Candidate B Form 6/FPPSCS Film cover sheet: production portfolio SUBMIT TO: MODERATOR — ARRIVAL DATE: 20 APR (20 OCT) SESSION: 5 International Baccalaureate SCHOOL CODE: ‘SCHOOL NAME: + Type or-write legibly using black ink and retain a copy of this form. + Complete one copy ofthis form for each candidate. SUBJECT Film CANDIDATE NAME: Candidate B pee eer See Technology used: Min; OV com Corder, Wate Srovie Maker | J DETAILS OF PRODUCTION Muse Principal role: (Cicle one sole only) DIRECTOR | | eINewTooRarHiER | sound DESIONERIRECORDISTININER {erro Production FOR COMPLETION BY THE CANDIDATE, | Candidate's contribution to film production: | You may wish 10 mention such issues as analytical, echnical, ereative, communication/eamwork, | interpersonal, organizational and decision-making skills. FT participate! egeally x the aarstorrteg process as exch ab ple eter group memes td wake fe fia! Fake eles le bln on dapr tak Uatly war rik ad : | stbool- | | | confirm that this production is my own work. Candidate's signature: Dae: .YIK2.7. Sample Vade Mecum 2005 The arts and electives, flm Page |IB Film SL Rationale for Muse Muse depicts the struggle for passion and inspiration from the perspective of three artists, each working in a different medium of creative expression: music, literature, and visual art, Though each artist begins with a varied degree of inspiration, displaying a wide spectrum of creative potential, each artist experiences the same artistic anguish, ultimately retiring from their attempts at creation, only to find the inspiration they had originally sought. However, this inspiration does not prove uniform as each artist interprets this same event differently, resulting in three distinct products. Muse thereby attempts to grasp the essence of human creativity and motivation.IB Film SL Commentary on Muse ‘Though our group had begun brainstorming formally within the first month of the semester, our brainstorming sessions consisted primarily of ideas we had cach previously had and wished to express in our film. The process was delayed immensely by our conflicting advocacies. As the writer, frustrated by the lack of consensus and the prima facie rejection of my ideas, I made the executive decision to write an idea of mine into a completed script. The speed at which I completed the script was bested only by the speed at which I decided it was no good. I confided my attempt in no one and accepted the ideas and deliberations of my companions. For the next week or so of class we debated the ideas. We each admitted that the best idea was the three-artist plot that Patty had presented, depicting three different artists, each in a different medium of expression seeking varied inspiration from the same source. Matthew and I were of the persuasion, however, that the plot was too deep and complex to complete in less than five minutes. In the final day we had before finally presenting our idea to Mr. wwe settled upon a concept following a character returning a lost item to an anonymous stranger. We worked out and outlined the details of that plot in the same class period that we tumed in our idea to Stedron. This process proved faulty as evidenced in the Figure 1. Screening ideo Rradction FINAL PLA IDEA. ATTENTION: Tie docaztsBndg. Onoe you tin this i, oa wil ek wi ‘he movie premise elo. MAKE SURE tht iss the story you watt to tl the movie you aol epend costes bowre lias. Figure 1.After yet more debate, Matthew and I were persuaded that the three-artists idea was feasible. As a group we decided to include a writer, a painter, and a cellist whose character would be able to fulfill our requirements for an original soundtrack. I soon began the process of outlining and writing the script, which primarily involved converting the vague, general ideas we had for the film into specifically ordered scenes, One such specification included the varied outcome of each of the artists’ sagas; the stories of the cellist and writer began devoid of inspiration and ended successfully, as per the artists’ satisfaction with their works. Conversely, the painter would begin the film enthusiastically, with obvious inspiration and gradually lose motivation until ultimately destroying the work he had created. Each artist’s story included two attempts at creation of art. In the original plot outline the cellist and writer go on a walk together and discuss their respective dilemmas, thereby verbally conveying several important themes of the film (Figure 2), Tie ase cage to he ani men ning pts then being oa se pio ois beady sitalbing feline the scene ets too shot oF the wie nd be cellist walking are discussing, Sher eeupeceive prujecty, The elise begins By explaining dot he can city file vight motos t ploy asin the eight er Bat every tine He ed ap plang er the ia te or segply one woe so0 anany ond inthe whole place: This explanation parallels ihe painter on sencen sain ome oon bis png Ke plans 4 iano wh tho addition 40 fe 0 ret iy iby ding ove pai and ends wp roiling te pi evel. ali ai in sep ne verter and eottst contig ‘ath stop, The camera shows thr sespeesve looks ot somewhat co shack 10 the paler si ct ne. Th nd callist sade is heard ening in Kowa ie the Hare beaks ie rans fo ths anit ining ‘window, The canara slaw the sale cracker bis facet ‘have sections each showing the evertully postive reactions of te charac Figure 2.Upon presenting the script to the rest of my group, Patty and Tracey, whose original idea the script had been based upon protested any major