It has been over a month since I have posted, and each week has been a separate lifetime.
I watched a movie just now, Vicky Cristina Barcelona.
That's a production still, but it captures the color and feeling of the film beautifully. That's the director on the right, Woody Allen, who has a way with film like I could only dream of, an intense capacity for emotionally turbulent and gripping tales of love and life. And in the middle, my favorite actress, Penelope Cruz, who I adore from all her work with Almodovar. On the left, Javier Bardem, who most recognize from No Country for Old Men but he has much more depth than that film shows of him, and in the back Scarlett Johanssen, who plays Cristina. Missing from the photo is Rebecca Hall, who plays Vicky.
As often happens with me, I've lost my capacity to say what I'm feeling. It's a film that makes me want to paint, to express the emotions it brought up in me.
Saturday, April 3, 2010
Monday, March 1, 2010
Cold Nostalgia
I wrote this a couple years ago. Just found it. I kind of like it.
COLD NOSTALGIA
By
Lily Gist
10/26/08
EXT. SNOWY FIELD DAY
EXT. SNOWY FIELD DAY
Snowflakes drift through the air. The world is silent but for the tiny crinkle of each flake landing on the snow-coated ground. ERICA, 9, is making a snow angel. The snow is soft and feathery - perfect for sledding, but terrible for snowballs.
Erica relaxes and lets the snowflakes caress her eyelids, melting the instant they make contact.
EXT. CITY BLOCK DAY
ERICA, 29, sits with her eyes closed in a chair on a busy block by a park in a heavy metropolis. The sunlight drenches her. A cool shadow passes over and she opens her eyes.
A giant humanoid walks by, genetically modified to have a huge and imposing figure. Along his waist on both sides, right below the ribs, are three large gill-like slits. He wears a scarf and winter hat and seems to be in a hurry, as are the dozens, hundreds, thousands, millions, billions of other people in this overdeveloped metropolitan world.
TITLE
EXT. CITY BLOCK DAY
Erica sighs. She is sitting behind a large table filled with small metal sculptures, all rarely looked at and seen mostly with curiosity followed shortly by dismissal.
The sun welds her skin to her bones. In the distance is a clocktower with a digital thermometer stating a temperature of 106 degrees. Next to it is a large billboard advertising Apex Algae Cakes. A man with vents in his side, wearing a winter hat, coat and mittens, notices her.
COLD MAN
Aren’t you freezing? It’s almost double digits
here.
here.
Erica raises an eyebrow and looks at him. He notices the lack of vents in her side, raises both eyebrows and apologizes embarrassedly before heading on his way.
Erica shakes her head and picks up a newspaper. In it is an ad with the text, “Raise your temperature tolerance by another fifty degrees with Apex Regulators!” In smaller text, “All people must be equipped by April 19, under health code 3.192c” Beneath the text is a picture of a happy family all with gill-like slits in their sides, and circles around the slits. To the right of the ad is a daily weather report. All sunny, with highs of 112.
Over to her right, by a cart and mobile freezer stands RED, a fresh water vendor.
RED
Feel like getting cold, my finless friend?
ERICA
Sure thing, Red! Lemme at it.
She smiles, hopping up, and struts over to the freezer, grabs a heavy ice block inside and drops it into his fresh water stand.
RED
I thank you. I do so hate wearing coats. First scrape is on the house!
Erica smiles as he scrapes the ice into a cone. At the bottom of the cone is a thin plastic straw. Erica holds the cone up and takes a sip.
ERICA
Thanks!
As she heads back to her sculpture stand, she notices Adam, 39, holding one of them. It’s an iron cast of a woman whose hair is being picked up in the breeze, and little leaves are flying by attached by a thin wave of iron. Adam is only slightly taller than Erica, and is thin with short black hair. Something about the way he carries himself gives him a sense of grace that seems out of place in a man of such humble status.
She walks up to him suspiciously and is quiet for a moment, but then can’t resist.
ERICA
That’s one of my favorites. I made it last year.
