Screenplay with visual aids

A) INT. WHITE VOID - Soft yellow paint drips on an empty white surface. It begins in the middle of the frame, small drips at first. The dripping continues, picking up speed and quantity. YELLOW begins to move in a spiraling motion. Increases speed and quantity.

B) POWER TOOL SHOTS - A heavy duty DRILL spins away. We see the rear of the Drill, as if we are holding it. Next, we focus in on the Drill bit spinning. TURBINES and PISTONS power up.










C) WHITE/YELLOW SPACE - Yellow paint is circulating rapidly. ORANGE drips onto Yellow and they blend together in a spiral of movement, imitating the spinning of the power tools.

D) POWER TOOL SHOTS - Drills, Turbines, Pistons, and PULLEYS increase their speed and intensity. We see each object growing in their individual shots. We see each object in all three angles while moving- rear, side, front. The shots move quickly from one another.

E) INT. WHITE/YELLOW SPACE - Yellow and Orange are swirling together. RED paint begins to drip on top of the spiral. The paint is covering the screen now, a full frame of color. Enter the Drill, it spins furiously into the spiral of deep orange paint, splattering color from every angle. Enter drops of deep PURPLE. Purple paint drips heavily into the mix of drilling paint. A pulley joins in, pulling up paint and dropping it back in center.


F) SEMI AND TRAIN WHEELS - Next shot of rotating Semi wheels moving at a heightened speed. Shot moves into Train wheels pushing across screen. The movement shifts and shows steam billowing from the train engine.

G) INT. WHITE VOID #2 - Purple ink (in water) flows up from the middle of the screen. It continues to move through the frame, growing in volume, but not intensity. It is flowing, not rushing through the space.

H) INT. REDISH/PURPLE PAINTED SPACE - The paint slows it speed in its spiral. The Drill and Pulley slow their pace as well. The paint begins to flow downward to the right of the screen. We now see less paint and pigment, power tools are still spinning slowly but steadily. Yellow paint drips back into middle of scene. It does not grow in speed, yet remains steady and calm amidst the power tools. A peaceful structure has been restored.

END

SCREENPLAY: MELLIFLUOUS MACHINE

EXPERIMENTAL:

A) INT. WHITE VOID - Soft yellow paint drips on an empty white surface. It begins in the middle of the frame, small drips at first. The dripping continues, picking up speed and quantity. YELLOW begins to move in a spiraling motion. Increases speed and quantity.

B) POWER TOOL SHOTS - A heavy duty DRILL spins away. We see the rear of the Drill, as if we are holding it. Next, we focus in on the Drill bit spinning. TURBINES and PISTONS power up.

C) WHITE/YELLOW SPACE - Yellow paint is circulating rapidly. ORANGE drips onto Yellow and they blend together in a spiral of movement, imitating the spinning of the power tools.

D) POWER TOOL SHOTS - Drills, Turbines, Pistons, and PULLEYS increase their speed and intensity. We see each object growing in their individual shots. We see each object in all three angles while moving- rear, side, front. The shots move quickly from one another.

E) INT. WHITE/YELLOW SPACE - Yellow and Orange are swirling together. RED paint begins to drip on top of the spiral. The paint is covering the screen now, a full frame of color. Enter the Drill, it spins furiously into the spiral of deep orange paint, splattering color from every angle. Enter drops of deep PURPLE. Purple paint drips heavily into the mix of drilling paint. A pulley joins in, pulling up paint and dropping it back in center.

F) SEMI AND TRAIN WHEELS - Next shot of rotating Semi wheels moving at a heightened speed. Shot moves into Train wheels pushing across screen. The movement shifts and shows steam billowing from the train engine.

G) INT. WHITE VOID #2 - Purple ink (in water) flows up from the middle of the screen. It continues to move through the frame, growing in volume, but not intensity. It is flowing, not rushing through the space.

H) INT. REDISH/PURPLE PAINTED SPACE - The paint slows it speed in its spiral. The Drill and Pulley slow their pace as well. The paint begins to flow downward to the right of the screen. We now see less paint and pigment, power tools are still spinning slowly but steadily. Yellow paint drips back into middle of scene. It does not grow in speed, yet remains steady and calm amidst the power tools. A peaceful structure has been restored.

