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From Intimacy to Infinity: exploring the role of interior in 3 short films.
This paper discusses interior as a concept used as a motivating principal in a collaborative work between three filmmakers and two interior designers. It will describe and critique the film based operations and processes used by the three writer/directors, two interior designers, sound team and cinematographer in the production of interiors within the recently shot triptych of short films titled Motel.
Motel: reflections on a film production/interior design collaboration
A couple sit, pace the floor, or make love on the disheveled bed. She leaves in a car, driving beyond the future. He arrives from the past, and can only stay half an hour. In Motel, three short films explore the spaces of an anonymous motel room, and the spaces of a relationship and time-travel. Scholar/practitioners in the fields of creative arts and design are increasingly looking to locate their creative practice within a research context that leads to the development of new insights, processes and approaches. Motel was a trans- disciplinary practice-based research collaboration between a group of scholar/practitioners: three filmmakers and two interior designers from RMIT University. The project aimed to explore the innovative potential the academy affords to situate filmmaking and interior design practices outside usual industrial/commercial contexts so as to create what Geuens (2007) calls a ‘differential space’ of film production. The Motel research group used techniques of reflective practice—reflection-in- action and reflection-on-action (Schön 1983)—to analyse shifts in practice and conceptual frameworks brought about by the constraints applied to the collaborative project. These constraints came from a set of collaborative 'rules' applied to the production process which, among other things, altered the usual hierarchical relationship between design and film, which privileges the director and his/her vision. In Motel the interior designers called a halt to the machinery of production, demanding an examination of established practices. The traditional A4 film scripts were tilted sideways and exploded, laid out alongside each other like patients in a ward, and new intimate relationships were formed. Exactly what was interior and what was exterior came into question. The space of an Australian motel room, and the space of filmmaking itself was interrogated, dissected, made new. The resulting triptych of short films is only one of the media objects to have resulted from this innovative collaboration.
Chapter: Framing Interiority: Film Sets and the Discipline of Interior Design
The creation of interior spaces for film and the practice of interior design are in many ways closely aligned practices, with several critical distinctions. Both rely on a broad, multi-disciplinary coordination of elements at a range of scales, including the definition of the spatial envelope, surfaces and textures, colors, objects, lighting, and the control of sound. An interior designer must take into consideration the senses in one’s work, including not only how a space looks, but also how it feels and how it sounds to the human body, whereas a production designer needs to communicate those things within the mediated space of a film screen. In film, the term mise-en-scene refers to the combination of all elements required to create the overall atmosphere of a film. This essay seeks to find overlap between set design and interior design via the examination of aspects of the interior in three recent films.
Architect or Director? Wes Anderson with His Cinematic Spaces
Gazi University Journal of Science Part B: Art Humanities Design and Planning, 2024
Since the beginning of cinema, space has not only been the protagonist of architecture, but has also played an important role in films. In cinema, space serves to establish historical context, deepen character development and add psychological and cultural layers to the story. The relationship between architecture and cinema is symbiotic; cinema provides an experimental platform for architecture, while architecture determines the direction of cinema. Both disciplines are initially imagined in the mind, go through planning and produce products with similar production techniques. Known for his meticulous attention to detail, Wes Anderson became a master of both disciplines by overseeing every aspect of film productions. The aim of this study is to reveal the design approach of Wes Anderson, who has brought new life to the intersection of architecture and cinema with the cinematic spaces he created with the combination of pastel colors and natural light, and to discuss whether he thinks like an architect. This study focuses on five of Anderson's films - The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Grand Budapest Hotel, Isle of Dogs and The French Dispatch - and analyzes how space is used in each film. In Anderson's cinema, space is not only a backdrop but also a character that influences the narrative and reinforces the mood and characteristics of the protagonists. The study aims to discuss whether Wes Anderson whom has a deliberate approach to design with diverse cinematic spaces can be recognized as an honorary architect or not.
