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I think the 90s business clothing that both the central characters wear in Ring is really cool - the green blazer with a yellow shirt, straight brown trousers and watch - although I’d like the mix of colours to be a little more plain in our film. It’s smart, kinda casual, kinda cool and since our main character is working from home, that makes sense.

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The vast majority of the film will be set in the main character’s kitchen. I’m thinking of a smart, classic looking kitchen of someone with an above-average-paying job. I want it to be cool and relatable. But on top of that is a layer of clutter, dirty dishes and neglect that has built up through months of a poor work/life balance - she’s made the mistake of shouldering too much work in this chapter of her life and it’s overflowing into her surroundings.

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I want both our main character and her brother to be personable and wear similar clothing so they look related. This is also how I imagine them interacting within the scene.

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Use of miniatures in Godzilla. Shots of water slowed down to make it appear larger. It doesn't look so effective when Godzilla is splashing around in it, but for rippling water around a house, this technique would do the trick

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Godzilla, Ishiro Honda, 1954 - Destroying Tokyo Bridge

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I like the sprawling uneven shape of this wall unit - the hanging utensils and hand towel erected like a flag on the left. Gives the kitchen character

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Eye candy tactile shots, looking at archive documents/objects and her laptop screen in detail

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Nice closeup with shallower depth of focus, but not too shallow

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Deep focus, natural lighting

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Natural lighting

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Deep focus, character integrated into surroundings

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Dirty dishes, notes stuck to cabinets, a classic look with nothing too modern going on

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Paperwork. The Protagonist's actual job is undecided right now, although we were previously thinking she could be an Archivist, working from home

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Depiction of the Universe Series. Geun Taek Yoo, 2009

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Stained corners of the room, dying flowers in an improv-vase

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Untitled (Two fabric samples and two warping cards on graph paper; from Benita Koch-Otte's class at Burg Giebichenstein Halle)

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Graph paper on a stained wall, chequered black and white patterns in her schedules so it can be viewed from afar. This could also match a chequered sheet thrown over the small round table that she works from, so it’s as if her schedule has spilled over into the room

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Deep focus, lovely pockets of light

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The camera moves in an eerie and almost mechanical fashion throughout this film. I can imagine when water floods into our protagonist's house, we pan downwards with it rushing towards us sinisterly

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Going to use 2 schedules to manage this pre-production. 1 for brief overview and 1 for a more detailed day-by-day version with deadlines as per each dept.

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Possibly separate the kitchen into two halves like in this set, can put things on the separating walls, create depth. I love how Ozu composes objects in the frame

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We are not allowed water within the studio at uni. We therefore need to look particularly at areas where we could build a water tight pool for a set such as industrial estates, warehouses, garages and even village halls and churches if they are suitable

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Average looking fusebox with tape and her handwriting

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Sounds can reflect her inner feelings eg. she's taking deep breaths to calm down and with every inhale the house creeks under pressure and with every exhale it goes a little quieter. This would hopefully be subliminal to the audience

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An isolated, middle-aged woman is faced with her brother’s final decision to take their comatose mother off of life support. She refuses his pleas to visit her, suppressing her grief. She is thus forced to reckon with a flood that could submerge her home. The two vastly different issues coalesce throughout the film. The flood and the weather respond to the character's state of mind.

The film kicks off with the protagonist’s brother notifying her of his decision, pleading with her over the phone to go and visit their mother before he lets her go. He is met with a numbly stoic refusal, and she hangs up. She cannot face this. It is then when she sees her floor is covered in a film of water. It has surrounded her home, a vast sea. It percolates up and oozes through gaps in her home. Her focus turns to battling with this, whilst she stubbornly ignores the ringing phone which is her brother continuing to try and get her to face their mother before it is too late.

There is a tense chain of events as the protagonist tries various different, futile tactics to limit the flood. Like the water, her emotions are bubbling up and unstoppable. Eventually she’s forced to cut the power to avoid electrocution. Just before she does this, she attempts to ring her brother, aware she really does need help, but it is too late and there is no response. She plunges herself into true isolation and darkness.

As night comes there is a sense of calm before the storm. In clearing up her mess she has found some artefacts that help her emotions come to the surface. Now she has essentially realised there is nothing she can do to stop the water, she has time to process and reflect. Finally, after being unable to show emotion for so long, she begins to cry.

This leads to the film’s climax. As her cries turn to sobs and wails, a thunderstorm builds. The lightning punctuates her emotions until it is a raging storm, a window bursting open so she is at the mercy of the elements. At the storm’s crescendo, we cut to her brother breaking the front door open. It’s daytime and the storm has passed now. He finds his sister on the floor, a wreck, and understands her grief is no less real than his.

They both get into the car parked outside her house, which is a moment which subtly reveals the water to be an illusion. They share a knowing look before they drive towards the hospital where their mother is staying, concluding the first chapter in her journey towards grieving the loss of a loved one.

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What does the water represent? - The main character is aware her mother is going to die. She feels incapable of yielding to her grief and instead tries to ignore it. The water is the inescapable buildup of internalised grief. A feedback loop is created in which self imposed isolation from the outside world exponentially exacerbates an inability to interact with it.

What does the climax represent within this framework? - As the character reminisces, there is a crack in her stoic exterior. This causes a lightning storm, and an amount of water that is impossible to contain. When her brother manages to enter her house she is sat in the water, her grief finally indulged in. This is a level of external emotion the brother has not witnessed before.

What is the family dynamic? - The main character’s mother has been in a coma for a long time. The stress of this on the main character, coupled with a relentless workload has caused her to give up on her mother to an extent, the pain of watching her lifeless body too much to bear. Her brother has continued to visit their mother and encourages his sister to do so. He attempts to be understanding but struggles to comprehend why she apparently isn’t feeling anything. Her non-committal reaction to her mother in a coma has drawn out the whole situation longer than it should have and the brother has made the decision that they need to turn off the life support

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Google sheets spreadsheet (doesn't automatically update)

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Google sheets spreadsheet (doesn't automatically update)

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https://docs.google.com/spreadsheets/d/1F8bPPo8ZazEfP75lUnqFXRMiSAphKi8ENn_l5pkMISc/edit?usp=sharing

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Dissonant and polyrhythmic soundtrack

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There Will Be Blood - Drilling Rig Trouble-Fire Scene

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I'd like to score the thunderstorm scene, her moment of catharsis, with music that attempts to be this poignant

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Bobby Krlic - Fire Temple from Midsommar OST

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For a thunderstorm that isn't overdramatic. I like the organic sounding guitar which could come into the soundtrack to coincide with her having a cathartic and human moment, where she's acknowledging how she feels deep down