Production post

 

Behind the Scenes: Crafting the Mystery of Interwoven 🎬🕵️‍♂️

Bringing Interwoven to life is more than just filming—it's about carefully constructing an immersive world where every visual and sound choice deepens the mystery. Here’s a breakdown of our production process, from concept to post-production!

 Pre-Production: Blueprinting the Mystery

Before the cameras roll, we meticulously design every element to reflect the film’s themes:

Set Design & Mood Boards – The detective’s cluttered office isn’t just a backdrop; it’s a visual representation of his fragmented mind. We created mood boards to nail down lighting (neon glow vs. natural tones) and the layout of key props (case files, crime board, scattered evidence).

Costume & Character Styling – Detective Santi’s worn, dark attire mirrors his mental exhaustion, while Maria’s structured outfit reflects her logical and methodical approach. These contrasts subtly reveal their dynamic before a single word is spoken.

Storyboarding & Shot Planning – To emphasize tension, we planned for split-screen sequences, over-the-shoulder shots, and close-ups of crucial evidence—immersing the audience in the case alongside the characters.

Production: Capturing the Puzzle Pieces

Lights, camera, suspense! Every shot is carefully framed to reinforce the film’s psychological depth.

Cinematography & Blocking – We used slow, deliberate camera movements to mirror Santi’s obsessive attention to detail. When Maria enters, we contrast it with a steady, controlled framing, symbolizing her grounding presence in the chaos.

Lighting as a Storytelling Tool –
Neon-lit crime board → Represents Santi’s fixation on connecting clues.
Shadows & low-key lighting → Heightens tension, hinting at deeper secrets.
Lighting shift when Maria enters → A subtle but powerful transition from obsession to reason

On-Set Sound Recording – Even small foley sounds (pen clicks, paper rustles, the tension-filled snap of neon string) were captured live to enhance realism. These subtle elements keep the audience inside the mystery.

Editing softwares

1. Video Editing & Color Grading

Given your emphasis on lighting contrasts (neon vs. natural), set design, and blocking, you'll need an editor with strong color correction and layering tools:

• DaVinci Resolve – Best for color grading your neon-lit investigative office and contrasting it with the assistant’s more grounded lighting. The free version is powerful for indie projects.
• Adobe Premiere Pro – Ideal for multi-layered split-screen techniques, as seen in the detective vs. assistant dynamic. Also integrates well with After Effects for VFX.
• Final Cut Pro – If you’re on Mac, this offers smooth timeline editing with great organizational tools for handling multiple sequences like your montage and investigation board scenes.

2. Sound Editing & Design

Your project features sharp audio cues, foley elements, and tense atmospheric soundscapes, so high-quality sound mixing is crucial:

• Adobe Audition – Perfect for fine-tuning the severance transition sound effect and layering ambient sounds like whispers from past case files.
• Pro Tools – Industry standard for cinematic soundscapes, ideal for enhancing your low synth pulse tension build-up and balancing dialogue with environmental sounds.
• Audacity – Free and effective for cleaning up audio and enhancing foley details like pen clicks and rustling papers.

3. VFX & Motion Graphics (If Needed for Titles & Neon Effects)

If you plan to enhance the neon string effect or create a cinematic title drop (I N T E R W O V E N):

• Adobe After Effects – Great for animating neon string connections on the evidence board or adding subtle glowing effects.
• HitFilm Express – A free alternative with built-in cinematic VFX presets that could help with stylized lighting enhancements.

Suggested Workflow for Interwoven

1. Edit & Sequence Scenes – Use Premiere Pro or DaVinci Resolve to assemble footage, ensuring smooth pacing and split-screen integration.
2. Color Grade for Mood – Adjust neon-lit mystery scenes vs. grounded office lighting using DaVinci Resolve.
3. Sound Design & Mixing – Enhance atmosphere with Adobe Audition or Pro Tools, ensuring ambient tension-building sounds are balanced.
4. Add Visual Effects (If Needed) – Create neon thread animations or subtle lighting enhancements with After Effects.
5. Final Polish & Export – Render in high-quality formats, ensuring optimal contrast in lighting shifts and crisp sound transitions.

Mise-en-Scène: Crafting Atmosphere and Meaning Through Visual Elements

Mise-en-scène is the deliberate arrangement of visual elements within a scene that work together to reinforce themes, mood, and character development. From set design to costume choices and lighting, every aspect of mise-en-scène can shape the audience's perception of a story without the need for explicit dialogue. In this post, we'll focus on how mise-en-scène plays a key role in storytelling in the context of a mystery film opening.

1. Set Design: Building the World

The set serves as more than just a background; it can be a reflection of the characters' emotional states, the story's tone, and even the central mystery itself.

For example, in our mystery film opening, the investigative office is dimly lit and filled with files, photographs, and evidence. The cluttered environment reflects the detective’s mind, consumed by the case, and creates a sense of chaos. The split screen further emphasizes the divide between the detective's obsessive world and the assistant’s more orderly, rational approach. The environment is almost another character, contributing to the emotional tone and the narrative.

