DIRECTORS TREATMENT
TAME IMPALA
MIND MISCHIEF
CARA STRICKER
The idea is simple – Open, spacious dreamlike scenes are filled with idealized visions of youth. The concept captures vignettes of nude youth running, tumbling and falling through utopian, open natural landscapes. Hypnotic in the sensation of slow moving scenes, rolling camera movements with strong colour injections allow each scene to seamlessly move into the next as the nondescript landscapes suggest weightlessness and endlessness.
I have created a mood board displaying the aesthetic direction of the scenes that shows how the video clip can potentially develop. Inspired by Ryan McGinley’s images, these physical yet emotive moments such as running, rolling, jumping, falling combined with the use of slow motion, rolling cameras, throughout controlled daylight and slice-of-life scenes push the film into surreal scenarios.
The rolling camera technique employed in the film, Tree of Life, and similarly in Enter The Void, is incredibly beautiful and seemed to sit really well against the track’s flow. Embedded below, a little exert from these references demonstrates the technique. In a disorienting yet mesmerizing way, the singular hypnotic camera movements carry the subject material through an unfolding world.
Ultimately then, by introduction of atmospheric effects: mist, smoke, water, light,; impacts with these atmospheres and each other; various shifts in camera position and orientation, the viewer loses sensation of the gravitational force of reality as we present a utopian landscape perceived through innocent youthful eyes.
I will use one singular Red Camera, to achieve this fluidity initially explored through 15 cameras in my most recent film.
+ STORY +
Potential opener and scenes corresponding loosely with mood board –
- An overhead shot of sand
- a vast space of orange smoke in a hall
- a wide shot of a misty wood
- kids start rolling in slow motion nude down the sandy hill
- two kids fly out in slow motion on skates from within the smoke
- the camera dolly’s through a thick wide forest catching naked figures through the trees
- Pollen floats through the air as a boy jumps into an ‘abyss’
- Kids up a tree and one jumps
- A naked girl jumps from a bridge, the camera catches her legs and he toes as she falls
- Kids gaze up into the sky
- As each shot is introduced intense euphoric scenes appear.
- The Youth is becoming apart of the environment rolling into the colours, smoke, sand and light
- Boys run naked through field, the camera follows their shadows to roll into the sky, mimicking a
crane like motion looking down from above.
- Extreme close ups, what seems to be an embrace, blurs a red tone flash past
- Looking up hair flows off a tree looking into the sun
- Tracking motion within the rolling camera is introduced to give a warped spacial sensation.
This creates an environment wrapping around the subject, just as the camera revolves around scene.
The disorientation is surreal!
Possible endings -
- The camera continues to dolly through the forest, trees lashing past. It is now full of the youth running toward each other, tumbling. The naked bodies become part of this idyllic landscape. An series of embrace, inspired by intimacy performed by Marina Abramovic’s installations with Ulay, ‘Relation In Space’, in which they throw themselves at one another. Taking this lead the kids run toward each other, just before impact the camera passes them by, others toppling over each other around natures floor, until the camera closes on a one effortless embrace.
- Ends as it begins, continuingly revolving, the kids run together toward a water hole, re submerging amongst nature.
- copyright Stricker 2012
TAME IMPALA
MIND MISCHIEF
CARA STRICKER
The idea is simple – Open, spacious dreamlike scenes are filled with idealized visions of youth. The concept captures vignettes of nude youth running, tumbling and falling through utopian, open natural landscapes. Hypnotic in the sensation of slow moving scenes, rolling camera movements with strong colour injections allow each scene to seamlessly move into the next as the nondescript landscapes suggest weightlessness and endlessness.
I have created a mood board displaying the aesthetic direction of the scenes that shows how the video clip can potentially develop. Inspired by Ryan McGinley’s images, these physical yet emotive moments such as running, rolling, jumping, falling combined with the use of slow motion, rolling cameras, throughout controlled daylight and slice-of-life scenes push the film into surreal scenarios.
The rolling camera technique employed in the film, Tree of Life, and similarly in Enter The Void, is incredibly beautiful and seemed to sit really well against the track’s flow. Embedded below, a little exert from these references demonstrates the technique. In a disorienting yet mesmerizing way, the singular hypnotic camera movements carry the subject material through an unfolding world.
Ultimately then, by introduction of atmospheric effects: mist, smoke, water, light,; impacts with these atmospheres and each other; various shifts in camera position and orientation, the viewer loses sensation of the gravitational force of reality as we present a utopian landscape perceived through innocent youthful eyes.
I will use one singular Red Camera, to achieve this fluidity initially explored through 15 cameras in my most recent film.
+ STORY +
Potential opener and scenes corresponding loosely with mood board –
- An overhead shot of sand
- a vast space of orange smoke in a hall
- a wide shot of a misty wood
- kids start rolling in slow motion nude down the sandy hill
- two kids fly out in slow motion on skates from within the smoke
- the camera dolly’s through a thick wide forest catching naked figures through the trees
- Pollen floats through the air as a boy jumps into an ‘abyss’
- Kids up a tree and one jumps
- A naked girl jumps from a bridge, the camera catches her legs and he toes as she falls
- Kids gaze up into the sky
- As each shot is introduced intense euphoric scenes appear.
- The Youth is becoming apart of the environment rolling into the colours, smoke, sand and light
- Boys run naked through field, the camera follows their shadows to roll into the sky, mimicking a
crane like motion looking down from above.
- Extreme close ups, what seems to be an embrace, blurs a red tone flash past
- Looking up hair flows off a tree looking into the sun
- Tracking motion within the rolling camera is introduced to give a warped spacial sensation.
This creates an environment wrapping around the subject, just as the camera revolves around scene.
The disorientation is surreal!
Possible endings -
- The camera continues to dolly through the forest, trees lashing past. It is now full of the youth running toward each other, tumbling. The naked bodies become part of this idyllic landscape. An series of embrace, inspired by intimacy performed by Marina Abramovic’s installations with Ulay, ‘Relation In Space’, in which they throw themselves at one another. Taking this lead the kids run toward each other, just before impact the camera passes them by, others toppling over each other around natures floor, until the camera closes on a one effortless embrace.
- Ends as it begins, continuingly revolving, the kids run together toward a water hole, re submerging amongst nature.
- copyright Stricker 2012