Tag Archives: script

New True Story – Script

FACTory

acta est petrolium, plaudite!
 (oil is over, applaud!)
 
2017-03-06 (2) 

Brief: Project Summary

The world as we know it both conceptually and literally is reduced to an aesthetic surface, recorded in the form of footage (factual and fictional)  and flattened as image on screen. These are the apparatuses.

The common denominator of the world is a single material defining our age, driving our collective global narrative – always prevalent beneath every surface, powering all physical and digital progress; but never in direct sight. Everything dependents on this elusive force, its extraction, its consumption, and its reshaping of all human experience on every scale.

Horrifyingly beautiful, here our story begins. The age of progress, of gleaming surfaces, of an interconnected humanity utterly dependant on a material seldom seen but always there. It’s story has been interweaving an entire planet’s collective narrative for the past 200 years. Our media build facts and fictions around its consequences never straying beyond the surface of what is reported. The illusion of objectivity. It is everywhere and it is running out.

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Narration & Storyboard Script

“I had a dream, which was not all a dream.
The bright sun was extinguish’d, and the stars 
Did wander darkling in the eternal space, 
Rayless, and pathless, and the icy earth 
Swung blind and blackening in the moonless air; 
Morn came and went—and came, and brought no day, 
And men forgot their passions in the dread 
Of this their desolation;”
 

Introduction – The Surface of the World – Perspective:

Darkness. A slither of light appears. The doors slowly creak open. As we move closer the light grows from a line to the dim interior of a room. An ominous object hovers over a marble plinth – a glowing puddle suspended in mid-air. Upon our approach the flat surface reveals itself to be a portal looking unto the rolling surface of the globe.

Into the puddle we descend beyond the glassy plane of the screen we land on the globe, thrusting forward, gliding over sandy dunes until the ascent over one of them reveals a vast landscape – pillars of thick black smoke stretching as far as the horizon, holding up an even darker surface; a veil over the sky.

As we shift our view the landscape slides away and we move from one surface to another. A short interval offers a glimpse of other screens, news footage and media events surrounding the thing itself are briefly seen and heard. Their interference fades as we enter the surface of objects.

Nano – Circuit board Surface – Plan:

What might seem as a night shot of a city in plan slowly turns into a glowing circuit board. Highways of circuitry wrap around towering transistors and resistors of all shapes and sizes. ‘Daybreak’ reveals our circuit board. A surreal element invades as we continue to move over it; black beads – tar-like droplets – appear between our gridded runways and cavernous circuitry. The substance gradually multiplies, forming rivers of dark ooze flooding the board. However, long before this culminates into a black deluge that smothers the whole object (prophesising the city end scene), we find ourselves slipping out of the shiny surface of a phone screen.

Body – Skin Surface – Perspective:

Behind the screen a mirror and a woman staring at herself. A closer shot of bare lips is animated by a hand moving a dark red lipstick over them. The trace behind the motion is highlighted by the dark ooze – subtly but evidently. Eyeliner, and lashing eyes sprinkle dark droplets into the air. She has worn her face. Bottled water perspiring with the black substance aids her swallow several pills. Harmless vitamins but their cabinet is also oozing with the fluid. Freshly painted nails start perspiring their own dark droplets as the perfume bottle sprinkles more onto her skin.

Food –Table Surface – Plan:

In the kitchen the family gathers to consume off the table. Packaging of all sorts is gradually leaking its dark ooze on the table top. As food is prepared hobs are turned on and dark liquid in pans sizzles. The camera in plan view to the table top shoots each dish being laid before its eater. Smiling mouths bight into meat and vegetables indifferent to the ever increasing tar-like fluid trickling down their faces and staining their clothes and filling their plates. A hand lifts a spoon-full of fluid out of a small plate ready to feed the family’s infant. The scene ends with luscious raspberries in a bowl next to their packaging labelled New Zeeland produce – the shining bubbly red fruits are slowly drowned in the black fluid. The bowl overflows and the table is slowly covered as we zoom out in plan view, out of the screen to pan onto another.

