Disc artwork -

What If Metropolis - Final Crit Presentation

Final Scene

I seemed to have lost my render snap shots of all the build up to the final scene as i rendered out the last image so all i have is the build up in wire frame.... such a shame. But if anyone knows why that actually happened let me know!!?

Maya - Exterior Lighting - Romantic And Night -


Maya - Whimsey house sunset

Third type of building -

Maya - Character lighting and Rendering -

Film Review - Only God Forgives


Release date - 2013
Director - Nicolas Winding Refn
Genre - Crime fiction, Thriller, Drama.

Lets begin with a slight summarisation of the film, Julian, A nearly silent, largely unemotive small time crook is played by Ryan Gosling an American dealer living in Bangkok where he runs a Thai boxing club in order to hide his illegal drug dealings. His brother, Billy, a disturbed and psychotic man states that he wants to have sexual encounters with a 14 year old girl, later going on to rape and kills a 16 year old prostitute. This is where the main antagonist shows up, (Vithaya Pansringarm) going by the name Lieutenant Chang, a mysterious policeman who applies his own violent justice in the streets of Bangkok. Lieutenant Chang forces the prostitute’s father to kill Billy before cutting his hand off for having allowed his daughter to sell her body. But when Julian finds the prostitute’s father to avenge his brother’s death, he understands that the man is not the person truly responsible for it. Julian and Billy’s mother, played by Kristin Scott Thomas, leaves America and comes to Bangkok to ask her son to find Billy’s assassins. Seeing the inaction of Julian, she enters into an agreement with Byron (Byron Gibson), a drug leader in Bangkok he has to murder Lieutenant Chang in exchange for a large supply of cocaine. Byron’s assassins fail to kill the Angel, and from this moment the family’s descent into hell.

Julian’s very psychology is far from the confident gangster Hollywood has accustomed us to. Julian’s character does not escape the theme of redemption, but his own quest is more personal, he is uncommunicative, anxious and uncertain, refusing to act because he feels he wouldn’t do the right thing. A prime example of that would be his relationship with a classy prostitute, Mai, as we see in the scene in which Mai slowly attaches him to his chair before performing sexual acts in front of him, Julian never touches Mai sexually, he holds back, as if he was afraid of doing things wrong, to understand the characters restraint more you really have to wait until the dinner scene with Mai, Julian and his mother Crystal to start understanding his restraint, Crystal, harsh and vulgar, clearly insinuates that she had an incestuous relationship with Billy. She thinks that Julian has always been jealous of his brother, almost accusing him of not wanting to avenge him, Julian doesn't react to one vulgar thing that is said but reacts badly to Mai when she questions how he can let her speak to him like that, only stating "because she is my mother".

One of many scenes where Julian stares and his fists, possibly with guilt from what he did to his father.

Julian's restraint and worry to not do anything wrong might be because he is afraid, he killed his own father with his bare hands. explaining his visions, like the one in which he sees his hands covered with blood in his bathroom, his passed actions haunt him because he keeps a slight bit of moral without knowing how to manage it. He is not seeking forgiveness for an action he would define undoubtedly bad, but instead is seeking a meaning to the goodness he has in himself but which is crushed by his irrational violence. He is seeking the balance he’s never had, a way of conduct . which is somewhat shown when he chooses act more like Lieutenant Chang, saving his innocent child and even close to the end taking one of his weapons and using it one his already dead mother.

Or perhaps because of this films surreal and extreme universe where no one is allowed to make mistakes, you're either classed as a criminal, policeman or a civilian. Civilians being obedient immediately become uninteresting, moulding into the set almost. But it clearly shows the directors intention, to highlight the more disruptive characters.

Example of civilians moulding into the set, they are told to close their eyes no matter what they hear, making them some what invisible leaving to focus on the police and the criminal.

