PRELIMINARY PRODUCTION NOTES

Photo by ARNO SMIT  (Unsplash)

Photo by ARNO SMIT (Unsplash)

Locations

In America

Northern California's East Bay area - Oakland, Alamo, El Cerrito, Richmond - Muir Woods, or Point Reyes.

In Israel

Tel Aviv, Jaffa, East and West Jerusalem, Safed, Masada, The Dead Sea, the Kinneret by the Sea of Galilee. And on the West Bank: Ramallah and Jericho; or if not possible, Umm al-Fahm, Tira, and Tayibe.

Photo by ADAM JANG  (Unsplash)

Photo by ADAM JANG (Unsplash)

Photo by JOHN T. ( Unsplash)

Photo by JOHN T. (Unsplash)

Photo by 'GHOST PRESENTER'  (Unsplash)

Photo by 'GHOST PRESENTER' (Unsplash)

Photo by ZAC FRITH  (Unsplash )

Photo by ZAC FRITH (Unsplash)

Methodology

   As much as possible, Shoot in sequence:

  • beginning with American flashback scenes                  with Maddie, then without her.
  • rationale for shooting in sequence:

    The foremost practical reason for shooting the American scenes this way is for emotional, physical and psychic continuity purposes, in order to aid the actress playing Maddie, as well as make up, hair and wardrobe personnel, to better gauge and modulate the process of the character's changing states as the symptoms of her illness progress. of course, this method of shooting will also benefit the actor playing Lenny.

     

  • followed by Israeli scenes preceding Zhara
  • followed by scenes with Zhara
  • followed by last scenes. (again, as much as feasible, shooting in sequence.)

Two Shooting Styles                                        Flashbacks in Northern California should have more of an American indie feel : handheld camera work, and more compressed, elliptical, fragmented cutting patterns; with bolder lighting and color contrasts (a Kodak film stock look); and when dramatically motivated, shifts from big close ups to long shots, or vice versa.

Present tense In Israel - more of a European feel – (steadicam-like) tracking with fluidity –  a somewhat impressionistic approach, subtly more romantic and almost dreamlike at times; with more diffused lighting, and a discrete use of filters. (a Fuji film stock look.)

As well, Attention will be paid to expressively exploiting traveling POV shots;  in other words the 'on the road' footage should be approached in a way that fully explores the cinematic possibilities inherent, rather than just treating this material as 'local color' filler or travelogue type transitions.

Overall, exploit the subjectivity of Lenny’s POV, as the  Israeli scenes are from his 'stranger in a strange land' perspective; California flashbacks should also be subjectively heightened.  (to be continued...)

Photo by AVIV BEN OR (Unsplash)

Photo by AVIV BEN OR (Unsplash)

photo credits for other pages - Story: SOCCER PLAYER: pIXABAY - woman & palm trees BY tobi (pexels) - sINGER - (pixabay) - jEEP IN FORESt BY aHMAD SYAHRIR (pEXELS) - jEEP IN DESERT BY JOHN T. (UNSPLASH) - CHARACTERS: 'LENNY' (PIXABAY) - 'MADDIE' BY ELLEN HUGHES (PEXELS) - 'MADDIE' (b&w) bY KAT JAyne (unsplash)- 'lenny' (B&W) pixabay - 'zahra' -(PIxabay)     Graphic DESIGN - home page Diptych by astrid van wieren - site design - jam - implemented by raffael pacitti, rpr design, nyc. - text editing by erika warmbrunn