• Practical Application: In my own work, I want to use set design to convey the internal conflicts of my characters. For instance, a room full of chaotic piles of documents can represent a character’s mental state or their need for order in a world that feels out of control.

2. Costume Design: Visualizing Character and Transformation

Costume choices are a direct reflection of a character’s personality, their role in the narrative, and even their transformation throughout the story.

In the opening of Interwoven, the detective's costume is worn, perhaps dark, and slightly disheveled—mirroring the toll the case has taken on him. In contrast, the assistant's attire is neat, professional, and modern, suggesting a more grounded approach to the investigation. This visual difference shows their opposing ways of tackling the mystery and reinforces the dynamics between them.

• Practical Application: I want to experiment with how costumes can change as the character's internal arc progresses. A shift in wardrobe—whether through color, fabric, or style—can symbolize a character’s evolution, such as the transformation from innocence to guilt or from conformity to rebellion.\

3. Props: Small Details, Big Impact

Props are not just random objects—they are symbols and visual cues that tell us more about the plot or the characters’ motivations.

In Interwoven, props like the briefcase, case files, and neon string are integral to the detective’s obsession with the case. The neon string, in particular, acts as a visual representation of how the detective is trying to connect different pieces of evidence that seem to be slipping through his fingers. The fingerprints illuminated under the neon light further emphasize the forensic details that are key to solving the case.

• Practical Application: In my project, props can be used symbolically to track character development or change. A family heirloom passed through different hands might grow in emotional significance, or an object that once brought comfort might eventually become a symbol of guilt or loss.

4. Lighting: Setting Mood and Revealing Character

Lighting is one of the most powerful tools in mise-en-scène, influencing the audience’s emotional experience and subtly revealing character motivations.

In Interwoven, neon lighting creates a surreal and almost nightmarish atmosphere as the detective works through the case. The lighting heightens the sense of unease, drawing attention to the neon string and fingerprints, making them stand out as focal points. This lighting choice underscores the detective's fragmented state of mind, constantly chasing after elusive clues.

When the assistant enters, the lighting shifts to something more natural, signaling a return to reality. This contrast in lighting between the two characters emphasizes their different approaches to the case and offers a visual cue that the tone is changing.

• Practical Application: For my project, I want to use lighting to enhance mood shifts. Low-key lighting with heavy shadows might evoke a sense of danger or mystery, while soft lighting could create a more intimate or emotional atmosphere. A gradual change in lighting throughout a scene can signal a transformation in the character or the narrative.

5. Blocking & Movement: Conveying Relationship Dynamics

Blocking—the arrangement of actors within a scene—is a subtle but effective way to express relationships, power dynamics, and character emotions.

In Interwoven, the split-screen not only divides the detective and assistant’s worlds but also visually represents their opposing methods and contrasting approaches. The detective is absorbed in his work, hunched over, physically overwhelmed by the case. The assistant, on the other hand, walks into the room with purpose and calm, signaling her more pragmatic approach to solving the case.

When the assistant and detective interact, their blocking in relation to each other communicates their unspoken dynamics. The detective is often overwhelmed by his surroundings, while the assistant's calm demeanor offers a sense of control and focus.

• Practical Application: In my project, I will carefully consider how characters are positioned in relation to each other. For example, distance between two characters could signal emotional separation, while close proximity might reveal a growing intimacy or tension. A character who is often blocked in shadow could indicate inner conflict, while a character in the light might suggest clarity or openness.

Conclusion: The Power of Mise-en-Scène

Mise-en-scène goes beyond aesthetics—it’s a vital storytelling tool that helps to visualize character motivations, set emotional tones, and reveal narrative themes. By using set design, costumes, props, lighting, and blocking in thoughtful and intentional ways, a filmmaker can guide the audience's emotional response and reinforce the underlying subtext of a story.

Through a careful combination of these elements, I aim to create a visual language that deepens the audience's connection with the story and characters, making every scene feel purposeful and immersive.

Mise-en-Scène Breakdown for Interwoven Opening Scene

Mise-en-Scène Breakdown for Interwoven Opening Scene

1. Space & Set Design:

The investigative office in Interwoven plays a key role in reflecting the mental and emotional state of the characters. The room is dark, filled with files, photos, and neon lighting that emphasizes the chaos and intensity of the case. The cluttered environment conveys the detective's obsession with the case, while the split screen technique contrasts the detective’s chaotic world with the more structured, orderly world of the assistant.

• Lighting: Neon lighting creates an eerie, unsettling atmosphere, with bright, glowing strings of evidence standing out against the dark surroundings. The lighting shifts to normal when the assistant enters, signaling a change in tone and the entry of new energy into the space.

• Props: The briefcase, files, and photos are all important props that anchor the mystery. The neon string used to connect pictures visually symbolizes how pieces of the case are interconnected, but also fragmented and incomplete.

2. Costume Design:

• Detective Santi: The detective’s costume, likely dark and worn, reflects his troubled state and relentless dedication to solving the case. His attire contrasts with that of the assistant, hinting at their different personalities and approaches to the case.

• Assistant Maria: Her attire is more modern, neat, and structured, in contrast to the detective’s disarray, signifying her more grounded and perhaps more practical nature. This visual difference hints at their opposing roles and personalities in the investigation.