Adam looks back at her, a bit sadly. He puts it down.
ADAM
No way I can afford it.
ERICA
How much have you got?
Adam backs away.
ADAM
Far less than it’s worth.
He turns and walks down the block. Erica blushes, and doesn’t notice she has released the straw of her cone, which empties of its fresh water, pattering on the sidewalk. Frustrated, she crumples the cone up and tosses it in the trash with the newspaper.
Adam turns and looks back at her, taking special notice of her lack of regulators. He also is without them. After a moment, he continues on his way.
Erica sits down in a huff. The sun presses into her skin, saturating her pores. She clacks her tongue, thirsty, and checks her purse for money. It’s empty. She glances over at the cone in the trash, and over at the fresh water stand man. She stands, but feels dizzy. The world is dancing, and the ground rushes up to meet her.
Dream sequence in which she’s surrounded by flecks of white light. She plays with the light, letting little spots of it land on her tongue like snow.
INT. HOSPITAL DAY
Erica awakens in a hospital bed. A nurse smiles at her and presses a button, and a moment later a doctor comes in with a grin.
DOCTOR
Heat stroke, in February! How could you have not
gotten your regulators yet?
gotten your regulators yet?
ERICA
I.. ugh, I feel terrible.
DOCTOR
It will pass soon enough, though we will need to keep you another day for observation. I pulled some strings and got you your regulators while you were out.
ERICA
Wait, what? I don’t..
She sits up and lifts her blanket to look down. Slits line her sides.
ERICA
No! Take them out!
DOCTOR
What do you mean?
Erica grabs the regulators and feels a sharp pain. The nurse and the doctor restrain her.
DOCTOR
Careful! They’re going to be very sensitive for a
few days!
few days!
ERICA
But what if it snows?
DOCTOR
She must be delusional. Anesthetic.
The nurse holds Erica down while the doctor injects her IV with anesthetic. The world blurs and spins into darkness.
She returns to her dream of darkness and white flecks of light, but this time she’s freezing. She shivers and tries to keep warm, and the world around her erupts in flames and searing heat while the icy world compresses into a small sphere to which she has no access. She looks in and realizes with sadness that she no longer can exist in that sort of world.
When she awakens, she’s allowed to get up and leave. They give her a scarf and winter hat. She walks down the street, sadly. Feeling a bit of a chill, she puts on the scarf and hat.
She walks back to her table. RED is down the block, putting on his coat. He notices Erica and grins, taking his coat back off and approaching her.
RED
Erica! Might you be able to .. oh.
He notices her regulators. She squirms a little, feeling uncomfortable.
RED
Well. That ought not surprise me. It’s for the
best, yes?
best, yes?
ERICA
Yeah. I guess. Where’s my stuff?
RED
Oh, that gentleman that was with you has it.
ERICA
Who?
RED
He said he was a friend of yours, I can’t recall the name. Yea tall, black hair, was looking at that nice sculpture of autumn wind you –
ERICA
That guy? God, Red, I don’t know him! Said he was
broke! Did he give an address?
broke! Did he give an address?
RED
He did.
He produces a note from his pocket. The name Adam is written at the top, and underneath is his address, 14 Olive St. Apt 14C.
ERICA
Thanks. Wish me luck.
RED
If you are without it, I should wish for his.
CUT TO:
INT. HALLWAY OUTSIDE ADAM’S APT DAY
She knocks on the door. A moment passes. Adam pulls open the door, leaving the safety chain attached. He seems tired at first, but when he sees Erica he is excited. He closes the door to pull the chain off and opens it wide.
ADAM
Erica! Er, I don’t think we were properly –
He notices her regulators. He’s crestfallen.
ADAM
..introduced. I am Adam. It is nice to meet you. Here are your belongings. I believe you’ll find they are all in order.
ERICA
Uh .. thanks. I appreciate it, really.
Glancing around his apartment, she sees dozens of scientific diagrams, a few magazines and a number of picture frames turned backwards. It’s an organized mess.
Adam picks up a box of her sculptures. One of them is on the table next to the box: the one of the girl in the autumn wind.