Products –The Shelf Surface – Elevation:

Our mother walks down an isle shopping as we follow her in elevation view of the shelving. As she moves forwards the shelves she leaves behind turn into cascading waterfalls of dark ooze. At the tills we have an elevation shot of the plastic bags piled and used for delivering purchases home.

Music/Culture? – Audio turns into concert – Zoom Out:

Monuments to national identity and human history are only preserved from the fumes induced by the substance by deploying methods requiring conditioning that can only exist because of the substance. The fresco of the Last supper perspires black droplets as a heftier amount of fluid gushes out of the holy grail. The Sistine chapel (ceiling plan zoom) cracks as the sky rains down with fluid. Fluid drips down the marble surfaces of columns; marble and gold become stained with the fluid.

Guitar/cello/violin strings vibrate as an orchestra plays. Gradually an orchestra is revealed with the fluid splashed off the instruments’ strings onto the stage, flowing into the isles. From the entertainment/cultural stage we move to that of politics.

Politics –The premise for wars – footage:

Symbols of government as well as officials themselves wallowing in oil as war horns sound and forces mobilised. The war machine leaking more and more fluid as it moves to deliver the political will unto other areas of the world. Kuwait, Iraq, Iran and the Middle East become the cesspool of military operations and resource extraction.

Vehicles and Infrastructure:

The oil secured. A static shot of the horizon at sea is slowly blocked by the movement of an oil tanker that comes into view and covers the entire screen (like the Boeing 747 in Koyaanisqatsi). An isometric-like view of the sea reveals more and more tankers as we zoom out to a landscape full of ships.

The oil well – zoom out to landscape:

 An oil well in Kuwait is pouring oil out like a fountain. The camera moves swiftly over pipelines. A screen off the current screen is showing the earth gradually covered over by a black network of lines (the pipe routes) like veins pumping the fluid to fuel humanity.

Landscapes – plan view

Food production – agricultural fields with machinery leaking the fluid all over the produce. Animals downing in it. Arctic ice caps are stained with dark blotches from beneath as oil begins leaking over the ice. The desert sand turns black. Greenery is covered by waves of darkness.

Aesthetics –All kinds of surfaces – ornate interiors, asphalt roads etc are slowly washed over with black waves– elevation/ plan

Landscape shots are mixed with surface shots. We are panning over surfaces, plastic, synthetic furs, faux gold, real gold, ornaments, marbles, precious art pieces – as they are gradually stained or washed over by waves of black fluid. The cuts are transitioning into movements on and off screen surfaces, as we start perceiving the screens more as a faceted diamond rather than a flat surface over a plinth.

As the earth is close to turning into a complete black orb in space.

“The world was void, 
The populous and the powerful was a lump, 
Seasonless, herbless, treeless, manless, lifeless— 
A lump of death—a chaos of hard clay.”

 

Drowning City – end scene.

We stare at a static view of a cityscape as sounds of it’s bustling life are gradually extinguished by the rushing force of an unseen flood. Then we slowly see the dark substance rising in waves between the streets, buildings are perspiring it and gradually the entire city is drowned (just like the circuit board) in the very material that makes it’s existence possible.

 

Storyboarding each of the scenes above to be uploaded later as well! :)

Working with a software called RealFlow to try and simulate fluid dynamics over models and in spaces. The opening to the Girl With the Dragon Tattoo used the same software for different reasons (create a nightmare of black ooze  – I literally want the ooze to refer to the oil industry and make it more critical in the context of the project)

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A Fire – In Three Acts

2016-11-13-2

A progress update on the narrative further organised by notes, thoughts and script into my three acts. Below is a preliminary idea for a title, followed by the 3 pages of script, but for now I’ll continue working on the film editing and edit the script accordingly as the film progresses since it may change with the visuals. The base though is below feel free to comment although I know that’s quite a bit of text to get through (1001 words).

 
Phantasmagoria
brought to you by the Agency of Perception Management
act01_narration act02_narration act03_narration
 
 
 
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The Story

When Bush senior took the US to Kuwait.  At 7:37 A New World Order is introduced for the first time here.

