There was no further word on finding a cast for "Andromeda Weeps" so I figured it had gone to sleep. My thinking for that is to put it on a shelf until it's possible to shoot the video that way because doing it in virtual to make machinima would not be satisfying.
It turns out there's some interest but it wasn't clear what's needed so the first thing is putting together a storyboard so the Knoxville Unit knows what things need to happen. Then they can take a look and say what they believe is possible. From there we recruit and shoot.
The thinking was Jerusalem had to burn for the content of the song to properly balance. When it was decided that was not necessary, it lifts greatly from the heavy tone and the it focuses much more on the love story in it. Ludicrous doesn't even half cover a love story in a missile silo so it begs to be as campy camp as it can get.
If possible I want to drag my nieces into this because they have a keen sense of high style and they're highly imaginative with make-up. As to what parts they should play ... well ... I believe I shall make some.
Something I also told The Raven was to be ready for extremely short scenes and this isn't like shooting a movie. There are two parts in the primary Phrase 1 for the song. The intro part is eight bars and, at one twenty beats per minute, that's sixteen seconds. The verse part is eight bars played twice for sixteen bars total. Then back to the intro / chorus part.
In roughly forty-two seconds, there must a verse / chorus up front which shows the lovey lovey vibe between Jason and Alexander and this is that soft focus, so mad in love and lost in heaven, kind of stuff. Make sure the viewer knows this fully in forty-two seconds and likely you would have three sixteen-second scenes in which to do it before moving forward into the next verse / chorus.
Then there's a sixteen-second scene to show there has been a launch detected and we must retaliate by launching our missiles. That's followed by thirty-two seconds of don't go ... oh, but I must as Andromeda implores Jason not to go.
This thinking needs to be worked back into the schematic which I can then feed to Alexander so he can see what will happen. Within those scenes is an open deal. I need Jason and Andromeda to look the parts of being Young Beautiful People. How that is portrayed is wide open and I'm not going to dictate it.
If I direct this right then you won't need me to know if a scene fits a part or it doesn't because you will already know. To a large extent, The Raven will be designing within the larger framework and what he does could really be fascinating. When he hits one right, he will know it because it unfolds to his own specs which he will already know match the overall direction.
It turns out there's some interest but it wasn't clear what's needed so the first thing is putting together a storyboard so the Knoxville Unit knows what things need to happen. Then they can take a look and say what they believe is possible. From there we recruit and shoot.
The thinking was Jerusalem had to burn for the content of the song to properly balance. When it was decided that was not necessary, it lifts greatly from the heavy tone and the it focuses much more on the love story in it. Ludicrous doesn't even half cover a love story in a missile silo so it begs to be as campy camp as it can get.
If possible I want to drag my nieces into this because they have a keen sense of high style and they're highly imaginative with make-up. As to what parts they should play ... well ... I believe I shall make some.
Something I also told The Raven was to be ready for extremely short scenes and this isn't like shooting a movie. There are two parts in the primary Phrase 1 for the song. The intro part is eight bars and, at one twenty beats per minute, that's sixteen seconds. The verse part is eight bars played twice for sixteen bars total. Then back to the intro / chorus part.
In roughly forty-two seconds, there must a verse / chorus up front which shows the lovey lovey vibe between Jason and Alexander and this is that soft focus, so mad in love and lost in heaven, kind of stuff. Make sure the viewer knows this fully in forty-two seconds and likely you would have three sixteen-second scenes in which to do it before moving forward into the next verse / chorus.
Then there's a sixteen-second scene to show there has been a launch detected and we must retaliate by launching our missiles. That's followed by thirty-two seconds of don't go ... oh, but I must as Andromeda implores Jason not to go.
This thinking needs to be worked back into the schematic which I can then feed to Alexander so he can see what will happen. Within those scenes is an open deal. I need Jason and Andromeda to look the parts of being Young Beautiful People. How that is portrayed is wide open and I'm not going to dictate it.
If I direct this right then you won't need me to know if a scene fits a part or it doesn't because you will already know. To a large extent, The Raven will be designing within the larger framework and what he does could really be fascinating. When he hits one right, he will know it because it unfolds to his own specs which he will already know match the overall direction.
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