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ABSOLUTE THRESHOLD LOOKBOOK

  Scene  1  

  INT.  WAREHOUSE/PERFORMANCE  SPACE  –  NIGHT   Location:  Galapagos  Art  Space  

   

    YOKO  ONO  CUT  PIECE   http://www.youtube.com/watch?v=Zfe2qhI5Ix4   Ono’s  Cut  Piece  is  so  effective  because  of  her  break  in   character.  When  the  last  piece  of  cloth  falls  from  her   chest  all  she  can  do  to  protect  herself  from  public   scrutiny  is  merely  to  cover  her  breasts  with  her   hands.  Provoking,  shocking,  instinctual  and  sad.    

 


MARINA  ABRAMOVIC  RHYTHM  0     http://www.youtube.com/watch?v=enn feVSirDU&oref=http%3A%2F%2Fwww. youtube.com%2Fresults%3Fsearch_que ry%3DRythm%2B0%26oq%3DRythm %2B0%26aq%3Df%26aqi%3D%26aql %3D%26gs_sm%3D3%26gs_upl%3D46 91l8210l0l8890l7l7l0l0l0l0l91l496l7l7l 0&has_verified=1  

Abramovic  stares  down  her  audience,  unafraid  of  their  gaze,   waiting  for  their  hands  to  touch  her  flesh.  Her  reaction-­‐:   silence,  a  protest  against  the  nearly  cannibalistic  instincts  of   the  human  mind.    

        DAVID  LYNCH  MULHOLLAND  DRIVE  CLUB  SILENCIO   http://www.youtube.com/watch?v=rThBw4Vi1KA     Really  pay  attention  to  the  lighting   and  costuming  in  this  scene.  The   shadows  are  defined  and  the   background  is  soft.  The  characters   pop  from  their  surroundings,   creating  a  fantastical  mirage.  Do   these  people  really  exist?  Also  note   the  costuming  on  Naomi  Watts  and   Lara  Elena  Herring.  Look  how  the   clothing  accents  their  bodies.    


PEDRO  ALMODOVAR  HABLE  CON  ELLA  OPENING  DANCE   http://www.youtube.com/watch?v=vXvW6aLoyh8  

      The  framing  of  Almodovar’s  protagonists  is  a  perfect  encapsulation  of   dichotomous  mindsets.  To  the  right  we  have  a  man  who  is  so  overwhelmed  in   emotional  consumption  that  all  he  can  do  is  expunge  his  tears.  To  our  left  is  a   man  who  does  not  quite  understand  what  he  sees  and  looks  bored  and   uncomfortable.  This  foreshadows  the  relationship  between  these  two   characters  and  their  ability  to  communicate.       This  is  Brian  and  Charlotte.          


SCENE  2  (And  other  scenes  in  her  office)  CHARLOTTE’S  OFFICE     STEPHEN  SODERBERGH  SEX,  LIES,  AND  VIDEOTAPE   http://www.youtube.com/watch?v=ySPFdbzdpGk&feature=relmfu    

Graham’s  gaze  as  Cynthia  confesses  her  crucifying  sexual  past  captures  this  man’s   need  for  human  connection,  his  need  for  intimacy  as  he’s  physically  unable  to   have  sex.  Delicately  and  with  inquisition,  Graham  listens  to  Cynthia’s  story;   Cynthia  is  finally  able  to  gain  a  man’s  attention  without  overtly  offering  herself.   This  is  what  Charlotte  and  Marc  have—they  both  desire  intimacy  and  human   connection.           STEVE  MCQUEEN  SHAME  OFFICE   http://www.youtube.com/watch?v=arD1Hmjlqag  

A  hint  of  Cyan  to  highlight  the  backdrop,   Brandon’s  office  is  as  unfeeling  as  it  is  empty.    


SCENE  3  (AND  OTHER  SCENES)  –  NYC  STREETS  AT  NIGHT     MARTIN    SCORSESE  TAXI  DRIVER  Opening  Credits   http://www.youtube.com/watch?v=SWTv8toR3Ug     All  the  animals  come  out  at  night  -­‐  whores,  skunk   pussies,  buggers,  queens,  fairies,  dopers,  junkies,  sick,   venal.  Someday  a  real  rain  will  come  and  wash  all  this     scum  off  the  streets.  

    WONG  KAR-­WAI  CHUNGKING  EXPRESS  Night  Sequences   http://www.youtube.com/watch?v=MH38QAN80vs     Disorienting,  chaotic,  vibrant.  The  streets  and   how  they  are  photographed  perfectly   represent  the  character’s  current  psyche.    

     

           


CRISTIAN  MUNGIU  4  MONTHS,  3  WEEKS  AND  2  DAYS  Night  Tracking   http://www.youtube.com/watch?v=3qQ-­h0Q8-­U8&feature=related  

 

Dark  and  foreboding.  One  shot.    Her  face  half-­‐lit  intensifies  the   uncertainty  of  her  future.    

                               

                             

CHARLOTTE’S  APARTMENT   STEVE  MCQUEEN  SHAME  APARTMENT                    


Spacious  and  modern,  these   apartments  in  both  Shame  and   American  Psycho  are  built  for  both   practicality  and  aesthetic.  The   monochromatic  design  emphasizes   the  lack  of  creativity  and  soul  in  the   living  space.  Definitely  what  Brian   and  Charlotte  inhabit—a  cold,   lifeless  space,  the  only  color  being   the  dark  New  York  Night.        

  MARY  HARRON  AMERICAN  PYSCHO  PATRICK  BATEMAN’S  APARTMENT   http://www.youtube.com/watch?v=46-­WNPlCYsg&feature=relmfu    


SWANKY  BAR          

             

  Lush  red,  golden  yellows,  the  ornate  design   elevates  this  bar  from  typical  social  arena  to   over-­‐the-­‐top  magical  realism.  The  yellows  and   reds  create  a  searing  effect,  perfect  for  Charlotte   and  Marc’s  building  sexual  tension.    

                         


STEVE  MCQUEEN  SHAME  BAR  SCENES      

 

    WONG  KAR-­WAI  CHUNGKING  EXPRESS  BAR  SCENE   http://www.youtube.com/watch?v=DnqdiH-­VKzg&feature=fvsr          


MARC’S  APARTMENT     STEPHEN  SODERBERGH  SEX,  LIES,  AND  VIDEOTAPE  GRAHAM’S  APARTMENT   Empty.  Sparse.  Each   object  is  portable,   disposable.  Nothing   stays.  A  drifter.   Temporary.  

    SPIKE  LEE  SHE’S  GOTTA  HAVE  IT  SEX  SCENE  

                 

  Close-­‐Ups  of  each  sensitive  body   part.  The  background  is  obscured   because  it’s  not  important.  Her   pleasure  (what  will  be  Charlotte’s   pleasure)  is  the  only  thing  in  focus   as  it  should  be.  It’s  her  catharsis.    

                   


OTHER  VISUAL  REFERENCES     WONG  KAR-­WAI  IN  THE  MOOD  FOR  LOVE  WALKING  SCENES   http://www.youtube.com/watch?v=EjcTPRkAfL0   Dizzy,  intoxicating,  sexy,   frightening  and  beautiful.  

                                     

                   


THE  1990’S      

                 

               


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