NICETIES - TREVLIGHETER
Aim: With directing one dialogue driven scene of 12 pages, between two actors, I could explore how to create gaps within the dialogue; character work for the actors implied an attentive listening. The scene was separated in 16 shots. Each shot was filmed up to 8 takes and in different angles.
Conditions: The scene suited my purpose as the two characters knew each other- a married couple since 30 years - and the scene contained of new information presented. This aquired an attentive listening. Additionally, the actors was told to reflect on their thought (be surprised/astonished/confused/happy/not happy /discontent etc) before they answered. The camera was following/moving around the action. This created a sense of keeping the scenic room (kitchen) realistic. The purpose was not to create realism, but rather to help the actors to move and keep directions of their spatial energy.
With one master wide shots in the beginning of the long scene, then moving over to close-up shots and extreme close up shots, the scene was shot in a chronological order. The actors knew the shots was close-up/extreme close-up, in an order to minimize their universe and think the right thoughts.
Result: When shooting the master wide shot the actors´ work became less precise. As we shot the presenting master wide shot first, the acting became more and more precise, more and more concentrated. The actors was directed to take time to listen and reflect on the other´s line which created an attentive listening.
The Liminal experience is an invitation to a ride in the roller coaster together with the characters Lisa and Leffe. With following the interaction in the close-up directed face, mapping the thought processes as it happens to the actors in the interplay with the spectator. The interplace is the actor´s body/ as in the room - face/ as the screen of reflection.