dialogue as antithetical to the silent tone of the rest of the film. The original script also failed to specify the source of inspiration of the artists. This absence was filled during a discussion between Tracey, Patty and I outside of class: we decided that the source of inspiration for each of the artists should be the other artists. We decided to disguise this inspiration through a series of visual implications that the artists drew inspiration from a tree losing its leaves for the fall. The plot twist would only be revealed at the end when the camera would show the painter's finished product, accompanied by a monologue from Patty's character, the waiter, explaining the main themes of the film (Figure 3). OUTSIDE THE PAINTER’S APARTMENT—DUSK ‘The painter emerges from the doorway on screen, holding his painting. The writer starts narrating what she has just written over the sound of the scene. The painter tosses his work to the ground and begins. ‘The camera shows the completed work for the first time. To the audience it appears to be ‘a beautifil and meaningful work, From the comer a flame emerges, which gradually consumes the painting, All the while the writer narrates, essentially describing the painting, which depicts two strangers staring affectionately at each other, but does not Ihave to do with trees or leaves. As the painting is consumed by flames and the writer finishes reading the credits roll om sereen, Figure 3. ‘We began filming by shooting what we predicted would be the most difficult scenes: those involving Matthew's character, the cellist. Although Tracey had storyboarded the shots based on Matthew’s outline prior to the shooting date, most of the shots that ended up in the final film were realized only after arriving on location. This process would become commonplace during the remainder of the production process, although each scene was storyboarded beforchand. Concurrently, Patty began editing theshots we had already filmed and Matthew outlined a strict schedule for the remaining production and post-production (Figure 4). Tae stena so Santa Ry ~ Rye — File due b "hy = Film poser Figure 4. As accorded in the schedule we continued by shooting Patty’s scenes in an unfurnished apartment that Tracey had acquisitioned from a family friend. The simplistic, blank walls proved ideal to emphasize the minimalism of the writer’s character, and the frustration she felts over her trade. While on break from school we filmed our painter character, played by a friend of our group, Ben Lee. AS a talented artist, Ben offered considerable insight on the creative process, and also offered the suggestion of drawing with pastels rather than paining, as it would simplify our filming and appear better on screen, Ben's frustration at having to participate in what he considered a ridiculous film also helped convey the annoyance and temperament of his character. Having completed the production process, post-production began in full; Patty’s editing became more devoted, and Matthew recorded his soundtrack. The editing was fairly straightforward for the most part. However, two points of contention included the shot order during the epiphany scene, in which the artists saw their inspiration, and the order of the scenes in the latter half of the film, On disadvantage of planning the shots on location was that they had no logical order, which was particularly obvious during theepiphany sequence. As a result, each member of the group had a different interpretation of the most logical and insightful order of the shots. Another difficulty arose as some of those interpretations broke from the rigid outline of the scene times, as provided by Matthew (figure 5). Ws dear = Dos Qk 2B. Baitidl de Pinte? Figure 5 The final post production hurdle occurred after we thought the worst was over when each of visual elements was arranged and the sound editing began. As Matthew simply recorded 35 minutes worth of unplanned cello improvisation, it was Patty’s responsibility to sort through all of the music to find a proper sound, and a proper place for that sound, Fortunately, Patty was able to accomplish this successfully and the project was completed on the deadline. The end result, though convoluted, has proven powerful to its audiences. Due to planning and production difficulties, many scenes do not contain a logical structure or a clear meaning. In particular, although it is known that each artist leaves their respective studios in frustration and returns with inspiration, the actual source of inspiration is never thoroughly conveyed to the audience during the epiphany sequence. Likewise, though the audience witnesses the final works of both Ben andatty’s characters’, the source of inspiration for both is unknown, My original intention ‘was for both the painting shown during the final credits, and Patty’s monologue playing concurrently to explain the primary themes of inspiration and insight from the film. Neither successfully conveys any conclusive meaning to the audience. However, the effect of the ending is only thereby amplified. The eerie yet moving forms displayed within the painting Ben destroys, as well as that very act of destruction, convey the desperation of his character. Likewise, Patly’s intriguing monologue conveys her character's passion for her craft, and the nuisance of seeking success at it. Though Muse is a far cry ftom its original intentions, it successfully utilizes film language to elicit its intended reaction from its audience.