it is a love that should be, but it is not, at no fault at all except the two parties involved. There are only two characters in the scene: Jim and Pam. It is a very simple, very human scene with a big impact on its viewers.

One reason I think this scene will be fun to remake is that The Office is shot in the style of a documentary, so the camera is somewhat shaky, it is shot from some interesting perspectives, and the shots are not always dead-on (i.e. there are points where Jim’s shoulder covers a portion of Pam’s face from the camera, even though she is saying something important to the story at the moment, to keep the documentary feel of the show consistent). I feel like this adds an element that could be played with to stay constant with the original scene.

If I remake this scene, I could potentially play both parts and play with some different shot setups. If I did this, I would most likely use stand-ins to put their shoulders in the shot. What is more likely is that I will simply find one of my male friends who would be willing to play Jim. I would try to recreate the types of formal outfits worn by the characters on the show, and would shoot the scene in a parking lot.

IF THIS IS NOT ACCEPTABLE, which I'm aware it very well may not be, I would remake the scene from Eternal Sunshine of the Spotless Mind that made Lisa Griguoli from Learning to Love You More cry (where the two main characters are lying together on the frozen lake).

Daniel Grittner: Project Proposal 2

The scene I will be recreating comes from the movie, “American Beauty.? It’s the scene in which Ricky brings Jane to his house for the first time. He introduces her to his catatonic mother, shows off his dad’s World War II memorabilia, and finally asks to show Jane the most beautiful thing he has ever seen/recorded.
As it turns out, the most beautiful thing he has seen is footage he taped of a bag being blown around in the wind. Ricky talks about the day that it occurred and the feelings it invoked in him but suddenly cannot seem to talk anymore as he has been moved again. Jane grabs Ricky’s hand and then kisses him.
I chose this scene as it was one that moved my brother to tears. I decided on it over a few other scenes as it’s one that I’ve connected with in the past, although was never moved to cry. It’s full of incredible emotion and what I believe to be very poignant beliefs (the idea that beauty is everywhere.) Unfortunately, my brother has not yet told me why it moved him so much.
I would like to shoot the scene as accurately as possible, so I plan to shoot a bag moving in the wind and then have that playing in the scene in which Ricky talks to Jane. For my role in the scene, I’m thinking of playing the bag and choreographing that while having the opportunity to direct the rest of the scene. In addition, I’m looking to acquire the score to the movie so that I can keep my scene faithful to the movie and because the music plays a large role in creating the feeling.
Each shot will be recorded as closely as possible to the original source material. I aim to use the movie as a blueprint for how I will frame up everything, including when I will cut and when I will zoom or pan. Aside from that, I hope to find an actor and actress willing to put everything they can into the roles of Ricky and Jane. I am avoiding playing Ricky myself as I feel that it creates a sense of egotism. I think it’s wrong to insert myself into that role.
The only concern I have will be lighting as much of the final part of the scene is illuminated by the TV but also has very subtle lighting in the background. I am unsure as of now how I can achieve the subtle glow that surrounds Ricky and Jane both from the TV and from the lights in his room.

Sarah Vang: Project 2 Proposal

For this second project, I want to do the scene given by Sarah Clausen from The Green Mile. She was driven to tears during the last handshake between Paul Edgecomb, the executioner, and John Coffey, the executed.

I wanted to do this scene because of a few reasons. First of all, this scene is very heartfelt and sad when viewed in with the movie as a whole, and although I’m not exactly crying when this scene plays, I do feel the sadness. Because of this, I know it will be easier for me to try and capture the emotion in the scene. Another reason why I want to do this scene is because of the simplicity of it. There are not that many people who are focused on and the props will not be hard to find or make, which allows me to be more flexible with the scene as a whole when filming.

In order to recreate this scene, I will most likely get help from other people to act for me; my brothers and sisters are always good options. The dialogue isn’t very difficult to memorize, and it plays a large part in helping create the emotion during the scene, so I feel it needs to be kept in. My basement can probably be converted into a fake execution room. In the movie, even though the room was brightly lit, I felt that there was still a darkness to it, with the brightest of lights on the execution chair and the person to be executed. A basement would help with this recreation.

