Myhand final journal

W EE K ON E: SE L E C T Y OU R S TORY For our first assignment, we were asked to select a film of merit that we would use as the basis for our assignments for the next seven weeks. We would then be asked, using this film as our guide and inspiration, to reimagine it in every way possible to create a brand new film.

STORY SELECTION THE ORIGINAL STORY Pan’s Labyrinth is the story of a young Spanish girl who moves to a Spanish army outpost with her sick mother and her new stepfather, a villainous officer who is obsessed with destroying a guerrilla uprising. While exploring the ancient labyrinth outside her new home, the girl meets a mysterious faun who convinces her she is the longlost princess of the underworld and sends her on a dangerous quest to achieve immortality.

T H E PR O TAG O N I S T

The protagonist in this story is Ofelia (Ivana Baquero), a ten-year-old Spanish girl who comes to believe she is actually the reincarnated princess of the underworld.

THE MISSION Ofelia has both a short-term mission and a long-term mission. Her short-term mission is to help her ailing mother Carmen, who is pregnant with her new husband’s child. Ofelia initially accepts the faun’s quest because he promises to help her mother. Ofelia’s long-term mission is to complete the faun’s quest so that she may gain (or regain, as she believes) her immortality and return to her rightful place as princess of the underworld. Both of Ofelia’s quests are thwarted by her stepfather, who dislikes Ofelia. His meddling ultimately leads to Carmen’s death and, as he becomes increasingly more psychotic, threatens Ofelia’s life.

T H E NAR RAT I V E E N V I R O N M E N T The scenes I have chosen are the first scene in the labyrinth when Ofelia meets the faun, and the last scene of the film when Ofelia flees from her stepfather into the labyrinth. In both scenes, the labyrinth serves as a mysterious junction between reality and fantasy, a major theme in the film.

In the first scene, the labyrinth’s mystery excites Ofelia’s curiosity to explore, and has a dreamy quality that is crucial in convincing her that what the faun says is the truth. It is a place of possibility and new life for her. In the final scene, the labyrinth becomes a place of dread and danger; its confusing turns and dead-ends both hide Ofelia from her stepfather and prevent her from escaping him completely, and ultimately become her tomb.

Without the labyrinth, these crucial points in the story would be lost.

The time of the narrative, 1944 Spain, also plays an important role. The Spanish Civil War has just ended, yet Spain still faces tensions between the Francoist Spanish army and rebel guerrilla soldiers. This conflict-ridden historical environment adds a greater sense of danger to the plot and provides the basis for themes of escapism and reality vs. fantasy, which are major concerns of the film. This historical environment is also the primary concern of our villain, Ofelia’s stepfather, who uses sadistic means to quell the guerrilla uprising. The conflict with the guerrillas spurs the villain’s actions, which in turn thwart and inform Ofelia’s short term and long term missions.

PICTORIAL RESEARCH THE ORIGINAL STORY Pan’s Labyrinth is the story of a young Spanish girl who moves to a Spanish army outpost with her sick mother and her new stepfather, a villainous officer who is obsessed with destroying a guerrilla uprising.

While exploring the ancient labyrinth outside her new home, the girl meets a mysterious faun who convinces her she is the long-lost princess of the underworld and sends her on a dangerous quest to achieve immortality.

T H E PR O TAG O N I S T The protagonist in this story is Ofelia (Ivana Baquero), a ten-year-old Spanish girl who comes to believe she is actually the reincarnated princess of the underworld.

Our protagonist, the clever & imaginative Ofelia.

Her mother, Carmen, is loving but not always understanding of her daughter’s “daydreams.”

THE MISSION Ofelia has both a short-term mission and a long-term mission.

Her short-term mission is to help her ailing mother Carmen, who is pregnant with her new husband’s child.

Ofelia initially accepts the faun’s quest because he promises to help her mother.

Everyone sees the labyrinth, but only Ofelia sees the magic that surrounds it. Perhaps because of her royal lineage?

Ofelia’s long-term mission is to complete the faun’s quest so that she may gain (or regain, as she believes) her immortality and return to her rightful place as princess of the underworld. Both of Ofelia’s quests are thwarted by her stepfather, who dislikes Ofelia. His meddling ultimately leads to Carmen’s death and, as he becomes increasingly more psychotic, threatens Ofelia’s life.

NAR RAT I V E E N V I R O N M E N T The scenes I have chosen are the first scene in the labyrinth when Ofelia meets the faun, and the last scene of the film when Ofelia flees from her stepfather into the labyrinth. In both scenes, the labyrinth serves as a mysterious junction between reality and fantasy, a major theme in the film.

In the first scene, the labyrinth’s mystery excites Ofelia’s curiosity to explore, and has a dreamy quality that is crucial in convincing her that what the faun says is the truth. It is a place of possibility and new life for her. In the final scene, the labyrinth becomes a place of dread and danger; its confusing turns and dead-ends both hide Ofelia from her stepfather and prevent her from escaping him completely, and ultimately become her tomb. Without the labyrinth, these crucial points in the story would be lost.

Ofelia’s stepfather, our antagonist. The closer she comes to immortality, the more her mortal life is threatened by her stepfather’s violence.

The time of the narrative, 1944 Spain, also plays an important role. The Spanish Civil War has just ended, yet Spain still faces tensions between the Francoist Spanish army and rebel guerrilla soldiers. This conflictridden historical environment adds a greater sense of danger to the plot and provides the basis for themes of escapism and reality vs. fantasy, which are major concerns of the film. This historical environment is also the primary concern of our villain, Ofelia’s stepfather, who uses sadistic means to quell the guerrilla uprising.

The conflict with the guerrillas spurs the villain’s actions, which in turn thwart and inform Ofelia’s short term and long term missions.

The faun is shrouded in mystery from the start -is he a truthful protector, a capricious trickster, or a figment of Ofelia’s imagination?

ADDITIONAL IMAGES

Ofelia’s quest in the labyrinth is both spurred by and reflected in her relationships in the “real” world outside the maze. For example, she first takes the faun’s quest because he promises to heal her mother of her illness. However, her success or failure in completing the tasks is reflected in Carmen’s condition.

Ofelia’s stepfather is her biggest threat both to the faun’s quest and to her life. His obssession with time also serves as a major theme.

After Carmen dies, Ofelia’s mission changes from saving her mother to protecting her baby brother from her violent stepfather.

W EE K TW O: A SH IF T I N TI M E & P LA C E This week, we were charged with a (seemingly) simple assignment: take a film of our choosing and transplant it into a different time and place.

Shifting these two elements changed not only the details of the plot, but also the characters. The result was a practical demonstration of how much environment -- both geographical and historical -- impacts a story.

STONEMAN‘S GAT E

SYNOPSIS

The year is 1972. Evelyn Fitzgerald, an 11-year-old Irish girl, is moving with her ill mother from their home in Belfast to the countryside outside the city where Evelyn’s stepfather, Seamus (a member of the Provisional IRA and an extremely violent man), has moved in the aftermath of the Bloody Friday bombings. Since their remote new home is occupied by Seamus’ colleagues, Evelyn occupies herself by reading a book of Celtic fairytales and exploring a crumbling old labyrinth that resides on the edge of the tiny farmstead. While exploring the labyrinth, Evelyn meets a Puca (a half-animal shape shifting creature from Celtic mythology), who convinces her that she is the long-lost princess of the underworld and sends her on a dangerous quest to achieve immortality. Evelyn sets about completing the Puca’s quest, trying to survive each task and also survive her stepfather’s increasingly violent behavior.