Below is my narrative set up, a first draft of the overall script. It will be reworked while I start putting the footage into place.

screen-shot-2016-11-03-at-19-51-59screen-shot-2016-11-03-at-19-52-12

gogglebox-steph-and-dom

Gogglebox – reaction as spectacle – We become the story

The overarching ‘Why?’

Disproportionality of footage versus events turns anything into spectacle; We become the story and the content of the story no longer matters. We stare back at ourselves.

A neo-baroque spectacle: What interests me socio-politically with the introduction of the term “neo-baroque” is to use it as an umbrella terminology to weave an argument referring to the relationship between footage and counter-rational dramatization of moments that are exploded within it. I have been compiling readings and references to sharpen this argument and its specific relationship to contemporary media and time (a lot of the terminology and philosophy spins it back to imploding or expanding of time through spectacle) It could, down the line provide characteristics of further “effects” that might be achieved with my proposal/footage/project structure.

What I allude to with Baroque and Neo-Baroque Spectacle (parts of the narration will start defining characteristics to open this discussion):

‘baroque’’ implied an art or music of extravagance, impetuousness, and virtuosity, all of which were concerned with stirring the affections and senses of the individual. The baroque was believed to lack the reason and discipline that came to be associated with neoclassicism and the era of the Enlightenment. More importantly how it was embraced by the Catholic church as tool of political power in the counter-reformation era very much how the media corporations today online or on various news feeds embrace our proliferated footage to generate meaning, often deliberately confusing and thusly managing perception of what is shown.

As a result of technological, industrial, and economic transformations, contemporary entertainment media reflect a dominant neo-baroque logic. The neo-baroque shares a baroque delight in spectacle and sensory experiences. Neo-baroque entertainments, however—which are the product of conglomerate entertainment industries, multi- media interests, and spectacle that is often reliant upon computer technology—present contemporary audiences with new baroque forms of expression that are aligned with late-twentieth- and early-twenty-first-century concerns. The neo-baroque combines the visual, the auditory, and the textual in ways that parallel the dynamism of seventeenth-century baroque form, but that dynamism is expressed in the late twentieth and early twenty-first centuries in technologically and culturally different ways. Importantly, underlying the emergence of the neo-baroque are transformed economic and social factors.

To conclude I don’t wish at this early stage for the terminology to distract but to frame a wider argument of the “Why” and it might help focus the next steps not only the ‘making-of’ ideas but also how to cement the footage-spectacle relationship.

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Script

Script:

 

Hi,

My name is Ioana Iliesiu and I will present the exclusive original folios from the recents Carceri Excavations that have split the streets of Rome. During the past two summers I have been part of the team of archeologists to unearth Piranesi’s Carceri from their depth. The Carceri, a labyrinthine prison that worms its way underneath Rome, were thought, until recently, to have been, like most of Piranesi’s work, a paper project, a capriccio. But the recent discoveries have transformed the 16 plates from paper vedutte to real pockets of space that fill the gaps in Rome’s sections. They exist, in perfect darkness, in the voids between buried basilicas, entombed Mithraic temples and fossilised Roman villas, forming a labyrinthine underbelly, a subversive mirror image of the plan of the city above.  I have brought with me several articles from the initial period of excavation, as well as several analytical X-rays of found artefacts and their detail sheets.

 

The discovery of the Carceri was made on the 12th of May 2012, when during construction works by Termini Station, a sinkhole was formed. During deep-depth drilling, a pocket of air was hit and a sinkhole formed, opening a wormhole from Termini’s parking lot to the hidden vaulted antechamber of the Carceri. A team of archeologists was called in, who discovered the now famous Carcer slate, a monumental slab (approximately 3.6m by 5m) with the inscription “Carceri Invenzione, G. Battista Piranesi, Architect Veneziano”. The inscription was the key to the discovery of the magnitude of the entire Carceri project.

