Intertextual References: Influence of Films

The science of sleep-2006-Michel Gondry

This film is about a distraught young man and how his vivid and intense dreams start to take over his real life through his hyperactive imagination. The qwerky-ness of this story caught my eye. In one scene they throw cotton wool into the ceiling and it stays there reflecting clouds. I like the idea that reality and dreams overlap and this convergence could be a perfect idea for our music video.

Waking Life-2001-Richard Linklater

This film is in animation but the concept of the film I liked. Through the narrative we are travelling through trying to discover if the world is or isn't reality. The main question being asked is "Are we sleep-walking through our waking state or wake-walking through our dreams?" I like this confusion and by doing it subtly in our music video I feel like it would be effective.

Inception-2010-Christopher Nolan
This is one of my favourite films and the way Nolan explains and comes up with the technical side to dreams is enchanting. Although this film is more of a science fiction thriller, I like the complexity of the dreams. I feel like we could recreate this in a more simpler way by transporting the viewer into different 'levels' or locations of dreams that derive from the main characters imagination and move up and down the levels through camera movements.

Wes Anderson and His style of Film-Making

Wes Anderson is my favourite director and I love his auteur ways of composing films. I have linked two videos below that reflect his ingenious and unique way of framing and filming. He uses the above shot birds eye view to put the spectator in the characters shoes and watch where their eyes and hands go. He also likes every shot to be perfectly be put together whether if that is with using the rule of thirds, centering characters or keeping everything down to the smallest props within a scene 

Another fascinating thing I love about Wes Anderson's work is to make every setting like a dolls house to the audience. In the clip below taken from The Life Aquatic of Steve Zissou with him introducing his boat, the camera moves into the shoot through a zoom and out through a pull out and sideways and up and down in one fluid motion rather than cutting to different shots. For shooting indoors we won't be able to recreate this because we don't have a set and we are using a house with full falls without half walls. But when storyboarding and then while filming, we will try and reflect his style of cinematography as much as possible.