The Final Countdown

A list in no particular order of books or graphic novels in which I plan to read...should I get the time.

The Search For Wondla - Tony DiTerlizzi
The Book Thief - Markus Zusak
What the Dog Saw - Malcolm Gladwell
The Tipping Point - Malcolm Gladwell
Habibi - Craig Thompson
Murder on the Orient Express - Agatha Christie
The Arrival - Shaun Tan
The Viewer - Shaun Tan
Through Painted Deserts - Donald Miller
Jack's Life - Douglas Gresham

Film Auteurship: Tom Tykwer

When given the opportunity to study a director, there was no contest, Tom Tykwer was the obvious choice. The themes in his films are not passive by a long shot, but instead keep the audience on the edge of their seats and maintains the level of investment throughout the entirety of the film. This is especially true in his film Cloud Atlas. The story surrounds multiple timelines with similar elements are characters - the basic idea that history will repeat itself told through multiple characters in different timelines played by the same actors. It is a fascinating, dizzying film, yet Tom manages to lead the audience through the film in a clear manor that twists are turns, but never fully loses you. This is an incredible feat. Story aside, Cloud Atlas is an amazing example of composition in every sense of the word. Between the gorgeous cinematography, lighting, transitions and compositing, there is almost too much to take in with the incredible film. 

The theme in Cloud Atlas surrounds the idea that history can repeat itself, which in turn presents the question - does what we do effect the future? The story follows six simultaneous story lines, each in a different time period that directly effects a separate timeline. The complex form of storytelling is executed excellently through the film through simple moments and relatable situations and relationships that we ourselves might encounter. 

After viewing Cloud Atlas, I chose to view one of Tom's short films, Faubourg Saint-Denis. Centered around a fading relationship, we literally watch a couple distance themselves from each other through the film. The film first establishes a routine, which we are all accustomed to in a sense with relationships, then as the story progresses through their routines they begin growing apart together still doing the same things, just further and further apart. The style of filming lends well to this short with repetitive shots and the speed of the background characters in the film all sped up as we watch our main characters fall out of love slowly.

But it is before their breakup that we get to witness their routine, which resonates with countless people and was told in such a way that anyone could relate to this story. The little moments are the ones that build into a bigger grand relationship and are captured perfectly in this film.

Tykwer's short film Epilogue, starts off with bang... when a boyfriend shoots his girlfriend as she is trying to break up with him. The storytelling in this film leaves the audience on the edge of their seat, then sink back and marvel at the ending. Tension is high throughout the entire film, even though we just watched the ending, the audience is concerned as we go back in time before the attempted break up, then in a twist the roles are switched when the girlfriend acts in self defense and protects herself. This film reminded me of elements questioned in Cloud Atlas - does what we do effect a different outcome? In this film, just like Cloud Atlas, that answer is yes and we are brought through an incredible film.

I find it interesting that Tom Tykwer has these similar themes in each of the films I viewed. Beginning the story with a bang and does not passively follow characters, but rather we are right there with them as they experience the story with just as much shock as the reader. Overall, I highly enjoyed viewing three very different, yet similar films. Tom has a complex, unique voice and I look forward to studying more of his films in the future.

Auteurship: Asterios Polyp

Following the life of Asterios Polyp, David Mazzucchelli spins a tale both familiar and far away. Told in a wonderfully paced, lyrical method, this lent incredibly well to the authors voice through the story as he reflects on Asterios' world and gives a great sense of familiarity. Each detail and element plays a significant role, whether right away or later in the story - this made a great impact and speaks to real life, acknowledging how we effect those around us and vice versa.

Mazzucchelli's voice is not concise and to the point, telling us directly what his thoughts are on a matter, but rather slow and contemplative, pondering concepts as Asterios slowly learns throughout the story. Through this voice, we are led slowly by the hand as we follow the main character, which is a very appealing type of storytelling, in my opinion. The pacing is fantastic. And I found it especially interesting how as Asterios would learn or process something, he changed visually, which was a different interesting facet of the author's voice - almost a visual voice, changing as the character does.

Reading the experience of one character from their singular perspective is an incredibly effect form of immersing readers into an author's voice... but Mazzucchelli takes it a level deeper, introducing multiple characters that are each important. Each of them are important just as are the people our lives are intertwined with. This was paired beautifully with the different styles of illustrations for different characters and how they impacted Aesterious' life and experiences.

Overall, the style of writing paired with a fantastic variety of illustration styles and storytelling makes for a very unique and easy to read story that pulls it's reader in effortlessly and softly tells its story. The world we are brought into feels very familiar because it is a visual representation of just how much our world is changing and a melting pot of people and perspectives, each undeniably important to life. 

