- What is the ‘controlling idea’ (Robert McKee) of your portrait? In other words, what is the most interesting thing about your participant/interviewee that you want to communicate?
The controlling idea behind my portrait is the dedication and passion required to pursue a career or interest such as dance. This idea is demonstrated by Piri, as she talks about how much she loves dancing, despite the challenges and problems she has to face, and her persistence in overcoming these challenges.
- How is your portrait film structured? (Remember there might be multiple forms of structure employed) E.g. Discussion and depiction of an event or process? A Journey? Use of voiceover narration? Other?
The primary element of the portrait is going to be the interview with Piri. I’m currently thinking that I’ll edit the interview so it begins with Piri introducing herself, explaining where her name comes from and that she is a dancer. Then it will go into the challenges of being a dancer and finish with her discussing why she loves dance despite these challenges.
- What do you want your audience to make of your interviewee? (e.g. What are you saying through them and/or human nature, human folly, or noble human inspiration?)
I think one of the most important parts of Piri’s character is her passion, enthusiasm and optimism. These are the traits I want to emphasise in my portrait of her, as I think people who know her and admire that in her. I think they can see that she had to work hard not only in her dance to get where she is today, but also in how she approaches situations, and this is something I want my audience to be able to see as well.
- How is your portrait being narrated? Why? How does it affect the structure?
I don’t think I’ll add any of my own narration. I think Piri is very good at explaining herself and there isn’t really anything I need to add. Letting her say what she wants to say feels like a more accurate representation of who she is than anything I can say about her.
- What role will the ‘found footage’ play in your portrait? For example, reinforcement? Ironic counterpoint? Contrast? Comparison? Other?
Majority of the footage I found so far are old films of dancers. I think I’ll use this along side the footage I have of Piri dancing with the audio of her explaining how she feels when she dances, the types of dancing she does and what she loves about contemporary dance.
- Does your portrait have a dramatic turning point?
Not really. Piri discusses the challenges of dance and maintaining a positive attitude, but I don’t think this is really a turning point. She maintains her passion and enthusiasm throughout the interview despite these difficulties.
- When does this turning point in your portrait and why? At the beginning? At the end? Two-thirds through?
Again, it’s not really a turning a point as such, but I think I’ll put the comments about the challenges towards the end. I want to establish who she is as a person before introducing the difficulties of her interest and how she personally deals with these problems.
- How does your portrait gather and maintain momentum?
My portrait starts introducing Piri and discussing dance generally. As the portrait goes on, the discussion becomes more personal as the audience gets to know her.
- Where will your portrait’s dramatic tension come from? The gradual exposition of an overall situation? A volcanic, climactic moment? An impending change or crisis? The contrast between what the interviewee talks about and the found footage?
The tension will come from more being revealed about who Piri is as a person. I may use found footage to contrast what she is saying depending on what I can find.
10. Does the portrait have a climax and/or resolution? Outline them.
Essentially, the resolution will be showing how Piri overcomes the challenges of being a dancer. By keeping a positive attitude, she is able to push through these problems and remain passionate about what she does.