INTERIOR DESIGN (STAGE DESIGN) ALONG THE PROCESS OF CREATING A FEATURED MOVIE
A Featured Film assembles the scenario (textual infrastructure), interior design, decor, costumes, use of camera, lighting design (visual infrastructure), sound & music design (audial infrastructure) and many other art disciplines; and creates a new language, a new world by synthesizing them. The power of cinema to establish itself as the seventh art arises from the way it brings several different art disciplines together; Painting, Sculpture, Installation, Photography, Architecture, Theatre, Dance&Movement, Screenplay, Music & Sound and as such. The images within these disciplines, which build up the language of cinema together, compensate for reality. In other words, the space in cinema as an illusion of a fictional reality refers to what is being shown, to the copy, not the original. The script of a film is consisted of an imagined world and imagined scenes. The design of interior and exterior design and three-dimensional implementation (realization) of the imagined space (decor) at the stages of production design and shooting forms the basis for the visual design of cinema in addition to the growing use of digital technologies, installing the space design to the scene later on the computer during the post-production stage. Everything captured by the camera; any space or objects are the tools used to create a reality, emotion and concept. At this point, the production design regarding the fictional story of the film may be associated with the installation art.
Chronicles of Mise-en-scene Through Architectural Spaces in Film and Media
Architecture is the art of creating habitable and soulful spaces which can be utilised and looked upon by the masses. Mass media, in this case films, theatres and TV series is a source of prominent mass communication gizmo which aids people all across the globe to stay connected and acquaint to each other's' lifestyle. Architecture has always played an important role in enhancing the beauty of films and conveying the plot as well as sentiments of actors playing their respective roles better. Similarly, cinema has always influenced the architecture of the world and how people react to different architectural spaces. This research will aim to expose the liaison between architecture and film media and how the two art forms influence and transform each other. The study will cover transformative impact of this concatenation on the society which gave rise to a new typology known as 'cinematic society'. The two major disciplines of space, i.e. the architectural space and cinema space will be comparatively analysed. Several case studies of movies such as Jumanji, Captain America, Bajirao Mastani, Bahubali etc. will be covered in this research. Adding to this, few architects of the screens, i.e. set designers and production designers and their works will be briefly conferred.
Amritt Flora - Chronotope 14; Interior Spaces of Transformation in 21st Century Cinema
http://vimeo.com/channels/staffwork This paper explores the relationship between occupant, thought and interior as depicted in post millennial cinema. The topic of architecture and film has a long and rich history, the more specific topic of the interior in film is a less studied but no less interesting field. Production design and scenography in the hands of the director is used to create another key character(s). The interior space acts as setting but also as repository of personality, history, memory and potential. In many situations it is what fills out the personality of the character and generates Identity. The space defines behaviour and patterns of occupation. By studying and analyzing particular spaces in film it is possible to elicit an understanding that is beyond that understood from a real building. We can inhabit the space with both body and mind. Film allows us to layer in the specific inhabitation and experience of a particular set of users that is unique and generally unavailable in other situations. The paper will focus on Michael Haneke’s Amour, using its familiar but discomforting domestic situation as a basis for comparison of a selection of filmed interior spaces, from the bathroom to the spaceship. The cinematic interior provides a varied cultural reference point for our place in the 21st century. It utilises the ideas of Bakhtin to frame notions of continuously changing cultural dialogue and the identification of key elements within the interior that help form that cultural memory and meaning
IDEA JOURNAL
The design of scenography, staging, lighting and objects for representation and presentation within the film genre forms one of the most seductive areas in the practice of interior design. The merging of space and movement within this medium provide context and site for the visual translation of narrative, engagement of image and spectacle and discourse surrounding the iconography and imagery of history, culture and society. This studio, delivered to second and third year interior design students at the University of South Australia, delved into the multi-disciplinary practice of the film process. It introduced students to the various roles and responsibilities of the designer working within the medium of film. It attempted to meld the theoretical and practical through a series of design projects which analysed and developed design proposals while challenging traditional realms of interior design practice. Four specific theory lectures were developed to provide a theoretical referen...