ADAM
I really do admire this one. I have a question,
though.
though.
ERICA
I can’t give it away, I can’t afford to, so..
ADAM
Did you sculpt it?
ERICA
Of course I did.
ADAM
That’s all.
He puts it in the box, and hands the box to her. She turns to go.
ERICA
You know, they’re going to get you too if you’re
not careful.
not careful.
Adam furrows his brow in confusion.
ADAM
Do you know of what you are speaking?
ERICA
You’re the first guy without regulators that I’ve seen in three months. Maybe the last guy in the city. Just be careful.
Adam puts a hand on her shoulder and she turns around.
ADAM
Did they force you to get them?
ERICA
It doesn’t matter.
Adam takes the box from her.
ADAM
It does! I never wanted this to happen. It was for extreme situations only!
ERICA
What do you mean?
ADAM
In order to genetically engineer your body regulators, fusion energy must be harnessed. The more potent the regulator, the more energy is required. Cold fusion is impossible, so all we can do is draw that fusion energy from the sun, which creates more heat than we can handle.
ERICA
So ..
ADAM
It’s cumulative causation, a feedback loop that feeds into itself. The hotter it gets the more we need to engineer regulators, and the more regulators we create the hotter it gets.
ERICA
You know an awful lot about this.
Adam is quiet for a moment.
ADAM
With your help, I think we can put a stop to it.
ERICA
Uh ..?
ADAM
Can I trust you?
ERICA
Trust me?
ADAM
Apex is doing nothing about their excess heat,
they’re deliberately overheating this world for
profit. But a filter is actually fairly
straightforward.
they’re deliberately overheating this world for
profit. But a filter is actually fairly
straightforward.
He clears his desk to show her a diagram of a round filter.
ERICA
How?
ADAM
It goes in their exhaust port.
ERICA
Well .. what’s kept you from doing it already?
ADAM
It’s .. complicated. The materials are hard to
get, and I need you to weld it together.
get, and I need you to weld it together.
ERICA
And then what?
ADAM
We’ll sneak it in. Erica, if you want to make a real difference, now is the time. They won’t know of it’s presence for months, maybe years, and the temperature will stop rising!
Erica looks at Adam, feeling slightly uncomfortable. She steels herself, and nods.
ERICA
Alright. I’m in.
CUT TO:
INT. ERICA’S STUDIO DAY
Erica puts a welding mask in place. She has the plans unrolled on her desk, weighted by random bits of metal to keep it flat. Adam stands nearby, watching and handing her equipment. The filter is a metal ring with a crystalline center and an inner ring that forms a spherical cage, over which a metal sphere is locked into place. They seem to be enjoying themselves. Erica shows Adam how to weld a perfect coin roll with her arc welder, and he’s a fast learner. He helps her with the last parts of the filter, with her guiding his hand.
When they are finished they drop the filter down on the plan, a perfect match, and they grin at each other.
ADAM
Get some rest, you. Tomorrow night will be tough.
ERICA
I’m so excited I don’t think I’ll be able to
sleep, but I’ll try!
sleep, but I’ll try!
ADAM
Well.. might you like to spend the night with me?
Erica blushes.
ERICA
What? No, er, I mean, ..
ADAM
It’s okay. I apologize for my asking.
Adam moves to pick up the filter.
ERICA
Wait.
He stops. She rummages through the box next to her.
ERICA
Take this. I want you to have it.
She pulls out the sculpture of autumn wind.
ADAM
I couldn’t.
ERICA
She’s yours already. I couldn’t think of a better
person to have her.
person to have her.
Adam takes the sculpture, with a pained smile. He looks at it, and looks at Erica.
ADAM
I just couldn’t. You’ve done so much already.
Perhaps I will buy it from you some day.
Erica looks a bit hurt.
ADAM
Get some rest, tomorrow will be quite a day!
Adam grabs the filter from the table.
