A C I N E M AT I C P RO D U C T I O N
THE STORY. SET IN AN OLDER MANSION, CINEMA, T E L L S T H E S TO R Y O F A B AT T E R E D W O M A N W H O H A S F I N A L LY H A N D E N O U G H O F H E R ABUSIVE HUSBAND. STRUGGLING BETWEEN THE COLORFUL MEMORIES OF THEY SHARE A N D T H E C R U S H I N G W E I G H T O F T H E PA I N H E INFLICTS ON HER, SHE MAKES THE CHOICE TO E N D I T O N C E A N D F O R A L L .
Why it works. H AV I N G S P O K E S M E N , L I K E C O U R T N E Y L O V E A N D M A R I LY N M A N S O N R E P R E S E N T I N G T H E I R BRAND, YVES SAINT LAURENT LIVES FOR A S TO R Y F U L L O F C O N T R A S T, C L A S S I C I S M , BEAUTY AND DIMENSION. THERE IS NO B E T T E R S TO R Y T H A N T H AT O F F I L M N O I R . I T I N C O R P O R AT E S E M O T I O N S L I K E L O V E A N D PA I N I N C O N J U N C T I O N W I T H F E E L I N G S L I K E S T R E N G T H A N D L O S S TO D E P I C T H U M A N I T Y A N D V U L N E R A B I L I T Y. T H I S I S T H E N I C H E WHERE SAINT LAURENT FLOURISHES.
Why it works. THOUGH THE USE OF A TIMELESS FILMING S T Y L E L I K E F I L M N O I R W E A R E A B L E TO C R E AT E A M O V I N G V I S U A L R E P R E S E N TAT I O N O F T H E B R A N D . T H E VA R Y I N G E F F E C T S O F L I G H T I N G , W H I C H I S C R I T I C A L TO A S U C C E S S F U L N O I R P I E C E , W I L L N O T O N LY E N A B L E U S T O H A V E CONTRAST THROUGHOUT OUR FILM BUT W E W I L L A L S O B E A B L E TO I N C O R P O R AT E C I N E M AT I C T E C H N I Q U E S L I K E B A C K L I G H T I N G TO F O R M S I L H O U E T T E S , L I G H T I N G F R O M B E L O W TO H E I G H T E N T H E D R A M A A N D M A L I C E O F T H E F I L M A S W E L L A S S P O T L I G H T I N G TO P R O V I D E AT M O S P H E R E F O R T H E V I E W E R . A L L O F T H E S E P I E C E A R E B A S I C E L E M E N T S T H AT YVES SAINT LAURENT FOCUSES ON WHEN FINALIZING PRODUCTS OR PROMOTIONAL M AT E R I A L F O R T H E I R B R A N D .
hOW ITS HAPPENING P rincipal #1: Story is K I NG. T H E K E Y TO T E L L I N G A N Y S TO R Y I S T H E S TO R Y I T S E L F. S O W E H AV E B R O U G H T O N A W R I T I N G S P E C I A L I S T TO T H E T E A M , I S A B E L L A R O Y, S O T H AT S H E C A N C O N V E Y O U R V I S I O N O N TO PA P E R . T H I S E L E VAT E S OUT MURDER MYSTERY FILM NOIR THEME I N TO A D E S C R I P T I V E N A R R AT I V E T H AT H A S C H A R A C T E R S , A S E T T I N G , A N D A P L O T.
hOW ITS HAPPENING P ri n cipal #2: C reate the World. TO H E L P S H A P E O U R W O R L D W E H AV E A PRODUCTION DESIGNER, ASSISTING US WITH L O C AT I O N S C O U T I N G A N D P R O P S . I T I S V E R Y I M P O R TA N T F O R O U R F I L M TO M A I N TA I N A N E L E M E N T O F H I S TO R I C A L A C C U R A C Y. T H E R E SHOULDN’T BE THINGS LIKE IPHONES OR L A P TO P S I N T H E S C E N E S B E C A U S E T H AT IS NOT THE TYPE OF ENVIRONMENT WE A R E C R E AT I N G . I T ’ S I M P E R AT I V E F O R U S TO H AV E O U R P R O D U C T I O N D E S I G N E R , TO H E L P U S W I T H T H E F I N E R D E TA I L S .