PR O TAG O N I S T Evelyn is a bright girl with a vivid imagination and a love for fairytales (the book of Celtic fairytales she reads is a gift from her mother, meant to ease Evelyn’s sadness about leaving their home in Belfast). She knows very little about Seamus’ work, but it is clear that whatever the adults are doing is secretive, and she is often pushed out of their home by her parents lest she hear more of what Seamus and his colleagues are doing (Shannon is adamant that Evelyn be shielded from what is going on). With little to do and no other children to play with, she has little choice but to explore the farmstead that is now her home, the labyrinth being her first choice.

MISSION Evelyn has both a short term and a long term mission.

Her short-term mission is to help her mother Shannon, who is extremely sick and pregnant with her new husband’s child. Seamus does not seem to care that Shannon is sick; he only cares about the baby, who he considers solely his (Seamus does not like Evelyn at all). Evelyn initially agrees to the Puca’s quest because he promises to help her mother get better. After Shannon dies in labor, Evelyn’s short-term mission changes to protecting her newborn brother from Seamus, who has become increasingly dangerous.

Her long-term mission is to finish the Puca’s quest, which involves completing 3 dangerous tasks, so that she may gain (or regain, as she believes) immortality and return to her rightful place as princess of the underworld.

NAR RAT I V E E N V I R O N M E N T The scenes I have chosen are the first scene in the labyrinth when Evelyn meets the Puca and accepts his quest, and the final scene when Evelyn takes her brother into the labyrinth to hide from Seamus, who has gone on a murderous rampage and threatens to kill her. Both scenes will occur in the center of the labyrinth, a.k.a. the Puca’s Gate (i.e. the residence of the Puca and where the gate to the underworld is).

Scene One: Evelyn is woken one night by fairies, who lead her into the labyrinth. The crumbling dark stone takes on a magical quality in the clear night air, and the moonlight further illuminates the celtic ruins and designs etched into the moss-covered stones. the labyrinth serves as a mysterious junction between reality and fantasy, and has a dreamy quality that is crucial to convincing Evelyn that what the Puca says is true.

Scene Two: As Seamus goes on a murderous rampage, Evelyn snatches her brother and flees into the labyrinth in hopes the Puca will save them. Although the weather in this scene is the same as the first, the labyrinth itself has changed. It has become a place of dread and danger, and its confusing turns both hide Evelyn from Seamus and prevent her from escaping him. After refusing to use her brother’s blood to open the gates of the underworld, the Puca abandons Evelyn and she is killed by Seamus. Upon death, Evelyn finds the Puca’s last instructions were a test; it was her refusal to harm an innocent that wins her immortality. Evelyn awakens in the underworld, where she is welcomed home as princess.

PICTORIAL RESEARCH SYNOPSIS The year is 1972. Evelyn Fitzgerald, an 11-year-old Irish girl, is moving with her ill pregnant mother from their home in Belfast to the countryside outside the city where Evelyn’s stepfather Seamus (a member of the Provisional IRA and an extremely violent man), has moved in the aftermath of the Bloody Friday bombings. Seamus was heavily involved in the bombings, which is why he fled Belfast (he is now working with a select number of other IRA members on another attack); however, Evelyn’s mother Shannon tries to hide her husband’s “work” from her daughter, so Evelyn does not fully understand what Seamus’ “work” involves — only that it involves some rather unsavory characters and puts the adults around her on edge. Besides Seamus’ colleagues, the only other people on the farmstead are Mary, a kind-but-secretive young woman from a neighboring farmstead who assists the local doctor, McGrath, in caring for Shannon during the end of her pregnancy (both Mary and McGrath are secretly informants for British forces in Belfast, who are hunting for IRA members who may be a security threat).

After the Bloody Friday bombings, British forces in NI began arresting and raiding homes of suspected IRA members, triggering more bloodshed.

1972 marked the height of The Troubles in Northern Ireland, with over 500 civilian deaths and 1,300 bombings.

THE TROUBLES SERVE AS THE HISTORICAL CONTEXT & THE INITIAL IMPETUS FOR THE STORY. WITHOUT IT, WE’D NEVER SEE THE LABYRINTH AT ALL.

Since their remote new home is occupied by Seamus’ colleagues, Evelyn occupies herself by reading a book of Celtic fairytales and exploring a crumbling old labyrinth that resides on the edge of the tiny farmstead. While exploring the labyrinth, Evelyn meets a Puca (a halfanimal shape shifting creature from Celtic mythology), who convinces her that she is the long-lost princess of the underworld and sends her on a dangerous quest to return there. The quest requires that Evelyn complete herculean tasks, such as killing a huge toad that is poisoning a magic tree and retrieving an artifact from the lair of a childeating monster. By completing the tasks, Evelyn will achieve immortality, which she needs if she is to enter the underworld. Evelyn sets about completing the Puca’s quest, trying to survive each task and also survive her stepfather’s increasingly violent behavior.

PR O TAG O N I S T Evelyn is a bright girl with a vivid imagination and a love for fairytales (the book of Celtic fairytales she reads is the book her now-deceased father used to read to her.

She buries herself in it to ease her fear of Seamus and sadness of leaving her home in Belfast). She knows very little about Seamus’ work, but it is clear that whatever the adults are doing is secretive, and she is often pushed out of their home by her parents lest she hear more of what Seamus and his colleagues are doing (Shannon is adamant that Evelyn be shielded from what is going on).

With little to do and no other children to play with, she has little choice but to explore the farmstead that is now her home, the labyrinth being her first choice.

In Celtic folklore, a Puca (pictured right) was a capricious shapeshifter that wandered the country.

Our Puca disguises himself as huge black stones (like the boulder in our set), which is why Evelyn calls him the “Stoneman.” When he appears, he looks like he is made of stone himself.

MISSION Evelyn has both a short term and a long term mission.

Her short-term mission is to help her mother Shannon, who is extremely sick and pregnant with her new husband’s child. Seamus does not seem to care that Shannon is sick; he only cares about the baby, who he considers solely his (Seamus does not like Evelyn at all; in fact, as he becomes more paranoid he starts to see her as an enemy). Evelyn initially agrees to the Puca’s quest because he promises to help her mother get better. After Shannon dies in labor, Evelyn’s short-term mission changes to protecting her newborn brother from Seamus, who has become increasingly dangerous.

Her long-term mission is to finish the Puca’s quest, which involves completing 3 dangerous tasks, so that she may gain (or regain, as she believes) immortality and return to her rightful place as princess of the underworld. By completing her long-term mission, she hopes to finally ease her sense of not fitting into the world and find a safe home where she is important (she feels unseen and out of place at home).

The home Seamus secures is very isolated (all the better to hide from the police...and the perfect place to encounter a Puca). Its isolation both opens Evelyn’s eyes to magic and adds more danger...there is no one near to protect her from Seamus.

NAR RAT I V E E N V I R O N M E N T : S T O N E MAN ‘ S GAT E Our primary set is the center of the labyrinth (a.k.a. the Puca’s Gate), which is where the entrance to the underworld lies and where Evelyn encounters the Puca. It is an open, circular space with two entrances opposite each other. The ground will be laid with stone, like an ancient tiled floor, and when viewed aerially we will see a great triskele design etched across it. Celtic runes and faces will be carved into the walls all around the space. In the center of this space will be a large, misshapen black boulder. This boulder will serve two purposes in the story: 1) it will act as the door to the Underworld, and 2) it will be the Puca’s home. Evelyn will come to this place in both of my selected scenes to commune with the Puca.