The Donald

I chose this image simply to illustrate the fact of how incredibly void of genuine emotion and sincerity during any type of public speaking. The thought of him as the Commander and Chief of the United States is frankly appalling. 

One group is not the culmination of an entire religion.

Terrible acts are not the representation of an entire religion.

Voice in Contemporary Literature: Karen Russell

After reading Vampires in Lemon Grove and reading articles in which Karen Russell is interviewed about her writing style and choices, I have grown to love her writing style and thought pattern. Learning about her background and simple love of looking at typical things in new ways is extremely appealing to me! Her imagination shows through in the world she builds in Swamplandia!, which is a very descriptive Pulitzer finalist story about a family running a threadbare alligator theme park in the Everglades. 

Karen’s voice surrounds taking the ordinary, or know, and making normal situations remarkable or surreal. She writes with a clear voice, describing each environment and situation with great detail and an excellent use of smilies that are unexpected and fantastic. She has a great way of pulling the audience into her world and immersing the reader entirely. She doesn’t beat around the bush with her stories, but instead is completely straightforward in her storytelling, with a poignant quality that reflects the issues facing the human race. 

Though they are not necessarily her own personal reflections, Karen is able to project a variety of tones through her characters in her stories. After reading multiple interviews, she made it clear that her stories don’t necessarily reflect her own memories or experiences, but rather that something sounded interesting to write about, so she did! Simple as that. In these stories, her tone is very relatable as she does not just stick to one overarching theme or tone in her writing. She has an incredible ability to make a completely new situation feel completely relatable because of the characters clearly written feelings. When reading her character’s thoughts, it almost feels like you’re reading their diary or having an intimate conversation, which completely immerses the reader. In turn, it also feels like we’re having a conversation with the author herself.

I found Karen Russell’s writing completely enjoyable and entertaining to read and I look forward to reading more of her work in the future!

Ready Player Once: A Virtual Reality Experience

The user materializes in a bright, bustling hallway in front of a long row of hight school lockers. The user log on screen fades, reading “Identity verification successful. Welcome to the OASIS, Parzival! Login Completed: 07:53:21 OST-2.10.2045" Turning in a full circle, the user examines their surroundings, beautifully rendered in high definition three dimensions. Other users are opening their lockers with a touch and making their way into their respective classrooms before the bell tone. The user can explore the hall space, looking into classroom windows and walking the breezeway, but there is not much to explore. Turning back to their locker, a glowing green icon appears where the locker’s handle would be. Touching the icon, the locker door opens with a soft metallic click. The inside is sparsely decorated, save a picture of the cast of Monty Python dress in their Holy Grail costumes and a picture of Princess Leia posing with a blaster pistol. In the back of the locker is a solitary picture of James Halliday’s Time magazine cover. After taking in the metallic locker, two more glowing icons appear over the next class period’s textbooks. Tapping the icons, the books appear in the users inventory. Before closing the door, the user notices a small mirror, catching a glimpse of their virtual self, and the floating username ‘Wade3'. Interrupted by a warning bell and a flashing in the corner of their display, the user is informed that they have 30 minute until the start of first period. 

Using voice commands to navigate, the user walks in the direction of the World History classroom. Appearing in the classroom, other students avatars are already seated motionless with their eyes closed, engaged in phone calls or browsing the web, or logged into chat rooms. Ignoring them, the user walks to the glowing icon by their seat and sits down, with 25 minutes to spare before class begins. Tapping the engage icon, the users own eyelids shut, classroom faded as they begin scanning messages and threads when an instant message pops up:

        Aech: Top o' the morning, amigo. 

The user is prompted with a few responses, they select and continue the conversation.

        Parzival: Hola, compadre. 

        Aech: What are you up to? 

        Parzival:Just surfing the turf. You? 

        Aech: Got the Basement online. Come and hang out before school, fool. 

        Parzival: Sweet!I'll betherein a sec.

Closing the IM window, the user taps a small highlighted door icon at the edge of their display, selecting Aech’s chat room from the list of favorites and their view fades to black as they transport to Aech’s chatroom.

My Voice as an Artist

What are some common elements that represent your work and makes your voice...well, yours?

        There are multiple elements that come into play when I begin planning out the stories I tell. These stories come in the form of CG animation, animatics (storyboards) and storytelling images. When planning a story, memory is my first inspiration, whether it be an experience or the emotion derived from an experience. My personal outlook is on the positive side, (with no lack of puns) but I have not lived through life unscathed of dark moments and sadness. The realism of life is something I value and grounds many of my stories to some extent, one foot in reality while the other could be anywhere else. Overall, the most common themes to be found in my work are light hearted, comical and relatable. 

