Search
10 results for “viewpoints method”
I like this composition. I don't think the performers had chemistry together to make it an evocative image. That's where makeup and costume can contribute somewhat - it unifies.
The other thing that would have improved matters was if I'd asked each of the 3 to express a specific motivation in the scene. The expressions would be less neutral and inert. That was a failure on my part.
This is the one I'm most happy with, but it's distressingly difficult to say why.
Some people here started dating afterwards, so that's cute.
In retrospect, I find the handshakes here very contrived, which was my fault directorially, but Nina's performance of malcontent delivers it from total banality.
I can imagine how much better it would have been with better lighting and something at floor level to direct emphasis to their posture.
Costumes would have helped with this one. It's interesting to think of all the scenarios in which this could be effective performance blocking, with select costumes, sets and narrative contexts. I think this is the burgeoning of an idea, with great lighting, but not its conclusive application.
I dislike the washed out photo treatment here. I often like to put images in black and white to emphasize the contrast and composition, but the shadows in this shot are a mess.
We explored different ensemble gestures to see what, if any, narrative or emotional suggestion they evoked. This could have been part of a sequence, but as a still frame without a contrasting action, it lacks potency.
If there were objects over their heads, this would accomplish more. It would also improve it if each were in exaggerated stage makeup.