While most people ignore the labyrinth, some people will be drawn to it by the sound of voices calling them from inside. Most people hear loved ones’ voices; i.e. Evelyn hears her dead father’s voice, whereas Seamus hears his dead mother’s voice.

A classic spiral labyrinth, very similar to the shape and design of our labyrinth (although ours will only have 2 entrances).

A celtic triskele, or triple spiral. It’s original meaning is unknown, but it is commonly found on ancient celtic graves.

At first glance, the labyrinth appears like a cross between a crumbling fence and a derelict stone house — the walls are tall and made of rough dark stones stacked upon each other, similar to the oldstyle stone fences Evelyn encounters in the country.

The stones are partially covered in vibrant green moss, but etchings can still be seen on the walls.

The etchings are a combination of celtic symbols, images of fantastic beasts, and faces of gods and monsters. In the day, the etchings seem quaint but not notable. In moonlight however, which is when Evelyn enters the labyrinth, they take on a dreamy, somewhat frightening quality (especially the faces — perhaps in some instances, the faces change?

Sometimes they appear to be smiling or laughing, whereas other times they’re snarling). Some of the walls in the labyrinth are crumbled so low that Evelyn can step or climb over them (in the end of the film, when the labyrinth changes around Evelyn while she hides from Seamus, these crumbled walls appear magically fixed to conceal her).

NAR RAT I V E E N V I R O N M E N T : C O N N E C T E D S E T S The entirety of the film takes place in the countryside outside of Belfast, on a remote farmstead that Seamus has acquired as a temporary home for his family and a sort of base of operations for his IRA colleagues to work on their next move. The house is a traditional Irish country home — simple white stone building with a few windows and a couple of small-but-practical rooms. There is a small, rundown old barn near the house that used to house livestock and now holds molding hay, old farm equipment, and some of Seamus’ ammunitions. The labyrinth lies beyond the barn, behind a small green hill where a feeble brook runs.

The nearest neighbor to Evelyn’s farmstead is Mary’s family home, which is about a mile down the rutted dirt road that led Evelyn and her mother from Belfast. Mary walks to Evelyn’s every morning (except when she’s driven

by Dr. McGrath in his car). As such, the farmstead (and, by extension, the labyrinth) makes one feel as if she is the only person on earth. The isolation is beneficial to Seamus, troubling for Shannon, and enchanting to Evelyn — she has plenty of time and space to explore, and the countryside sparks her vivid imagination.

The Belfast countryside serves as our backdrop.

Isolated & lush, it reflects the magic and the sinister quality of the story perfectly.

The labyrinth’s crumbling stone walls will hearken back to the stone fences seen in various parts of the Irish countryside -- yet another way in which the familiar and the fantastic are merged together. This contrast will be a major theme in the film, and will be reflected in plot, character, and set design.

AND NO W FOR A C L OS ER L OOK AT O UR EN V I R ON M E N T. . .

WE EK T HR E E: SE T T ING & C ON N EC TI V I TY After changing our setting in week two, week three asked us to explore our setting further. Not only did we look deeper into our primary sets (in this case, a gate to the underworld in the center of a labyrinth), but also into the surrounding environments & how each was connected.

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SETTING CONNECTIVITY RAT I O NALE

The primary set is the Stoneman’s Gate at the center of the labyrinth. However, several other surrounding sets in my narrative environment are important to consider in connection with the Stoneman’s Gate, as these other sets are factors in both the protagonist’s initial exploration of the labyrinth and in the climax of the film. By asking which settings are crucial to moving the plot forward, which settings are crucial to the development of the characters, and how each setting is connected to each other, I decided on three main connecting environments to focus on: the labyrinth, the house that the main characters live in, and the surrounding countryside between these two locations.

While the labyrinth is the main focus of my chosen scenes, the house that the main characters live in and the surrounding countryside are both important connecting environments that A) help develop the plot and themes of the overall film, and B) help develop the characters. Without these two connected environments, the protagonist would never have been pushed to explore the labyrinth, and the story could not happen.

T H E LA B Y R I N T H The Stoneman’s Gate is a circular clearing with gray stones “tiled” across the ground, and a huge mishapen black boulder in its center (this is the Puca’s hiding place). The boulder is covered in moss and surrounded by red poppies.

The walls of the clearing are carved with strange faces and Celtic runes (perhaps telling the story of the lost princess).

The rest of the labyrinth is made up of light gray stones, similar to the stone fences found throughout Ireland. It is also crumbling, and holes or downed walls in its maze allow Evelyn to see through a sort of naturally-made “window” to both the outside environment (the surrounding countryside and the house, faintly visible over the hills) and the circles farther into the labyrinth. In some places there are multiple “windows,” allowing Evelyn to see a few circles ahead and creating a dizzying quality that makes us feel the labyrinth goes on forever. Because both of my scenes occur at night, with only moonlight to illuminate Evelyn’s way, colors in the labyrinth will be cool and muted. While the stone is mostly the same color, the textures of the labyrinth are rich and varied: velvet moss climbing up the rough stone, crumbling gravel by downed walls, a lush blanket of grass across the ground…while the colors may remain consistent to add to the confusion and other-worldly quality of the labyrinth during these scenes, the textures in this setting will help create visual interest and underscore the “wildness” of this place.

THE HOUSE

The house is an aged, traditional Irish country cottage — small but sturdy, with weather-faded white walls and a dark tiled roof that leaks when it rains. It is not quite as dilapidated as the labyrinth, but it is worn enough that we know no one has lived here for a long time. Two or three windows let in a meager amount of light, but Seamus (the villain) always keeps the curtains drawn. The door is the only bright spot in the house’s exterior and is painted a bright (but severely weathered and chipped) red. The house’s interior is traditional. There are three rooms: a large kitchen/great room that takes up most of the house, and two small bedrooms (one is where Evelyn and Shannon sleep, the other for Seamus and his colleagues). The floors are wood, although some of the boards are loose or cracked. The appliances (stove, fridge, etc.) are all old, but working. It’s an aged, functional place, and only small beams of light come in through the dusty white curtains. Again, the play of light and texture will be important here. There is not much color inside, and the items in the house are possessions of the previous owners.

THE COUNTRYSIDE

The surrounding countryside connects the two aforementioned environments. When Evelyn looks through the “windows” of the Labyrinth, this is the place she sees and what allows her to see toward the house. When we glimpse outside the drawn curtains in the house, we see the countryside just out of reach. This setting is the swatch of color, life, and space between two environments marked by low light, little color, and tight quarters. Whereas all the other environments feel somewhat suffocating, the countryside makes one feel as though they could float away.

This will be the brightest and most vibrant of the environments. This outside world will juxtapose the skewed reality and fantasy presented in the house and the labyrinth with the untouched reality found in nature.

