Monthly Archives: November 2020

Self-Isolation

I wanted to create a piece portraying my experience with self-isolation. I have been self-isolating for two weeks and have been going through a series of emotions, spiralling thoughts and had different encounters with people as I usually would have. I want to make a piece exploring some of the feelings, thoughts and interactions or lack of interactions with other people I have had over the past couple of days to gain a better understanding of the whole situation of which I have found myself.

I will start by collecting my thoughts through a brainstorming mindmap to be able to analyse and collect the most important points of my experiences with self-isolation. 

I then highlighted the things that repeated itself throughout the mindmap and the feelings that had been more predominant than others. This was especially the feelings of loneliness, sadness, feeling trapped and a lack of connection and I want to apply these to the final piece.

I wanted to find a cinematographic efficient way to portray loneliness so I sought to movies looking up loneliness and isolation as a theme in movies. I found Lost in Translation, watched it and identified so strongly with Charlotte, the female lead. A recent graduate who traveled to Tokyo with her detached husband hoping to find something. The husband is never around so she is left to herself. She now finds herself in a different country, feeling trapped in a luxurious hotel room, alone and feels alienated from her surroundings, unable to properly communicate with anyone outside the hotel. I have found myself trapped in my hall room, sharing a flat with someone I have never met, communicating through handwritten notes or group messages on a mobile app. Even though I live with these people, I cannot properly communicate with them I I would normally, I’m not allowed in the kitchen or public areas when other people are around. Having the maintenance guy knock on my door but refusing to touch anything inside my room made me feel alienated, foreign, like I was seriously dirty and hadn’t washed in months. I feel trapped, alone, wanting and seeking a connection like Charlotte in Lost in Translation. 

What particularly struck me about cinematic choices made in the film was the minimalistic approach to cinematography, muted colors and the subtle it, his choice to use as little artificial lighting as possible giving the entire film a quietly naturalistic feeling. The cinematographic element of placing a character inside a frame to emphasize a feeling of loneliness, alienates the character to the rest of the story within the bigger frame. This is why I am also going to place my character within a frame, also to emphasize the urge to go outside by looking outside a window. The character is also often shown in the mirror or window as a reflection of themselves, which I want to apply as well enhancing the feeling of them being alone.

I also wanted to gain a better understanding of how loneliness and sadness had been portrayed previously in art, so I looked toward the Danish female painter Anna Ancher. What I found incredibly interesting with Anna Ancher, not only is she one of the only female painters from her time where an art education was not allowed for women, but she sought ways to capture immediate and fleeting impressions in her painting by light. Lighting being the actual motif for the painting, she often had still composition with only one character to predict their inner life. Their inner life is told through the lighting, colours and their surroundings in the room. Anna Ancher mostly depicted women portraying their role they had in a family of being a woman waiting for her man to come home but not required outside of the house as the man. The women in question are never looking at the audience but always looking down, showing and depicting an introverted side to them. Back then it was not looked well upon if women would be present in the public without a male companion. What is also super interesting is that being a part of the movement Skagensmalerne, Anna was one of the only painters depicting, showing and painting her characters inside whereas men of the movement mostly painted their characters outside again underlining the gender roles of society around 1900. What I take with me by studying her paintings are the depiction of the characters inside being trapped and how light can show the inner state of the person in the painting.

First I drew my room below to take inspiration from that in creating thumbnails. Applying the idea of a frame within a frame, the importance of light and the loneliness aspect, I created thumbnails from various compositions to see which worked the best.

First I drew my room below to take inspiration from that in creating thumbnails. Applying the idea of a frame within a frame, the importance of light and the loneliness aspect, I created thumbnails from various compositions to see which worked the best.

Thumbnails

Whereas Lost In Translation uses the bare minimun of colours, I wanted to put emphasis on the light as in Anna Ancher’s paintings. This is why I made a mood board to gain a better understanding of the colours I’m interested and both inspired my the colour choices from Lost in Translation and my mood board, I’m choosing colours from these. The mood board overall consists of very cold colours with warm colours from where the light sources are placed. The cold colours gives the sense of loneliness. I want to apply the limited source of light as candlelight.

Pinterest images and my applied colour picker at the bottom of the images

I knew that I did not have much experience with candlelight, I sought to James Gurney’s book “Color and Light” and read about how the warm light can be enhanced by having muted backgrounds and colours.

Having picked 3 thumbnails of the sheet above, I picked the colours from the moodboard and applied these to the thumbnails to both gain a better understanding of which composition worked the best but also which type of lighting. Applying the same colours to every composition, I found out a nighttime scene would work the best with the first composition, which I then continued working on.

I furthermore, with the composition chosen, add elements of an urge to go outside but being forced to stay in. I added a longboard, which I was dying to use, and used cider bottles. I also came up with the idea of making the piece into a GIF in the forms of a cinemagraph, meaning that I keep elements in the GIF still whereas other elements move and repeats itself over and over again. This will add the feeling of a moment happening over and over again and the stillness will represent the feeling of being trapped and frozen in place.

Now applying the elements of a reflection like Lost in Translation and having the light as in Anna Ancher play the essential role of light showing the inner world of the person in focus, I add further elements of showing loneliness and sadness.

Below is the final piece. It is originally a GIF but as the file is too large, I had to import it to Vimeo as a non-GIF to be able to paste it. In the video sequence below it does repeat itself 3 times though a a GIF.

GIF- “Isolation”

Jørgen Klubien research

Bibliography

So what I find incredibly interesting and can’t entirely wrap my head around is how amazing Jørgen Klubien has been at using his creative talent to the largest extend possible. He has been the lead singer at “Danseorkestret”, just released his own solo album, worked as a story developer and animator for Pixar, Disney, Laika, Dreamworks, Tim Burton and so many more. He also worked as an illustrator on Donald Duck Daily and Sunday news paper strips, been a character designer for Denmark’s Radio, directed and written his own shot film, been in a music reality program and now works in the Danish amusement park Tivoli in Copenhagen. What a road to go down, I find it truly fascinating how he is able to change and try out new things as he pleases, implying a certain level of curiosity and eccentric personality.