CUT TO:
INT. ADAM’S VAN NIGHT
Adam drops puts the filter down on the floor in the back of the van, then unrolls a map of the facilities. Adam looks exhausted, like he didn’t sleep at all.
ADAM
Okay. You enter here, bring the filter here and
it will be obvious what to do with it once you
get there.
it will be obvious what to do with it once you
get there.
ERICA
Aren’t you coming with me?
ADAM
I can’t. Wear this.
He hands her a heavy black hooded coat with holes on the sides for her regulators.
ERICA
What do you mean you can’t?
ADAM
Put it on.
She slides her arms into the coat and pulls it on.
ERICA
Jeez, it’s so hot!
Adam kneels.
ADAM
Do you trust me?
ERICA
Of course I do, but –
Adam stabs a knife into her side, right into the middle of her regulators. Erica gasps in shock. He pulls out a small, pulsing cluster, slices it open and squeezes, quickly stitches it back up and then stitches her back up. Suddenly, Erica is shivering cold.
ERICA
W-what did you do? I’m f-freezing! How?
ADAM
I helped develop the original regulators. I just
removed the bit that regulates the energy flow.
removed the bit that regulates the energy flow.
Adam jumps out the back of the van with the filter. They’re by the water, which is boiling with heat, and a cliff wall with a giant pipe embedded into it. A large fence with razor wire prevents access to the pipe.
ERICA
What will that do to me?
ADAM
You’ll be fine.
ERICA
Adam, this is too much, what are we--
ADAM
They forced you to get the regulators. It’s been
your choice to help get back at them.
your choice to help get back at them.
He clips the fence and slides through, and Erica follows, tearing her coat a little.
ERICA
I’m not getting back at anyone! For God’s sake, I
just want to help keep the heat down!
just want to help keep the heat down!
Adam smiles at her.
ADAM
Do you remember how to get in there?
ERICA
I do.
ADAM
Then go, now, I can’t handle this heat. Use this
when you’re in the center.
when you’re in the center.
Adam hands her a walkie-talkie.
ERICA
Adam..
ADAM
Good luck!
Adam rushes away, back to his van.
CUT TO:
EXT. VENT NIGHT
Erica gulps and climbs into the vent. Behind her the ocean boils. The walls give off a slight glow, casting a strange shadow on her figure. As she progresses it gets hotter; the walls are brighter and the wind stronger. She turns left and the breeze catches her off guard. She’s sweating. She puts down the filter and puts her foot on it, and pulls off her coat. It flies off down the pipe. She wipes her brow, picks up the filter and the sphere in the middle pops open, exposing a strange device. She looks at it. It’s made of wires and tubes. She bites her lip, puts it back in and decides to keep going. She makes it to the center, where the exhaust pipe leads up into the ceiling, but it’s still way too wide for the filter to fit. She pulls out her walkie-talkie.
ERICA
Adam? I’m here, but the filter won’t fit
anywhere.
anywhere.
The walkie-talkie is melting. She closes her eyes for a moment, then presses tries the walkie-talkie again.
ERICA
Adam? Hello?
The air is stiflingly hot. The walls are glowing brightly. Her walkie-talkie makes a distorted clicking sound. Its components are unable to take the heat.
ADAM
(distorted)
..I’m sorry.
Erica winces, looks up the vent above her and throws the filter up in the air. It explodes, the fire engulfing her, seeping into her overloaded regulators.
FADE TO:
INT. ADAM’S HOUSE
Adam sits by his TV, watching the news. Newscasters are in a panic.
ANCHOR 1
...predicting a ten degree drop in the first
month, due to particulate saturating...
month, due to particulate saturating...
Click. He changes the channel.
ANCHOR 2
.. panic in the streets, as people try to
make sense of ...
make sense of ...
Click.
ANCHOR 3
Already, tens of thousands line the hospitals
seeking to get their regulators removed...
seeking to get their regulators removed...
Click.
ANCHOR 4
... seems to have come from within the
factory, leading many to question the technology being used for ...
factory, leading many to question the technology being used for ...
Click. Adam gazes somberly at the welding handbook Erica left on his table.
