DIRECTOR'S STATEMENT

IMAGE

The photographic “look” of THE INNER will operate on two levels: the first, as visual interpretation of its subject’s inner torment, suspended between reality and unreality; the second, as metaphor for the human identity itself. The use of graphic close-ups, Dutch angles, and chiaroscuro, iconic forms, and placing actors in sparse, simple set designs will immerse the audience into the character’s mind. It will be realistic, however with a surreal quality to it. Visual elements and references to identity will convey the character’s intern conflicts. 

SOUND

The film will require a dark and oppressing general ambience that will be achieved through the use of non diegetic sound and unsettling music that will give a sense of mystery as well as fantasy to the film: we will create a recurring violin motif that reappears throughout the story, culminating with an intense audible crescendo to mirror the film’s actual events. The sound will also attempt to mimic the noise of panic in nature with straining strings and overblowing brass especially for the mirror scene where the effect will convey the character’s feelings of horror. 

The film is divided in three distinct parts: the dream, the memory, and the real world

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Gregory Crewdson - Blind Reflection

THE DREAM

The entire dream will be shot in infrared - progressively intensifying - to achieve hyperrealism. Steadicam or drone to induce a slight floating effect. The main sequence of events flows naturally, we unsettle the audience by making the background action slightly odd, unnatural, static, repetitive, or break continuity. 

THE MEMORY

The bar scene is the only time we see Marcus and Freddie together, as they were. Their respective personality traits will be enhanced in order to distinguish them as much as possible and reveal Marcus’ jealousy of the life Freddie takes for granted. 

We will use vivid colours and anamorphic lenses to accentuate the unreal, fever-dream that we are witnessing. 

THE REAL WORLD

This scene is extremely challenging in terms of acting. The confrontation in the mirror is divided in 11 steps that allow us to make Marcus gradually reach a point of acceptance in a few minutes. He shifts from fear to joy when he eventually understands that he has been given a blank slate. Only then he goes to confront the wife. We realise her face is the same as Morgana’s... Marcus gives in to his new reality.