Project: 3.0 — Final Major Project Page 3

Invisible visuals: graphic design for the film

Everything you see in the film, like a newspaper or a telegram, should be designed by someone; and it plays a huge role in such a movie as The Grand Budapest Hotel. That is why we can see Annie Atkins’ work all over throughout the film. She describes her experience of collaboration with Wes Anderson and his production designer Adam Stockhausen this way: I doubt I’ll work on a more beloved film that pays so much attention to graphic design again in my lifetime, so not a day goes by when I don’t thank my lucky stars (and Wes and Adam!)… More

Visionary or creator: who is who

When I was talking about creating an atmosphere in the movie, I used to mention only a director, but it is not actually fair. To be honest, it is always the result of the work of a trio: screenwriter, director and production designer. While screenwriter and director are visionaries, the creation of a world, as a matter of fact, is a production designer’s responsibility. To know more about this role, you could go here. If we talk about The Grand Budapest Hotel, we have a not common situation, when produser, writer and director is the same person, Wes Anderson. Therefore,… More

Wes Anderson

The next director, master of creating an atmosphere is Wes Anderson (according to my own ranking system). Particularly, one of his latest films, The Grand Budapest Hotel (2014) is of my biggest interest in this field. I like the way he creates his own worlds in the movies, using the whole specter of tools from filmmaking techniques to perfectionist’s attention to every detail, every object in the frame. Here is a nice overview of the visual language, that shows us how important different details for the right perception: Cover image:… More

Talking about atmosphere: Kubrick

Talking about an atmosphere in movies, one of the first names that come to my mind is Stanley Kubrick. He was the master of his trade and during his career developed some trademark features, such as breaking the story into three particular acts, specific pace of the narrative, one-point perspective in the most important shots, stunning music, and complicated tracking shots. This list could go further, but the most important conclusion I have made for my research: his works are overstudied and over-analysed, so it will be too hard to find something new there, which I could adapt for interaction design… More

Cuts and transitions

Watching movies, I found for myself that cuts and transitions play the huge impact on my perception of the story and atmosphere of the movie, so to be able noticing them I found this great video explaining that: Cover image:… More

How to read a screenplay

As I mentioned previously, writing a script is different to regular literary writing, thus it requires a particular way of reading it. Scott Mayers describes his way of reading screenplays in a series of blog post here: How To Read A Screenplay: Parts 1–7 Here are the main steps you better to take digging into a script you are reading: The First Pass, go here. The Scene-By-Scene Breakdown, go here. Plotline Points and Sequences, go here. Subplots, Relationships and Character… More

What the flip is screenplay?

Wondering about cinema, cinematic storytelling, creating an atmosphere and director’s work in general, the question that had arisen in my mind was where is the origin of creating an atmosphere in a movie takes place. And apparently, it starts in the screenwriter’s mind and he has to somehow transfer it onto the paper. Writing a script is totally different from the book writing or so because, first of all, a film is about showing things, not telling them. For example, it is ok to narrate two-page inner dialog of the main character in the book, but it is a complete nightmare… More

Atmosphere: uncertainty of meaning

Thinking about interaction design and cinema, in particular, there is the important component which is crucial in creating an immersive experience — atmosphere. From Greek ἀτμός (atmos) translates as ‘vapour’, and σφαῖρα (sphaira) means ‘sphere’. Originally, this term refers to a layer of gases surrounding a planet or other material body, that is held in place by the gravity of that body. But it also found its place in architecture and spatial design to define the sensorial qualities that space emits. German philosopher Gernot Böhme has also expanded on the architectural atmosphere, in his essay “Atmosphere as the… More

Interactive storytelling

The question I want to make clear is what the difference between interactive storytelling, interactive movie, interactive drama, interactive fiction, interactive narrative, interactive narration and art game. So I will try to figure it out in this article. It is not a comprehensive investigation, just a forming of a clear general understanding. Let’s start with definitions (from Wikipedia): Interactive storytelling (also known as interactive drama) is a form of digital entertainment in which the storyline is not predetermined. The term interactive video usually refers to a technique used to blend interaction and linear film or video. Interactive… More

Interactive video: Her Story

For my final major project, I decided to explore the intersection of storytelling, cinematography and interactive design. Interactive movies have a long story since the first was released in 1967 (Kinoautomat by Radúz Činčera) and with today’s technological possibilities it is getting even further and becoming more accessible, thus more widespread. That is why the Sam Barlow’s game Her Story is of particular interest to me.  This game is a great example of an unusual non-linear narrative. Right from the very beginning, it immerses you in its own atmosphere. There is no direct instructions, just the interface of an old-school PC desktop… More