An Assessment of 'Professor Incognito Apologizes: An Itemized List"

What are the prominent symbols in the story and how are they used?

One of the most poignant symbols I see in this short story is the character of Doctor Kagan, the couple’s counselor. Kogan is used to emphasize the rift in the relationship between Incognito and Suzanne, who is later revealed to be the superhero Nebula. Incognito recalls both good and bad times in the letter to Suzanne, swinging on a pendulum of emotions that lead back to Doctor Kagan’s symbolism of strife and Incognito’s attempts to fix it.

What connections did you make with the story? Which elements did you connect with?

Clearly not the the extreme of destroying the world, but I have been in those shoes of mixed feelings after a relationship, swinging between good memories and frustration. Looking back with regret does no one any good, it is so much healthier to learn and move on…not exactly what Incognito proposes in his letter to Suzanne, to join him and take over the world..

What changes would you make to adapt this story into another medium of your choosing?

Given the chance to adapt Professor Incognito Apologizes, I would use the medium of a film noir type graphic novel - all black and white, but with touches of color for symbolism. The story would unfold from the viewer’s perspective as Suzanne as she (you) discovers the secret lair and unravels Professor Incognito’s story. The most vivid, emotionally charged moments or memories would be displayed in a variety of panels and page layouts, breaking frame, with at least one full page color illustration for effective value. 

Edwidge Danticat's Dewbreaker: The Book of the Dead

“What are the precise strategies that are used by its creator to convey the world to us and us to the world?"

In this story, the reader is introduced to Ka Bienaime, a first generation Haitian American sculptor on a trip with her father to deliver a sculpture she modeled after her father during his time in prison. The piece stirs emotions and memories in her father and he disappears with the statue mysteriously because of it. During the time her father is gone and we are rendered clueless, Ka describes her father to the hotel manager and the law enforcement and we begin to understand more of his character. Through Ka’s account, it becomes clear what type of relationship they share and how he has influenced her life and why she created the sculpture. There is significant emotional meaning behind Ka’s sculpture and it is through her phone calls with her mother and inner dialogue how we come to find this out. 

When Ka’s father returns, we see a first hand account of their relationship and level of respect for one another. In his recounting of the day and his time apart, we learn with Ka his history and that he not only destroyed the sculpture, but why he destroyed it. Ka’s anger is more than understandable, but it becomes extremely relatable as to why she does not outwardly show it or lash out, but rather keeps listening out of respect. This type of writing and inner dialogue becomes real very quickly and is a great technique, to show a character’s inner thoughts while a conversation is going on simultaneously. This style of writing is incredibly effective.

In the end, I feel as though the story runs flat, but was written in a well described method. On a personal note, I feel as though there was something hollow about the story. I can’t quite pin point it, if it was her character and a possible lack of depth or if it was the stark feel of the conversations in the piece… something was off, but overall, the world is described well and very relatable too, as I’ve been to Lakeland and Tampa multiple times. The atmosphere and cultural descriptions are spot on.

World Building

Tangled up in the sheets, I kick my feet free from their crinkly 400 thread count prison and pivot my body until they swing and touch down on the cold hardwood floor, shooting goose bumps across my limbs. Taking a quick breath to ease the chilly shock, I ball up my fists and push my way up off the bed into the dark room, knuckles popping. Rubbing some friction into my arms, I begin rooting around for a soft oversized hoodie, as my dog sleepily follows my movement from his warm perch by my pillows. Though endlessly loyal, our night run hours before has him bushed, so he tucks his face back under his bushy flume of a tail. Hoodie thrown on, I fumble for keys and tiptoe out the door, passing photos of family in the dimly lit hall and pass through kitchen. The ceiling fan listlessly hums it’s goodbye as I quietly slide the patio door closed behind me and as I quietly step through the dewy grass toward my sleeping car.

Backing out of the driveway, I push back the sunroof and let the wind do what it will to my hair as I make my way to the interstate. As my headlights drill holes in the misty blackness, the air hangs heavy with the scent of damp earth. It’s 1:39 AM, so I see few other cars, other than the occasional cop car nestled in a shadow stand of trees looking for speeders.

Driving into the hazy, purple twilight, I pass by all too familiar land marks of funny trinket shops, the old train station and the honeysuckle covered gazebo by The Village Scoop. Beyond main street, I turn down the frontage road, twisting and turning, rising and falling, winding through the hills until I pass the suburban border, a threshold where the sea of residential homesteads turns into pure untainted forest.