Characters aside people's views on the film were very split, unlike the earlier release of Drive (2011) now the two films share a lot of similarities  but one has seemed to rise to success where as Only God Forgives has caused an uproar, Both films seem like there was minimal script written forcing characters to have slow paced conversations and stare at each other for long amount of time. Jonathan Kim is one person who didn't appreciate the dialogue either "When people do speak, it's so slow, stilted, and artificial that there's hardly a single sentence of realistic dialogue in the entire film." (Kim, 2013) But where the script lacks the film is very dramatic in it's colour sense, much like in Suspiria (1977) , much of the film its like you're looking through a deep red filter with the occasional slice of blue for contrast or feel you're sitting in a pitch black room with the characters where only they are seamlessly highlighted by the minimal spots of light. I draw attention again to Jonathan Kim noting the colours, "The saturated color palette, the slow camera moves, the stone-faced, silent hero..." (Kim, 2013). but it seems even if other reviews not the use of colour they still don't agree with how its done "The film was shot in Bangkok, which the cinematographer Larry Smith has lit up like the inside of a Dutch whorehouse." (Arikan, 2013) Only God Forgives is remarkable in a cinematic sense but debatable about the rest.

Prime example of colour palette, deep reds and blue taking over the scene.

Illustration List - 

Figure 1. 'Ryan Gosling Looks... Different on the 'Only God Forgives' Poster' From: Only God Forgives. Directed By: Nicolas Winding Refn. [Film Poster] Denmark, France, Sweden, United States: Radius-TWC, Lionsgate UK. At:http://cdn-media.hollywood.com/images/l/goslingposter.jpg.

Figure 2. 'Only God Forgives' (2013) directed by Nicholas Winding Refn' From:Only God Forgives. Directed By: Nicolas Winding Refn. [Film Still] Denmark, France, Sweden, United States: Radius-TWC, Lionsgate UK. At: www.londoncitynights.com.

Figure 3. 'hqdefault.jpg' From:Only God Forgives. Directed By: Nicolas Winding Refn. [Film Still] Denmark, France, Sweden, United States: Radius-TWC, Lionsgate UK. At: http://i.ytimg.com/vi/MQoxB4zKwHA/hqdefault.jpg.

Figure 4. 'Yes, No, Maybe So: "Only God Forgives" - Blog - The Film Experience'  From:Only God Forgives. Directed By: Nicolas Winding Refn. [Film Still] Denmark, France, Sweden, United States: Radius-TWC, Lionsgate UK. At: http://thefilmexperience.net

Bibliography - 

Arikan, Ali (2013) Only God Forgives From: Only God Forgives. 
In: http://www.rogerebert.com 19.07.13 [online] At: http://www.rogerebert.com/reviews/only-god-forgives-2013 (Accessed on 9.12.14)

Kim, Jonathan (2013) ReThink Review: Only God Forgives - What About DriveNow? From: Only God Forgives. In:http://www.huffingtonpost.com 09.21.13 [online]
At: http://www.huffingtonpost.com/jonathan-kim/rethink-review-emonly-god_b_3638257.html (Accessed on 9.12.14)


Film Review - Suspiria

Release date - 1977
Director - Dario Argento 
Genre - Mystery, Horror, Thriller.

Suzy Bannion is a new student from the United States travelling to Germany to join an exclusive ballet academy, when her plane arrives at the airport late at night she notices as she approaches the door to outside that there is a severe storm. She is absolutely drenched by the time a taxi finally stops to pick her up and the driver will not even help her with her bags. The cab driver proceeds to be extremely rude to her, clearly not pleased with her incorrect pronunciation of her intended destination. When Suzy arrives at the school and is almost knocked down by a young woman dashing out into the rain and wind. The woman looks terrified and is saying something to an unknown person just inside the door before racing off. The young fleeing woman did not leave the door open for her and the voice on the other side of the intercom refuses to allow her entry. Tired and soaked, Suzy returns to her taxi and is driven to a hotel for the night. So begins the nightmare that is Suspiria.

The setting for the highly stylised nightmare is an exclusive ballet academy in Germany, A rather bizarre charlatan of a building, bathed in a violent red, the building seems torn directly from Argento's own imagination, however it is in fact an actual location, Haus Zum Walfisch (Whale House) in Freiburg, Germany. Everything about this space is over the top, the architecture of the academy, the vibrant colour scheme and the almost slap-dash madness of the building's layout. Seen in figure 2 and 3 the dramatic colour scheme.

Exterior shot of the academy 


The cinematography is truly wonderful, and still has some of the best uses of colour in film history,
The scene where all the characters have to sleep downstairs together is the most memorable, with the red lighting found throughout the room. All of the murder sequences feature a rush of brilliant red, yellow, and blue colours.