ANCHOR 5
... video surveillance, it is suspected that Adam
Gentile, a key inventor behind the Apex
Regulators, may be responsible for the blast.
Gentile, a key inventor behind the Apex
Regulators, may be responsible for the blast.
Adam sits up, staring at the television.
He reaches under his chair. In his hand is a small revolver. Adam stares at the tv a moment more.
ANCHOR 5
This footage taken moments after the blast shows
a van, registered to Adam Gentile, speeding away
from the laboratory’s main ventilation port.
According to sources, Adam mailed a letter to
Apex earlier today. It read, “Fiat justitia ruat
caelum”.
a van, registered to Adam Gentile, speeding away
from the laboratory’s main ventilation port.
According to sources, Adam mailed a letter to
Apex earlier today. It read, “Fiat justitia ruat
caelum”.
Adam spins the cylinder, holds the revolver up to his head and cocks the pin.
The door bursts open. Erica, her skin black, red and blue, crashes into the room. Her clothes are soaking wet and blown to shreds. She stumbles and supports herself with the table. She looks ready to kill him, but collapses instead.
Erica dreams of darkness again; white flecks of light dance around her, like snowflakes. The world is cold, frigid, and she is coated in ice. She moves her arm, and the ice cracks. Flakes of ice break off from her, disintegrating away as the world around her grows warm again.
When she awakens, Adam is sitting beside her, dripping with sweat. Two electric radiators are pointed at Erica, and she is covered in thick blankets.
Barely coherent, Erica opens her eyes to see Adam.
ERICA
God, it’s hot in here.
ADAM
Erica!
ERICA
Adam.. you tried to kill me.
Adam switches off the heaters and opens a window, then sits back down.
ADAM
Stay in bed. While you were unconscious
I removed your regulators, but you nearly froze to death getting here. I was worried you’d die on me.
ERICA
.. You tried to kill me.
Adam is quiet for a moment.
ADAM
I had to take that chance.
Erica painfully sits up and forces herself to stand.
ADAM
Don’t .. don’t hurt yourself.
ERICA
I saw you, with the gun to your head. I’m sorry I
interrupted.
interrupted.
She staggers to the door and leaves.
FADE TO:
EXT. PARK – DAY
Erica sits at her sculpture stand, wearing summer clothes. Most of the people on the street are wearing scarves and hats. Someone passes out from the cold, and an ambulance picks him up. The temperature is 106 degrees. Gradually, the people change into people wearing summer clothes, and the temperature drops to a nice 78 degrees. Then the temperature drops further, and everyone starts to wear winter clothes again. It starts to snow.
She looks up at the sky and watches the snow.
Thursday, February 18, 2010
GROW - Final Script
“Grow”
by
Lily Gist
Draft 4
2/11/2010
by
Lily Gist
Draft 4
2/11/2010
1. EXT. FOREST – NIGHT
THE DANCER is broken down on the ground. She is surrounded by large topiaries: plants shaped in human form, in various poses expressing different emotional states. They are still. The ground is covered in black grass. A blanket of quiet solemnity and blue moonlight drapes over the forest.
The Dancer is a wreck; she is lost, confused and alone. She stands cautiously and takes in her surroundings, in awe of the large topiaries looming over her.
CUT TO:
2. EXT. GLEN – NIGHT
A WIREFRAME figure, a topiary structure without any vines on it, lies alone in the darkness. It is bound to the ground by five ropes: one to each arm, one to each leg, and one to its neck. It tries to move, resisting its ties, but is too limited.
CUT TO:
3. EXT. FOREST – NIGHT
The Dancer explores the area with increasing desperation, seeking a topiary she can identify with. She tries to communicate with them, mimicking their poses and reacting to their frozen emotional states.
She finds an angry one and jumps back in fear, slipping and landing back-first into a black viscous liquid.
The liquid starts to ooze upward, with little bursts of ink raising up and swirling around her. A light pierces through the ink and flashes at the Dancer. It is the face of THE MENACE.