3. Blocking & Actor Movement:

• The split screen technique visually divides the space and illustrates the characters' different approaches. The detective is immersed in the case, physically overwhelmed by the room. The assistant, on the other hand, walks calmly and purposefully toward the office, illustrating their contrasting states of mind.

• When Maria enters the room, her movements are smooth, calm, and controlled, in stark contrast to the detective’s frantic energy. This shift in blocking emphasizes the tension between the two characters—Maria’s logical approach versus Santi’s obsessive nature.

4. Lighting & Color:

• Neon Lights: The brightly glowing neon strings and images create a surreal, almost dreamlike effect. The lighting is a key tool in generating unease and tension, hinting at the detective’s deteriorating mental state as he obsessively works on the case.

• Lighting shift: When Maria enters and interacts with the detective, the lighting normalizes, signaling a return to a more grounded reality. The use of neon against a dark background highlights the detective’s psychological fragmentation and his growing obsession with solving the case.

5. Props & Symbolism:

• The neon string becomes a significant visual metaphor, tying the scattered pieces of evidence together. However, its brightness against the dark background also highlights the fact that these connections are incomplete or unclear.

• The fingerprints also stand out in the lighting, drawing attention to the importance of physical evidence in the investigation and suggesting that the case is deeply rooted in forensic details that the detective is trying to piece together.

6. Sound:

• The severance transition (audio cue) at the start effectively conveys the fragmented nature of the investigation, pulling the audience into the detective’s chaotic state of mind.

• The TV broadcast towards the end, with the news reporter outlining the disappearance of Regina Sinclair, serves as both an informational cue and a shift in tone. The transition to a normal, more grounded reality through the sound of the TV helps refocus the characters and the audience on the bigger picture of the case.

Overall Interpretation:

Through careful use of mise-en-scène, Interwoven effectively sets up a world of contrast—between the detective's obsession and the assistant's more rational approach. The lighting, props, blocking, and costume choices all contribute to the feeling of unease and tension while visually reinforcing the characters' differing approaches to the investigation. The split-screen technique and neon lighting serve as a powerful visual cue for the fragmented nature of the case and the detective's fractured mental state, setting the stage for a deeper dive into the mystery of the Sinclair disappearance.

Mystery Film Opening: INTERWOVEN – Audio Planning

Opening Scene: Airport & Detective's Arrival

Ambient Sound:

• Faint airport terminal chatter—indistinct announcements, rolling suitcase wheels, muffled conversations.
• The hum of distant airplane engines adds a sense of transition and movement.

Foley Sound:

• Footsteps—a slow, deliberate pace. The sound is sharp and crisp, emphasizing the detective’s methodical nature.
• The leather briefcase handle creaking in his grip—he’s tense, holding onto something more than just files.

Music (Tension Build-Up):

• A low, pulsing synth starts subtly, like an undercurrent of unease.
• As he approaches the office door, the sound fades, heightening a moment of silence before the next scene.

Severance Transition (Audio Cue):

• A sharp cut in sound as the office door clicks shut behind him.
• Everything outside fades away, replaced by the low hum of fluorescent lights inside the dim office

Detective’s Office: Immersive Sound Design

Foley Sound – Setting the Scene:

• Briefcase placed on the table—a heavy, authoritative thud.
• File opened—the rustling of thick, slightly worn paper.
• Pen clicks as he starts working—tiny sounds that emphasize focus.

Montage (Investigation Board – Layered Soundscape):

• The distant, rhythmic clipping of photographs to the board.
• The stretching and snapping of neon string.
• The faint scratching of a marker circling a clue.
• A clock ticking softly, barely audible but adding subtle pressure.
• Occasional sharp inhales from the detective—he’s thinking, feeling the weight of the case.

Music – Heightened Suspense:

• The low synth pulse intensifies, merging with a distant echo of distorted voices—as if whispers from past case files.
• The music peaks slightly when the detective pauses at the blurry crime scene photo, then dips into near silence.

Final Thoughts on Audio & Themes

Psychological Depth:

• The sound design mirrors Santi’s unraveling mind—low, eerie tones, whispers of the past.
• Maria’s presence is distinct, with warmer, sharper sounds contrasting Santi’s haunted tone.

Pacing & Immersion:

• Small Foley sounds (rustling papers, clicking pens, stretching string) keep scenes engaging.
• Musical shifts subtly guide emotions—pulsing tension, warm steadiness, sudden silence.

Thematic Significance:

• The soundscapes merge when Maria enters—symbolizing the collision of perspectives.
• The abrupt silence at the title reveal signals the weight of what’s ahead.

Mystery Film Opening: INTERWOVEN

Mystery Film Opening: INTERWOVEN

Opening Scene: Arrival & Setup

• POV Shot: Airport scene, following Detective Santi as he walks with a briefcase.
• Severance Transition (audio cue): Sharp cut as he enters an office.
• Setting the Stage:
  • Places the briefcase on a table and opens it.
  • Inside: A file labeled "JESSICA SINCLAIR CASE" in bold.
  • The montage begins.

