DIRECTING STYLE
EXTERIOR SHOTS
For our LION THE WITCH AND THE WARDROBE scenes, I looked at multiple directors, each with their own distinctive styles. I specifically looked at Wes Anderson, as his warm hues and centralised characters create interesting final outcomes.
These images show how we have used the warmer hues and tried to centralise the characters. The lighting also created this warmer effect as the sun had been setting. These images are stills from the first part of the scene, when the two characters - Mr Tumnus and Lucy are outside, and when they first meet. The camera work was important, as we wanted to capture the bewilderment on Lucy's face as well as Mr Tumnus' shock of seeing a human. The directing style itself had been quite simple, because I didn't want to over complicate it. As I also played a large role in creating the storyboards, it allowed me to direct each scene nicely.
DID ANY OF YOUR STORYBOARD IDEAS CHANGE ON SHOOT?
During our shooting for the exterior scenes I chose to look closely at our storyboards, however, as we were limited with time due to the weather and lighting of the sun, as it had been around 3pm when we finished. By the time all the shots had been completed almost all the light had vanished. We also decided to create some more adventurous shots, to create interesting compositions through the shots, for example, there are a couple of shots that had been taken above - from a tree.
HOW WERE YOUR CAST TO DIRECT?
As there had only been two characters to direct, it had been easy to create the scenes that
I wanted that were shown on my original storyboards. The only small issue had been the
weather, as it had been cold the day of the shoot. So some lines and camera shots had been rushed due to the cold weather.
INTERIOR SHOTS
I wanted that were shown on my original storyboards. The only small issue had been the
weather, as it had been cold the day of the shoot. So some lines and camera shots had been rushed due to the cold weather.
For our LION THE WITCH AND THE WARDROBE scenes, I looked at multiple directors, each with their own distinctive styles. I specifically looked at Wes Anderson, as his warm hues and centralised characters create interesting final outcomes.
For this particular scene, it had been difficult to direct as it had been in a small space, however, as the interior shots had been filmed after the exterior all the styles from directors had been analysed before. It had also been difficult as it had been a long piece of dialogue to try and direct to create interesting shots that should alternate from different angles every 4-6 seconds. There had been a chunk of this scene that needed to be a lot longer, as Lucy had to fall asleep to the flute, therefore this had been the hardest part to direct and make look interesting.
The different angles consisted of close ups, multiple over the shoulder shots and wide shots to show the two in their conversation. As the scene grew darker the lighting had been an important part of the directing style, as I wanted to keep the warm hues that Anderson constantly uses, as well as, keeping most things within scenes centralised. I also chose to use the shadows off of the characters to become a part of the directing style.
For this particular scene, it had been difficult to direct as it had been in a small space, however, as the interior shots had been filmed after the exterior all the styles from directors had been analysed before. It had also been difficult as it had been a long piece of dialogue to try and direct to create interesting shots that should alternate from different angles every 4-6 seconds. There had been a chunk of this scene that needed to be a lot longer, as Lucy had to fall asleep to the flute, therefore this had been the hardest part to direct and make look interesting.
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