PICTORIAL RESEARCH RAT I O NALE The primary set is the Stoneman’s Gate at the center of the labyrinth. However, several other surrounding sets in my narrative environment are important to consider in connection with the Stoneman’s Gate, as these other sets are factors in both the protagonist’s initial exploration of the labyrinth and in the climax of the film. By asking which settings are crucial to moving the plot forward, which settings are crucial to the development of the characters, and how each setting is connected to each other, I decided on three main connecting environments to focus on: the labyrinth, the house that the main characters live in, and the surrounding countryside between these two locations. While the labyrinth is the main focus of my chosen scenes, the house that the main characters live in and the surrounding countryside are both important connecting environments that A) help develop the plot and themes of the overall film, and B) help develop the characters. Without these two connected environments, the protagonist would never have been pushed to explore the labyrinth, and the story could not happen.

Openings in the labyrinth (crumbling walls, holes, etc.) will act as windows to the surrounding sets & in some cases heighten the sense that the labyrinth is the door to another world.

An idea of what the labyrinth looks like.

Texture, light, & color will be a huge factor in our labyrinth’s design.

T H E LA B Y R I N T H The Stoneman’s Gate is a circular clearing with gray stones “tiled” across the ground, and a huge mishapen black boulder in its center (this is the Puca’s hiding place). The boulder is covered in moss and surrounded by red poppies. The walls of the clearing are carved with strange faces and Celtic runes (perhaps telling the story of the lost princess).

The rest of the labyrinth is made up of light gray stones, similar to the stone fences found throughout Ireland. It is also crumbling, and holes or downed walls in its maze allow Evelyn to see through a sort of naturally-made “window” to both the outside environment (the surrounding countryside and the house, faintly visible over the hills) and the circles farther into the labyrinth. In some places there are multiple “windows,” allowing Evelyn to see a few circles ahead and creating a dizzying quality that makes us feel the labyrinth goes on forever. Because both of my scenes occur at night, with only moonlight to illuminate Evelyn’s way, colors in the labyrinth will be cool and muted. While the stone is mostly the same color, the textures of the labyrinth are rich and varied: velvet moss climbing up the rough stone, crumbling gravel by downed walls, a lush blanket of grass across the ground…while the colors may remain consistent to add to the confusion and otherworldly quality of the labyrinth during these scenes, the textures in this setting will help create visual interest and underscore the “wildness” of this place.

THE HOUSE The house is an aged, traditional Irish country cottage — small but sturdy, with weather-faded white walls and a dark tiled roof that leaks when it rains. It is not quite as dilapidated as the labyrinth, but it is worn enough that we know no one has lived here for a long time. Two or three windows let in a meager amount of light, but Seamus (the villain) always keeps the curtains drawn.

The door is the only bright spot in the house’s exterior and is painted a bright (but severely weathered and chipped) red. The house’s interior is traditional. There are three rooms: a large kitchen/great room that takes up most of the house, and two small bedrooms (one is where Evelyn and Shannon sleep, the other for Seamus and his colleagues). The floors are wood, although some of the boards are loose or cracked. The appliances (stove, fridge, etc.) are all old, but working. It’s an aged, functional place, and only small beams of light come in through the dusty white curtains. Again, the play of light and texture will be important here. There is not much color inside, and the items in the house are possessions of the previous owners.

Moonlight could be fun to play with on the runes and faces of the labyrinth. Perhaps how it falls on the carvings makes them appear as though they’re either laughing or snarling?

THE COUNTRYSIDE

The surrounding countryside connects the two aforementioned environments. When Evelyn looks through the “windows” of the Labyrinth, this is the place she sees and what allows her to see toward the house. When we glimpse outside the drawn curtains in the house, we see the countryside just out of reach. This setting is the swatch of color, life, and space between two environments marked by low light, little color, and tight quarters. Whereas all the other environments feel somewhat suffocating, the countryside makes one feel as though they could float away. It’s a breath of fresh air, a space of opportunity that seems endless, a welcome relief from the ominous closeness of the other spaces. This will be the brightest and most vibrant of the environments.

Red will be a significant metaphor in the film.

In the midst of so much green and neutrals, red appears during times of foreboding or mystery.

The door to the home of the evil Seamus is red. Little patches of red flowers grow outside the labyrinth’s entrance. Even Evelyn’s hair is bright red.

This will be the most vibrant of the environments, and the brightest. Similarities in light and lack of color in the previous two environments will allow parallels to be drawn between them. However, the world outside will be markedly different, juxtaposing the skewed reality and fantasy presented in the house and the labyrinth with the untouched reality found in nature.

Sound will be a huge factor in this connecting environment — the sound of wind, babbling water from a dying creek, the creaking of a gate on its hinges, the groans of the old wood barn when you come near, the rustling of grass, the vague hint of voices from the house, etc. Though they will be brought in subtly, each of these sounds will help bridge the connection between the three environments. We will hear remnants of sounds from the countryside in both the house and the labyrinth; we will occasionally hear sounds from either the house or the labyrinth when we are in the countryside.

Evelyn & the labyrinth setting parallel the development of Seamus & the house setting. Evelyn enters the labyrinth to go on a quest to return to life as it was meant to be: i.e. with her as princess of the underworld.

Seamus locks himself in his grandparents’ home to complete a personal quest that he believes will return Northern Ireland to the way it was meant to be: a sovereignstate.

A modern view of Belfast, as seen from the country outside the city. One thing to consider is how near the three environments are to Belfast -- can Evelyn see the city from the hills? Belfast is also fairly close to the Irish coast. Will coastal sounds or views play a part in the film?

WE EK F OU R : BA C KS TORY In week four, we were charged with the mission of discovering who our characters outside the constraints of our film -- in other words, what stories they had that did not play out in our plot. In doing so, we discovered a new world of possibilities in the telling of the film.

BACKSTORY E V E LY N : O U R PR O TAG O N I S T ’S BAC K S T O R Y Evelyn’s real father died of illness when she was 4 or 5, so her memory of him is faded and fuzzy. Her lack of solid memories only underscores the Puca’s story of her royal lineage (he claims that her reincarnated spirit was birthed by the moon, and that no human could have parented her). Shannon rarely talks about Evelyn’s father because Seamus becomes angry when she does. However, she has told Evelyn that he loved to read her fairytales and that he called her his “moonchild.” The book of fairytales that Evelyn reads voraciously and holds so dear was the one her father read to her, although where he got it is a mystery.

Evelyn is a quiet child who is often lost in daydreams. She does fine in school, but her teachers often say she could do better if she would concentrate more and daydream less. She has a few friends, mostly introverted obedient types like herself, but is not particularly close to any of them — she always feels as though she doesn’t quite fit in with anyone. She loves to play pretend, read, and draw pictures to go with stories she makes up. She is particularly fond of stories about fairies, and has always loved to pretend she is one (Shannon says that when her hair is down and wild, she looks like a little fairy girl. Consequently, Evelyn loves to wear her hair down). She likes to wear bright colored clothes because they remind her of the pictures of fairies in her story book. Perhaps it’s her heart for fairytales and her sense of not entirely fitting in that makes it so easy for her to believe she’s princess of the underworld.

S E A M U S : O U R V I L LA I N ’S B A C K S T O R Y Seamus’ never knew his father, but his mother told him he was an Irish fisherman who was lost at sea. His mother struggled with mental health problems. Seamus adored her. Eventually, her mental health declined so much that she was put in a facility, and Seamus was sent to live at his grandparents’ farmstead in the countryside outside of Belfast (the same place he brings Evelyn to in the film). His grandparents were strict Catholics who felt that Seamus’ mother’s mental problems were punishment for her choice to run away with Seamus’ father. Through eavesdropping, Seamus learns that his father was a drunk who got his mother pregnant out of wedlock and refused to marry her (he had many excuses for this, and she was too blind to see through them, much to her parents’ chagrin). He later died in a bar fight before Seamus was born. This shatters Seamus’ trust in his mother, and his view of himself.