The Dancer panics and tries to escape but the menace is everywhere. It ravages her, taking her to the brink of death, then dissipates.
The Dancer takes a moment, trying to collect herself. She is riddled with anxiety, standing shakily and watching the area for any sign of the Menace’s return.
She sees a spotlight in the distance, deep in the forest of figures. She moves toward it.
FADE TO:
4. EXT. FOREST – NIGHT
The Dancer passes by a series of topiaries and shrubs.
She passes a waterfall of black viscous liquid.
FADE TO:
5. EXT. FOREST OUTSIDE GLEN – NIGHT
The Dancer passes more topiaries and comes up to a wall of vines. She is hesitant, but she pushes them aside and steps through.
CUT TO:
6. EXT. GLEN – NIGHT
A wall of branches and trees surrounds THE WIREFRAME, illuminated by a spotlight.
The Wireframe is scared by her, and she by it. Their movements mirror each other’s. The Dancer circles The Wireframe, reaching to touch it.
An anxious knot forms in the Dancer’s stomach, and she steps in a viscous black liquid. It is suddenly dark.
The Menace oozes from the ground, exploding into a swirling hurricane of inky water. It forms into wing-like blankets that envelop the pair. It is colossal, asserting its dominance over The Dancer, who writhes in abject terror.
The Wireframe pits all its strength against the ropes that bind it, trying desperately to free itself.
The Menace approaches The Wireframe and looms over it. The Dancer stands, her panic replaced by a quivering anxiety. She bursts through the menace and tries to help the Wireframe pull free. The Menace pours itself over the Dancer, thrusting her underwater.
CUT TO:
7. EXT. UNDERWATER – NIGHT
A stunned silence washes over the Dancer. She is shell-shocked. She is reduced to a small ball, curled up in the fetal position, with her eyes clenched together.
The inky Menace seeps down from the ground above in small contained bursts, its color inverted to a cool white. It forms little tendrils that start seeking out The Dancer.
CUT TO:
8.1 EXT. GLEN – NIGHT
The ground is muddy, with flashes of light emanating from below.
The Wireframe wraps a rope around an arm and pulls, trying to pull it out of the ground. It slips and the rope goes slack.
CUT TO:
8.2 EXT. UNDERWATER – NIGHT
A rope drifts by the Dancer, brushing against her. She opens her eyes and watches it, her body slowly unfurling.
She swims around the rope, with a calm curiosity.
CUT TO:
8.3 EXT. GLEN – NIGHT
The Wireframe pulls on the rope again.
CUT TO:
8.4 EXT. UNDERWATER – NIGHT
The rope goes taut underwater. She touches it and follows it, climbing downward.
She reaches the base of the rope. It is being held by the menace’s tendrils. More ropes are seen in the distance.
CUT TO:
8.5 EXT. GLEN – NIGHT
The Wireframe stops pulling and collapses to the ground, breathing heavily. The Menace starts to rise up around it.
CUT TO:
8.6 EXT. UNDERWATER – NIGHT
The Dancer pulls on the rope.
CUT TO:
8.7 EXT. GLEN – NIGHT
The Wireframe is jerked forward by her tug, dragged toward the menace. It reacts in fear, standing and pulling back with all its strength.
CUT TO:
8.8 EXT. UNDERWATER – NIGHT
The Dancer sees the rope go taut and reaches into the tendril, tugging on the rope’s end and undoing the knot that is keeping it bound. The rope slips out from the tendril.
CUT TO:
8.9 EXT. GLEN – NIGHT
The Wireframe falls backward, the rope suddenly slack. It stands and pulls on another rope.
CUT TO:
8.10 EXT. UNDERWATER – NIGHT
The Dancer reaches for another rope, pulls on it and frees it.
CUT TO: 8.11 EXT. GLEN – NIGHT
The ropes are slowly being freed, one by one, slackening as the Wireframe pulls on them.
CUT TO:
8.12 EXT. UNDERWATER – NIGHT
The Dancer takes a rope in hand after removing it from a tendril.
