We have a very short amount of time in this film to get some very key ideas across, so our visual language will play a vital role in our storytelling. Our point of view is subjective, with the camerawork acting as a reflection of Andrew’s thoughts and emotions. For example, when we first see Clara, it’s with an observant long lens, with some of the bathroom door in the foreground. At key points, we’ll use wide shots with wide angle lenses to suggest a sense of Andrew being isolated and uncomfortable in the room. Our language should be deliberate enough to enhance the story, but subtle and intimate enough so we don’t distract the viewer.
When Clara is in the same space, we can to hint to the relationship of power between her and Andrew. With clever framing we can suggest who’s in charge, and with the use of negative space, we can convey the distance and awkwardness that Andrew feels when he’s around her. We’ll shoot mostly on an easy-rig, which allows the camera to be alive without being shaky. Vintage lenses and a rich mixture of light sources (daylight coming in from the window, the television, a lamp) will add texture to the images. Our aspect ratio will be 1.85:1.