09.03.23
Thinking of a title for the project: The tears of a clown
11.04.23
His main suggestion was to introduce Meryl earlier so we are going to reimplement Meryl’s shadow during the beginning scene to have her presence there. And also have the “backstage area”‘s background design be more ambiguous as to whether or not its backstage of a circus (it could in reality be Meryl’s bedroom cupboard)
I want to keep the beginning scene because I think keeping the main focus on Trinket initially helps to make the whole theme of switching places in our film even more deeply ingrained.
Stuart misread Trinket’s expression to be one of anger during the scene where she invites Meryl to do a routine with her. We will try to actually apply this with more subtle expressions to indicate annoyance like twitching eye/eyebrows etc.
He wasn’t entirely sure about the tent metaphor but for now we are going to keep it in because it’s key to showing Meryl’s delusion at the moment.
12.04.23
Personal edit to keep in mind for the animatic:
Just before Trinket hops onto the swing, have her juggle and it be more polished so it can contrast with Meryl’s failure.
(Little guys playing xylophone to fit the music track)
Her juggle is her elegantly catching the balls before she jumps on the swing
Tutorial with Izzy
Why was Meryl sneaking in?
She is young, not allowed to go circus, pyjamas indicate that she snuck out/not really meant to be there
Suggested points in the film where we could show that the whole thing is a dream:
When Meryl grabs the tent, the surroundings can change appearance/ the audience can jumble about/blur in order to show this and also focus on Meryl
(Could be a glimpse of the fact that the circus tent is actually her room)
At the end when she is sitting alone in the audience area, could look more like her room or have room like props as an indication of the fact she never left to go to the circus. Desolate feeling to contrast the wink and cheery music. This will also create a clearer emotional journey in the film itself.