Girls sleeping downstairs with dramatic backdrop.

Undoubtedly the most striking element in this film is the use of colour. Colour which at once saturates and overwhelms the audience, not a single shot is free of its heavily stylised use. Reds, the most prominent of the film’s colours warn us of impending doom, softer lavender and blue colours steep the frames in their ominous glow. Indeed, it is the colours and the image that dominate this film, carrying the audience beyond the narrative. Jesse M makes a point about the colours and how Argento uses them, "Those reds and blues become some of Argento's most powerful tools. Over the course of the film, he turns the reds and blues into puppet strings for our emotional responses, and then he delights in pulling them, left and right, red and blue, forcing us to do a psychological dance." (J.M, 2010)

The film's music creates a state of irrational anxiety. Goblin's music is just as important to Suspiria as the stylized imagery, despite the fact that the band composed the music before seeing the film. The music just fits perfectly, becoming inseparable from the bright, creepy images. The chimes and bells of the main theme, which reappears frequently, is often joined by whispery chanting. The word "witch" is whispered in the music long before any of the characters actually say it, which makes it seem like the music is foreshadowing the film's plot with their haunting music. Again i take note from Linda Schulte-Sasse when she too talks about the music and how the sound is so brilliant it even affects the time when there is none "Moreover, the power of the soundtrack makes silent passages in the film all the more tense, all the more silent." (Schulte-Sasse, .N.D.)

Suspiria is considered by many to be the best work ever by Dario Argento, One of those people may be Linda Schulte-Sasse commenting,"Dario Argento has been called the "Italian Hitchcock" and the "Visconti of Violence."" (Schulte-Sasse, .N.D.). The use of lighting, camera angles, close-up and music, performed by The Goblins with input from Argento himself, create a sinister and surreal shroud of dread and angst. The secret purpose of the school and everyone employed there develops slowly before building to climax of intensity and sheer horror.

Bibliography - 

M, Jesse. (2010) 'Chromatic March analysis: Suspiria (1977)' From: Suspiria 
In: http://benefitofthedoubt.miksimum.com 03.12.10 [Online] 
At: http://benefitofthedoubt.miksimum.com/2010/03/chromatic-march-analysis-suspiria-1977.html
(Accessed on 8.12.14)

Schulte-Sasse, Linda (N.D) 'The "mother" of all horror movies' From: Suspiria
In:http://www.kinoeye.org [Online]
At: http://www.kinoeye.org/02/11/schultesasse11.php (Accessed on 8.12.14)

Illustration List - 

Figure 1. Suspiria film poster (1977) From: Suspiria
Directed By: Dario Argento [Film Poster] Italy: Seda Spettacoli At: http://joshhollis.com

Figure 2. Suspiria film still (1977) From: Suspiria Directed By: Dario Argento [Film still] 
Italy: Seda Spettacoli At: http://cdn-static.denofgeek.com

Figure 3. Suspiria Interior still (1977) From: Suspiria Directed By: Dario Argento [Film still] 
Italy: Seda Spettacoli At: http://whiggles.landofwhimsy.com/hdcaptures/suspiria04.jpg

Figure 4. uspiria Interior still (1977) From: Suspiria Directed By: Dario Argento [Film still] 
Italy: Seda Spettacoli At: http://3.bp.blogspot.com


Film Review - The Shining

Release Date - Stanley Kubrick
Director - 1980
Genre - Physiological horror, Thriller, Mystery, horror, Drama.

The Shining is about a seemingly dysfunctional family that come to suffer from natural and supernatural problems in an isolated Rocky mountain hotel. The father, a writer, is portrayed as a heavy drinker, wife and child abuser, with an evil streak. As a writer he seems to be forced to take a job which few people want. All though he tells his employers that he would actually enjoy the solitude of the hotel, we get the feeling that he chose to take the job because he is self-destructive. The mother is shown as a battered slightly hysterical woman. The film suggests that due to the abuse at the hands of his father and the passivity of his mother, the child of this family developed psychological problems. He had imaginary friends and began to see frightening images.