Montage: Investigation Details

• Dark Office with Neon Lighting: Contrasts with typical crime offices, creating an eerie atmosphere.
• Visuals of Investigation:
  • Cluttered desk, files, and photos pinned to a board—each related to the same case.
  • A blurry crime scene photo—an anomaly among the evidence.
  • Bright neon string connects key points on the board.
  • Close-up: Fingerprint evidence glowing under the lighting.
• Detective’s Focus: Deeply immersed, carefully linking clues together.

Parallel Scene: Assistant’s Journey

• Assistant Maria’s Introduction:
  • Walking toward the office.
  • Contrasting Look & Lighting: Juxtaposes the detective’s serious demeanor with a different visual tone.
  • Grabs a file with vital information.
  • Notably holds a Missing Person Poster for "Regina Sinclair."

Scenes Merge: The Title Reveal

• Maria enters, the two narratives converge.
• The board now clearly spells out:
  "I N T E R W O V E N" (TITLE DROP).
• Lighting snaps back to normal—revealing the detective lost in thought.

Dialogue Exchange

• Maria (Assistant): "The Sinclair case hasn’t moved forward at all, huh? Shame."
• Santi (Detective): (Glances at the board, frustrated) "Keep hitting the same dead ends. Something still isn’t adding up."
• Maria: (Turns on the TV with a remote) "It’ll come eventually. We only have a week here anyway."

News Broadcast: Sinclair Case Background

• Reporter (voiceover, unseen):
  • "The Sinclair Case remains an ongoing investigation here in Millbrooks. Regina Sinclair’s disappearance has caused immense distress for the Sinclair family, known for their prominent family business."
  • "Last seen on June 13, 2002, Regina vanished without a trace. Officials continue gathering new information."
• The broadcast features images of the Sinclair family and their home.

Character Notes:

• Detective Santi: Determined but visibly fatigued by the case’s stagnation.
• Assistant Maria: More pragmatic, possibly skeptical, but still engaged.
• Jessica Sinclair: A name with weight—her connection to Regina remains unclear but central.

LOST IN TRANSIT: SCREENPLAY

Now that I’ve returned from my trip to Italy, I’m finally ready to start writing my screenplay. Traveling through Italy, surrounded by history and breathtaking landscapes, inspired me to craft a story that blends introspection with a sense of mystery.

A screenplay is essential for any film, outlining the setting, dialogue, and action while shaping the overall vision. Fortunately, I have experience writing scripts from past assignments, giving me a solid foundation in formatting and structure. My research on visual storytelling—composition, color, and movement—will also guide me in bringing my ideas to life.

My film’s opening scene needs to establish the tone—intimate, surreal, and reflective. The story follows a character on a journey of self-discovery, where reality feels unstable, and small mysteries unfold in personal and unexpected ways. I want to use setting and visuals to reflect the protagonist’s emotions, creating a dreamlike yet grounded atmosphere.

With the concept in place, my next step is to write the scene, setting up the film’s themes and drawing the audience into this world. I’m excited to see how it all comes together.

 LOST IN TRANSIT

By : Samia M and Maria T

SCENE ONE – TRAIN STATION

A distant, low hum of a train echoes through the station. The station is almost empty—just a few travelers scattered around. Soft, flickering overhead lights create a dreamlike atmosphere. The camera lingers on old departure boards flipping between destinations.

ELIAS (mid-20s, introspective, lost in thought) sits on a worn-out bench, a small suitcase by his side. He pulls out a crumpled postcard from his jacket pocket. The front shows an unfamiliar seaside town. The back has only an address, no message.

He flips it over, running a thumb over the fading ink. A soft breeze moves through the station. He looks up.

Across the platform, a WOMAN IN GREEN (elegant, yet strangely out of place) stands near the edge, staring straight at him. Her expression is unreadable.

ELIAS blinks—but she’s gone.

He exhales, rubbing his eyes. A garbled announcement plays over the speakers, unintelligible, distorted. A train pulls in, its doors hissing open. Without thinking, ELIAS steps on board.

SCENE TWO – THE TRAIN

Inside the train, the space feels slightly off—too long, too narrow, the lighting subtly shifting.

ELIAS walks through the aisle, scanning the empty seats. He stops at one with a small leather-bound book resting on it. The title is faded beyond recognition.

Hesitant, he picks it up and flips to a random page. Inside, a handwritten note:

"You are not lost. You just haven’t arrived yet."

A whisper of a voice from behind—

WOMAN IN GREEN (O.S.)
(softly)
“You found it.”

ELIAS turns sharply—but no one is there.

A distant chime sounds. The train suddenly slows. Through the window, a seaside town comes into view—the same one from the postcard.

ELIAS clutches the book. The train stops. The doors slide open. He hesitates, then steps out.

The wind carries the sound of waves.

FADE TO BLACK.

Cool right? Although me and maria created different screenplays, we will combine each others personal preference and story of what goes into the final draft!