Lit only by the occasional far off twinkling light of a front porch, the gravel road takes me through the trees that stretch so tall it looks like they could almost touch the stars. The scent of pine needles is strong here, rushing in through the sun roof and filling my car with memories of running through the forest chasing shadows and playing flashlight tag. Lost in thought, I almost miss the turn for my little lakeside hideaway.

The park is pitch black, lit only by an iron lamp post laden in a fog of insects. Feeling my way down the cool concrete sidewalk toward the sings, my smile widens at the sudden sensation of sand between my toes. Freshwater waves fizz as they roll up onto the beach and soak the sand. Settling into a swing, I begin pumping my legs and watch the starry canopy pulse overhead.

Here is where I stay, lost in dreams and beauty and reverie, swept up in the lush scent of the forest, lake and the recent rainfall, just swinging, swinging, swinging.

True Grit - American Mythology

While they glorify the history of the American frontier, Western stories and films play a key role in American Mythology. Classically known for gun fights, stage coach robberies and cowboy and indian fights, Americans feel a sense of identity when watching these films because they feel it is a part of their past, glorified though it may be, Westerns are simply entertaining. 

Westerns are a great part of American mythology. They showcase how we look back on our history of the frontier, shaping the land we now call home. Gun fights were sometimes romanticized, but always prominent, oftentimes measuring the steel of a man and his worth. This also gave man the power to either bring or serve justice on his own accord quickly, which would often times bring down no discipline on his own head. This is something that clearly does not stand in todays standards, but is instead surprising if one even knows how to fire a gun let alone own one. The sense of justice has changed dramatically since the dawn of the western, with a complete new set of rules and values, yet so many of us still find entertainment and value in these films because the characters are strong in their beliefs and the sense of community is something of nostalgia for some. No longer do people ban together to raise a town from the ground up, or defend each other as seen in these classic American myths. Truly they are a wonderful snapshot of the ideal West that so many Americans see themselves stemming from.

Western films can typically be whittled down to one battle: civilization versus wilderness. These odds can come in a variety of forms and can be represented by people versus the elements or people versus people and many typical plots are driven by revenge. Most western films are centered around male lead characters, both on the hero and villain side, but it is not uncommon to see women in supporting roles, as was the time period.

True Grit is a true reflection of American Mythology. From the setting of the civilized, yet not fully developed town to the forest and desert like landscapes, the plot is full of rough riding characters that fit the bill to many western films. The main character, Mattie, is motivated by the ever classic plot of revenge, to seek vengeance for her father’s death. The story also glorifies men in all their manly glory, who display “true grit.” One of these men is the gun slinging, more likely to shoot than ask questions, Marshall Rooster Cogburn. While isn’t a good guy or bad guy, he fills the role of both and accomplishes his own self interested goals. He is a drunkard and has a questionable history, yet the audience still takes to him as one of the good guys. We pardon him of his questionable past because he displays throughout the film that he truly is a man of “true grit” and he clearly does care for Mattie on their journey for revenge.

Mattie fits the mold to the justice seeker, truly believing that she will be bringing justice to her father’s death, but truly she is seeking revenge. Yet, her actions are warranted when we look at the kinds of characters she is met, such as the ruthless killers in the Ned Pepper gang, who would sooner cut your throat than talk. The audience is okay with Matties revenge and morals come from a sense of justice, thus feeling okay and rooting for her success in the death of her father’s killer.

In the end, True Grit is the perfect example of an American Mythology story, showcasing the history of the frontier in an up close look into a story of revenge and justice.

Stefan Zweig and Wes Anderson

The writing of Stefan Zweig can be clearly admired in Wes Anderson’s films, but specifically I will focus on The Grand Budapest Hotel. Both the setting and the dialogue were both heavily inspired by Zweig’s writing, sharing mood and theme. One of Zweig’s almost, rose colored glasses themes was shown visually in The Grand Budapest Hotel with a very clear pastel color pallet through the entire film, which I found to be a very effective use for both mood and storytelling, giving it an almost storybook type feel to the film. The character introductions, or rather the character introducing the world and the exposition in Zweig’s writing is seen well in the Grand Budapest Hotel, the way the period is revealed along with the exposition. Truly it is like watching a story book come to life.

Almost immediately after I began reading Stefan Zweig’s works, such as Twenty-four Hours in the Life of a Woman, A Star Above the Forest, The Governess and A summer Novella, I was completely immersed in the form of writing and the unique characters. It is easy to see how Wes Anderson’s films and Zweig’s stories coalesced so well. Each were very connected and Anderson’s film style complements Zweig’s writing style quite nicely, as a perfect translation from written word into film. It is both Zweig and Anderson’s hyper sensitive attention to detail that crosses over so nicely. Each was perfectly designed, each detail belonging to the setting and world in which it belonged. In Zweig’s work, painting pictures in the readers mind of the setting in clear yet simply beautiful detail and in Anderson’s a lovely composition to behold, simple yet precise and meticulously planned. Even if the setting might not be relatable, the reader or viewer could feel right at home, noticing details and taking in the setting effortlessly.