His current ideologies were heavily influenced by his grandparents. He once heard his grandparents talk about “vessels of destruction” and how they believed that some people were set aside by God to destroy and be destroyed as a judgment. This idea above all others stays with him, and as he gets deeper into the IRA he feels strongly that is his purpose: to be a “holy” weapon of destruction that God will use to unify Ireland.

Seamus met Shannon while she was working at a pub in Belfast. Much like Seamus’ parents’ story, Shannon was swept away by Seamus’ manner and followed him willingly, and he had no intention of marrying her until he found out she was pregnant. This development sparked a new desire: to raise a son who he could pass the mantle of his “holy purpose.”

T H E LA B Y R I N T H : O U R E N V I R O N M E N T ’S B A C K S T O R Y The labyrinth has rested in this spot for a long time, yet no one in the area knows why it’s there. It has always, to current knowledge, been a weathered pile of ruins, covered in moss and none too interesting. People’s disinterest is part of its mystery — perhaps it’s part of the labyrinth’s magic that only people who are capable of undertaking the Puca’s quest are attracted to it.

Some people (like Seamus) get an uneasy feeling walking around the labyrinth, describing it as feeling as though one is walking on one’s own grave. Perhaps this is because the labyrinth is one of the gates to the underworld, a fearful place for those souls not born there, like Evelyn.

Unbeknownst to Evelyn, the faces carved on some walls around the labyrinth are enchanted etchings of people who have tried to complete the Puca’s quest and failed (because they were not truly souls from the underworld, and thus could not complete it; i.e., they were killed during the quest). This is why the faces appear to change at different times — sometimes they’re snarling, sometimes screaming in warning, and sometimes laughing (such as when Evelyn is shot at the end of the film…a hint that the Puca was truthful about Evelyn being the lost princess, and a hint that Evelyn has successfully completed the quest).

PICTORIAL RESEARCH Evelyn’s real father died of illness when she was 4 or 5, so her memory of him is faded and fuzzy. Her lack of solid memories only underscores the Puca’s story of her royal lineage (he claims that her reincarnated spirit was birthed by the moon, and that no human could have parented her).

Shannon rarely talks about Evelyn’s father because Seamus becomes angry when she does. However, she has told Evelyn that he loved to read her fairytales and that he called her his “moonchild.” The book of fairytales that Evelyn reads voraciously and holds so dear was the one her father read to her, although where he got it is a mystery.

Evelyn is a quiet child who is often lost in daydreams.

She does fine in school, but her teachers often say she could do better if she would concentrate more and daydream less. She has a few friends, mostly introverted obedient types like herself, but is not particularly close to any of them — she always feels as though she doesn’t quite fit in with anyone.

She loves to play pretend, read, and draw pictures to go with stories she makes up. She is particularly fond of stories about fairies, and has always loved to pretend she is one (Shannon says that when her hair is down and wild, she looks like a little fairy girl. Consequently, Evelyn loves to wear her hair down). She likes to wear bright colored clothes because they remind her of the pictures of fairies in her story book.

Perhaps it’s her heart for fairytales and her sense of not entirely fitting in that makes it so easy for her to believe she’s princess of the underworld.

Evelyn has a vivid imagination, and often retreats into her daydreams as a means of escaping the problems in her life. She has always felt as though she didn’t fit in.

Evelyn’s memories of her father are so faint she’s not sure if they’re really memories at all, so she creates stories in her head about him. In a way, her backstory is a little like Seamus’s...

S E A M U S : O U R V I L LA I N ’S B A C K S T O R Y Seamus’ never knew his father, but his mother told him he was an Irish fisherman who was lost at sea. As a child, he imagined his dad as a great adventurer. His mother worked as a bar maid in a pub in Belfast, and struggled with mental health problems. Seamus adored her despite her problems. Eventually, her mental health declined so much that she was put in a facility, and Seamus was sent to live at his grandparents’ farmstead in the countryside outside of Belfast (the same place he brings Evelyn to in the film). His grandparents were strict Catholics who felt that Seamus’ mother’s mental problems were punishment for her choice to run away with Seamus’ father. Through eavesdropping, Seamus learns that his father was a drunk who got his mother pregnant out of wedlock and refused to marry her (he had many excuses for this, and she was too blind to see through them, much to her parents’ chagrin). He later died in a bar fight before Seamus was born. This truth shatters Seamus’ belief in the stories his mother had told him, his trust in his mother, and his view of himself.

Seamus has some of his mother’s mental health problems. As the film goes on, his paranoia and violent tendencies escalate more.

Like Evelyn, Seamus made up stories about his father to replace his lack of relationship. While Evelyn learns she is actually a princess, Seamus learns he is the son of two deeply-flawed parents.

His current ideologies were heavily influenced by his grandparents. He once heard his grandparents talk about “vessels of destruction” and how they believed that some people were set aside by God to destroy and be destroyed as a judgment. This idea above all others stays with him, and as he gets deeper into the IRA he feels strongly that is his purpose: to be a “holy” weapon of destruction that God will use to unify Ireland.

Seamus met Shannon while she was working at a pub in Belfast. Much like Seamus’ parents’ story, Shannon was swept away by Seamus’ manner and followed him willingly, and he had no intention of marrying her until he found out she was pregnant. This development sparked a new desire: to raise a son who he could pass the mantle of his “holy purpose.”

T H E LA B Y R I N T H : O U R E N V I R O N M E N T ’S B A C K S T O R Y The labyrinth has rested in this spot for a long time, yet no one in the area knows why it’s there. It has always, to current knowledge, been a weathered pile of ruins, covered in moss and none too interesting. People’s disinterest is part of its mystery — perhaps it’s part of the labyrinth’s magic that only people who are capable of undertaking the Puca’s quest are attracted to it.

Some people (like Seamus) get an uneasy feeling walking around the labyrinth, describing it as feeling as though one is walking on one’s own grave. Perhaps this is because the labyrinth is one of the gates to the underworld, a fearful place for those souls not born there, like Evelyn.

Some of the missing stones in the labyrinth’s crumbling walls were taken by the farmstead’s various owners for uses around the farm.

Occasionally we’ll catch a glimpse of a carving or rune in the stonework of a shot.

Unbeknownst to Evelyn, the faces carved on some walls around the labyrinth are enchanted etchings of people who have tried to complete the Puca’s quest and failed (because they were not truly souls from the underworld, and thus could not complete it; i.e., they were killed during the quest). This is why the faces appear to change at different times — sometimes they’re snarling, sometimes screaming in warning, and sometimes laughing (such as when Evelyn is shot at the end of the film…a hint that the Puca was truthful about Evelyn being the lost princess, and a hint that Evelyn has successfully completed the quest).

The faces of the labyrinth and how they change will be hints to the viewer that the Puca is truthful and tell how Evelyn is doing in her quest. For example, when Evelyn is shot at the end of the film, the faces will be smiling in the background -- a hint that she has completed the quest and her soul has returned to the underworld.

W EE K F I V E: SE L E CT A C OL OR PA L ET TE In weeks two, three, & four, we examined our characters and our set as thoroughly as we could. In week five, we explored our stories from a different angle: through the color palette of the film. We were asked to select a painting that’s colors reflected our film in some way, and to create a color palette drawn from that painting.

