I would focus on the hijinks of my past Punk life. It was a time when I always wearing the plaid shirt and, like most angsty teens there was a lot of unrest between me and my parents. There was a very masculine feeling about the clubs that I went to and the music that the bands played. I might even show the movie from the perspective of the shirt. I know that's kind of literal but hopefully, that would make the movie slightly less cliche. It would show the travels of the shirt as it's sleeve hung out of my '78 Thunderbird's window, as it had beer spilled all over it, it gets drenched in sweat from the mosh pit, it gets a cigarette burn on the shoulder from a careless smoker, it lays in the grass to look at the stars and at the end of the night it gets shoved to the bottom of the hamper in hopes that Mom won't be able to smell the booze and cigarette stench when she comes to do laundry. All the shots could be super zoomed in so the audience may catch and hand or a strand of purple hair, but never the full picture. That's how my life was back then. Very myopic. Never really looking at the whole picture. I chose sides in an instant.
Music and sound would play a big part in clarity of location. But, the music would always be louder than people's voices. Every once in a while the audience would catch a snippet of dialogue through the music.
"A film that weaves through the threads of a lost generation. Looking through the buttonholes of an unexpected, but familiar protagonist."
I can sort of already see the film you're gesturing toward (or at least a version of it). It could work well to structure POV in terms of that of the shirt (or more specifically in terms of the fabric's interaction with pertinent contexts/substances/scenes, tactile, visual and otherwise). And the use of the shirt's "POV" would not have to be literal: It could be interesting to simply use the pertinent interfaces (flapping in the wind, soaking up beer and smoke, lying against blades of grass) as guidelines for the composing/structuring of a given scene (or an entire film).
ReplyDeleteI'm intrigued by your ideas for use of sound, as well. Certain directors (David Lynch among them) use sound in a way that belongs neither to diegetic or non-diegetic context--it's neither "source" nor "score" to use production terms. This same basic element drives all film, albeit often in visual rather than auditory registers. It might be worth looking at Lynch for use as a possible source in your use of music.
100/100
CS