hOW ITS HAPPENING P ri n cipal #3: F ocus on cinem atic lens.
the
L A S T LY , W E H A V E T H E F I L M D I R E C T O R , W I L L M O R R I S A N D H I S C R E W, H I S R O L E I S E X T R E M E LY I M P O R T A N T B E C A U S E H E P R E S E R V E S O U R N A R R AT I V E S O T H AT I T B E C O M E S C Y C L I C A L . T O R E A L LY M A K E O U R W R I T T E N S TO R Y C O M E TO L I F E I T ’ S I M P O R TA N T T H AT W E W O R K W I T H T H E F I L M D I R E C TO R TO S E T T H E S TA G E W I T H T H E P R O P E R L I G H T I N G A N D AT M O S P H E R E W H E T H E R T H AT M E A N S F O G M A C H I N E S O R A SPECIFIC POSITIONING OF THE CAMERA. W E A L S O H AV E TO M A K E S U R E O U R V I S I O N O F T H E F I L M I S S Y N C H R O N I Z E D S O T H AT W H AT W E H AV E B E E N P L A N N I N G C O M E S TO FRUITION.
THE PROCESS
THE TEAM // 01
Isabella Costa
Fabiola Miro
PRODUCER
FASHION DIRECTOR
COSTA.ISABELLAN@GMAIL.COM
FABIOLAMIRO@GMAIL.COM
Alexis Atkins
Isabella Roy
CREATIVE DIRECTOR DESIGN DIRECTOR
WRITER
ALEXISNATKINS@GMAIL.COM
ISABELLALROY@GMAIL.COM
WILL MORRIS
FILM DIRECTOR MOTION GRAPHICS WILLAMATION3@GMAIL.COM
DILLON SLACK GAFFER DILLONSLACK@GMAIL.COM
Rebecca Gianforcaro
Paige Bierstaker
PRODUCTION DESIGN
HAIR AND MAKEUP
RGIANF20@STUDENT.SCAD.EDU
PBIERS20@STUDENT.SCAD.EDU
KENDALL JACKSON
GRACE ROKELA
MODEL
MODEL
KENDALL.JACKSON1996@GMAIL.COM
GROKEL20@STUDENT.SCAD.EDU
GANTT CHART // 02
Research Story Copy Mood Board Style Frame Storyboard Art Direction Location Props Equipment Talent Shoot Editing Rough Cut Final Edit
1
2
3
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5
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7
8
9
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14
COMMUNICATION // 03
INSPIRATION // 04
The Man Who Wasn’t There
Double indemnit
Enter the void
Se7e
lovers game
DANCE FOR YO
Parisienne
DOUBLE INDEMNIT
LOCATION // 04
STORY DEVELOPMENT // 05
CINÉMA: AN YVES SAINT LAURENT PRODUCTION SCENE #
SHOT #
LOCATION
SHOT DESCRIPTION
1
A2
BATH TUB
GI RL I N BATH WEARING NI GHTGOWN, CAM ERA STARTS ON HER LEG (G ARTER) AND P ANS UP TO HER F ACE
2
B2
BATH TUB
3
H
HALL WAY
GI RL I S CRYI NG, SMOKI NG A CI GARETTE WI TH MASCARA RUNNI NG DOWN HER F ACE (BL ACK EYE) WOMAN’S HEELS WAL KI NG DOWN A HALL WAY TOWARDS A MAN WHO I S LEANING AG AI NST A WALL I N SI LHOUETTE
4
I
HALL WAY
CAMERA WATCHES WOMAN WAL K ALL THE WAY TO THE MAN AS SHE LEANS I N TO KI SS HI M.
