Hey There Sexy People -
I wanted to show you some of the work we’ve done for pre-production, so far. When talking with the cast and the crew, I wanted to be able to give them a sense of what was going on in my head. So after scouring Pinterest and a thousand other sites, I put together a mood board. Below are the style of the film and the different tones for each location.
While our film might not look like any of these images individually, I’m hoping that it is a combination of the that helps us establish a tone that’s “right” for this film.
Style/tone: (pictures 1-3)
This idea of neon noir has always fascinated me. Noir films, in general, have a grittiness to them that I love. As for the Neon, we used full-color washes to emphasize different aspects of the story during the live show. It was a brilliant move by our tech manager, Mark Shoemaker. I wanted to bring that over into the short by using stylized neon light and silhouettes to give the film a hyper-visual nature that makes it almost dream-like.
One of our challenges with doing this sort of stylized lighting with limited time on set is having to choose between style and schedule. I would love to have practical lighting that can be stylized (colored bulbs, hidden gels, etc.) in order to save time, but I don’t know how possible it is with the locations we've picked up. This is definitely something I’ll be asking my crew as we fill spots up these next few days.
Locations: (Pictures 4-9)
Mitch may or may not be running through Austin streets in his underwear. But in the case that he does end up running through Austin streets in his underwear, this is how I’d want it to look. I love the idea of seedy alleyways and long shadows caused by car lights. There might not be a way for us to change the street lights so it may be something to do in post (said the filmmaker while shaking his head).
Stoney’s Locker Room:
We’re going to be seeing a the dancers prep for the show in the locker room. If you’ve seen GLOW, I am so jealous of their locker room. It would’ve been perfect for Stoney’s locker room, but that’s life. Next time though…
The Goons’ Apartment:
Again, I love the idea of a seedy apartment where some bad shit is about to down. There’s opportunity here to use framing and set elements to make Mitch feel trapped and almost claustrophobic. I’m really excited about this one. It also turns out that I’m moving the same week we’re filming, so we’ll have an empty apartment as our playground for this scene.
This one is going to be a bit loose. We’re still trying to figure out what all would go in Stoney’s office. What types of mementos would he keep/display? What pictures would he have up? What sorts of mess would be surrounding him, if any? We’ll be digging in a bit more, but for now, this is what I’ve got.
Stoney’s Stage -
This is the set that scares me the most. Because we couldn’t find a bar/club that felt right, we’re going back home to The Institution Theater to film this portion. It’s where the live show went up so we understand the space, but this one is going to difficult to pull off. There’s so much here that needs to happen here and even more that needs to be implied. So many moments that need to happen in such a short amount of time.