THE DARKNESS BOOK MEMENTO .pdf



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THEDARKNESS
A FILM BY DANIELCASTRO ZIMBRÓN

Ihadadream,whichwasnotalladream.
Thebrightsunwasextinguish'd,andthestars
Didwanderdarklingintheeternalspace,
Rayless,andpathless,andtheicyearth
Swungblindandblackeninginthemoonlessair;
Morncameandwentandcame,andbroughtnoday,
Andmenforgottheirpassionsinthedread
Ofthistheirdesolation;andallhearts
Werecill'dintoaselfishprayerforlight...

LordByron"Darkness"

1

Andhisfatherlockedthem intoprotectthem
from thebeastintheforest…
Butthebeastwasinside.

2

SYNOPSI
S

3
SYNOPSIS
The Earth hasstopped spinning and dayshave stopped passing
by.One toxic,dense fog coversthe forestimmersed in eternal
twilight.
Argelhasspenthislife,with histwo siblings,locked insidethe
basementofanoldcabin. Hisfatherhasmadethem believethat
a wild beastwandersin the forest’
sdepths.Hisolderbrother
mysteriouslydisappears,soArgelundertakesaquestwhichwill
cause him to break the orderand the ruleswith which he has
grownup.Littlebylittlehewilldiscoverthedarkestsecretsand
mysteriesthatbothhisfatherandtheforesthide.

4

DI
RECTOR’
SSTATEMENT

5
DIRECTOR’SSTATEMENT
Since Istarted making films,family hasbeen one ofmy main
concerns and themes for exploration.Iseek to have a better
understanding of the space in which the most significant
relationshipsarebuilt.Familycan gi
veusasenseofbelonging,
ofprotectionandenduringlove,however,atthesametime,itis
theprimaryspaceofrepression,despotism andfear.
 
“Home”isthefirstuni
verseweinhabitandgettoknow.It’
sthe
place where ouridentity isformed."Home"iswhere we meet
thosefew peoplewho areourfirstreferenceto thehuman race
and it’
sourlife’
sfirststage.The person Iam today isin great
partdue to my mother,my father,my brotherand the house I
grew upin.

6

The Darkness explores family relationships in
extreme circumstances.In a hopeless world that
resemblesavoid,mostofthefilm takesplacein a
cabin lostin the fog.How can you love in such
circumstances?How farcanafathergotopreserve
hisview ofwhatmakesa betterworld?How isit
possible fora house to be a shelterand prison at
the same time? Why is fatherly love so close to
darknessandselfishnessthatitcanbecomparedto
thatofaterrifyingwild beast?Can achild forgi
ve
hisfatherforallthe pain he caused him and his
brothers?How can tendernessand hopesurvi
vein
aworldlikethis?

7
These are some of the questions and
concerns that inspire this voyage that
takes place in a particular and unique
microcosm of a cabin, seemingly so
distant to the time in which we li
ve
today.Iintendtosearchfortheanswers
to some of these questions and
hopefully be able to reach a better
understanding ofthe deep meaning of
familyandhome.
Allof us are inhabited by beasts.We
have allbeen places,atsome pointin
our li
ves, which appear dark and
apocalyptic. Our hopes and our love
have been covered with mist.Willwe
everbeableto transform darknessinto
light?
 

8

VI
SUALCONCEPT

VISUALCONCEPT
TheDarknessisaPsychologicalThrillerwithfantasticscience
fiction elements. Even though the story is narrated in a
post-apocalypticenvironment,in no apparenttime,thereare
cluesthathelpusbuildthisworld.

THEFOREST
Theforestisadarkplace,barelyilluminated bythesoftand
diffuse light of day. There are no traces of life in the
surroundingsandthefogmakesitamysteriousandoppressi
ve
placeinwhichthecharactersandthespectatorswillhavethe
constantfeelingofbeinglockeddown.
Faded blues, almost metallic colors will prevail in the
exterior.The fog willbe so dense that the characters will
disappearinitforseveralmoments.Therewillbenoclarityin
thespaceorinthelandscape,reinforcingthetensioninevery
shotandthestory’
smystery.

9

10
Thefilm attemptsto bringusto thedeepestpartofourbeing,where
wewillfindsomebrightpartsandsomecompletelydarkones.Thatis
why the image willbe seton the borderbetween lightand dark,in
kindofapermanentmagicalhour.

THECABI
N
In the interiorofthe cabin,an oppressi
ve,
darker environment will prevail.
Essentially, there will be two types of
lightning.

11

CARAVAGGIO.THESUPPER ATEMMAUS.(NIGHTLIGHTCABIN)

JOHANNESVERMEER.WOMAN WITH A LUTE.(DAY LIGHTCABIN)

CASPAR DAVID FRIEDERICH.SEA SHOREIN MOONLIGHT.(ATMOSPHERE)

REMBRANDT.PORTRAIT(DAY LIGHTCABIN)

12
DAY:
During daytime,light willcome through the windows.
We’
re getting our inspiration from Vermeer and
Rembrandtpaintingswhere charactersare softly litand
contrasted, dramatizing and exacerbating their
expressions.Thepaleskintonescontrastwiththedarkness
ofthespaces.