END

Industrial and the organic

For this video, I think I will start out with paint instead of the industrial. The bike wheel is going to be replaced with heavier more industrious materials. I was thinking of using train wheels, turbines, pistons, power tools and pulleys. Some of this, I might have to use found footage. Beginning the video with paint, I would start slowly- showing slow movement then pick up the pace. From the paint, I would move to separate shots of power tools and pulleys then back to paint, increasing the speed and movement. Then I would show train wheels, hitting the climatic point. I was thinking I could use billowing smoke and paint swirls together after the train clip. Then I want to actually move the power tools and other items of the industrial through paint--maybe have a drill spinning through paint or the pulleys lifting up and splattering back down. I really like the visuals of forging. And if I could use some found footage maybe this would work well with the bright colors of paint: Imagery ideas for pulleys: Angle of train wheel clip: I like this video for the quick movement. I'm not sure how to intensify the movement without elapsing the time like this, but maybe by color and quantity. Just ideas.

Final Project Proposal

EXPERIMENTAL Through spinning wheels and splattering paints, I want to create a short film that alludes to the industrial/organic balance. Technology and biology (the organic) are often presented in a dueling dichotomy. I feel it is important to express the symmetry of the two. Nature feeds man. Man feeds technology. Technology feeds nature. They coexist and are cyclical in their essence. I am using a bicycle wheel to embody the industrial and/or technological. It is made of metals and solid in form, yet its fluid motion evokes a calming organic sensibility. The ink and paint drips mimic the organic in biology. I will be using bright colors as that of scientists' dyes. I want to open with the spinning hub and expand outward, showing the full wheel in rotation. I want to unfold smooth, seamless transitions between the wheel(s) and the fluid paint: droplets, spills and swirls. To better visually harmonize the two materials, I plan on using some bright colored spoke lights on the wheels. This should give it a more un-interrupted ambience. The goal is portraying one cohesive unit. I want to demonstrate a crisp but satisfying symphony. It will be captivating, yet simply meditative. My prime audience would be men or women, 40-60, who feel they belong only to categories and stereotypes, who still feel the need to categorize and classify, and who feel there is always a need for division.

I've been thinking about representing meditation as a pattern or form of repetition. I feel constant repetitive actions turn the mind to dial in that sort of space. Even an action such as running can trigger a "high", or a clean state of mind. I'm considering using running(a human jogging) and running water as stimulates.

MOVIES ON MY MIND

CLASS MOVIES: I've been thinking about movies with unexpected twists or shifts. I am looking to reel the viewer in and then have something change that causes them to think-- and not just think but have their minds twirling in thought. I watched Mulholland Drive over two weeks ago and it is still churning in my mind. Lynch had me caring for the characters, had me feeling I knew them, and then said: you don't know a thing. But, there were clues yet. I finished the film in disgust. I thought I hated it (only because before the shift, I thought I liked it). However, if I do hate it, I love how much it made (is making) me think. ANYONE want to talk more about this film, lets do. What David Lynch film should I watch next? Shifts and twists: Even in American Beauty, the viewer knows he is going to die from the first minute of the film, however we don't know when and how. It just keeps building. I really enjoyed the tension in this film. And of course, I am plagued to forever see the rule of thirds. Forever. The framing in Kar Wai's In the Mood for Love and 2046, is amazing. I love the frames within frames. I think this would lend itself beautifully to the concept of meditation. A place within a place. I want to incorporate a great deal of movement and dimension within my work. The idea of the bicycle wheel and paint resembles qualities of futurism (thank you, Jorge). I like the joining of the organic with machine. I feel they are not two but one. This Meat Beat Manifesto music video is a good example of the combination. I want mine a little more abstract in its space-- similar to the line drawing webbing in the middle of the video. I I also want to use many colors and shapes coming into focus and moving out. I really enjoyed the beginning of Zietgeist, especially when it shows the more cosmic images moving about. Be careful the very beginning of this video hurts my eyes and makes me want to vomit.

Ideas for the first video

1. I want to show a bicycle wheel in motion, that turns into paint while spinning. I have spoke lights on my wheel similar to those on this motorcycle: 2. What I want to mainly focus on in this class is more experimental, bringing my paintings to life. I want to make them living environments. I'm not sure exactly where to go with it quite yet, but these videos are along the same idea... 3. Another idea I have is to film a set for my meditations. It would include a chair, notebook, pen, glass of water, a metronome,a fan, a pinwheel, a paddleball... I want to show patterns in motion that help induce thought processes.