Coming back from a 15 hours flight ;0

Research Post: The Power of Mise-en-Scène in Storytelling

Being in Rome has made me more aware of how every detail in a space contributes to storytelling. From the intricate frescoes in churches to the chaotic arrangement of market stalls, everything is deliberately placed, evoking mood, history, and culture. This has led me to think more deeply about *mise-en-scène*—a key media theory that explores how everything within the frame contributes to meaning.  

Mise-en-scène (French for “placing on stage”) refers to the arrangement of elements within a film scene, including set design, costume, lighting, composition, and actor movement. Directors like Alfred Hitchcock, Wong Kar-wai, and Andrei Tarkovsky use mise-en-scène to convey subtext, mood, and character psychology without relying on dialogue.  

## Space & Set Design: Creating Meaning Through Environment  

Rome itself feels like a carefully constructed set. The grandiosity of Vatican City inspires awe, while the narrow, winding streets of Trastevere feel intimate and lived-in. Similarly, in film, a setting can tell us everything about a character before they say a word. In *Parasite*, Bong Joon-ho uses vertical space—contrasting the opulent mansion of the wealthy Park family with the cramped semi-basement of the struggling Kim family—to visually communicate class disparity.  

### Practical Application:  

In my project, I want to think more intentionally about space. A cluttered room can symbolize a character’s mental state, while an empty hallway might evoke loneliness. The way characters move through a space—whether they dominate it or are overwhelmed by it—can visually reflect power dynamics.  

## Costume & Props: Visualizing Identity and Change  

Walking through Rome, I’ve been fascinated by how people present themselves—how fashion, accessories, and personal objects tell stories. In film, costume design and props function similarly. In *Joker*, Arthur Fleck’s costume evolves from dull, neutral tones to a striking red and yellow suit as he transforms into his violent persona. The umbrella in *In the Mood for Love* becomes a recurring prop, symbolizing missed connections and repressed emotions.  

### Practical Application:  

I want to explore how objects and clothing choices can reflect a character’s emotional arc. Perhaps a family heirloom changes hands throughout the story, gaining new meaning each time, or a character’s wardrobe subtly shifts to mirror their growth or decline.  

## Blocking & Actor Movement: Physicalizing Relationships  

Observing people in Rome, I’ve noticed how body language and positioning reveal unspoken dynamics—whether it’s lovers standing close together on a bridge or an isolated figure sitting alone in a crowded café. In film, blocking (the arrangement of actors within the frame) is a powerful storytelling tool. In *The Godfather*, Michael Corleone is often placed in the shadows, visually reinforcing his moral descent. In *Persona*, Ingmar Bergman uses extreme close proximity and mirroring between characters to emphasize psychological entanglement.  

### Practical Application:  

I want to experiment with blocking to show relationships. Characters sitting at opposite ends of a table could suggest emotional distance, while one character turning their back on another might signal rejection or secrecy. Small gestures—like a lingering glance or a hesitant step forward—can speak volumes.  

## Light & Color: Crafting Atmosphere and Emotion  

The way sunlight filters through Roman ruins or casts long shadows at dusk has made me more attuned to the emotional impact of lighting. In film, lighting choices create atmosphere and symbolism. Film noir’s high-contrast lighting reflects themes of crime and deception, while the golden glow of *Call Me by Your Name* evokes nostalgia and warmth. Color plays a similar role—Guillermo del Toro’s *Pan’s Labyrinth* contrasts cool, desaturated tones for reality with warm, rich hues for the protagonist’s fantasy world.  

### Practical Application:  

For my project, I want to use lighting to define emotional shifts. Soft, natural light might represent innocence or connection, while harsh fluorescent lighting could create discomfort. Adjusting color palettes—muted tones for present-day struggles, vibrant colors for memories—could reinforce emotional contrasts.  

## Next Steps  

As I continue my time in Rome, I plan to observe how mise-en-scène shapes real-world storytelling. I’ll take notes on how spaces, objects, and movement create meaning and apply these lessons to my project.  

Mise-en-scène reminds me that storytelling is more than words—it’s in the way a room is arranged, how a character moves, and the interplay of light and shadow. Every element in the frame has the potential to deepen the narrative, and I’m excited to refine my visual approach using these techniques.

Research Post: Visual Storytelling in the Eternal city

Being in Rome has deepened my appreciation for visual storytelling. Everywhere I look, the city tells a story—through its grand architecture, ancient ruins, and the way light falls on its cobblestone streets. Walking through the Colosseum, I think about how space and scale evoke power and spectacle, much like in cinema. The Pantheon, with its massive oculus, demonstrates how a single beam of light can transform a space, reminding me of how filmmakers use lighting to guide emotions and meaning.  

This environment has inspired me to continue my exploration of visual storytelling, particularly how filmmakers use space, architecture, and natural light to shape narrative.  

Space & Architecture: Framing Characters Within Their World  

Rome’s architecture is a masterclass in framing. The way archways lead the eye, how grand facades dwarf individuals, and how tight alleyways create intimacy—all of these principles apply to film composition. Directors like Federico Fellini, whose *La Dolce Vita* captures Rome’s beauty and chaos, use urban spaces to reflect character psychology. In *The Great Beauty*, Paolo Sorrentino presents Rome as a character itself, with wide, static shots that emphasize its grandeur and timelessness.  