With the costumes, I feel that the fact that Edgecomb was in a uniform looking at this friend he had made in the short time he was on the Green Mile whom he had to execute made the scene worse. We know that Edgecomb didn’t want to execute Coffey, and the fact that he was wearing a uniform showed that it was his job, and he had to do it despite his reluctance. I know finding a police uniform will be hard to do, but I can probably manage finding something that would make whomever plays Edgecomb an ‘authority figure.’ The time period and its relation to the costumes does not matter as much, in my opinion, despite the fact that death by electrocution is rarely done these days. The emotion came directly from the relationship between the electrocuting and the electrocuted.

Full execution: http://youtube.com/watch?v=whPJwFBfSdU
Handshake cut: http://youtube.com/watch?v=LNBieXXV8NI

Stephen Project 2 Proposal

The type of films that hit me that hardest are those that although they may be wacky or zany, also have a deep understanding of the heart, and are able to make the audience feel. The scene I would like to reshoot is a scene from the Charlie Chaplin film "The Gold Rush." The scene in question shows Charlie preparing for a New Year's eve dinner for some of the new friends he has met, including his love interest, Georgia. He sets the table for her and her friends and sits down and waits for them to arrive. The scene then shifts to them all having a great time and Chaplin becoming very moved with all his success, at that moment the scene shifts back to Chaplin alone, asleep at the table while the friends who were supposed to come are out celebrating at the town hall. The way Chaplin mixes between comedy and tragedy is wonderful and it allows us to feel the pain even more. I don't think I want to do a shot for shot remake rather than sort of reinterpret the scene for myself, updating it, and changing a few things here and there. I do, however, wish for the spirit of the original, as well as a few very iconic images to remain. I don't think it is plausible for me to have my main character exactly as Chaplin was in the film simply because it is nearly impossible to emulate him and make it work properly. Therefore my main character will be someone similar but at the same time quite different To do this I plan on using no dialogue, since the original is silent, there will be intertitles however. My real goal is to capture the delicate balance between the comedy and the tragedy because it makes everything in the scene so much more effective. I think the challenge will come in making the audience feel attached to a character is such a short amount of time. I may cut down on a few things such as the number of people at the dinner party due to sheer logistics as well as the location of the town hall party. I think I may also shoot a small scene from earlier in the film that sets up the party in case just the party isn't quite clear enough to the viewer. I am looking forward to be able play with emotions because there is nothing better than a film that hits you on a deep emotional level.

Ken Shores Project Proposal 2

I have chosen to re-enact the break-up scene from Cruel Intentions.

The suggestion came from my girlfriend, Carly. The particular scene is under ch 24 on the DvD, which involves the main character Sebastian going to his girlfriends' house and breaking up with her. Very harsh words are exchanged, because secretly Sebastian loves her and does not want to leave her. The scene is indeed a sad one, because Annette (the girlfriend) can't even believe him at first, because up until right then. everything had gone well. Sebastian's personalty shifts quite a bit through this movie, as at the beginning he views women as objects, and as he falls in love with Annette he learns about love and respect. Knowing this, and feeling as though he has no choice, he reverts to what she expected of him when they first met. Thus the scene is very sad to watch play out because you know that it is hurting both of the characters, even if one doesn't admit it.
I have yet to decide if I will use two actors or just myself for this video. I only want to use a single prop, and I haven't located one yet, but I want to use a large mirror. One of the shots in the movie involves Sebastian talking to Annette while looking at her in the mirror, as she's behind him. This scene would be easier with two actors, but with some work I could splice in two images of myself, recorded separately. There is a large amount of dialog, and a few scenes where the two are very close, but I think, from watching some of the films in class, that I could work around that fairly well. I also enjoyed the sparse looks of a very white background. Taking away the elaborate setting of the movie could help someone who has not been following the movie up to its current progression appreciate the emotion at hand.
The most difficult part of the scene that I strive to capture is the fact that the audience SHOULD know Sebastian doesn't enjoy what he's doing, but because they haven't been watching up until that point, may not be able to focus on anything but how much he's hurting Annette. I'm not the greatest actor, and would feel very accomplished if I could convey that to a viewer. I'd like to try to work with classmates on this, but I have a third-party in mind for Annette if that doesn't work out...