COLOR PA L E T T E Cool-toned, muted, dark colors will comprise the majority of the film’s color palette. The overall landscape is dominated by deep greens; shades of blue, yellow, red, and purple will be used to contrast and complement this.

Grey will sometimes be used to play up the drabness of the protagonist’s situation and balance out the rich colors.

The colors will be kept darker to play off the dark-fantasy feeling of the film and its major themes. The house will be a dingy off-white, with a faded poppy-red door and a tiled roof in varying shades of brown, gray, and black that correspond to its wear. As stated in my week 3 assignment, red will be used as a visual metaphor for danger throughout the film and will thus be placed strategically. For example, faded red door on the house where Seamus and his colleagues stay to plan their next attack and where Shannon dies in childbirth; red poppies growing around the labyrinth but nowhere else; red seats in the car that Evelyn & Shannon take to the countryside; and red hair on Evelyn, the girl who dodges danger both in her quest and in her home life and only achieves immortality through death. White and yellow flowers will grow sporadically around the house and grounds of the farm.

T H E S T O N E MAN ’S GAT E Since my two main scenes occur at night, colors in the labyrinth will be cool-toned and dark, but also more vibrant, than colors used in the rest of the film (think jewel-tones versus muted tones). Emphasis will be placed on greens, blues, and deep purples, and texture will be a huge factor in the set design. The stone itself will be various shades of gray, green, and black during the day, but will have a colorful sheen at night, giving the viewer the impression that the labyrinth has changed colors after sundown (and emphasizing the fantasy tone of the set). Moonlight and its effect on color will also play a role; everything will appear more blue or purple at night compared to the day, when the stones and general setting of the labyrinth appear more green and blue. The stones in the labyrinth will be a variety of colors (because of age/wear and because they’re all different kinds of rock), and will appear different hues if you look closely — they’ll give off a colorful sheen, much like obsidian, in the light. Moss will also grow over the stone, adding yet more color and texture to this set. Color variations in the rock will also appear in the carvings (runes, faces, etc.) throughout the labyrinth, but most notably in the center of the maze (the entrance to the underworld and where my scenes take place). Red flowers will grow in stray patches outside the labyrinth’s entrance, and will be spotted popping up throughout the maze (again, red flowers won’t be seen anywhere else in the film but here; they are a symbol of danger).

A NOTE ON COSTUMES Costumes will be kept to neutral or light colors, with pops of color here or there, so as not to compete with the rich colors of the set. Most often Shannon will be seen in light colors, like cream or off-white, with some dark blue and small bits of yellow here or there (Evelyn brings her little crowns of yellow flowers picked outside the house — perhaps a sort of premonition of when Evelyn sees her mother as queen of the underworld?). Seamus’ colleagues, Mary, and the doctor all wear dark colored neutrals — mostly deep browns, blacks, and hunter greens. These colors will be a nod to army fatigues, a reminder that these characters are in the midst of a civil war. It will also emphasize the drabness of the house set — there will be very little bright color, and what pops of bright color we get in the house will be faded and chipped with age.

Seamus and Evelyn are the only two characters who repeatedly wear attention-grabbing colors. Evelyn gravitates toward clothes in vibrant greens, yellow, and powder blues — colors that hearken back to her love of the brightly-dressed fairies in her storybook. These colors will also contrast nicely with her red hair. Seamus will be the only one of his colleagues who wears non-fatigue colors — most often deep blue, off-white, and maroon. In the scenes where he is extremely violent or his psychosis is more evident, he will be wearing something deep maroon.

PICTORIAL RESEARCH Cool-toned, dark colors will comprise the majority of the film’s color palette. The overall landscape is dominated by deep greens; shades of blue, yellow, red, and purple will be used to contrast and complement this. Grey will sometimes be used to play up the drabness of the protagonist’s situation and balance out the rich colors. The colors will be kept darker to play off the dark-fantasy feeling of the film and its major themes. The house will be a dingy off-white, with a faded poppy-red door and a tiled roof in varying shades of brown, gray, and black that correspond to its wear.

Since cool landscape, purple will Characters’ compete.

greens will dominate in the Irish colors like red, blue, yellow, and be used to break up the monotony. clothes will be neutral so as not to

Even in the house, tones will be cool & faded (like the blue-green walls, pictured left).

Yellow and small bits of red will be used in props, and white & brown will be used to balance out the house’s color palette.

A WORD ABOUT RED As stated in a previous assignment, red will be used as a visual metaphor for danger throughout the film and will thus be placed strategically. For example, faded red door on the house where Seamus and his colleagues stay to plan their next attack and where Shannon is killed by Seamus; red poppies growing around the labyrinth but nowhere else; red seats in the car that Evelyn & Shannon take to the countryside; and red hair on Evelyn, the girl who dodges danger both in her quest and in her home life and only achieves immortality through death. White and yellow flowers will grow sporadically around the house and grounds of the farm.

Since there is so much mystery in the film’s plot, certain colors will be used to hint at what’s to come.

Shannon will normally wear light tones (i.e. white & cream dresses) to reference her death toward the end of the film, Seamus will be the only character who wears red to show his character is a threat, etc.

T H E S T O N E MAN ’S GAT E Since my two main scenes occur at night, colors in the labyrinth will be cool-toned and dark, but also more vibrant, than colors used in the rest of the film (think jewel-tones versus muted tones). Emphasis will be placed on greens, blues, and deep purples, and texture will be a factor in the set design. The stone itself will be various shades of gray, white, and black during the day, but will have a colorful sheen at night, giving the viewer the impression that the labyrinth has changed colors after

The labyrinth changes for each person: the walls change, the voices inside change, & the tones change depending on who enters.

Red poppies, a common Irish wildflower. These will only appear around the labyrinth’s main entrance and the Puca’s Gate. sundown (and emphasizing the fantasy tone of the set).

The hue of the set will also reflect which character is in the set at the time; i.e., when Evelyn is at the stoneman’s gate, the light and surroundings will seem more purple or blue, whereas when Seamus is in the labyrinth everything will appear more green-hued.

The stones in the labyrinth will be various shades of black, white, and gray, but the Puca’s boulder will be a smooth black, almost like volcanic rock. Moss will grow over the top of the stone (the Puca’s hair) and bits of white or light grey will show where it’s teeth and eyes would be. Red poppies grow sporadically around the stone (again, red flowers won’t be seen anywhere else in the film but here; they are a symbol of danger).

Pictured above: an example of the color variation in the labyrinth’s stones. The labyrinth overall will be paler rock than normally seen in Irish stone fences, giving it an unsettling tomb-like quality. Green moss & white, yellow, and red wildflowers will be used to complement the day-time labyrinth set.

A NOTE ON COSTUMES Costumes will be kept to neutral or light colors, with pops of color here or there, so as not to compete with the rich colors of the set. Most often Shannon will be seen in light colors, like cream or off-white, with some dark blue and small bits of yellow here or there (Evelyn brings her little crowns of yellow flowers picked outside the house — perhaps a sort of premonition of when Evelyn sees her mother as queen of the underworld?). Seamus’ colleagues, Mary, and the doctor all wear dark colored neutrals — mostly deep browns, blacks, and hunter greens. These colors will be a nod to army fatigues, a reminder that these characters are in the midst of a civil war. It will also complement the colors of the house set — there will be cool-toned, faded colors used in the house, chipped with age, that will give the set a sense of sickness and unease.

