Graduation Film idea

What if… there are two kiddos, a Sis and a lil’ Brother and a long rainy day in early spring.

characters

In one window looked two. One saw the rain and mud. Other – green foliage ligature, spring and sky is blue. In one window looked two.

Omar Khayyám

The story going to be based on this quote. 

Well, basically, I will show how two kids see the same surrounding- their backyard.

But, additionally, I want to show their relationship- what in the end, actually, a person who is right here beside you, can help you to overcome bad moods and get over this dull day.

I’m not sure is it going to be narrated or not, but definitely without dialogues—just sounds.

Firstly, I’m going to show that it is a rainy day: moody, low, grey sky, rain.

(probably) the quote will appear, then disappears. The camera moves down; we see the chimney, then the rooftop, tree of the left. Lower; windows, now a fence. And we got into the middle of someone’s backyard—that tree on the left, of the fence, just a dark silhouette. We see a handmade tyre swing. There is a football goal on the right and a ball. Maybe some toys here and there. Everything is wet in the centre of all this a large rain puddle. Rains constantly.

Next scene- we see the house (like you turn around). Not the whole house, a lower part- great window, the fence now on the right, hides around the right corner of the house. A silhouette in the window draws our attention. It’s not very clear, but we can say that it is a person, probably a kid, under a dark-coloured blanket that covers him from head to toes. And we see him in a bad mood- eyebrows to touch each other and are really close to the nose. His small mouth in the shape of an arc sits right under his nose. Beside him on the right a kite. Might be it is coloured but for now everything in that greyish mood, so we can say what colours are there.

Next scene- we are in the room, on a distance from the window. Now we see him from the back. It is a kids room. A camera lowered, so room and window look huge, there is no light inside, so the interior is dimmed.

A dark silhouette, half of the body(might be legs only) appears in front, a bit left, of us. The figure runs toward the window. Now in the light of the window, we see a girl. The camera is closer to them. We can see them clearly. She carried a sketchbook and a pack or just a couple of pencils(or crayons). She puts it on the windowsill and starts climbing on. She accidentally touches her brother with her leg. The boy turns to head her way, angry and pushes her with hand. Not like with real power, but sort of slightly, to show that he doesn’t want her here, but more like simply ’why you are here?’. Turns his head back immediately and pull his kite closer to himself.

By the way, now we can see the difference between siblings. While brother is in a sullen mood and covered in a greyish/dark blanket and has a narrowed eyes, sisters eyes are big and bright, as well her sweater and sock are very colourful.

Then the girl settled down, grabs pencil and paper and look at the boy smiling (shows that she don’t care about push, even don’t want to pay attention to it, or already forgot about it). Extreme close up to boys face, he sighs deeply and looks out of the window.

Now the camera shows what he sees- close up on raindrops patter over tyre swing, then it shows that puddle in the middle and mud around.

The camera still outside showing both a bit from a distance, but we pay more attention to a happy girls face. She’s now overlooking the backyard. I want to show the same points but with the difference! Sister sees the same tyre swing, but her attention is on the tiny green leaves on the tree’s branch. Then she sees a couple of crocuses on the edge of the puddle. And all the sudden through the small rain ray of light touches the flowers (spring and the sky is blue)

Camera switches back to our characters (from the outside). The girl immediately starts sketching/doodling something in her block with enthusiasm. She then happy touches her brother with hand, he turns to head a bit furious, but she shows him her drawing. And now we see his face changes to smile(slowly), and then swiftly up to his legs throwing down blanket, full big smile over his face. He began to gesticulating, showing something to Sis. She follows him with happiness, immediately draws something on paper. She shows him, he sits beside her on knees and nods quickly, and they start laughing (we don’t hear that laugh). 

Now we see changes in the boy. Not only a big smile, fully opened eyes but after he threw down his blanket, we see colourful sweatshirt and pants and socks.

Camera same position. It stops raining! Kids like freezes for a second, then shortly they off from the window, so we see only sketch block (some lines on the paper surface) and pencils (the boy took the kite). After a second, we hear laughing sounds and footsteps outside. We don’t see kids, just sounds. The camera slowly started going up, over the roof, the see clear blue sky. Sounds- laugh and bids are singing.

END

(if not at the beginning of the film show quote, so it will appears now)

Credits. 

mood board

LIAF Pitch

Recently everyone in our class got a chance to propose an idea for the short stings for this year LIAF (London International Film Festival). This is a part of the Unit 2 Team Project. That means after presentations the invited jury will select several works, and we will be divided into teams to make the film.

Stings are the short animated films which are screened several times before every competition programs of the festival and online in social media and LIAF webpage. They like short representations, intros, for the festival programs. They are approximately in 30-45 seconds length in a broad range of styles, animation techniques and genres.

Overall, there are 8 screening programs:

  • The Abstract Showcase
  • From Absurd to Zany
  • Playing with Emotion
  • Being Human
  • Into the Dark
  • Animated Documentaries
  • Looking for Answers
  • Long Shots

Also, it was essential to watch all presented works during the pitching, since we should select several projects which we would like to work on later.