Lisa : Project 2 Proposal

For my remake, I want to do the bathtub scene from Garden State. This choice was inspired by one of the drawings on learning to love you more (Lisa Dalton's post), but the scene after the one she drew is the only scene that makes the main character cry, and it's longer and more involved which I think is good. It starts with the two main characters sitting in the bathtub in which Largeman's mother recently drowned. He talks about a memory that he associates with his mother's necklace and is able to cry (one tear) for the first time in years. Sam, his friend/girlfriend captures the tear in a paper cup and then comforts him and they hug and talk about their feelings. I think the honesty and vulnerability of this scene, as well as its quirkiness with the bathtub and the paper cup, is what makes it attractive but also challenging to recreate.

I think it would be fun to play all the parts in this scene myself, but it will take some creative planning and probably a large doll. I plan to shoot this scene in my fiance's parents' bathroom which looks remarkably like the one in the actual movie, and it's big enough to set up a tripod in and still have room to move. The lighting in the scene is sort of warm so I might have to use lamps instead of the overhead light. Then I'll try to imitate all the shot setups with possibly some modifications due to me playing both parts. The only props I will need are a necklace with floaty balls (I'll either make something similar or try to find one of those puzzle games that has floaty balls) and a paper cup. Plus whatever I decide will represent the other character.

Alina Cheng: Project 2 Proposal

The scene I would like to remake is from the movie “Peter Pan,? made in 2003. The specific scene I would like to remake is starting from when Pan and Hook are in the final fight scene. Hook starts to talk about how Wendy was leaving Pan, and starts to chip away at Pan’s confidence and spirit, until Pan finally falls. He can’t get up, and smiles a little at Wendy when he is about to be killed. Right before Hook stabs him, Wendy interrupts, and says her final good bye, and gives him a surprise kiss. The kiss revitalizes him, and he is happy, and gets his fighting spirit back. This scene shows Wendy and some kids crying, and also made my sister cry.
This scene makes some people cry, because of the emotions it invokes in people. It makes people cry because it shows the emotional breakdown of Pan, a final goodbye, and a remembrance of how love can solve anything (or at least it does in movies). I chose this scene because of this, and because I like how it portrays the pain of growing up in a very extreme sense, and how the kiss restores people’s faith in love and goodness.
I will film the scene outside. A problem that arises is doing an interpretation of the flying and fighting. I think I will have Pan and Hook fighting on a playground jungle, and when Pan falls, he’ll fall to the ground. The other problem, a technical one, is the lighting. The lighting in the movie is very dramatic, deliberate and noticeable. The happy scenes are pink and bright, and the sad ones are blue and gray. I’m not sure yet how to do that in the remake, but I think I will play with the settings on Final Cut Pro. As for the style and technique, I’m not sure what styles and techniques I would be able to do, so I think I will hold off on that. I could film the entire sad scene in black and white, for dramatic effect, and the other parts in color. But I just have to see if it works with the remake. The people will be wearing modern clothes, I think, but that may change. I just don’t know where I would get the costumes. I don’t know if I’ll have as many people on the “boat? aka Lost Boys and pirates, I think I would keep it to the important characters.
I’m not sure who to cast as any of the characters, but I think I will be one of the Lost Boys, or one of Wendy’s brothers. I will have to think more deeply about who will fit each character, because I want each actor to have at least some characteristics of the character they’d be playing.

kong: project2 proposal

For project 2, the scene I have chosen is from the Korean movie Wind Struck. I chose a scene from this movie because it is a popular movie among my family and friends, especially the girls. I have heard stories about girls always crying when they were watching this movie. There are also a lot of emotional scenes in this movie so I can have a lot of options to choose from.
At the beginning of the scene, there is this lady driving and she stops at a red light. While she is waiting, she looks up at the cross walk and sees a guy that looks like her dead lover. She gets out of her car and run after him, calling his name. The guy sees her coming after him and he runs away. The guy tries to run away while the lady is trying to chase him. The guy finally stops because he is out of breath. The lady finally comes up to him and asked if he was who she thinks he is. She asks some questions like he should be dead and why he faked his death. She expresses herself to him but he just rejects her. She also tells him that he should not have run away from her because she will always catch up to him. But he tells her that he could have gotten away if he still had both of his lungs. He then tells her that he is not that person anymore and the he did not want her to see him like this, then he quickly gets on a bus. At the end of the scene the lady is running after the train the guy got on.
I will probably film this scene at the University of Minnesota campus or on a busy street. Using the same songs from the original scene will be better and make it have more feeling. I will have the actors wear the usual clothing for the scene. My remake will probably have some difference from the original one because I will not be able to get the props.