Discography

  • ELMER-KLUBIEN, En tragisk Komedie (1981) 
  • ElLMER-KLUBIEN, Marie (1982) 
  • DANSEORKESTRET, Regndans (1984)
  • DANSEORKESTRET, Nat bli’r dag (1985)
  • DANSEORCHESTRA, Long Distance (1987)
  • DANSEORKESTRET, Det Flyvende Tæppe (1990)
  • ALBERTE, Lyse nætter (1991)
  • BUBBERS BALLONFÆRD (1993)
  • DANSEORKESTRET, Jagten på den store kærlighed (1994)
  • DANSEORKESTRET, Største Hits (1996)
  • DANSEORKESTRET, Spred Vingerne Ud (2000)
  • DANSEORKESTRET, Over Byen Under Himlen (2009)
  • KLUBIEN, Soul Cowboy (2014)

Filmography:

  • Oliver & Co. (1988)
  • The Little Mermaid (1989)
  • Bernard and Bianca (1990)
  • The Nightmare Before Christmas (1993)
  • Lion King (1994)
  • Pocahontas (1995)
  • The Wooden Boy (1998)
  • Mulan (1998)
  • Toy Story 2 (1999)
  • Monsters, Inc. (2001)
  • Peter Pedal (2006)
  • Cars (2006)
  • How to Train your Dragon (2010)
  • Shrek 4 (2010)
  • Frankenweenie (2012)
  • Dumbo (2016)

The road to Disney and Pixar

Klubien was initially smitten with the weekly Donald Duck magazines and imitated the drawing styles. He loved making comics and one day his mom showed him an article on Disney and how you can study to become an animator. He now knew what he wanted to do and during his teen years he practiced and practiced to become better. He first attended the Danish Design School but after one year moved to California to attend CalArts. After just one year, he was headhunted by Disney and was the only student in his year who got a job within Disney after only one year, which he was incredibly proud of. This also helped, that he had family ties within Disney, that made it so that he could go into the studio and look at what the animators were doing and talk to them.

Music

All whilst pursing his animation career, Klubien has always produced music by playing drums, singing and playing guitar. He created with two others the Danish band called “Danseorkestret” and three months every summer he would go back to Denmark to produce new music with the band and go on tours at Danish festivals. This double life and need to pursue music and actually take these long vacations from work resulted in him being fired multiple times from his jobs in LA as the American lifestyle was very different from what he wanted. But it didn’t stop him finding another job within film and animation afterwards.

Danseorkestret – Kom Tilbage Nu , 1:37 – 2:02

Cars

Klubien came up with the idea of a new Pixar film “The Yellow Car” that he wanted to direct. It was inspired by the fairytale The Ugly Duckling, which is made by the Danish H.C. Andersen. John Lasseter did not think it was strong enough story wise to run on a full length film. Just 2 years after Lasseter has the amazing idea of “Cars” saying he took a roadtrip with his wife and the whole story just came to him. Everything was based on Klubien’s original story, designs and concept art. The ending and the idea of having eyes in the windshield was also used by Lasseter. Lasseter and Klubien was initially really good friends and Lasseter had come back to Denmark with Klubien to spend Christmas with his family. Klubien confronted Lasseter about this and demanded that he would at least become the co-director of the film but as Lasseter wanted all the credit himself, he ended up firing Klubien. Lasseter told everyone working at Pixar at the time that they should interfere with Klubien making it hard for Klubien to get a job within Disney or Pixar again.

This makes me think what other things did Lasseter take the credit for? He has furthermore just been called out on his rude and inappropriate behaviour touching women inappropriately, kissing them in a greeting, inappropriate sexual behaviour in general disregarding the fact that he already has a wife and making sexual comments. All this within the workspace of Disney and Pixar. Now Klubien would have the change to go back and John Lasseter is no longer with either Disney or Pixar.

Lion King

An important scene within Lion King was storyboarded by Klubien, this is the “Be Prepared” song that Scars sings as he assembles the army of Hyenas. Listening to the song a couple of times, he initially thought of second world war. He grew up in Danish post-world war 2. The Danes were during WW2 occupied and invaded by the Germans, this meant that Denmark had German military walking the streets and there was an expectation within the Danish people to remain quiet and not speak up about own opinions as it could cot your life. Instead you had to do as you were told and Klubien mentions that this could be seen in his parents and also visiting museums around Denmark about the invasion gave him the idea of Scar being portrayed as Hitler.

He then drew scar as Hitler and thought of Leni Riefensthal’s propagandafilm “Triumph des Willens” showing nazi soldiers greeting Heil as they march down the street. Klubien then ported the hyenas doing the same thing and pitched the idea to his supervisor and group. His supervisor laughed and said it was incredible while everyone else thought is was too political and offensive. The idea come through immediately and was put into the film.

What’s he doing now?

He is working more on his own music whilst having a break from animation and last year he worked in the Danish amusement park Tivoli.

Bouncing Ball exercises

Week 2 on the course we were introduced to TV Paint by performing a bouncing ball exercise. You had the choice between a beachball, ping pongball, bowlingball, football or a water balloon. I started out doing one of the easier ones being a football, as I wanted to get to know the program and test out how far I can vary between squash and stretch. As I got more confident I moved on to the bowling ball and lastly the water balloon, which was incredibly fun. I used the hand-out Steve gave us describing how water moves inside the water balloon as it is pushed down the slope and lands on the ground.