Creative Critical Reflection

See at https://youtu.be/53vwb96cAVo

Final Project

Short Textual Introduction:

Our film is like a symphony. It has many movements. The opening of this film is one of them and it follows a certain order a certain symmetry. It’s like a water droplet. In the outer ring there’s the mind of the audience; representative of how the audience watches this film which is up to them. For They might watch it a certain way based on how they think. Or how they perceive it will influence their thinking thereafter. They have various hues and colorful strings to their disposition. How the outer ring is colored is what the next ring—mind—entails. The second ring presents the dynamics of the watercolors in representation of a mind’s fundaments. Their composition in terms of concentration paint the third interweaving of thought; the inner ring. As the film progresses the rings will shift around and even mingle with other realities from other water droplets—other movements—creating in their totality a symphony, an art of loom.

See "aquarelle de lumière" at:  https://youtu.be/ZYCU6hQdKH4

Come Well :)

When one sees trees contemplate its branches, from time to time the light seen cannot be, not even a sigh from the rays of sunlight can be distinguished. However, there’s a certain calm within that shade that is compiled by the wooden presence of bronze, for one can feel protected. It can also be seen as a confinement as an enclosure and that is something that suggest limitation. But it can also be seen as a cocoon, as something that is waiting to see the light, something that is waiting its moment to be born, or maybe its not waiting, its willing to take its time, if there’s time, it is willing to live the process without thinking about time. Also, within the wonders of the foliage when one can see its flowers those ideas start to blossom or those memories start to nourish our spirit our mind our life, or when one can distinguish light well, or not distinguish, but when we can see how the rays of light filter through the branches, is also beautiful it is life, it is the interlacing that we create. 

A tree is present in one of our scenes. It’s purpose? It varies. A couple of examples are herein. The Miss-En-Scene is beautiful. There’re beautiful wooden hearts coloring down from a string from some branches here and there. There’s a beautiful manifestation of the literal art of loom coloring down one of its branches. A stream is running near by and it connects to that of a larger source. The stream will flow mechanics themselves, which we all are pretty well familiar with. There’s a seashell, who emanates warmth of the ocean floor. Caresses of light and water. There’s color. There’s creation. The young girls wonder and wander within; themselves and the scene.  

It is a story of our mind a story of our perceptions it is a story about how we live and why we live, just as much why we dream. 

And all we live all we dream in this world of fiction, our film, has life and not necessarily has death. Because it is fiction, we can have the luxury to live, to see the elements of our film living without considering the death of their existence. For there's no term. All these elements, remember, of what the water is and the like is open to the disposition of the audience, to our weaving in this art of loom that life is. Come well.

Crystallization

To interlace our piece of extra-ordinary nature let’s remember that ours is variable from mind to mind, from heart to heart. How can we not compromise the ideas floating? How then can we crystalize our Film Opening? To invite the audience to understand they are weaving the story with their own perceptions of it that they are part of this interweaving of thinking a very specific element of our Film is to be produced. 

A couple of days ago, I went to a yarn shop and what a colorful little place that one was! After asking for permission of course, I started filming the interiors of it. Even though I did it as a long take, a portion of it is what actually is going to be placed within our Film Opening, considering it is only of two minutes and long takes are scenes that by unconventional nature are left for several on screen. 

Why? The journey inside the yarn shop while looking at all the different yarns, colors, textures will allow the viewer to feel as if he or she is feeling the colors, sensing the textures, wandering its stories, consulting its memories, and going by his or her heartbeat. 

And yours? What’s your pulse now? Let’s keep swimming! 

Caterpillars of T'truths

From the inspiration of our findings on the Mexican culture in the literal art of loom, we can touch on the nature-based canvas that we are to choose in three of our characters who for example are the embodiments of Creation; a flower and two young girls. Notice the latter characters dearly hold an adjective that reflects time. You might be wondering why is that so if our dynamics in the Film Opening radiates timelessness. Well, that nature that encloses the girls allows for the rationality of virtual reality—that of our film— to take place. The fictional truth arises when one considers the parallelism of the flower and the girls’ presence within our first two minutes:

• A jump cut is the technique utilized to compile the different shots taken to contemplate the process of the flower as it greets her ephemeral life sometimes embraced by sun rays, sometimes embraced by those of stars and satellites. I managed to film such spectacle in its different stages. I wasn’t holding the camera all along, but rather filmed it in its intervals of naissance (birth). The first of its intervals happened early in the morning. It was still dark. That is why I needed to use artificial light (from my phone) to set what might not entirely be called three point lightning because the key, back, and fill light are not being used simultaneously but each one right after the other. High and low key lightning are also employed precisely for the same purpose. This part of the process is of great significance to our Film Opening in terms of our thematics. The flower I had the honor to converse with, allowed me to transport her beauty into my filming when the night was not but a vestiges of an immersion that occurred at once; a theme itself of our Film Opening. If it helps for further understanding: here is one of my clips... think about its resemblance to an eclipse.  