FRAMING
ACTORS
PROPS
NOTES
CLOSE UP SHOT ON GARTER, CAMERA SLOWLY PANS TO HER F ACE, WI DE SHOT OF HER I N THE BATH TUB; P AN RI GHT ACTRESS’ EYE LEVEL
GRACE
CI GARETTE,
BL ACK & WHI TE
GRACE
CI GARETTE
BL ACK & WHI TE
BCU ON HEELS WI DEN TO A CLOSE UP ON HEELS AS SHE NEARS MAN, LOW SHOT
GRACE & KENDALL
HEELS
BL ACK & WHI TE
STATI ONARY; LONG SHOT
GRACE & KENDALL
BL ACK & WHI TE
5
J
HALL WAY
6
K
HALL WAY
7
L
HALL WAY
8
C2
BATH TUB
9
A
OUTSI DE
10
B
OUTSI DE
11
C
OUTSI DE
12
P
BEDROOM
13
D2
BATH TUB
14
Q
BEDROOM
15
G
BEDROOM
CLOSE UP OF WOMAN’S HEAD ON MAN’S CHEST (F ADED BL ACK EYE) WOMAN PUSHES MAN INSI DE ROOM, PL AYFULLY DOOR I S LEFT OPEN AND CAMERA FOLLOWS COUPLE INSI DE ROOM CUT BACK TO WOMAN IN THE B ATHROOM CRYI NG, SHE TAPS ASHES I N TO BATH TUB AS SHE SUL KS. MAN AND WOMAN HAPPI LY STROLLI NG THROUGH PARK HOME MOVI E STYLE, WOMAN L AUGHI NG, TWI RLI NG I N DRESS, SMILI NG, PRESUMABLY AT MAN. COUPLE SI TTI NG QUI ETLY, HOLDI NG HANDS, GI GGLING, WHI SPERI NG I N EAR. WOMAN PL AYFULLY TAKES OFF MAN’S BL AZER, SEDUCI NG. BACK TO WOMAN IN TUB WOMAN PL AYFULLY PUSHES MAN ON BED HAND PI CKI NG UP KNIFE, CLOSE UP OF PHONE OFF THE HOOK
CLOSE UP SHOT
GRACE & KENDALL
BL ACK & WHI TE
LONG SHOT
GRACE & KENDALL
BL ACK & WHI TE
FOLLOW COUPLE I N TO ROOM
GRACE & KENDALL
BL ACK & WHI TE
MEDI UM LONG SHOT
GRACE
LONG SHOT
GRACE & KENDALL
MEDI UM LONG SHOT
GRACE & KENDALL
MEDI UM LONG SHOT
GRACE & KENDALL
MEDI UM LONG SHOT
GRACE & KENDALL
CLOSE UP SHOT MEDI UM LONG SHOT CLOSE UP SHOT
GRACE GRACE & KENDALL GRACE
CI GARETTE
BL ACK & WHI TE
COLOR CAMERA
COLOR
COLOR
BL AZER
KNIFE
BL ACK & WHI TE BL ACK & WHI TE BL ACK & WHI TE BL ACK & WHI TE
16
D
OUTSI DE
17
R
BEDROOM
18
E
OUTSI DE
19
F
OUTSI DE
20
E2
BATH TUB
21
S
BEDROOM
22
T
BEDROOM
23
U
BEDROOM
24
V
BEDROOM
25
W
BEDROOM
COUPLE SLOW DANCI NG CAMERA BEHI ND WOMAN. SEE HER HOLDI NG THE KNIFE BEHI ND HER BACK AND THE MAN LYI NG ON THE BED. QUICK FLASH HAPPY COUPLE SCENE QUICK FLASH HAPPY COUPLE SCENE; HE GI VES HER A ROSE SHOT OF WOMAN GETTI NG OUT OF TUB CAMERA LEVEL STAYS SAME SO SHE BREAKS THE FRAME MAN SCARED, MAN BACKI NG UP, ATTEMPTI NG TO GET AWAY, ON BED CLOSE UP OF WOMAN’S FACE SMILI NG SHOTS OF WOMAN GETTI NG DRESSED (DRESS ZI PPI NG, ETC.) SHOTS OF WOMAN GETTI NG DRESSED WI TH PERFUME MAN LYI NG DEAD I N BED, WI TH HI S HEAD SLI GHTLY OFF I T; WOMAN LEANS DOWN AND KI SSES HI M LEAVES LI PSTI CK PRI NT
MEDI UM LONG SHOT MEDI UM SHOT
GRACE & KENDALL GRACE
LONG SHOT
GRACE & KENDALL GRACE & KENDALL
MEDI UM SHOT
COLOR KNIFE
BLACK & WHI TE
COLOR ROSE
COLOR
ACTRESS EYE LEVEL
GRACE
