CINÉMA YSL - PROCESS BOOK

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

4

5

6

7

8

9

10

11

12

13

14

COMMUNICATION // 03

FACEBOOK

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

edit 002

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