Over the past couple of week we have been completing a series of exercises, these have often been comprised of a script, or description of a scene coupled with a constraint. These constraints have often been formal in nature, to revisit some examples in one week we had to cover the whole scene in one shot in another we were not allowed to return to previous shots. One thing that we were not told until after the exercise was that these constraints had a purpose, a hidden motivation that we were often unaware until afterwards. For instance, to cover a scene in a single shot aimed for us to utilize actors with a single space moving them around the frame to generate different compositions and in the other exercise aimed for the camera to evolve through the space with the action.

The success of these motivations has varied, producing the desired effects and perhaps some unexpected but nevertheless interesting results along the way. One observation I took away from these weekly exercises that I’m sure we could all agree on is that the best classes were the ones in which we produced a wider range of results and interpretations. These were the most revealing, and through practice and reflection we gained both theoretical and practical knowledge. The moments that were not so revealing however were when we fell back on what we were comfortable with, back to learned conventions which I think stem from a set of preconceived ideas and conventions that we have gained from a lifetime of consuming and producing media. Now before I start sounding too much like a conspiracy theorist lets take the shot reverse shot for example, a known device and an efficient solution for a two person dialogue, one that I’m sure we’ve all used it once or twice during these exercises, I know I have. But why did we use it? Because it engaged us and conveyed a central concepts in the scene? Maybe, in some cases yes it may have? But I think many of us chose it because we knew it, we knew we could make it look good, we knew we could frame it, where to place the actors etc.

In my project I will aim to transform my own conceptions of coverage by stripping back these preconceptions and applying a good deal of critical thought. To do this I will begin to explore how different varieties and combinations of restraints effect my reinterpretation of a text by recreating a scene or part of film multiple times each time with a different set of constraints. The constraints are to be set by another person, or perhaps multiple people as to separate me from influencing their parameters; They must however contain shall be a mixture of formal and arbitrary restrictions, and their motive if any, must also remain hidden from me until after the production stage. The film or scene must also be centered on a notion or concept, instead of being buried in a particular dramatic situation or mode. This is to free me of any reliance on conventions that may be carried by a particular genre or tone. Hopefully through this practice and reflection I will yield some interesting and experimental results which would serve to broaden my own conceptions of coverage.

I have actors, and I will film it myself. I do need a sound recordist and if you have any ideas for constraints or a piece of film they would be more than welcome, Thank you.

.