So, I proceed with the idea for the Into The Dark. 

title screen

Synopsis

There are dark hours on Earth when different scenarios and stories happen, and various characters live their lives.

mood board

The narrative takes place during the late-night hour in a back alley of the city or town. It is a narrow part of the street that is hidden away from the prying eyes, with trash bags in the corners and dark green containers, a ‘missing’ poster on the side of the container, a labyrinth of tubes deck the walls of the buildings and only one blinking light ray in the middle of all it. The unrecognised sounds surround this place, scratchy noises, the electric flickering of the lamp.

style frame

There something that attracts a rat to this place. It smells it and trying to find the source. Finally, it sees the thing in the middle of the light spot. It is the murder of crows. There, inside that pale of bodies and feathers is something that rat smells. And it jumps, another jump, and run straight to the centre of the birds.

style frame

But these birds always aware always on the look-out. One of the birds rises above and make a deafening sound to warn everyone. And right before the rat reaches them, they disappeared.

style frame

The scene opens up with an upper view in the middle of the light we see the peace of a hand in the paddle of blood. This is a source that attracts all these night creatures to this tiny dark alley in the middle of the night. The rat grabs this hand and dragged it into the safety of shadows.

The end.

It supposed to be made by using TV Paint and/or After Effects. Since I thought that most of my classmates familiar with this two software perfectly. I simplified the style of animals and exterior, and made everything with sharp angles without curves to provide unpleasant feeling to scenes. Also, acoustic sounds and music should add the mood and scary atmosphere to the story.

characters exploration

Unfortunately, the story did not get through the draw. It seems to me that the narrative is too simple and basic without any strong points for the festival LIAF level. Additionally, I see that main style frame with the rat and the poster did not play because of the mistake in the composition and lighting of the scene.

Character for/in the story

Storytelling, especially in animation, always have at least one vital component- a character. So, how to approach to develop the characters for your story. Probably, the simplest way to start is playing. Playing with your characters. We can begin with ‘form’. Are they people, animals, robots, or just some objects alike. And we should discover something exciting and different about each character. Something might be even non-ideal, but that will be a key to why the viewers will follow it through the whole narrative and care about it.

The character design process means that you are creating a new life form from scratch, beginning with a simple concept to a complex, and finishing with fully developt creation.

We can build our characters by using two methods. The first one is about external features. Like clothes, body shapes, colours, size of the head, eyes, facial features, how it moves, etc. Basically, their overall look. However, the second approach is much more exciting- the internal characteristics. Are they vulnerable, are they brave, are they sceptical? 

© Robert Bradbrook (from the lecture Storytelling and Animation: Using Characters to shape stories)

Knowing a character, from both angles inside and out, will help to manage what are its true desires and what will drive it through the journey. The more we will know, the more realistic character that feels for the audience.

And this is interesting. What we need to do to make viewers feel for your character, to follow him throughout the storyline? I think the better way to get it is to create it based on people you know, who are around you, from real life. It might be a family member, like grandma or a friend, a neighbour, bus driver, someone who you see every day. Catching their authentic human emotions and experiences, that is what all these people give you.

An additional tool that helps to design a winning persona is a character arc


“A character arc is the transformation or inner journey[1] of a character over the course of a story. If a story has a character arc, the character begins as one sort of person and gradually transforms into a different sort of person in response to changing developments in the story. “

The one way to start character arc is to ask a question- what does your persona want? If we know that it will help us to take the character for a journey within our story, to find the right place for it. And additionally, it will help to shape the narrative line as well and to make the story to actually happen.

© Robert Bradbrook (from the lecture Storytelling and Animation: Using Characters to shape stories)

However, the things that character want could be different from his actual needs. The crucial difference between character wants, and needs are that needs are necessary, but the character does not like to admit it. It is like- I want to go for a walk, but there plenty of work to do. These necessities are the things it needs to learn and do in order to improve and accomplish at the end of the story. Additionally, if we will put wants and needs into the conflict that makes the character more solid and the story will have some exceptional trials in it.

Now, then we know motivations of the character, and it is already on his journey in the story, besides with conflict lets put some obstacles into the narrative. And obstacles can be anything. It can be a person (a villain), vast distances to wade through or even better- something subjective, like worries, fears. Whatever it is, obstacles are something that will be in the way of a character and blocks the road path from what he wants or needs. Thus, choices that character makes in response to obstacles lead to changes in his behaviour and thoughts and make basically a new person. It is like it in his primary form at the beginning of the story, but in the end, it transforms and reaches its higher, better version. 

Moreover, if the character itself might not change a lot, but it might make a significant impact in the world around it, in characters that surround it, that is also very impressive and even make narrative quite emotional.

Each decision our character makes has implied some risks and impacts associated with it. Therefore, the character arc outlines changes and transformations of the character from the beginning of his journey through the story to the end.