behind the doors

  BEHIND THE DOORS is my second video that i have made on the purpose of creating an illusion of spaces.
I have tried not to repeat the mistakes from the previous one, but they found their way inside anyway..

in this video i used some of the footage that i was writing about previously.
as i  am looking also for spaces that would make one feel a bit uncomfortable, interogated and opressed, thought that this selection would work.

my goal was to construct it as a form of narrative, that would create a tension while watching..
but each and every piece is a story by itself that can unwind without our presence and without any interaction with another one.
 if we wouldn't know these movies we would never know what happen after we closed the door, how the story ends? its like seeing something for the first time, passing it by and never knowing what will happen to it later, but was struck by its presence, even if for a short while.
 its like a reminder fro us that the events can happen without us, that we don't have to know what will be the end of them..

  i think as a result of my never ending findings i would like to present that sort of spaces in a cinematic way, using a language of cinema, proper editing and filming.
to create a ingesting moments, a meeting between reality and dream, but in a perfectly normal environment.

I'm going to combine the spaces of my site with ones that are absolutely impossible to exist over there with events that are not normally seen to create this unrealistic, illusionists world.

closed, open. try 1

 

 This is my first experiment with a new way of finding unusual spaces.

I have decided to film some sequences, events that were projected onto a screen hidden behind the door that my lovely assistant was opening and closing as to find a new, surprising spaces.

the camera was situated just between the assistant and the doors.

 To achieve a really good effect of illusion everything must be done perfectly.

- the camera mustn't move at all, stay in the same position through all the process, some taping to the floor is highly recommended

- the setting should be the same for all of the takings as the changes in lightning are clearly visible

- the framing of the screen must be perfect and stay the same as any parts of the screen or unwanted footage is destroying the illusion

- the position of the person mustn't change at all times because is making the editing extremely difficult, if not impossible to achieve best results

- the person must begin and start the sequence from the same place, including movement of arms, reaching for the door handle or stepping back.

- looking at the example of "Frenzy", the scene of murder of Barbara Jane, where Hitchock used a trick of combining two footage, is achieved by adding one more person that would pass just in front of the camera. this gave a  possibility of suggesting that we are still in the same space, where, to be honest, we have never been, as in the first part of the scene we were on the set and in the second we are in Covent Garden..

(the trick to be used by me in a near future..)

camera work and quick cut in Hitchcock's " frenzy"

  The interior scenes were filmed at Pinewood Studios, much of the location filming was done in and around Coven Garden and was a homage to the London of Hitchcock's childhood.
Lets see how he managed to combine the interiors of the set and exterior of the busy street in Coven Garden.

 

illusion of spaces in "the shining"

   

The myths and deification that have arisen around Stanley Kubrick and his legendary secrecy would probably present the ultimate challenge to any 'behind the scenes' documentarian. Vivian Kubrick's documentary, Making The Shining (1980), while unparalleled in its visual access to her late father's working methods, proves as frustrating for what is left unexplored as it is fascinating for its moments of revelation. Indeed, for all of its historical value, throughout this short peek into the court of one of the century's most elusive film-makers one is invariably left contemplating the gaps in the jigsaw that outnumber the pieces present and correct. On the other hand, it is worth remembering that Ms. Kubrick was just 17 years old (and, in her own words, "lacking credibility") when she made the film. It is perhaps a little too much to ask a film-maker barely out of school that she provide a penetrating insight into the working methods of one of the cinema's most enigmatic figures.



With the help of Vivian we are going to look at a number of spaces to see how we could create illusion of being in different spaces with the help of CORRECT EDITING, CHOICE OF GREAT SETS.
We are going to start right at the beginning of her documentary;

 1.We are in the EMI Elstree Studios, Herdfordshire, where the set for the Overlook Hotel was build (the largest ever) including interiors and some exteriors of the hotel. 

 

 we can see Jack Nicholson chatting on the phone

 

 and we are following Jack through a corridor..

 

another turn...

 

  and we are in a Colorado Lounge! Still clogged with people and equipment but we are in a famous hotel where Jack Torrance took his winter-season job. 

 

 A few exterior shots by a second unit crew were done at Timberline Lodge on Mount Hood in Oregon. They are noticeable because the hedge maze is missing. Some of the interiors are based on those of the Ahwahnee Hotel in Yosemite National Park.

 

2. Heeeeeeere's Johny!

we can see Jack and Shelly preparing for the scene, with some of the crew on the set

 

 

 

In Vivian documentary here we are being taken to the original scene of the movie, which gives a very realistic feeling of us being on the set and seeing the scene live. 

 

first shot, from left; 

 

 quick cut and we are outside watching Wendy struggling to get out from the bathroom window

 

one more cut and we can see the the hotel from the distance, what emphasize the Wendy's solitude in the building and in her desperate situation

 

cut, and we are back in the bedroom seeing Jack going more and more mad,  

from now on the shots are getting longer, to rise the tension 

 

Wendy's reaction

 

her desperation

 

 

and quick change of perspective, 2 more different shots, to get more dynamics 

into the scene

 

 

so here we have 4 different location, brought together by perfect and quick editing. The dynamics and tension of the scene is kept by longing of the moments just before the culmination.