A FOREIGN GOD
THE LOOK
The key theme for the visuals is ‘subjectivity’. I want the audience to be as close to the central character as possible, to an almost uncomfortable extent at times. I plan to shoot the vast majority of the film using just a 16mm lens, which aside from providing great wide shots, gives a slightly distorted view when used for close ups. This feeling of distortion could be enhanced through the use of filters. The frequent use of wide shots cutting to extreme close ups of the character will help to shape a sense of isolation and vulnerability.
The concept for editing is to be often seamless and slow paced, in order to let the acting shine and emotion to resonate. Likewise, when Thomas witnesses the disturbance by the intruders, the camera and viewer stay with Thomas as he shelters in the cupboard. We may never see the act of breaking the totems, perhaps just its effect on Thomas, visible through a small crack in the door.
In terms of lighting I would like to adopt a stylised realism that though expressing tone and distortion, still remains ‘authentic’. The use and control of natural light will be important throughout.
The Colour Palette
In terms of colour, I plan to use a muted colour palette of faded browns, deep blues and greying greens. I have also considered a bleach bypass colour grade, utilising crushed blacks and blown out highlights.
The concept of the use of brown in particular is for Thomas’ character to blend into the city backdrop, lost amongst the buildings.
The use of reflections will run throughout the film, in the form of mirrors, windows and puddles. An increasingly isolated figure, having fallen off the social ladder, Thomas is forced to question his identity as a man alone.