Tweek City Press Kit: Visual Approach
We shot Tweek City in three different formats, on five different cameras. Each camera was chosen to provide a different look and represent a distinct point of view. When I brought Barry (My Director of Photography) on, we discussed what each different point of view should look like and hammered out the visual approach that would work within our budget.
Bill begins Tweek City on semi-solid ground but as the story unfolds, he slowly loses touch with reality, until in the end he is downright hallucinogenic. This required a thorough mapping of Bill’s state of mind throughout the film. As the audience is drawn into Bill’s journey, the clearly delineated perspectives become less clear until, when Bill confronts Sharon in the bathroom, they are visually existing in his nightmare world.
This sensory map of Bill’s psyche carried over into all facets of production and post-production, from locations and costumes to editing, score and sound design.
Super 16mm
When Bill is alone, walking the streets, we see him as he sees himself – a neo-noir, ‘70s anti-hero. At Barry’s suggestion, we shot all these sequences on Super 16mm. In post production, we dialed up the yellows and crushed the blacks to evoke the look of Bill’s favorite films. The time lapse material, the fog, the nighttime cityscapes were all shot in Super 16mm as an extension of Bill’s noirish mindscape.
We also used Super 16 to represent idealized moments. Bill’s one happy dream, the romanticized memory of his childhood sweetheart and the movie’s closing scene were all shot in Super 16 to maximize the visual beauty of these moments.
Sony-PD150
Bill’s involuntary subjective point-of-view as well as his more nightmarish memories of Mom are represented by a Sony PD150 – a small ½” chip, DVCam camera. This camera allowed us much more movement and flexibility than the others. At one point in the film, Giuseppe actually shoots his own close-up as he walks down the street. Any loss of resolution worked in our favor as it helped convey his deteriorated state of mind.
Sony-DSR500
When Bill is locked down in the “real world” we used a higher end, ¾” chip DVCam camera that we outfitted with Barry’s favorite Super 16mm lens. The DSR500 in conjunction with the customized lens gave us a high resolution wider angle image that we used to represent objective reality. We usually locked this camera down on a tripod to further ground these scenes.
Bill begins Tweek City on semi-solid ground but as the story unfolds, he slowly loses touch with reality, until in the end he is downright hallucinogenic. This required a thorough mapping of Bill’s state of mind throughout the film. As the audience is drawn into Bill’s journey, the clearly delineated perspectives become less clear until, when Bill confronts Sharon in the bathroom, they are visually existing in his nightmare world.
This sensory map of Bill’s psyche carried over into all facets of production and post-production, from locations and costumes to editing, score and sound design.
Super 16mm
When Bill is alone, walking the streets, we see him as he sees himself – a neo-noir, ‘70s anti-hero. At Barry’s suggestion, we shot all these sequences on Super 16mm. In post production, we dialed up the yellows and crushed the blacks to evoke the look of Bill’s favorite films. The time lapse material, the fog, the nighttime cityscapes were all shot in Super 16mm as an extension of Bill’s noirish mindscape.
We also used Super 16 to represent idealized moments. Bill’s one happy dream, the romanticized memory of his childhood sweetheart and the movie’s closing scene were all shot in Super 16 to maximize the visual beauty of these moments.
Sony-PD150
Bill’s involuntary subjective point-of-view as well as his more nightmarish memories of Mom are represented by a Sony PD150 – a small ½” chip, DVCam camera. This camera allowed us much more movement and flexibility than the others. At one point in the film, Giuseppe actually shoots his own close-up as he walks down the street. Any loss of resolution worked in our favor as it helped convey his deteriorated state of mind.
Sony-DSR500
When Bill is locked down in the “real world” we used a higher end, ¾” chip DVCam camera that we outfitted with Barry’s favorite Super 16mm lens. The DSR500 in conjunction with the customized lens gave us a high resolution wider angle image that we used to represent objective reality. We usually locked this camera down on a tripod to further ground these scenes.
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