NIGHT:
Lightcomesfrom thesourcesoflightthatthefamilyuses,
such asthe chimney fire,candlesand gaslights,so some
spaceswillbeintotalshadow.Inthisway,thetensionand
the idea ofsomething li
ving in thatdarkness is always
present.
TocreatethislightningweuseaCaravaggiopaintingasan
influence.

13

14
COLOR

Thepaletteofcolorgoesfrom ochertonestopaleprimaries.Natureplaysaveryimportant
role,brown tonesfrom wood,green tonesfrom vegetation,gray tonesfrom stonesand a
coldtonefrom thefogthatenvelopstheentireatmosphere.
Thecolorspectrum willbeunsaturatedandskintoneswillbepaleblue.
Everyelementofartandcostumewillbecarefullyselectedtoreflectthecolorpalette.

15

PRODUCTI
ONDESI
GN

16

PRODUCTION DESIGN
THECABI
N
Besidesbeingtheplacein which mostofthemovie
takesplace,thecabin isoneofthemain characters
in it.Itisa space thatcontainsand transmitsthe
centralconflictofTheDarkness.On onehand,itis
asymbolofprotection and shelterbuton theother
hand,itisasymbolofconfinementandoppression.
The design of the cabin reflects the order
established byGustavo forhisfamily’
slife.A dark,
humid basementwherehischildren arelocked in;a
cold,hostile,li
ving room where family mealstake
place;and amysterious,prohibited room wherehe
sleeps.
THEDARKNESSCABIN

17
The cabin isa very austere space.Hardship and
scarcity are extremely evident.Nonetheless,a
large di
versity ofuseless,neglected objectsare
seen,accumulatedincertaincornersamongdust
and darkness.This uni
verse of useless objects
helps generate the feeling of timelessness in
whichthestoryoccurs.
The colorsare dulland almostmonochromatic,
with a prevalence of ocher and old,crackling
wood. The space and its objects are rotten
because oftime and humidity.The icy lightthat
comes from outside contrasts with the soft
warmnessthatisgeneratedbythefew petroleum
lightsorthechimneyfire.
Thecabinisali
ving,complexspacethat,aswell
as the other characters,holds within itself an
immensemystery.

18
PUPPETSDESIGN
Gustavohasbeencrafting puppetsofhisownchildren.

19

CABI
NDESI
GN

20

21

CHARACTERS

22

ARGEL

ALIOCHA SOTNIKOFF

Argelisthe main characterin the movie.He isa weird,
young man. He is very thin, pale, reticent, with a
penetrating,sharplook.
He has grown up locked inside the cabin and his
eagerness to know the world and the truth will be
catalyzed by his older brother’
s disappearance.He has
hadadeepadmirationforMarcossincehewasayounger
boy,and hisneed to find him willmakehim startaquest
foranswersin which hewillconfronthisfatherasnever
before.With the help ofhisdreams,fullofclues,Argel
willhaveto makesomedecisionsthatwillturn him into
an adultand willchangehim forever.Oncehediscovers
theentiretruth,hewillhavetomakethebiggestdecision
inhislife:Willheforgi
vehisfatherforallthepainhehas
inflictedonhim andhissiblings?

23

GUSTAVO
Gustavo is the mostcomplex character in the story.He’
s
violent, mysterious, harsh, sensiti
ve and profoundly
unpredictable.
Hehasraisedhisthreechildren,Marcos,ArgelandLuciana,
allbyhimself.Inthefaceofadarkandhopelessreality,he
has tried to protectthem by creating an alternate world
inside the cabin. What started as a fantastic uni
verse
becomesaprisonbuiltwithmysteriesandlies,evendarker
thantheexteriorreality.
The same hasoccurred to Gustavo’
sinteriorand with the
passing of years he has become harsher, developing an
impenetrablearmor.
Since Marcos’ disappearance, the order and control
established by Gustavo will start to crack.The growing
confrontation with hisson Argelwilllead him to show his
inner Beast,which he willhave to face in order to free
himselffrom hisownprison.

BRONTISJODOROWSKY

(StillofTAU byDanielCastroZimbron)

24

LUCI
ANA
Lucianaisan almostautisticgirl,unhealthy,fragile,naïve
and pure. She collects dead insects, she has an
extraordinaryconnectionwiththenaturalworldandsheis
asilentobserveroftheworldaroundher.
Physically,she’
sveryweakbutshe’
sthecharacterwiththe
biggest inner force.She represents light and hope in a
worldofdarkness.
She percei
vesherenvironmentin a very unique way and
she transcends the surface while understanding the real
essenceofpeopleandthings.
Gustavo and Argeldo everything they can to take care of
herbutLucianaissickwithtuberculosisandhercondition
willworsen during the story.Like the world,Luciana is
dying.
CAMILA GLEENE

25

MARCOS
FERNANDO ÁLVAREZ REBEIL

OLDMAN
ALEJANDO VILLELI

BOY
MERAQUIRODRIGUEZ

26

SOUNDDESI
GN

27

SOUND DESIGN
In mainstream cinema, the importance of
silence and the force itmay have is often
forgotten. Too many moviesare filled with
sound effectsthatare trying to manipulate
the audience emotions, with a complete
mistrustin the imagesand the story itself.
Silence is the foundation of the sound
proposalinTheDarkness.Silencefilledwith
tension and mystery that, as the plot
develops, will become even more
disturbing.Itisthesilenceofthebeastthat
waitsimpatientlyintheforest’
sdepths.