The idealized worlds Anderson creates are well crafted and incredibly designed, which is clearly a common thread with Zweig’s works, sharing a sort of surrealism. This comes in both aesthetic and verbal forms as well as social situations. For instance, in Twenty-four Hours in the Life of a Woman, we begin following the story of the narrator, which we are introduced to, then we switch to follow the story of Mrs. C as she takes the story over. Nearly the same instance happens in The Grand Budapest Hotel, shifting from our introduced narrator, who we learn later comes back, to our main character Mr. Gustave, who becomes our new narrator that too could effortlessly fit right into one of Zweig’s stories.

The impression Zweig seems to have had on Anderson seems clear from the first 5 pages of any of Zweig’s works, but in my opinion has become a brilliant inspiration to Wes Anderson’s already fantastic stories. Each creative director’s works can be enjoyed separately, but I have enjoyed the comparison and contrast to each artist’s work. The inspiration has brought success and in turn has inspired me. I believe this to be a perfect example that steel sharpens steel.

Eternal Sunshine of the Spotless Mind: Director of Photography Adaption

When emotionally distant, awkward Joel and dysfunctional, free spirit Clementine unexpectedly fall in love, despite their differences…it is soon discovered that this was not the first time. When their relationship ends, Joel discovers that Clementine went under a procedure to have her memories of Joel erased - not wanting to have memories of a one sided relationship, Joel too undergoes the procedure. However, while unconscious, Joel realizes how much he is giving up and tries to keep his memories of Clementine.

Following Joel through his memories inside his head, we watch Joel and Clementine’s relationship in reverse as Joel tries to hide inside his mind. Meanwhile, there is a second arc following the employees of Lacuna, (the memory wiping company) Patrick, Stan and Mary. As Joel and Clementine’s story unfolds, the separate, yet related stories of the employees are revealed and through them we discover how harmful the memory altering procedure is.

I will leave the rest of the film to your viewing pleasure… 

As someone who has not seen this film, but rather read the screenplay and possesses a lively imagination, I would like to share my adaption of Eternal Sunshine from the perspective of the Director of Photography.

The film follows multiple characters, each with a unique perspective on the world and relationships based on their history. However, some of the characters come to find out that what they thought they knew about themselves and their story is wrong. Some have lived through an entire relationship and even lost a child – an emotional experience that would change an individual to the core…but they have no recollection or attachment, just the knowledge that something happened.  Stability versus instability. Our lead character, Joel watches his memories fade through the film. Through his memories, the audience comes to know Clementine and begin to understand what made her the way she is and who she is with Joel, despite their differences. In short, because there are many characters perspectives to follow and multiple emotions being experienced in a short amount of time, in my adaption of photography, the flow of the camera and perspective will not be cohesive. When following different people, each story brings a unique perspective that feels different from the one before or after it, which can be seen through unique camera angles, cuts and compositing.

There is a beautiful contrast between Joel and Clementine’s personalities and characteristics. Joel is very emotionally withdrawn and tight lipped, while Clementine is full of emotion and life and says exactly what is on her mind at any given moment, whether you want to hear it or not. From a director of photography’s stand point, I would embrace these contrasting characters through tight and long shots. Camera distance is emotional distance. Only in the most intimate moments would the camera push into Joel’s space, leaving the viewer distant from him as well until those private moments as he is a very private person. On the opposing side, we have lively and unpredictable Clementine, with as many emotions as colors of hair dyes. In Clementine’s case, there is no such thing as personal space, which lets the viewer in on all her personal moments through the film.

In terms of compositing, I would illustrate the point of Joel’s memories turning into faded husks of once remember moments by gradually fading the color from the memory, letting the scene turn to sepia or black and white with only the faintest touches of color. Allowing that slow fade where appropriate, I would also use harsh cuts almost before the end of a memory to achieve that jarring effect of erasing a memory. The procedure of losing memories is not kind or gentle, but rather a closed door that cannot be opened the same way ever again. The incorporation of hard cuts and a quick jump cut to the next memory would be very effective.

In the end of the film as the story begins to wrap up, it would be effective to use a slow pull away shot from the characters as the colors begin to fade as the audience too leaves the husk of the film behind to return to their own reality pondering their own relationships and questioning their value of life and our interaction with those around us.