Study for a film set on an island, in 20 shots.
Based on a true story.
1 A vast interior landscape
2 Entrance scene: memory corridor
3 Island spirits
4 Fear of impossible spaces
5 Evidence
6 Signs, remain
7 A house at the center of the island
8 An archive
9 Telephone call, two male voices
10 Encounter scene (stationary shot, empty plateia)
11 Performance. A question of identity.
12 The Kastro, 1540
13, 14 Inside-out space. To look out from but not be seen (2 shots)
15 Preparation, welcome
16 Re-intoduction of reunion scene (memory sketch)
17 Language of the other
18 Ghost
19 Scene from a distance
20 Final reunion, souvenir
1 A vast interior landscape
2 Entrance scene: memory corridor
3 Island spirits
4 Fear of impossible spaces
5 Evidence
6 Signs, remain
7 A house at the center of the island
8 An archive
9 Telephone call, two male voices
10 Encounter scene (stationary shot, empty plateia)
11 Performance. A question of identity.
12 The Kastro, 1540
13, 14 Inside-out space. To look out from but not be seen (2 shots)
15 Preparation, welcome
16 Re-introduction of reunion scene (memory sketch)
17 Language of the other
18 Ghost
19 Scene from a distance
20 Final reunion, souvenir
First inclination for soundtrack suggestion would be something like Philip Glass or Brian Eno. BUT PLEASE imagine it with Nino Rota instead! Απροσδόκητος #unexpected
Less Nino Rota, more Alva Noto. http://rd.io/x/QGlpPn2e
Elegant and Evocative!!! Fits right into our conversation about the interval as voids of possibility. Each one seems to be waiting for something if photos can have a sense of waiting . . . ok, crazy idea!
Ann, the Derrida essay “Athens, Still Remains” that I mentioned last night is *exactly* about that idea — that the photograph activates a waiting/mourning ticking clock…fascinating. Was SO good to see you…