Practical Application:  

In my project, I want to use locations not just as backgrounds but as active storytelling elements. Wide shots of open spaces could evoke loneliness or insignificance, while narrow, cluttered interiors might reflect a character’s emotional turmoil.  

Light & Shadow: The Drama of Natural Illumination  

One of the most striking things about Rome is how light transforms the city. The golden hour here is breathtaking, casting everything in a warm, nostalgic glow. At night, streetlights and flickering candles create deep shadows, reminiscent of Caravaggio’s chiaroscuro paintings. This contrast between light and dark is a technique that filmmakers have used for centuries to add emotional weight to a scene.  

Practical Application:  

I’m considering how different lighting conditions can affect mood. Soft, natural light could underscore moments of warmth and connection, while stark, high-contrast lighting might heighten tension. Inspired by Caravaggio, I also want to experiment with directional lighting to create a painterly effect.  

Motion & Time: The Rhythm of a City  

Rome moves at its own pace—sometimes frantic, sometimes leisurely. Watching people gather in piazzas or hurry past historic landmarks has made me think about how motion conveys narrative. Long, uninterrupted takes can capture a sense of place and time, while quick cuts or handheld movements can create a feeling of immediacy.  

Practical Application:  

I want to experiment with pacing in my cinematography. A slow-moving tracking shot could let the viewer take in the details of a setting, while a handheld sequence could immerse them in a character’s subjective experience.  

Symbols & Meaning: Layers of History in Every Frame  

Rome is layered with history, and every statue, fountain, or ruin carries meaning. The Trevi Fountain, for example, isn’t just a tourist attraction—it symbolizes dreams, fate, and the passing of time. This has made me more aware of how objects and settings in a frame can carry symbolic weight in storytelling.  

Practical Application:  

I’m thinking about incorporating recurring visual motifs in my project—maybe an object that holds personal significance to the characters, or a location that changes meaning over time. Subtle symbols can add layers to a story, making it more immersive and resonant.  

Next Steps  

As I continue my time in Rome, I plan to capture reference photos and videos that illustrate the techniques I’ve been studying. I want to analyze how natural light interacts with architecture, how movement shapes perception, and how framing can emphasize relationships between subjects and their surroundings.  

Rome has reminded me that storytelling isn’t just about what’s said—it’s about what’s seen. Just as this city’s history is embedded in every stone, a well-crafted film embeds meaning in every frame. I’m excited to apply these lessons to my own work and see how visual storytelling can deepen the emotional and thematic impact of my project.

Project update on possible summary

Now that I’ve settled on the general tone and genre for my project, I can start shaping the plot. I want to create a story that blends melancholic introspection with a sense of mystery—something that feels both intimate and surreal. This will definitely be a challenge for me, as I usually lean toward more straightforward narratives, but I think pushing myself into something more experimental will make for a stronger, more immersive piece.  

At its core, I want this to be a story about self-discovery, framed within a journey that feels just slightly off-kilter—like reality isn’t quite as stable as it seems. I’m drawn to the idea of a character on a trip, either alone or with a companion, where the places they visit seem to reflect their internal struggles. Not in an ominous or thriller-like way, but in a way that makes them question their own perceptions and memories.  

I know I want to incorporate an element of mystery, but not one centered on crime or danger. Instead, I want the mystery to be more personal—maybe a character searching for something they’ve lost, or following a trail of seemingly insignificant clues that lead them somewhere unexpected. Perhaps they keep encountering the same stranger in different places, or objects seem to appear before they even realize they need them. Maybe the journey itself isn’t linear, and time or space shifts subtly, forcing them to confront something they’ve been avoiding.  

There’s also something compelling about the idea of traveling to unfamiliar places and realizing they feel strangely familiar—like déjà vu, but deeper. I think I want to play with that sense of nostalgia for something the character can’t quite name.  

This concept gives me a lot of room to experiment with visuals—using framing, lighting, and movement to create a dreamlike quality without fully detaching from reality. I want to explore how the environment can act as both a setting and a reflection of the character’s emotional state.  

Now that I have a foundation, my next step is to map out the specifics: Who is my protagonist? What exactly are they searching for? And how does their journey—both external and internal—unfold? I’m excited to dive deeper into these questions and see where this story takes me.

Also inspired by my trip :)

Exploring Credit Sequences

While traveling In milan- Italy, I found myself thinking a lot about storytelling—how certain films immediately pull you in, setting up an atmosphere of intrigue from the very first frames. Mystery films, in particular, have some of the most compelling opening credit sequences, drawing the audience into their world before a single word of dialogue is spoken. I wanted to explore how filmmakers use these sequences to establish tone, foreshadow events, and immerse viewers in the story.  

I studied three famous opening credit sequences that stand out in the mystery genre: *Se7en* (1995), *Vertigo* (1958), and *Zodiac* (2007). Each of these openings takes a unique approach to setting the stage for the film’s unfolding mystery.  

