VISUAL LANGUAGE
WE'LL CREATE A DISTINCT VISUAL LANGUAGE THAT SEEKS TO AID IN THE TELLING OF THIS SWEEPING LOVE STORY.
IN THE BREAK instinctively feels like it lives on 35mm.
The large negative size allows for more detail than 16mm, giving us a sense of timelessness that this story demands (we want the audience to feel like they are suspended in time for the duration it takes MOSES and NICOLE to come together). The texture 35mm affords will also allow skin and the light in eyes to pop, will take colours to the next level. With MOSES and NICOLE, we’ll be up close and intimate, and this format allows this kind of framing to really shine. The combination of an elegance and nostalgia will remind audiences of the feeling of falling in love, of what feels possible in that time.
The aim is to ensure each frame feels like a painting from a compositional point, making space for both the actors and the camera to move around within the frame. We'll work with the cinematographer to create a visual language that is intimate, paying special attention to the moments MOSES and NICOLE come together, and when music is being made or played. In doing this, motion and rhythm is not just limited to sound but the camera and visuals too.
IN THE BREAK will also home in on the spaces our characters occupy within the world of music, putting iconic venues on display, as well as the actual performance of music. Taking cues from music films such as Whiplash and Mo' Better Blues, as well as Paul Thomas Anderson’s work with HAIM and DIJON’S live music films, we’ll work with real musicians to give the film a real sense of authenticity, filming real musical performances.