Timo Haapasaari Posted February 5, 2005 Share Posted February 5, 2005 I´m shooting a short film soon. It´s located in the subway and the genre is horror/psychological thriller (the director likes David Lynch alot). We´ve been looking for visual ways to give an uneasy feeling for the audience. Do you have any good experiences or tips to share? Link to comment Share on other sites More sharing options...
DavidSloan Posted February 5, 2005 Share Posted February 5, 2005 Should we select the exposure for you, as well? Link to comment Share on other sites More sharing options...
Riku Naskali Posted February 5, 2005 Share Posted February 5, 2005 I´m shooting a short film soon. It´s located in the subway and the genre is horror/psychological thriller (the director likes David Lynch alot). We´ve been looking for visual ways to give an uneasy feeling for the audience. Do you have any good experiences or tips to share?Do your research, watch Lynch films and discuss with the director, show him some references. Get to know him and what exactly does he want. There's a million ways to achieve the "uneasy" feeling and no two people will do it the same way. So, I'm basically saying the same as David <_< Link to comment Share on other sites More sharing options...
jukka sillanpaa Posted February 5, 2005 Share Posted February 5, 2005 (edited) Get some "punaista samettia" ! :blink: Edited February 5, 2005 by jukkasil Link to comment Share on other sites More sharing options...
Mister X Posted February 6, 2005 Share Posted February 6, 2005 "Red velvet curtains," (punaista samettia verho)? Link to comment Share on other sites More sharing options...
Timo Haapasaari Posted February 6, 2005 Author Share Posted February 6, 2005 Yes, well.. I can set the exposure myself and I don´t think we´re going to use any red velvet (punainen sametti), but I just thought if you people had any experiences of this kind. Or any kind. Apparently I was wrong.. Link to comment Share on other sites More sharing options...
Timo Haapasaari Posted February 6, 2005 Author Share Posted February 6, 2005 Do your research, watch Lynch films and discuss with the director, show him some references. Get to know him and what exactly does he want. Yes, we have discussed and watched alot of films and other reference material. The thing is that David Lynch is a master of uneasy feeling and he really knows how to take the audience. We´re no masters. Merely students and beginners. We can´t go and try to copy Lynch or Polanski or Hitchcock. It would be a disaster. All we can do is think hard, collect some examples and listen to good (or any) advices. Couple of things we are probably going to use: - Extremely slow camera movement - Light will bounce from the orange metro benches up to the face - ´ugly´ compositions (to not take the rules of golden mean and space for the wiev so seriously) And of course the sound plays a big role in this project. But if you have any experiences of building suspension and fear, and would like to share some, please! Link to comment Share on other sites More sharing options...
Jonathan Spear Posted February 6, 2005 Share Posted February 6, 2005 Hey Timo, "But if you have any experiences of building suspension and fear, and would like to share some, please!" Hmmm... Well, what you could do to add an eerie atmosphere and build suspension is to create a sub-story in the background of your subway shots for example. Let's say, while you're filming the main talent, you could construct a "sub-scene" with some of your background extras -- the key would be to NOT make it obvious. In other words, while your audience is focused on the main actor/actress -- have them -think- they just saw something weird happen in the background. (...Or did it really happen? :o ) Also, if you want ideas on building suspension and fear you should start by taking a good look at yourself and see what scares YOU. Link to comment Share on other sites More sharing options...
Bob Hayes Posted February 6, 2005 Share Posted February 6, 2005 Check out Nick Roeg?s film ?Don?t Look Now?. Set in Venice, he does a great job making inanimate objects like door knobs seem menacing. Link to comment Share on other sites More sharing options...
JONATHANEDWARDS Posted February 12, 2005 Share Posted February 12, 2005 Should we select the exposure for you, as well? <{POST_SNAPBACK}> that was not nice if you can get a hold of it David Lynch's photograph books like industrial image?? but may i suggest some good disturbing movies other then Lynch suspiria (dario argento ) , bloody Sunday (Paul greengrass) audition aka Ôdishon and One Missed Call (takashi miike ) last but not least Roman Polanski Rosemary's Baby and The Tenant. come to mind Hope this helps Link to comment Share on other sites More sharing options...
Premium Member Chris Keth Posted February 12, 2005 Premium Member Share Posted February 12, 2005 that was not nice if you can get a hold of it David Lynch's photograph books like industrial image?? but may i suggest some good disturbing movies other then Lynch suspiria (dario argento ) , bloody Sunday (Paul greengrass) audition aka Ôdishon and One Missed Call (takashi miike ) last but not least Roman Polanski Rosemary's Baby and The Tenant. come to mind Hope this helps <{POST_SNAPBACK}> Be wary of how you use compositions. AUdiences now are so accustomed to attractive composition that they might notice when something is off like that. You want to do things that they will not notice consciously but that their brain will notice that something is off. You never want them to be able to pinpoint what is wrong. Link to comment Share on other sites More sharing options...
Timo Haapasaari Posted February 15, 2005 Author Share Posted February 15, 2005 >>"You never want them to be able to pinpoint what is wrong." -Good point. To not being too obvious, and still give the effect - subconsciously. Even though that must be one of the hardest things to create in cinema, that´s just the thing we´re trying to do. >>"..you should start by taking a good look at yourself and see what scares YOU." -A very good point also. Anyway, thanks for many of you for the tips!! Link to comment Share on other sites More sharing options...
Mark Allen Posted February 15, 2005 Share Posted February 15, 2005 I think it's a fair question. More from a directorial standpoint than a cinematographer's stand point, I might mention a few observations. As for composition - David Lynch mostly uses plain, staged shots. His composition is almost geometric - he isn't trying to "wow" anyone with his cool shots. He shoots people like they are fruit bowls. They're just there in front of the camera, as the fruit bowls might sit infront of a painter. He is generally trying to create a stillness in his composition - like you're waiting for the inevitable horrible thing that might happen. I think it's the honesty of this that creates the discomfort. Take a look at some of the furniture David has built - and some of his paintings even, that might give even more of a clue into how he is thinking. I can't really think of anyone else who has the courage to do what he does - most horror/suspense directors are trying to impress us with their David Fincher like management of visuals. I have a feeling Lynch picked the power of this from Hitchcock - but it may have to do with studying to be a painter prior to wanting his painting to move. The other thought I'd have is be very aware of empty space and open doors. Anything that creates insecurity. Link to comment Share on other sites More sharing options...
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