Film Studies  

*Se7en* (1995) – The Psychotic Mind at Work  

David Fincher’s *Se7en* is known for its unsettling and meticulous credit sequence. Instead of traditional text on a blank background, the film immediately places us inside the mind of the killer. The credits play over a montage of handwritten notes, disturbing sketches, and photographs being developed in a darkroom. The jittery, distorted text (created using a technique called "scratched typography") adds to the eerie and obsessive atmosphere.  

**Takeaway:** The opening credits don’t just introduce the film’s aesthetic; they immerse us in the antagonist’s world before we even meet them. This technique is something I want to explore—how subtle visual cues in an opening sequence can create unease and foreshadow events without explicit exposition.  

### *Vertigo* (1958) – Hypnotic and Psychological  

Alfred Hitchcock’s *Vertigo* opens with one of the most visually iconic sequences in film history. Designed by Saul Bass, the credits begin with an extreme close-up of a woman’s eye before transitioning into swirling, spiraling graphics. The effect is hypnotic, perfectly capturing the themes of obsession, fear, and psychological instability that define the film. Bernard Herrmann’s haunting score heightens the sense of unease.  

**Takeaway:** A mystery doesn’t have to start with action—it can begin with a visual and auditory experience that puts the audience in the right psychological state. I love the idea of using abstract imagery to represent a character’s internal struggles or to hint at the film’s deeper themes.  

### *Zodiac* (2007) – The Slow Burn of Real-Life Horror  

Unlike *Se7en*, which throws viewers into the killer’s mind immediately, David Fincher’s *Zodiac* takes a more subtle approach. The opening credits unfold over an eerie, quiet Fourth of July night in 1969 as a couple drives through a suburban neighborhood. Everything seems normal, yet there’s a lingering sense of dread. The scene builds tension without a single jump scare or dramatic musical cue—it simply lets the audience sit in the unease of what’s coming.  

**Takeaway:** Sometimes, the most powerful way to start a mystery is with restraint. Rather than shocking the audience immediately, a slow, creeping tension can be just as effective. This makes me think about how small, seemingly ordinary moments in an opening sequence can carry an underlying weight, making the audience uneasy without them fully understanding why.  

## Next Steps  

Studying these films has given me a lot to think about in terms of how I want to approach my own project. I’m particularly drawn to the idea of using the opening credits not just as an introduction but as a way to establish mood, foreshadow key themes, and pull the audience into the world of the story.  

Moving forward, I plan to experiment with different visual styles and pacing techniques to see what works best for the tone I want to create. Whether it’s abstract imagery, a slow-building tension, or unsettling details hidden in plain sight, I want to craft an opening that immediately sets the stage for mystery.

Italy Pic :)

The Art Of Visual Storytelling

While traveling through Italy, I’ve found myself inspired not only by the breathtaking landscapes but also by the rich history of art and architecture. This trip has prompted me to think more deeply about visual storytelling—how filmmakers use composition, color, and movement to convey emotion and narrative without relying solely on dialogue. For this research post, I’ll explore the techniques of visual storytelling and how they can enhance the thematic depth and emotional impact of a film.  

 Composition & Framing: Guiding the Viewer’s Eye  

One of the first elements of visual storytelling is composition—how elements are arranged within the frame to guide the viewer’s focus and convey meaning. Directors like Wes Anderson and Stanley Kubrick are known for their meticulous framing. Anderson’s use of symmetry creates a sense of order and whimsy, while Kubrick’s centered compositions often create a feeling of unease or entrapment.  

Practical Application:  

In my project, I want to experiment with framing that reflects the characters' relationships and internal states. For example, placing characters on opposite sides of the frame can emphasize emotional distance, while tightly framing a character can convey isolation or anxiety.  

Color Theory: Setting Mood & Tone  

Color is another powerful tool in visual storytelling. Films like *Schindler’s List* and *In the Mood for Love* use color (or the absence of it) to highlight specific emotions or themes. In *Schindler’s List*, the girl in the red coat becomes a poignant symbol amidst the film’s stark black-and-white palette. Meanwhile, Wong Kar-wai’s *In the Mood for Love* uses deep reds and warm yellows to evoke longing and melancholy.  

Movement: Telling Stories Through Motion  

Camera movement can subtly influence how the audience perceives a scene. A slow zoom can create a sense of intimacy or foreboding, while a handheld, shaky camera can add realism or urgency. Alfonso Cuarón’s use of long, fluid takes in *Children of Men* immerses the viewer in the chaos and immediacy of the film’s dystopian world.  

Practical Application:  

I want to explore different types of camera movement to reflect the characters’ emotional states. A locked-down, static shot could emphasize a character’s feeling of being stuck, while a smooth dolly shot might convey a sense of hope or progression.  

Symbolism & Visual Metaphors  

Visual storytelling also includes the use of symbols and metaphors. In *The Shawshank Redemption*, Andy’s rock hammer and the poster of Raquel Welch serve as physical manifestations of his hope and determination. Similarly, Terrence Malick’s *The Tree of Life* uses recurring images of nature and the cosmos to explore themes of existence and grace.  

Practical Application:  

I’m interested in incorporating subtle visual metaphors that reveal more upon reflection. Perhaps a recurring image of a closed door could symbolize unspoken secrets, or a family heirloom could represent the weight of expectations and legacy.  