• In terms of costume design, the young girls wear pink/primrose-pink/fuchsia dresses. To add to the resemblance of the opening of a flower the clothing is beautifully put in movement when the young girls dance in circles… wandering… and wondering… Here's a screenshot for you to take a glimpse of the movement, which is going to be presented in slow motion to play with the surreal idea of timelessness.

After having both sceneries produced as envisioned, slow-paced montage/superimposing is what follows to paint a scene that interconnects with one of our themes; the girls and the flower alluding to Creation.- for they represent that who create the interweaving of thoughts and thereafter actions. (Remember: that ‘who’ is representative of the feminine hemisphere present in every human being, regardless of gender /and/ their roles.) This is purposely done to support the parataxis of ephemeral processes like the life time of a flower as well as the instant of creating the interweaving of thinking on behalf of the young girls.

Colorful and natural. We’ve also said already we’re playing with a lot of light and water, a couple of our Motifs. Seeing the correlation? the ephemeral processes like the life time of a flower involve water and light. These are cool and calm waters here, can you feel them? Dive deep. Openly.

Open Waters!

What color does the spoken word weaves? and the written? the felt? the thought? is it unique for each construct of nuclear heartbeats? Because if you think about it, our phrases that come from the heart poses grand power to demand understanding from the least of the conscious facets. So if it is genuine and neutral does this mean that what we do understand in its surface is not worth of its diaphanous originality?

Now what color do you see?

Each interweaving of thinking of perceptions each contemplation of truth—the respective truth— has its colors.

What if the colors of our own wanders and wonders constitute the very essence of the loom that life is? 

Have you notice it by now? Constant wondering… constant Curiosity…  that is what our film opening entails. And it’s ours to create it. It’s ours to perceive it. 

You see, open waters are these ones. The film opening here we are to weave embraces that very idea. We each have our own idea of truth, one found in situations, in sensations, it’s all interpretation. 

To interpret what is surreal by nature is what I want to maintain intact in our Film Opening. I don’t want to compromise the ideas floating. That is why I’m choosing a very specific and at the same time broad canvas; light and colors, water and wind, nature and wonders, wanders and truth, creation and thought, women and life. 

Fiction by all means we've said it is… to help us… that part of our apparent indisputable nature.… Anyhow fiction it remains by being constructed and sculpted in a very holistic way. The interconnection that there lies within our the constructs of mind and alongside memories of heart is what oughts to remain genuine and real. Someway inverted. Because at the end, we are here. Still here. In a fictional world of perceptions and tales, wondering to and fro, inside a screen of static mobility where a channel begins instance and manifests the film into the world of the viewer.

So is going to be achieved by the choices undertaken in all three phases of production; pre-production, production, and post-production. Mise-en-scene, costume design, and technical elements like composition and movement we’ll soon enough explore.
Enjoy :) 

A Pause for a Pulse? Is it so?

Would it be that when dancers pause and pose there comes a pulse? Is it so? When dancers pause an overture of silence is created. They lend in to the musicality of such pause that itself leads them to a rhythm they will eventually perform. Is it so? When dancers pause is it as if silence intercepted with the flow of their dance step. Is it so? Is that beat of an interval that travels through space, breaks up time—if it ever existed— that makes its way to the theater seats? Dancers know by that time that a pause within their movements can make their dance timeless. Soundless. Kind enough to allow the theater seats to catch up with their pulse. To recover from that incessant applause of their soul. Silence, with its own magnitude of sound resonates with the dance and with the sight that contemplates it. When dancers pause, are they now to listen to the humming of music? When dancers pause and pose is it to act out the singing of closing lips of that who gave them the music? 

What is the music of our Film Opening then? Submerging… Do you feel it? Tapping water tapping feet with a riddle in mind, with a music of heart. Breathing. Wind chains. Ocean shore. Laughter. Silence. Interweaving. All of it. We’re getting closer. Let’s compose it! Why? For a genuine purpose! To keep it authentic :)