CUT TO:
8.13 EXT. GLEN – NIGHT
The Wireframe pulls on the rope.
CUT TO:
8.14 EXT. UNDERWATER – NIGHT
The Dancer is pulled upward by the rope.
CUT TO:
9. EXT. GLEN – NIGHT
The Dancer bursts up through the grass, pulled out by the Wireframe.
The two embrace, as the Menace rises up around them, a milky white. It fills the sky as the dancer moves away, dancing confidently. As she moves, the menace expands and fades until it is just the sky.
Light shines down from the Menace. Night turns to day, and as sunlight washes over the dancer she starts to sprout leaves and vines from her limbs. She dashes toward the Wireframe and leaps into the air, disintegrating into leaves and vines which wrap around the wireframe and it takes on an exultant pose.
Saturday, February 13, 2010
Grow status
We're almost done casting. We have the lead narrowed down to two people, and we need to find someone for the stop motion animated character, which needs a live action dancer for rotoscoping purposes. She'll have to wear a chromakey body suit and dance in front of a greenscreen, so we can replace her body with the stop motion character.
The stop motion character is a wireframe figure, representing the inner strength and identity of the dancer. It's the surface on which the vines grow on a topiary, and for this dancer, the wireframe has been stripped from her by trauma. Wires running from its hands and feet to the ground keep its movement limited to a small area.
The other role is the human dancer, which represents the emotional journey of a trauma survivor. We're still designing her costume. We have a few good ideas, I'm working with artist Gwynn Galitzer and she's great.
This Tuesday the project becomes real. Once we cast the roles we can build the wireframe character, make the costume, develop the characters with the dancers and choreograph.
The stop motion character is a wireframe figure, representing the inner strength and identity of the dancer. It's the surface on which the vines grow on a topiary, and for this dancer, the wireframe has been stripped from her by trauma. Wires running from its hands and feet to the ground keep its movement limited to a small area.
The other role is the human dancer, which represents the emotional journey of a trauma survivor. We're still designing her costume. We have a few good ideas, I'm working with artist Gwynn Galitzer and she's great.
This Tuesday the project becomes real. Once we cast the roles we can build the wireframe character, make the costume, develop the characters with the dancers and choreograph.
Wednesday, February 10, 2010
Credits
As of now, this is how the film credits stand:
Presented by the School of Visual Arts
A Lilyology Production
In association with Poobah Media
Director: Lily Gist
Producer: Adelyn Lee
Starring: ?
Live Action Director: Joe Quartararo
Assistant Director: Adi Navon
Casting Director: Adelyn Lee
Casting Assistant: Lucia Mooney Martin
Director of Photography: Lily Gist
Camera A: Maya Hunter
Camera B: Dain Ning
Gaffer: CJ King
Key Grip: ?
Makeup: Jenna Goldschmidt
Costume Designer: Gwynn Galitzer
Production Assistant: Melody Shaiken
Visual Effects Supervisor: Lily Gist
Stop motion: Zack Williams
Traditional: Svetlana Kandkhorova
Backgrounds: Trevor Terry
Logo design: ?
Original Musical Score by Modern Moonlight
Creative Advisors
Maya Hunter
Mike Flowers
Marty Abrahams
Presented by the School of Visual Arts
A Lilyology Production
In association with Poobah Media
Director: Lily Gist
Producer: Adelyn Lee
Starring: ?
Live Action Director: Joe Quartararo
Assistant Director: Adi Navon
Casting Director: Adelyn Lee
Casting Assistant: Lucia Mooney Martin
Director of Photography: Lily Gist
Camera A: Maya Hunter
Camera B: Dain Ning
Gaffer: CJ King
Key Grip: ?
Makeup: Jenna Goldschmidt
Costume Designer: Gwynn Galitzer
Production Assistant: Melody Shaiken
Visual Effects Supervisor: Lily Gist
Stop motion: Zack Williams
Traditional: Svetlana Kandkhorova
Backgrounds: Trevor Terry
Logo design: ?
