As the deadline for the next project comes to a close, we are given a list of questions to think about in relation to our project. After answering these questions I started to wonder if my project answers these questions sufficiently, I’m only in early stages of post-production so theres still time for that to change.
- What is the ‘controlling idea’ (Robert McKee) of your portrait? For me, the thing that is most interesting about my idea is personal. I haven’t been that close with my grandfather, so speaking to him in this sense, asking questions etc. has enlightened me on his childhood and what it was like to grow up for him. This has brought me closer with him, which is a good thing of course. So in a way this Self Portrait isn’t designed for anyone, rather it is designed for me to learn about my grandfather.
- How is your portrait film structured? My project is structured in a voice over manner. I’ve also made the decision to construct it in a non-linear fashion. I believe when done properly, a non-linear timeline can be really effective, artistic and engaging.
- What do you want your audience to make of your interviewee? The approach for this one is simple, I’m not trying to say anything myself through my interviewee, it’s a self portrait, of them. So it would be a contradiction if I wanted to say anything myself through them. I believe the self portrait was the previous project.
- How is your portrait being narrated? With my portrait, I chose to conduct it over the phone, which means Vinnie, my grandfather, is narrating it while I show found and new footage over the audio track. If done correctly with the use of colour grading the new footage and creating an ambient track to represent the sound from when he grew up. By using this technique of narration I will be able to achieve an overall feel of the era in which I am aiming to replicate.
- What role will the ‘found footage’ play in your portrait? The found footage will work with the other aspects of the piece to to create the feel. It will also be the only footage where my interviewee depicted, as I am unable to travel home to collect new footage of him.
- Does your portrait have a dramatic turning point? Not at this point in time, no. I haven’t finished cutting the piece together, however, one may appear later on.
- How does your portrait gather and maintain momentum? I think the decision to construct it in a non-linear fashion maintains the momentum. As for gathering momentum, it might also gain it from the structure of the project.
- Where will your portrait’s dramatic tension come from? I haven’t really thought about this one, I guess if there were to be any it would only be minute and would come from the contrast between found footage and what is being said.
- Does the portrait have a climax and/or resolution? The portrait has a resolution, which is the end where the whole of my interviewees story has been told, and the audience, hopefully, feels more connected with them.