Fourth Year


The story has had a number of revisions thus far, changing quite dramatically but now its at the point where I’m happy with it. However I still have a lot of work in making sure that the story is evident on screen. I want to make sure the story reads in a number of ways to different people in order to maximise the connection to different audiences so I’ll discuss a few of these here.

The main influence for me is the story of an artists and the muse, where the musician is playing and his music is being embodied by the female character. I want this connection to seem like the musician is conjuring this being, drawing her close for inspiration but on the cusp of seizing the idea and the perfect melody it slips through his fingers. The idea is to recreate that feeling where you’re on the verge of grasping a concept only for the idea to suddenly slip away and to feel like you lost something special in the process.

Another influence is the idea of grieving and loss. I’d like to depict the melody conjuring memories of a loved one to the musician. A memory haunting him from an old song in which he desperately tries to grasp the memories only to be left alone in the waking world. The idea of living in the past along with it’s happy memories and moments being an undeniable attraction but a dangerous one in which its difficult to move on. This is the idea that stemmed from the original research into fairytales and legends from different sources, most notably is the story of Chang’e (the Chinese myth)

There’s been a few changes from the last draught of the storyboards, Most notably is the ending of the film. The Run sequence at the end was something I was looking forward to working on, I had some ideas and tests done but during the pitches it seemed to be something that people wanted answers. I could never really give an answer to it, It was something I felt, how someone could be overwhelmed and despite being in the right place, feels like they have to run away. At the moment that the walls are broken down and we are exposed and vulnerable it feels like the most sensible thing to do. I never really wanted to explain it, I think that can be said about a lot of my work. I want the audience to feel it rather than understand it, perhaps it’s a habit I gained from my earlier art side. However, part of this course means evidencing your thoughts and decision making, explaining your work in a marketable and quantifiable capacity. I think I struggle with this a lot, It’s probably something I would be more concerned with If I had more of an intention to produce or direct. I guess the reason I prefer things to be felt and understood rather than explained and understood is the same reason I’m studying animation. Either that or I’m missing an evolutionary step.

Existential ramblings aside, I’ve replaced the run and chase element to the ending with a much more simpler and shorter end. Upon the completion of the song and dance. The two characters stand face to face, the musician attempting to seize the inspiration, the piper confronted with a ghost of the past, the two complimentary ideas at polar opposite ends of existence, eyes locked. And on the moment of union, the end of the pursuit of grasping that perfect idea, it all slips away. Just like any endeavour for perfection, like any pursuit of an absolute truth, to grasp it in the end completely is extremely unlikely, the goalposts shift and the horizon stretches on. There is always more road to walk. This may also be an analogy for my me and my film, hopefully I won’t let it slip through my fingers in the end, huh?