For Want of Visual Styles
The visual look and style of the film has been at the forefront of the creative teams mind from the very start.
In the early stages of development Nick, Lucy and Ali worked on Pinterest boards to communicate and brainstorm a number of elements such as lighting, colour and set design to ensure all fell in tune with each other to create definitive looks.
The timeline of Marty's story is a little complex. As well as the present day we see flashbacks that reveal why Marty is in this current situation, the
evolution of his OCD and how he’s come to this
point. Then we are lead deeper into Marty's mind to his memories.
We had to ensure that the audience could not only clearly see the different moments in time but also understand the impact these moments have had on Marty's present day life.
"I could have chosen many different styles of filming, the obvious would have been lots of POV shots and close ups of hands. But I made the conscious decision to keep the camera at a distance because that is what makes Marty feel comfortable, the shots are symmetrical, simple and very particular… like Marty there are no more shots than necessary and this is to make the telling of the story as efficient as possible." Lucy Joan Barnes - Director
We are observing Marty’s life; he may be letting us into his mind but he’s still trying to keep us at a distance, he has stuff to do after all.
Shots are overhead, Wide, or Medium Shot with specific close ups.
Movements are slow and smooth, occasionally dramatic cuts to CU to dramatise the
Shots are harshly lit, with the use of shadows and silhouettes to convey how he is hiding
away from the outside world. There area’s of warmth and area’s of shadow in each daytime scene. With practical lights, warm again with shadow almost surrounding the character during evening and nighttime.
Colours are earthy, retro oranges, greens and browns, showing his world that he has created “versus” his memory that he has created.
"When we’re allowed to share his memories in the flashbacks, he allows us to get a little closer… but not too close." Lucy Joan Barnes - Director
These are memories and we often distort
our memories. Lighting these scenes in a garish, theatrical and colourful manner
felt like an obvious choice.
Camera movement also change. All flashbackswere filmed using a Ronin. The camera moves close to Marty, following him - we’re moving through the memories with him as he is allowing us to observe his routine.
Marty's personal memories are triggered by a flashback.
These scenes show the progression of Marty from melancholy to almost numb.
They are filmed with a combination of styles, with the audience taking a stepping back and
observing from a distance.
These are moments when Marty feels like the world is about to swallow him whole.
We filmed at the stunning St Mary's Church, in Reigate. Although restricted with lighting.
The beauty of the location enabled some wonderful shots.
"The style of the film mimics how he keeps his sister at a distance even though he feels he should fulfill this routine to save her."
Lucy Joan Barnes - Director
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