The house will be clean, but faded. Blues, browns, off-whites & faded yellows wil make up the house color palette. Because the set will be colorful, character’s clothes will be darker and more neutral.

Seamus and Evelyn are the only two characters who repeatedly wear attention-grabbing colors. Evelyn gravitates toward clothes in vibrant greens, yellow, and powder blues — colors that hearken back to her love of the brightly-dressed fairies in her storybook. These colors will also contrast nicely with her red hair. Seamus will be the only one of his colleagues who wears non-fatigue colors — most often deep blue (as a contrast to Evelyn’s light blue), off-white (a reflection of his disturbed belief that he is a messenger of God), and maroon. In the scenes where he is extremely violent or his psychosis is more evident, he will be wearing something deep maroon.

W EE K S I X : M O D EL Y OU R S ET After five weeks of developing environments, establishing characters, and exploring backstory, week six brought a brand new challenge: to bring your environment from thought to reality through the use of hand-sketched or 3D models.

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MODEL DESIGN OVERVIEW: SKETCHES & DIMENSIONS My primary set, the center of the labyrinth (a.k.a. the Puca’s Gate), cannot be considered without also considering the labyrinth as a whole and perhaps its relation to the connected environment of the house. The labyrinth itself will be a spiral maze, as illustrated in the 3D models pictured, with two entrances from the outside world and, consequently, two entrances into the Puca’s Gate. The Puca’s Gate will have a diameter of approximately 30 feet, with walls around 10 feet high and 1 to 1.5 foot thick (they must be high enough that average-sized adults like Seamus could not see or climb over them easily, excluding holes in the walls). The Puca’s stone in the center of the set will be about 8 feet high. The house must be located close enough to the labyrinth that one can see it before entering the maze, but not so close as to allow one to hear from inside the labyrinth or get a clear view of it (i.e. it should be approximately 50-100 yards from the house, perhaps half hidden by a hill; the exact positioning would depend ultimately on which sets were shot on location versus on the stage).

O N S TAG E O R O N LO CAT I O N In order to fully connect the labyrinth environment to the surrounding environments, it must appear to be situated in the Irish countryside (and appear in relation to the house) in at least shots of its exterior. For this reason, partial construction of the labyrinth’s exterior on location would be practical. Aerial views of the full labyrinth could be achieved with the use of scale models, which would also allow us to capture the scale of the labyrinth without the cost of actually building it from scratch. Compositing techniques like matte painting could be used in conjunction with scale models to achieve aerial shots of the characters navigating the labyrinth (although this could perhaps be done on a stage set rather than location). Once these exterior shots of the labyrinth are captured, the remaining interior shots within the labyrinth and the Puca’s Gate can be captured on a stage set.

Since the Puca’s Gate set is removed from the outside environments, more detailed than the rest of the labyrinth, and smaller than the labyrinth as a whole, it would be easier (and perhaps more cost effective) to construct it on a stage. On a stage, the set can be created in detail and constructed in the needed proportions while also allowing for more ease of equipment positioning during filming. A stage set would also allow easier control over lighting arrangement, which is particularly important because most scenes in the Puca’s Gate will occur at night.

CAMERA POSITIONS The design and construction of the Puca’s Gate set must be considered in relation to camera position and the shots needed for scenes in this environment, particularly the climax scene with Seamus and Evelyn. In this scene, Evelyn will enter the Puca’s Gate from Door 1 (refer to hand sketch 1, pictured page 6). Camera 1 will shoot her entry from behind her, following her through the doorway and giving us a clear shot of the Puca’s stone in the set’s center. This angle will also be used to show Seamus’ entering through Door 2 and approaching her. Camera 2, placed between Door 1 and Door 2, will shoot Evelyn in profile as she begs the Puca to save her and her brother (this angle will also give us a better glimpse of the carved faces in the walls, which change from snarling to smiling throughout the scene). A possible third camera angle will be Camera 3, which will shoot the characters in 1/4 profile. This camera may incorporate camera movements that will better portray the blurring between reality and fantasy occurring in this scene (and also to see more angles of this primary set, at the director’s discretion).

PICTORIAL RESEARCH My primary set, the center of the labyrinth (a.k.a. the Puca’s Gate), cannot be considered without also considering the labyrinth as a whole and perhaps its relation to the connected environment of the house. The labyrinth itself will be a spiral maze, as illustrated in the 3D models pictured, with two entrances from the outside world and, consequently, two entrances into the Puca’s Gate. The Puca’s Gate will have a diameter of approximately 30 feet, with walls around 10 feet high and 1 to 1.5 foot thick (they must be high enough that average-sized adults like Seamus could not see or climb over them easily, excluding holes in the walls). The Puca’s stone in the center of the set will be about 8 feet high. The house must be located close enough to the labyrinth that one can see it before entering the maze, but not so close as to allow one to hear from inside the labyrinth or get a clear view of it (i.e. it should be approximately 50-100 yards from the house, perhaps half hidden by a hill; the exact positioning would depend ultimately on which sets were shot on location versus on the stage).

A plan sketch of the Puca’s Gate set. This set could be constructed entirely on stage, with aerial views captured with use of a scale model.

A 3D perspective sketch of the labyrinth set in its entirety, as it relates to the connected environments of the house (top left) and adjacent barn (lower left).

O N S TAG E O R O N LO CAT I O N In order to fully connect the labyrinth environment to the surrounding environments, it must appear to be situated in the Irish countryside (and appear in relation to the house) in at least shots of its exterior. For this reason, partial construction of the labyrinth’s exterior on location would be practical. Aerial views of the full labyrinth could be achieved with the use of scale models, which would also allow us to capture the scale of the labyrinth without the cost of actually building it from scratch. Compositing techniques like matte painting could be used in conjunction with scale models to achieve aerial shots of the characters navigating the labyrinth (although this could perhaps be done on a stage set rather than location). Once these exterior shots of the labyrinth are captured, the remaining interior shots within the labyrinth and the Puca’s Gate can be captured on a stage set.

A closer overhead view of the Puca’s Gate set. Note the important set details: the “tiled” stone floor, the face carvings, the celtic runes, and the Puca’s boulder (surrounded by red poppies).

Since the Puca’s Gate set is removed from the outside environments, more detailed than the rest of the labyrinth, and smaller than the labyrinth as a whole, it would be easier (and perhaps more cost effective) to construct it on a stage. On a stage, the set can be created in detail and constructed in the needed proportions while also allowing for more ease of equipment positioning during filming. A stage set would also allow easier control over lighting arrangement, which is particularly important because most scenes in the Puca’s Gate will occur at night.

CAMERA POSITIONS The design and construction of the Puca’s Gate set must be considered in relation to camera position and the shots needed for scenes in this environment, particularly the climax scene with Seamus and Evelyn.

In this scene, Evelyn will enter the Puca’s Gate from Door 1 (refer to hand sketch 1, pictured page 6). Camera 1 will shoot her entry from behind her, following her through the doorway and giving us a clear shot of the Puca’s stone in the set’s center. This angle will also be used to show Seamus’ entering through Door 2 and approaching her.

Camera 2, placed between Door 1 and Door 2, will shoot Evelyn in profile as she begs the Puca to save her and her brother (this angle will also give us a better glimpse of the carved faces in the walls, which change from snarling to smiling throughout the scene).