The film begins with a majestic shot of the mountains showing its beauty and height. The beauty of nature and even friendliness of nature changes as the film develops. As the movie progresses the snow still seems white and pure, but nature becomes an isolating force, not providing the family with a retreat from the pressures of modern life, but forcing the family to turn in on its dysfunctional and psychopathic self. Imprisoned by the snow and the tall mountains , the family seems weak and vulnerable.

Weakness of a individual is shown thought out this film, perhaps one way in The Shining its through the contrast between the family and the large hotel. Through out the film the hotel seems just so large that even if it wasn’t haunted we could easily understand why one would not be comfortable in it. All the rooms seem so spacious and we know that it was not built for a small family but for hundreds of people. For example, we see the boy riding his bike through the huge hallways of the hotel which almost seem never ending.

There also seems to be a large amount of conspiracy theories surrounding the film, growing from anything small like piles of Tang, the powdered fruit drink used on space flights, visible in the pantry. Danny also wearing an Apollo 11 jumper (Fig.2) Danny playing while wearing apollo jumper. Jay Weidner who also wrote about the conspiracy surrounding this film states "It is important to note that the room in question was numbered 217 in the Stephen King version of The Shining. For unknown reason's Kubrick changed it to 237 (Weidner,2009) Room 237 is a reference to the average distance between Earth and the moon, 237,000 miles. And when Jack types “All work and no play…”, the first word looks like “A11” or Apollo 11.

Danny wearing apollo Jumper
Kubrick was apparently known to see to perfect symmetry in everything he did, Michael Wins wrote about Kubrick and using symmetry, "But Kubrick, known for his meticulous and painstakingly exact compositions, finds symmetry in every nook and cranny of the film’s design –" (Wins, 2012) and then Ali Gray expresses how again Kubrick was meticulous for detail "Stanley Kubrick was incredibly detail-oriented and never left anything to chance" (Gray, 2014). For example, An early overhead shot of Danny on his tricycle places him directly at the centre of a corridor in front of the Grady sisters, who of course, share symmetry of their own, in (Fig.3) you see Danny confronted by the twins. Even in costume there is bond between mother and son when in the early scenes of the film Wendy wears a red jumper with a blue patchwork overthrow, Danny later in the film repeats this combination, red jumper with blue dungarees, something seemingly insignificant but it subliminally reinforces the bond between mother and son.

Danny confronted by twins (symmetry)

Illustration List - 

Figure 1. The Shining Film Poster (1980) From: The Shining. 
Directed By: Stanley Kubrick [Film Poster] United Kingdom/United States: Warner Bros.
At: http://www.redesignrevolution.com.

Figure 2. The shining film still (1980) From: The Shining. 
Directed By: Stanley Kubrick [Film Still] United Kingdom/United States: Warner Bros.
At: http://www.whorange.net/.a/6a00e5506da99788330192abcdf303970d-800wi

Figure 3. he shining film still (1980) From: The Shining. 
Directed By: Stanley Kubrick [Film Still] United Kingdom/United States: Warner Bros.
At: www.fact.co.uk

Bibliography - 

Weidner, Jay (2009) 'The Shining (1980)'
In: www.whale.to [Online] At: http://www.whale.to/c/secrets_of_the_shining.html
(Accessed on 07.12.14)

Wins, Michael. (2012) 'The Shining (1980)' 
In: http://ithappenedatgaumont.wordpress.com 04.10.12 [Online]
At: http://ithappenedatgaumont.wordpress.com/2012/11/04/essay-the-shining-stanley-kubrick-1980/
(Accessed on  07.12.14)

Gray, Ali (2014) 'Was The Shining Stanley Kubrick's Way Of Admitting He Faked The Moon Landing?' In: https://uk.yahoo.com/movies 16.06.14 [Online]
At: https://uk.yahoo.com/movies/was-the-shining-stanley-kubricks-way-of-admitting-he-88944139006.html (Accessed on 07.12.14)


Maya - First houses and some nature -

Trying to keep in mind the light hearted colours Harper would have used while also trying to keep a 2D element for the nature side of things.

Maya - buddy and co.

Had to start somewhere so i created someone to actually inhabit my city, tried to stick to the simplistic drawing i did in my thumbnails and final concept.