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

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4 Comments

  1. First inclination for soundtrack suggestion would be something like Philip Glass or Brian Eno. BUT PLEASE imagine it with Nino Rota instead! Απροσδόκητος #unexpected

  2. Less Nino Rota, more Alva Noto. http://rd.io/x/QGlpPn2e

  3. Ann PENDLETON-JULLIAN

    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…

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