Next Steps  

As I continue to develop my project, I’ll experiment with these visual techniques to see how they can enhance the story’s emotional and thematic resonance. I plan to create a visual storyboard that incorporates different compositions, color schemes, and lighting setups to test their effectiveness in conveying the narrative.  

Exploring visual storytelling has reminded me that sometimes the most powerful moments in film are those that don’t need words—where a glance, a shadow, or a shift in color can speak volumes. As I move forward, I’m excited to see how these techniques can bring depth and nuance to my story.

ITALYYYY

Timeline Update: Adjusting for Italy

Creating a timeline early is key to finishing a long-term project successfully. Since I’m in Italy, I need to adjust my schedule to fit travel and potential delays. Here’s my updated plan:  

*Weeks 1-2 (2/13-2/26) – Research & Planning*

- Research film openings and story structures.  

- Finalize the movie plot and draft the script.  

- Location scouting for inspiration while traveling.  

*Week 3 (2/27-3/4) – Pre-Production*

- Storyboarding.  

- Secure filming locations and cast actors.  

- If possible, film establishing shots.  

*Week 4 (3/5-3/11) – Production*

- Film key scenes.  

- Record voiceovers and foley if needed.  

*Week 5 (3/12-3/18) – Editing* 

- Assemble the first cut.  

- Identify areas for improvement and re-record audio if needed.  

*Week 6 (3/19-3/25) – Revisions & Reflection*

- Re-edit and finalize the best version.  

- Draft and review the Critical Creative Reflection (CCR).  

*Week 7 (3/26-4/2) – Buffer Week*

- Final edits and finalizing the CCR.  

*Final Thoughts*

Since I’m traveling, I’m prioritizing research and scripting earlier while shifting production slightly later. The buffer week will help with any unexpected delays. Staying flexible while keeping on schedule is my main focus!

PS: Thank you to my amazing partner Maria to adjusting to my schedule :)

Film Studies

 

A lot has changed over the course of this trip—both in my personal life and in how I want to approach this project. While traveling through Italy, I found myself reflecting deeply on my family, my future, and what this story is really about. Originally, I planned for queerness to be the central theme, but the more I thought about it, the more I realized that wasn’t quite right. My identity has shaped me, of course, and it influenced my home life, but it wasn’t always the biggest thing on my mind. The heart of this story lies in family—the tensions, the moments of connection, and the things left unsaid.  

During my travels, I also spent time studying different film openings, particularly those that establish character, tone, and relationships in an engaging way. Three films stood out to me: *50 First Dates*, *Mamma Mia!*, and *The Proposal*.  

Story Structure  

I originally considered structuring the story in a way that spanned different life stages but I’ve realized I don’t feel ready to write about a future version of myself that doesn’t exist yet. Instead, I want to focus on a smaller window of time, exploring the weight of the past while keeping the story grounded in the present.  

Film Openings & What I Learned  

Each of these films opens in a way that immediately establishes the protagonist’s personality and world.  

*50 First Dates*  

The film begins by showing multiple women recounting their experiences with Henry, played by Adam Sandler. Each woman describes an amazing romance, only for us to realize Henry never follows through—he’s only interested in short-term flings. This montage establishes Henry’s character in a lighthearted, engaging way before we even meet him directly.  

*Takeaway:* A strong opening doesn’t need to start with the protagonist in action—it can build their character through external perspectives. This made me consider whether I could open my story with the family discussing the protagonist before we actually meet them. It might be an interesting way to establish their place within the family dynamic.  

*Mamma Mia!*  

The movie opens with Sophie reading her mother’s old diary entries, setting up the central mystery of her father’s identity. The combination of voiceover, visuals of the Greek island, and Sophie’s excitement immediately establishes the film’s setting and conflict.  

*Takeaway:**Using letters, recordings, or indirect storytelling can quickly establish relationships and stakes. While I don’t want to use voiceover, I do like the idea of incorporating an object or piece of writing that hints at family history or tension—maybe something the protagonist brings home with them.  

*The Proposal*  

This film opens with a fast-paced sequence showing Margaret (Sandra Bullock) in her high-powered job. We quickly learn that she’s a demanding boss, and her assistant Andrew (Ryan Reynolds) is constantly scrambling to keep up. The dynamic is established in under two minutes, giving us immediate insight into their relationship.  

*Takeaway:*Movement and pacing are key to immersing the audience. While my story isn’t as fast-paced, I want to make sure the opening keeps the momentum going. I might consider using the protagonist’s train ride as a way to establish their mental state—showing their anxious energy through pacing, quick glances at their phone, or adjusting their backpack.  

Next Steps  

These films have helped me refine my approach—not just for the opening but for the overall tone of the story. Now that I’m focusing more on family, I want to explore more films that develop a strong supporting cast while keeping the protagonist at the center.  

I’m also interested in films about travel and transition—stories where movement plays a role in character development. Since the protagonist is coming home after time away, I want to explore how physical travel can mirror emotional shifts.  

By the end of the week, I’ll finalize a storyboard, plot breakdown. From there, I’ll refine my approach and prepare for production.