28

When talking about silence, we’
re not talking about the
absenceofsound butaboutan atmospherebuiltwith small
sonorousdetailsin which everything isheard;the creak of
thewoodwitheverystep,thesqueakofthedoorsandallthe
soundsthatan old cabin produces, worn down bytimeand
humidity,gi
vingtheimpressionofbeingali
ve.

COSTUMEDESI
GN
GUSTAVO
ARGEL
LUCI
ANA

29

30

STORY BOARD

31

32

33

34

35

36

REFERENCEFI
LMS

THEFI
LM

Afterfi
ve yearsofhard work the shooting finaly started.The crew li
ved in the
woodssixweekscompletelyheld.

37

38
STILLSOF“THEDARKNESS”

39

40

41

CREW EXPERI
ENCE

42
CEMETERY
OF
KINGS
A FILM BY
APICHATPONG
WEERASETHAKUL

CINEMATOGHAPHY:

JORGEMICHELGRAU

EDITING:

DIEGO GARCÍA

(COPRODUCER OF

NATALIA LÓPEZ

THEFILM)

DIRECTED BY DANIELCASTRO ZIMBRÓN
WITH BRONTISJODOROWSKY
EXECUTIVEPRODUCER:SERGIO AUTREY
PRODUCER:PABLO ZIMBRÓN
CINEMATOGRAPHY:DIEGO GARCÍA
POSTPRODUCER:GUSTAVO BELLON
PRODUCTION DESIGN:ALISARINEDUCOLOMB
SOUND DESIGN:JOSÉMIGUELENRÍQUEZ

VISUALEFFECTS:

SOUND DESIGN:

PRODUCTION DESIGN:

GUSTAVO BELLON

JOSEMIGUELENRIQUEZ

ALISARINEDUCOLOMB

43

AWARDSANDSELECTI
ONS
SELECTION L’ATELIER 2014
CINEFONDATION

WINNER OFPANAMA MEETS2014
SELECTION FANTASIA FILM FESTIVAL2014(OFFFRONTIERS)
SELECTION VENTANA SUR 2014(BLOOD WINDOW)
WINNER MORELIA LAB 2014
WINNER GUADALAJARA FILM FESTIVAL2014(CO PRODUCTION MARKET)
SELECTION CINELATINO RENCONTRESDETOULOUSE2014(CINEMA IN DEVELOPMENT)

FACTSHEET
TITLE:LASTINIEBLAS/THEDARKNESS
PRODUCTION COMPANY:VARIOSLOBOS
FRENCH COPRODUCTION:LESFILMSDEL'ÉTRANGER
MEXICAN COPRODUCTION:POLIEDRO VFX
COUNTRY:MEXICO
DIRECTOR:DANIELCASTRO ZIMBRÓN
PRODUCER:PABLO ZIMBRÓN ALVA
EXECUTIVEPRODUCER:MARTÍN BURILLO
ASSOCIATEPRODUCERS: SERGIO AUTREY
JORGEMICHELGRÁU
MAYRA ESPINOSA
VICTOR LÉYCEGUI
SCREENPLAY:DANIELCASTRO ZIMBRÓN
DAVID PABLOS
CINEMATOGRAPHER:DIEGO GARCÍA
PRODUCTION DESIGNER:ALISARINEDUCOLOMB
EDITOR:NATALIA LÓPEZ
POSTPRODUCERS: GUSTAVO BELLON
ANDRÉSPALMA
SOUND DESIGN:JOSEMIGUELENRÍQUEZ

44
CAST:
GUSTAVO:BRONTISJODOROWSKY
ARGEL:ALIOCHA SOTNIKOFF
LUCIANA:CAMILA GLEENE
MARCOS:FERNANDO ALVAREZ REBEIL
BOY:MERAQUIRODRÍGUEZ
OLD MAN:ALEJANDRO VILLELI
FITCTION
GENRE:PSYCHOLOGICALTHRILLER
RUNTIME:90MIN
LANGUAGE:SPANISH
PRINTED FILM FORMAT:DCP
DISTRIBUTION:TBD
SALES:MEMENT
N O FILMS

-

BOOK DESIGN:DANIELCASTRO ZIMBRÓN

DRAWINGS:DANIELCASTRO ZIMBRÓN & MARCOSCASTRO


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