As I push through the first assembly of FRACTALS, I am consistently mystified by the complexity of the visuals. I am enchanted by how different this film looks from all the others I produced in the 20 years prior. This mystification and enchantment I feel are the result of a deliberate and unique approach with the creation of various props and set-pieces which would ultimately inform the overall visual fabric of the feature-length film.
It was important to me that FRACTALS function as a mechanism for me to up-my-game as an artist, so to speak. I made a conscious effort to immerse myself into art mediums I had previously avoided. This was a strategy that had paid off well with my 2017 film, DEATH & LIFE and it was important that I continue to build on that strategy.
With FRACTALS, I decided to identify basic real-world elements, isolate them from the screenplay, and identify a symbol or idea that could represent these elements and thus provide insight into how these elements affect the mental state of the main character. For example, when the main character applies for jobs or work of any kind, rather than having him sending his resume through websites like Zip Recruiter or LinkedIn, he instead, puts pieces of his soul into a black hole. The Black Hole became a very important set-piece. By engaging in the film's development with this line of thinking, the decisions I would go on to make would change the original vision for the various scenes.
The movie, therefore, became visually unpredictable. Unpredictability is something I’ve become really hungry for over the years. More and more, I want my projects to be created in such a way so that when I watch the completed film, I can sit back and delight that, 'I’d never have thought to do that in the beginning.' It’s like pumping energy into an organic process that most filmmakers would be too skittish to try.
In the latter half of 2019 I visited several art studios in New York City, and interviewed a number of artists working in various mediums. I sat in with them during their creative processes, and even assisted with helping them set up their exhibitions at various galleries around Manhattan. This was an education into various mediums I had no previous experience with and ultimately led me to construct my own sets and props using many of the same material. As a result, my main set piece was constructed of 20 Oz raw canvas and black acrylic paint. Some of my props were created out of similar materials.
In January and February of 2020, most of my free time was occupied with building these elements.
Write-Up Completed from: 09/23/2020/11/28/2020 Video Edited on 11/30 and Completed on 12/01/2020 Please contribute to my PATREON by visiting the URL: https://www.patreon.com/ericnorcrossAnd learn more about me at: http://www.EricNorcross.com Eric Norcross is a filmmaker, writer, and artist. Reach out, ask questions, and let's create! https://www.ericnorcross.com/contact