The eraser collection that was the subject of my PB3 video has proven quite popular (who knew?!). Here are some unused still images that were left over from the day of shooting and I couldn’t squeeze into the final project.
Tag Archives: eraserhead
Eraserhead poster and blurb
Blurb: Some people collect art, some collect cars, some collect wine. Gavin Dixon collects erasers. This quirky short-form portrait asks the question: why do we hold onto cherished items long after they’ve outlived their usefulness?
Narrative structure in PB3
- What is the ‘controlling idea’ (Robert McKee) of your portrait?
Nostalgic attachment to objects has an influence on our lives far greater than its practical use. People will go to ridiculous lengths to keep and maintain connections to their childhood/former self even if to other people the value may not be immediately apparent. My subject has a small, crappy collection of erasers that he’s kept for over 30 years (through marriages, divorce, moving house multiple times, having children, etc.) and will keep for the rest of his life, purely because of his nostalgic connection to them. - How is your portrait film structured?
My portrait is structured around an interview with the subject, using voiceover narration to allow the subject to speak about his collection, what it means to him and why he still has it in his possession. While the audio of the interview continues for the entire duration of the video, the subject’s words are supported and reinforced by cut-away shots to B-roll and found footage. - What do you want your audience to make of your interviewee?
I hope the audience perceives the interviewee as a bit weird or strange to begin with, but as the video continues I hope to spark a feeling of empathy as the audience recognises the same nostalgia in their own lives. - How is your portrait being narrated?
The only voice heard in my video is the subject’s interview answers as he reflects on his experience. I chose to do this to give the video the feeling of an uninterrupted series of thoughts from the subject, as if he is reflecting on his own history and what it means to him. Because the audio from the interview needs to be cut and pasted together to form coherent thoughts, the structure of the video necessitates cut-away shots to mask edits in the audio. - What role will ‘found footage’ play in your portrait?
Found footage will be used as reinforcement at certain key points, to illustrate what the subject is speaking about or to create associative connections. I’ve chosen to use vintage footage wherever possible to reinforce the theme of nostalgia. - Does your portrait have a dramatic turning point?
Not in the traditional narrative sense, but I hope that the audience’s realisation of empathy for the subject will be an emotional turning point. - When does this turning point occur in your portrait and why?
I hope the (gradual) turning point will occur towards the end of the video when my interviewee is explicitly talking about nostalgia and how there is inherent value in still having something you’ve kept for a long time. I’ve structured it this way to allow the audience to come to realise this idea naturally first, and then the subject will emphasis the point in his own words. - How does your portrait gather and maintain momentum?
Through chronological storytelling, by diving straight into the story and evoking curiosity, and then further explaining and building context. - Where will your portrait’s dramatic tension come from?
Dramatic tension will be built upon the strangeness/uselessness of my subject’s hobby – the audience will wonder why he has such a collection, why he’s kept it so long and, most importantly, why I’ve made a film about it. - Does the portrait have a climax and/or resolution?
There is a small resolution to the film when my subject accepts and defends the uselessness of his hobby – which is, ultimately, what my film is about.