FILMING IDEAS

Warped should be filmed with an emphasis on creating a surreal mood throughout, with the desired outcome of plunging the viewer into a dream like state.

The study is where Michael interacts with Gargoyle and it’s imperative that these scenes be shot using great innovation to reflect the wild, vibrant machinations of his psychotic mind.

An aggressive looking Gargoyle featuring demonic eyes, should sit on top of the bookcase where it looks down upon Michael as he addresses it, while pacing up and down demonstratively.

A blue moon should always be present shining its light through the window, possibly illuminating half of Michael. It is paradoxically always night time when he’s in the study even if it appears daytime before he enters.

A tall gluttonous plant with large eyes and sharp teeth should reside beside the bookcase moving its head in sync with the conversation between Michael and Gargoyle. On occasions it can be fed something ridiculous like an entire cake that it gulps down in seconds.

The use of intense colour should play a big part in Warped. The study walls could be a bold red or orange, while varying the lighting intensity can be strategically employed to dim full shots of the Gargoyle and to encourage the use of shadows and silhouettes.

An emphasis should be on only showing what is necessary in order to create a mystical, surreal and eerie atmosphere. This can be done effectively with the principle, ‘it’s not what you show but it’s what you don’t show’, that counts. Much can be suggested rather than blatantly seen!

Close ups of Gargoyle’s intense eyes and fanged mouth will accentuate the aura of its dialogue. Camera shots from behind its horns angled down upon Michael can also be used to cloak the Gargoyle in an air of mystique.

The sporadic use of light mist rolling in could also create a hazy, grainy effect that can paint an occult like experience.

I must emphasise that Warped is not supposed to look like a generic run of the mill program; I want it to look unique and draw feelings of intrigue from its viewer.

To help achieve this, the camera angles could vary just slightly each time, even only by a few inches but just enough to change the perspective, along with different coloured mist, longer and shorter shadows and the glutinous plant regularly changing positions.

The study scenes could also be filmed on a slight angle which serves to illustrate the bizarre and twisted nature of Michael’s deranged mind.

Outside the study could use more standardized shots, but again I would like to achieve a few unusual camera angles, from up high or low, anything to disorientate and change the perspective of the view.

A more adventurous and interesting effect could be to have a subtle crack appear on the screen at the start of the episode, like you’d see in a cracked mirror, which starts as a spec and gradually worms its way across the screen throughout the duration of the episode.

When the growing crack reaches its destination (e.g opposite side of TV screen) a loud crack is heard and the screen splits in two, signalling the conclusion of the episode. For each episode the crack would always tread a different path and always remain faint so not to distract the viewer.

Alternatively the cracked screen technique could only be used when changing scenes.