 

Due to the chaotic master plan of the Carceri, whose spaces overlap, and expand without any apparent logic, the archeologists had to construct a map of the excavation points based on the clues that Piranesi leaves in the second state of the Carceri prints, which at this point were thought of as being a sort of cheat sheet to the discovery of the project. At that point, two versions of Piranesi’s Prints existed. The fist, sketchier version (1748) and the second, done 13 years later, at the same time as Piranesi was drawing his Campo Marzio project. While 14 originals from the first state are simply re-etched, two new plates are added. By analysing these plates, one can detect the limits of the carceri proper. If the Termini excavations reveal the antechamber, the excavations by the Mamertine prison reveal the entrance to the project. Plate II is radically different from the plates in State I – it cracks an opening in the infinitely expanding spaces but doesn’t open the carceri to a Rome of the 1700s, as one would expect, but to an imagined view of ancient Rome. Specialists are now beginning to think that this plate is the bridge to the Campo Marzio project, published at the same time. Why? It is this detail that is the clue – the Carceri begin at the edge of the Campo Marzio map. (I show the maps while talking about this)

 

The next spatial clue that archeologists worked with, is plate 4, which positions the next wormhole of the Carceri underneath St. Peter’s Square. The excavations in St. Peter’s square were widely portrayed in the media. Due to the nature of the site itself, the excavations, which took place over 3 and a half moths, were split into four phases of excavations.

By following an underground passage from the St. Peter’s excavation, two more important artefacts were unearthed – what was thought of as original Roman and Egyptian artefacts – part of an architrave and three fragments of an obelisk. These fake artefacts are placed in the project by Piranesi, who had a passion for excavating, documenting, collecting but also creating fake mutations artefacts and selling them as real.

The archaeological team was, by this point, uncertain about the nature of the project. Was Piranesi creating a project by excavating pockets of space buried deep underneath Rome and recontextualizing them, joining spaces them together, bridging in the gaps of disparate fossilised chambers and inhabiting them with mutant facsimiles? Was Piranesi, the Venetian architect, as he signs the Carceri, a master of the spatial collage, or was he constructing an underbelly master plan of a Rome he hated, design to look like a set, incorporating disparate architectural fragments, facsimiles and archeological paraphernalia, as he was doing when drawing the plan of Campo Marzio.

 

The last phase of the excavations took place at the Trinita Dei Monti site, indicated in a caption at the bottom of plate 5 – Piranesi’s studio on Strada Felice, near Trinita Dei Monti church. The house above the approximate location of the studio was sealed off and the media prepared for the monumental discoveries predicted by out team of archeologists. In the studio, we predicted we would discover the key to the Carceri – an elaborate bridging of found spaces or a stage set constructed from Piranes’s antiquity fakes. X-ray of the deep underground levels helped our team navigate through the layers of earth and pockets of space underneath the street level.

The chamber that we reached at 32.5 m underground revealed a small dark chamber, a fossil of a 1700s studio. Un the table, partially unfinished, was a print, which, with great care, I will reveal to you know. Please bare with me while I unseal the print.

 

This print, which we have now catalogued as the lost Carceri print, is plate 17, of the Third State. This print is a sort of Alice’s mirror which subverts the project. At its lowest level, it shows the studio, which morphs into a view of an underground Carceri. Through a gap in the floor, a via apia composed of facsimiles of ancient artefacts. The etching converges towards the top, where it passes a layer of underground pipes and modern foundations, and bursts, through a sinkhole, into the street above. This print both closes the loop, spatially returning the project to the sinkhole at Termini, where our journey began, but also shattering the reality of the excavation itself. It reverts a built and/or found project back to paper. The Venitian Architect who signs the slate becomes a fantasy of a disgruntled Venetian draftsman and the paraphernalia that Piranesi embeds in the project disperses. His fake archives, his lions, his tortures, his prisoners, his smoke and mirrors, are replaced by the paraphernalia of the excavation, transforming the reality of the x-ray and newsprint to fantasy, confusing the very image of the central figure, the Architect.

If all was a fake, who is the Architect of the project. Was it Piranesi who, in his Third state was designing a scenario of a future excavation of his built project, or was it I, inhabiting Piranesi’s project and adding new layer of fake paraphernalia, who becomes the architect?

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