A possible third camera angle will be Camera 3, which will shoot the characters in 1/4 profile. This camera may incorporate camera movements that will better portray the blurring between reality and fantasy occurring in this scene (and also to see more angles of this primary set, at the director’s discretion).

Pictured this page: elevation sketches of the labyrinth’s exterior & its relation to connected environments.

CAMERA POSITIONS

ADDITIONAL VIEWS

W E EK S EV EN : REPRISE We have spent the last six weeks transforming a film into something brand new: new characters, new setting, and new ideas. Now, for the last week, we look back on our work and summarize our assignments into a brief reprise of our new story.

S T O N E MAN ’S GAT E STORY SYNOPSIS Forced to flee Belfast because of her stepfather’s IRA involvement, eleven-year-old Evelyn and her pregnant mother Shannon move to an isolated country house to avoid arrest.NEvelyn soon discovers a crumbling old labyrinth on the grounds of her new home, which becomes her refuge from her violent stepfather Seamus. One night, after fleeing into the center of the labyrinth during one of Seamus’ rages, she is greeted by a mysterious guest: a shape-shifting Puca who inhabits the boulder in the labyrinth’s center, whom Evelyn calls “the Stoneman.” The Stoneman convinces Evelyn that she is the long-lost princess of the underworld, and sends her on a dangerous quest to earn immortality and allow her to return to her real home. Evelyn attempts to complete the Puca’s quest, which involves completing 3 herculean tasks, all the while trying to protect her mother, newborn brother, and herself from Seamus’ violence. When Seamus finally snaps and kills Shannon, Evelyn flees into the labyrinth with her brother to beg the Puca for protection. He agrees to allow them into the underworld, but only after Evelyn completes the final task in the quest: the sacrifice of an innocent — her brother — to open gate.

MAIN CHARACTERS Evelyn - Our protagonist, an 11-year-old Irish girl who comes to believe she is the lost princess of the underworld.

Seamus - Our villain, Evelyn’s abusive stepfather who uses the cause of the IRA as an excuse for his violence towards others.

Shannon - Evelyn’s mother, who is pregnant with Seamus’ baby and very ill. She tries to protect Evelyn, yet remains with Seamus despite his abuse. By the time she decides to leave him, it is too late.

The Stoneman - The Puca who lives in the labyrinth, guardian to the gate of the underworld, and the one who sends Evelyn on her quest.

MISSION Evelyn’s mission is two-fold: to protect her mother and baby brother from Seamus, and to complete the quest and return to the underworld where she will be safe & feel like she belongs.

ENVIRONMENT 1972 Ireland, in the height of The Troubles, on an isolated farmstead outside of Belfast. Our primary environment will be The Stoneman’s Gate (a.k.a. the center of the labyrinth) where the Puca lives and where the gate to the underworld lies.

SPECIAL EFFECTS

CGI of The Stoneman - Whenever Evelyn encounters the Puca, he appears to emerge from the huge black boulder in the center of the labyrinth. When he’s visible, he looks like he’s made of stone. His appearance from the rock will be a combination of SFX makeup and CGI to fully capture his “breaking from the stone” movement.

Chromakey of the gate to the underworld - The Puca opens the gate to the underworld briefly to show Evelyn as proof of its existence when he first sends her on the quest. This shot will be accomplished with chromakey graphics showing the ground opening up to a scene from the underworld (which will be filmed on a stage set).

Optical effect of moon above labyrinth - Evelyn always encounters the Puca at night, so moonlight will be the source of illumination in the film. Since the labyrinth set will be shot on stage, an optical moon will be put in to accomplish shots of the moon.

STORY SYNOPSIS Forced to flee Belfast because of her stepfather’s IRA involvement, eleven-year-old Evelyn and her pregnant mother Shannon move to an isolated country house to avoid arrest.NEvelyn soon discovers a crumbling old labyrinth on the grounds of her new home, which becomes her refuge from her violent stepfather Seamus. One night, after fleeing into the center of the labyrinth during one of Seamus’ rages, she is greeted by a mysterious guest: a shape-shifting Puca who inhabits the boulder in the labyrinth’s center, whom Evelyn calls “the Stoneman.” The Stoneman convinces Evelyn that she is the long-lost princess of the underworld, and sends her on a dangerous quest to earn immortality and allow her to return to her real home. Evelyn attempts to complete the Puca’s quest, which involves completing 3 herculean tasks, all the while trying to protect her mother, newborn brother, and herself from Seamus’ violence. When Seamus finally snaps and kills Shannon, Evelyn flees into the labyrinth with her brother to beg the Puca for protection. He agrees to allow them into the underworld, but only after Evelyn completes the final task in the quest: the sacrifice of an innocent — her brother — to open gate.

MAIN CHARACTERS Evelyn - Our protagonist, an 11-year-old Irish girl who comes to believe she is the lost princess of the underworld.

Seamus - Our villain, Evelyn’s abusive stepfather who uses the cause of the IRA as an excuse for his violence towards others.

Shannon - Evelyn’s mother, who is pregnant with Seamus’ baby and very ill. She tries to protect Evelyn, yet remains with Seamus despite his abuse. By the time she decides to leave him, it is too late.

The Stoneman - The Puca, a shapeshifter who lives in the labyrinth and guards to the gate of the underworld, and the one who sends Evelyn on her quest.

Pictured this page: Evelyn, our imaginative protagonist (top) and the Puca, a.k.a.

“Stoneman” (right).

MISSION Evelyn’s mission is two-fold: to protect her mother and baby brother from Seamus, and to complete the quest and return to the underworld where she will be safe & feel like she belongs.

Evelyn’s stepfather is both the villain of the story & a part of her mission -- his violence is what initially spurs her to take the Stoneman’s quest.

The story takes place on an isolated farmstead outside of Belfast, although the primary set is the Stoneman’s Gate. The film’s color palette was inspired by the rich greens, neutrals, and reds of the location.

C O L O R PA L E T T E

ENVIRONMENT 1972 Ireland, in the height of The Troubles, on an isolated farmstead outside of Belfast. Our primary environment will be The Stoneman’s Gate (a.k.a. the center of the labyrinth) where the Puca lives and where the gate to the underworld lies.

SPECIAL EFFECTS CGI of The Stoneman - Whenever Evelyn encounters the Puca, he appears to emerge from the huge black boulder in the center of the labyrinth. When he’s visible, he looks like he’s made of stone. His appearance from the rock will be a combination of SFX makeup and CGI to fully capture his “breaking from the stone” movement.

Chromakey of the gate to the underworld - The Puca opens the gate to the underworld briefly to show Evelyn as proof of its existence when he first sends her on the quest. This shot will be accomplished with chromakey graphics showing the ground opening up to a scene from the underworld (which will be filmed on a stage set).

Optical effect of moon above labyrinth - Evelyn always encounters the Stoneman at night so moonlight will be the source of illumination for these scenes in the film. Since the labyrinth set will be shot on stage, an optical moon will be put in to accomplish shots of the moon.

Special effects will be key for the labyrinth set, with its moving walls, changing faces, the Stoneman, and fantastically luminescent moon.

The labyrinth is carved with stone faces, which change in the background of each labyrinth shot (i.e. sometimes they’re snarling, sometimes laughing, etc).

A close-up 3D view of the Stoneman’s Gate set. Note the important set details: the “tiled” stone floor, the face carvings, the celtic runes, and the Puca’s boulder (surrounded by red poppies, an important metaphor in the film.).