BLACK & WHI TE
LONG SHOT
KENDALL
BLACK & WHI TE
CLOSE UP
GRACE
BLACK & WHI TE
CLOSE UP
GRACE
BLACK & WHI TE
CLOSE UP
GRACE
MEDI UM LONG SHOT
GRACE & KENDALL
PERFUME
BLACK & WHI TE BLACK & WHI TE
26
M
HALL WAY
27
F2
BATHROOM
28
X
BEDROOM
29
Y
BEDROOM
30
N
HALL WAY
31
Z
BEDROOM
32
0
LI VI NG ROOM
WOMAN L AUGHI NG, STUMBLI NG DOWN HALL WAY SHOT OF WOM AN LOOKI NG AT HERSELF I N THE MI RROR WOMAN LI ES DOWN NEXT TO DEAD BODY CLOSE UP OF WOMAN’S F ACE ON BED CLOSI NG HER EYES WAL KI NG DOWN HALL WAY WOMAN L AYS FLOWER ON DEAD MAN AND LEAVES WOMAN REL AXI NG ON COUCH, BLI NDS CAST A SHADOW, SHE’S SMOKI NG AND DRI NKING
LONG SHOT
GRACE
BL ACK & WHI TE
CLOSE UP
GRACE
BL ACK & WHI TE
BI RDS EYE SHOT CLOSE UP
GRACE & KENDALL GRACE
BL ACK & WHI TE BL ACK & WHI TE
LONG SHOT
GRACE
CLOSE UP
GRACE & KENDALL
ROSE
BL ACK & WHI TE BL ACK & WHI TE
MEDI UM SHOT
GRACE
WI NE GL ASS, CI GARETTE
BL ACK & WHI TE
MOOD BOARD // 06
STYLING INSPIRATION// 07
BEHIND THE SCENES // 08
TYPE // 09
ROUGH CUTS // 10
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edit 00
edit 004
edit 00
edit 006
edit 00
THE PROCESS
THE TEASER // 11
THE FILM // 12
EXTRAS // 13
DOCUMENTS // 14
REFLECTION // 15
reflection C R E AT I N G A FA S H I O N F I L M WA S A H U G E S T E P U P F R O M T H E G I F P R O J E C T. I T I N V O LV E D A L O T O F C R O S S P O L L I N AT I O N I N T E R M S O F C O L L A B O R AT I N G W I T H O T H E R D E PA R T M E N T S . W E W E R E A B L E TO W O R K WITH FILM AND TELEVISION, PRODUCTION DESIGN AND EVEN THE W R I T I N G D E PA RT M E N T. H AV I N G A L L O F T H E S E D I F F E R E N T P E R S P E C T I V E S C O M E TO G E T H E R S T R E N G T H E N N O T O N LY T H E L O O K O F T H E F I L M B U T A L S O T H E S T O R Y BEHIND THE FILM. IF OUR TEAM LEARNED ANYTHING IT WOULD BE THESE TWO THINGS, F I R S T F L E X I B I L I T Y I S K E Y. M O D E L S W I L L C A N C E L , C L O T H E S L O O K R I G H T W H E N T H E Y A R E A L L P U T TO G E T H E R B U T B E I N G A B L E TO R E G R O U P A N D S O LV E I S W H AT H E L P E D O U R G R O U P P R O G R E S S . T H E O T H E R L E S S O N , I S T H AT T H E R E W I L L A LWA Y S B E S O M E T H I N G TO E D I T. B E T W E E N T H E T E A S E R A N D T H E F I L M W E H A D A B O U T 2 0 + E D I T S C H A N G I N G C O L O R G R A D I N G , S E Q U E N C I N G , F O N T, T I M I N G A N D M O R E . T H E E D I T I N G P R O C E S S , I S W H A T R E A L LY D R O V E H O M E H O W M U C H W O R K G O E S I N TO P R O D U C I N G A F I L M .
A C I N E M AT I C P RO D U C T I O N