The End of the World

Intro: Text Messages from God.

Inna receives text messages from someone declares himself as God. Though she doesn't believe at first, she is convinced. God warns her about the end of the world. He suggests her to call her friends when she still has time. So she calls them...however, not all respond....so we see what they are doing at that moment when they receive the call.

Menu (Now)

1. Those Damn Lovers (a couple, who are busy when they receive the call.)

2.Andre riding his bike (listening to his Ipod when his phone starts ringing.)

3.Andrew sitting (sub-story on a person who has issues with answering calls and who hates the world.)

4.The Apocalypse Moment 

a. Those Damn Lovers (dying together at an Opera House)

b. Andrew declining the call (he's waiting to the moment that he'll die and he wakes up only to find his phone still ringing. He wouldn't die)

c. The escape under full moon for Inna and Andre (the good ending. Inna and Andre get zapped away from the apocalyptic world to the moon.)

Farewell to Moving On Project

I'm very sorry to announce that I made some changes to the main idea but I'll still be using the same footage for my new idea. I feel like this one is more appropriate for the main theme of World in flux and for branch-out narrative.

What if you know the end of world was coming?

Inna & Andre: At the cross-roads

Andre and Inna met at a book club meeting down-town.

Inna falls in love with Andre who loves to live in his fictionary world as a fiction writer of short stories. Inna, a realist about her life, feels like she has never been inspired by someone other than Andre in her life very much...because for the first time in her life, she is not seeing material things like social class, wealth and etc. as part of the relationship sustainability. However, knowing that she's falling head over heels, part of her tries to push Andre away from her whereas one part of her is madly in love with him. For the first time in her life, Inna faces conflicting ideas about her vision for her life. Should she let Andre be her savior in providing his powerful love? Or should she move on with her life by moving away from Andre? 

The cross-roads phase of a relationship: Letting Go. 

The story that I designed so far represents Inna choosing to push Andre aside. However, she cannot find any way of legitimizing such a decision. So in her mind, she envisions Andre, having an affair with someone else...(vignette 2: Past-Present). Being this uncertain, the fights she's been having with Andre pushes Andre into desperation of losing his love.Thinking that Inna has already made up her mind about breaking up, we see him  move away from Inna. [hence moving on note he leaves on the table] (vignette 4)

The breakdown of communication between these individuals on their personal visions about each other, leads us to vignette 3 which is basically going to show how two forces affect each other in a action=reaction relation. This may be the concluding vignette in which we can see Inna deciding on "moving on" without Andre.

This story on the relationship may be altered throughout the editing process.

-The relationship between the individuals may or may not be explained to the viewers. 

The Vignette Themes and Titles

1)Future (intro)

The break-up. Inna and Andre displayed next to each other in separate frames/ in same frame to show how they are having difficult time moving on from each other. We see visions superimposed on Inna's mind about Andre. This leads us to Main Menu as Andre writes "Moving On."

2) Past & Present

The Affair. What's going on in Inna's mind are alternate scenarios of Andre being unfaithful. She receives calls from Andre which she does not respond.

3) Passive

Breaking objects, diffusion, push and pulls from the surroundings as Andre moves around. (I don't know how I will make this possible...)

4) Turbulence / Tense -In- Between

The maze scene cut-ups from videos shot on the University Ave according to the music. Superimposed images of fast moving cars in Tenleytown.

5) Cut-outs (Outro?)

The mistakes and funny moments during the process.

The Moving On Experience. Scenes to be shot

1) Moving: On...

Scene at Starbucks Tenley. Andre with lots of frozen scenes whereas people in the background move about. I am hoping to put camera in such a way that people walking down the street will be visible. This will be during daylight. A second portion will be shot on the same spot, later on with Andre and Kaydee. Pace will be the same. I am hoping to shoot the cars passing fast in the background as Andre and Kaydee fight over something and as the argument slows down, the pace of the couple adjusts to the pace on the background

Camera:on tripod w/ paning to the sides. 

Light: Daylight / Indoors

2)On Moving...

Scene in dorm, me writing on paper, trying to write something and having writer's bloc.Or defining "Moving On." I am hoping to show the difficulty, procastination over the task. This will be a slow scene which will start around 4 with the darkening sky and having the clock on my table to show the how slow pace of the definition takes place. 

Camera: on my bookshelf overlooking me and my desk. 

Light: dark, scene ends with me turning the light on, light hits the notebook to words "Moving On."

3)Moving on...

Pending.

4)Moving on to...

Formal event. Andre getting dressed up. Hitting the lights off, clinging of keys...he leaves.Darkness, silence...Kaydee wakes up from bed hits the lights on. She may be waking up in her room/ Another room /same room. 

Camera: immobile standing on the corner

Light: indoors

World In Flux: "Moving On"

"Do you ever get the feeling that as world moves on, you are stuck in a moment?"

At very core level, the idea is still the same: "Moving On." 

There will be 6 vignettes

1)Future

2) Past

3) Passive

4) Present

5) Turbulence / Tense -In- Between

6) Cut-outs

"Future" vignette: I am planning about using this as the introduction video to the movie. This will be a remarkable incident, which will tie into the main menu where we will see a set of superimposed flashbacks before we get to the  menu. The menu will have choice of 5 vignettes:

Past, Present, Passive, Turbulence/Tense-in-between, Cut-outs.

All these are actually separate versions of flashbacks that we will be seeing while we are getting connected to the main menu. I am not sure whether or not having independent vignettes or inter-dependent ones topic-wise. The flashback vignettes will show how our past impacts our present and our future. I also want to show how our vision gets altered with regard to our thoughts. This is the "passive" vignette.  

I am planning to have voice-overs, silent portions and musical pieces through-out my project.

The mind bogus: Turbulence / Tense -in- Between. This vignette will focus on the transition phase of moving on. I am hoping to show the never-ending path to an unknown destination,  going around in circles until we somehow ease our mind out of the maze effect. I am still thinking about how to achieve this. Perhaps adding random odd images on to some parts of the video and de-coloration may be helpful. I might be using a very rhythmic song on the background like:

White Stripes: "7 nation army", some portions of David Guetta's tomorrow can wait or perhaps I can use my soundscape project...I don't know yet. 

As For cut-outs, I want to show how we blank-out some good times while we focus on some parts of a story. In other words, these are the details that I found unfit to other vignettes but still wanted to make part of a collage of moments that I captured during the process. 

Throughout the project, I will be repeating some portions of the videos in all videos with a certain variation, meeting the purpose of repetition and variation of our thoughts. 

But is Deep Contact an art work or a video game?

Deep Contact provided alternative choices to audience to follow. Each body part took the viewer to another story. However since audiences make choices and observe consequences (cause-effect) it makes me think about whether or not we should be considering the movie as an art work. Providing alternate scenarios to the audience and leaving it to their free will to design an action can sometimes challenge the "movie" definition. This is the same difficulty I find with Guitar Hero. It allows you to design your character, design a musical piece, perform it without any need of musical knowledge... to me the line between the definitions are getting very thin. And Guitar Hero is considered as a video game whereas I see it as a piece of art.