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by SHOWstudio .

Four scenes still unscripted!

We've received no less that 45 different treatments over the past 4 days and are starting to realise how many repressed screenwriters there are among you!! We have yet to receive entries for Act II: Scene 3 and Act IV: Scenes 3, 4 & 6, however, so please turn your thoughts to those. Monde has been pinning them up on Poly-boards this afternoon, for the purposes of continuity when we begin the selection process.

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3 comments

  • farrah
    07:23 6 Jul 2007
    Your model’s voice will not be heard during these 24 hours. She will be either silent or underheard because of the racket of the mise-en-scène – two barking dogs on a leash, the chatter of haircutters, and the roar of engines. A lack of scripted dialogue will give plenty of room for improvisation and changes, improve your ease of editing and enhance the mood of sexy unease in which your film will be embroiled.
    Instead of dialogue, these 24 hours will be structured by your scenarios, of course, and by their references to Andy Warhol’s Beauty #2 (1965) starring Edie Sedgwick, and François Truffaut’s Jules et Jim (1962) starring Jeanne Moreau. Like these two women, your model will have the electric presence to light up what will be – like these two filmic precedents – a black-and-white tour de force of understatement and idiosyncrasy.
    At the core of the dynamic in both Warhol and Truffaut’s films was the complication of the ménage à trois. If there is one situation that will bind together your 24 hours, it is this: two men with whose attention your model is always at play.
    Each scene is a static shot – like Thomas Struth’s Video Portraits – although focus varies within each of these shots depending upon the whim of the photographer. People walk in and out of the frame and voices can be heard from beyond it. In this, the film has something of the disorienting spatial effect of Sharon Lockhart’s snow scene in Pine Flat.
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