We came back to the Ave. fresh-faced and ready to create a masterpiece. Kiley -who will NOT be shown here to maintain suspense -was dressed to the nines in a borrowed blazer, a loaned belt, and some slick shades. We modeled her after a hypothetical combination of the two biggest film noir archetypes: the grouchy, cynical private inspector meets femme fatale. Here, we were able to film the most important shots, demonstrating her actual character arc, showing her motivations and establishing the very beginnings of a storyline as the camera follows her from her car along to a crowded, cosmopolitan boulevard. Of course, since the finally footage is going to be in black and white, we decided to film in a slightly lighter setting than the film will actually take place, since we can always lower the exposure and raise contrast in post. I was the primary cinematographer in this case, though we all contributed, and we brought two cameras and a dozen ideas to the scene this time around...
Carmen is complete! Before posting this final edit, we got some peer reviews from our fellow filmmakers, and for the most part they were exceedingly positive! On the whole, most of the viewers praised the atmosphere that we managed to create, citing the music choice and low-key lighting and editing as factors. The only real criticisms that we received were concerned with the plot, and focused on the lack of an overarching structure and the open-endedness of the last few shots in the opening. After reviewing these criticisms, we decided not to change the structure of the film, because we thought that, although these criticisms would definitely be valid in the context of a full-length film, since its a film opening this openness was more than acceptable as more complicated plot details would be addressed in full over the course of a longer movie. Additionally, we wanted to keep the air of mystery and intrigue that this wealth of interpretations provided, and so we decided to maint...
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