Original Musical Score by Modern Moonlight
Creative Advisors
Maya Hunter
Mike Flowers
Marty Abrahams
...
So now I just need a dancer, a key grip and a logo designer. Dancer's almost cast, will be next tuesday. The logo designer I have an email in to my first choice, but she may not be available, so I'll have to find someone. Key grip will be easy, Adi can find one in seconds.
It's getting there!
Friday, February 5, 2010
Sunday, January 31, 2010
Skin
Skin
Purple light
skin exposed
I see you
when my eyes are closed
hard to remember
hard to forget
I can feel it
it's in my sweat
Purple light
skin exposed
do you know me
do you know
do you know me
do you know
do you know me like I thought I did
I remember how it felt
With your hand on my skin
I remember how it felt
With your breath on my neck
I remember how it felt
With your lips on my flesh
I remember how it felt
I remember I remember I remember I remember
do you know me
do you know
do you know me like I thought I did
Purple light
skin exposed
I see you
when my eyes are closed
Purple light
skin exposed
do you know me
do you know
Purple light
skin exposed
I see you
when my eyes are closed
Purple light
skin exposed
do you know me
do you know
There's something about the smell
the smell of vanilla jasmine
it shuts me down
and nothing is real
The world around me is shapes, colors
Faces without meaning,
hands attached that aren't my own
Red and green
Streaks of light, streaks of sound
flashing orange, solid white
following lines on the ground
Blue waving from below
each blink something new
a tingle across my body
shivers and burning through
Go
It's been five years
Five long years
It's been five years
Since I was alone with me
Where have I been
Where did I go
Where was I
I, I, I
I can see me
I, I, I
I can see me
I, I, I
I can see me
Where have I been
Where did I go
Do you know me
Do you know
Where have I been
Where did I go
Do you know me
Do you know
And the sun rises day after day
The mountains stand firm even out of sight
The rain still falls whenever it may
So much of my life has been taken by night
I'll let the next rainfall wash it away
So fragile
Living for today
Looking at tomorrow
Where was I
I was all alone
Do you know me
Do you know
Do you know me
Do you know
Do you know me like I thought I did
Go keep going
go just go
Do you know me
do you know
Go keep going
go just go
Go keep going
go just go
Go keep going
go just go
Purple light
skin exposed
I see you
when my eyes are closed
hard to remember
hard to forget
I can feel it
it's in my sweat
Purple light
skin exposed
do you know me
do you know
do you know me
do you know
do you know me like I thought I did
I remember how it felt
With your hand on my skin
I remember how it felt
With your breath on my neck
I remember how it felt
With your lips on my flesh
I remember how it felt
I remember I remember I remember I remember
do you know me
do you know
do you know me like I thought I did
Purple light
skin exposed
I see you
when my eyes are closed
Purple light
skin exposed
do you know me
do you know
Purple light
skin exposed
I see you
when my eyes are closed
Purple light
skin exposed
do you know me
do you know
There's something about the smell
the smell of vanilla jasmine
it shuts me down
and nothing is real
The world around me is shapes, colors
Faces without meaning,
hands attached that aren't my own
Red and green
Streaks of light, streaks of sound
flashing orange, solid white
following lines on the ground
Blue waving from below
each blink something new
a tingle across my body
shivers and burning through
Go
It's been five years
Five long years
It's been five years
Since I was alone with me
Where have I been
Where did I go
Where was I
I, I, I
I can see me
I, I, I
I can see me
I, I, I
I can see me
Where have I been
Where did I go
Do you know me
Do you know
Where have I been
Where did I go
Do you know me
Do you know
And the sun rises day after day
The mountains stand firm even out of sight
The rain still falls whenever it may
So much of my life has been taken by night
I'll let the next rainfall wash it away
So fragile
Living for today
Looking at tomorrow
Where was I
I was all alone
Do you know me
Do you know
Do you know me
Do you know
Do you know me like I thought I did
Go keep going
go just go
Do you know me
do you know
Go keep going
go just go
Go keep going
go just go
Go keep going
go just go
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