A dark film noir style lighting will be used to help separate Anna’s imagined world from the real one. In each scene the lead character will move from darkness to light. The movement from darkness to light will be used as a visual metaphor for change. Within scenes, light will be an active participant in the story. Every scene in Anna’s dark world will use side lighting that allows for light to wrap around the characters, giving their faces both a dark and light side. The characters will live in a world where in every scene they can choose to move from the darkness of their old life into the light of a new life. Light will bleed into rooms from the outside creating environments where the characters can walk in and out of shadows during the daytime. Light that wraps around the character but still leaves their face in shadow. Compositions will challenge the frame as light moves across the characters in an active way. The main lighting influences will stem from the paintings of Vilhelm Hammershøi, Jack Vettriano, Edward Hopper and the film noir style of the 1940s.
Vilhelm Hammershøi
Vilhelm Hammershøi
Jack Vettriano
Jack Vettriano
Jack Vettriano
Jack Vettriano
Edward Hopper
Edward Hopper
Edward Hopper
