This book played a major roll in the project that I had set out to make.

This is pretty much a manual on how to really “write” a story that will be told via a non-fiction media like a documentary film. Writing and story creation are so important when it comes to a documentary film, even more than I had origanally thought. This book pushed me to look deep at the ideas and notions I was trying to present. To not just think of the astetic and beautiful shots that I would go and get, but to look at story.

Story is the most important part of any film. It is what drives it. No matter the documentary thier is a sence of story. Wheter the story is told to you directly by the filmaker, through narration, or it is something you watch unfold and play out on screen. These stories had to have a initial concept. The filmakers needed to know before hand what the story was and wheter it would be interesting enough for people to watch.

While writing is very important some filmakers do get lucky and something unexpected really does play out right infront ouf thier lens and they are able to capture it. This thing may be so unexpected that it changes the entire direction of the story and a new story must be created. These things make for some of the most captivating documentaries that you can see.

Although luck can make a documentary great so can story. When you “write” a story for documentary film you are not writing a word for word script. You are more or less planning for shots, locations, and casting that will tell the story for you. Whether it be 30 day mcdonalds binge or the story of the national spelling bee. The people you cast to interview or not interview can create the story.

This makes the creative medium of documentary filmmaking a little different than just following people around with a camera. As I learned the majority of filmaking takes place without a camera in your hands. Planning, storyboarding, and casting. Casting being the most important.

This book was to me a savior of a manual and helped to drive my creation of this film.

This book played a major roll in the project that I had set out to make.

This is pretty much a manual on how to really “write” a story that will be told via a non-fiction media like a documentary film. Writing and story creation are so important when it comes to a documentary film, even more than I had origanally thought. This book pushed me to look deep at the ideas and notions I was trying to present. To not just think of the astetic and beautiful shots that I would go and get, but to look at story.

Story is the most important part of any film. It is what drives it. No matter the documentary thier is a sence of story. Wheter the story is told to you directly by the filmaker, through narration, or it is something you watch unfold and play out on screen. These stories had to have a initial concept. The filmakers needed to know before hand what the story was and wheter it would be interesting enough for people to watch.

While writing is very important some filmakers do get lucky and something unexpected really does play out right infront ouf thier lens and they are able to capture it. This thing may be so unexpected that it changes the entire direction of the story and a new story must be created. These things make for some of the most captivating documentaries that you can see.

Although luck can make a documentary great so can story. When you “write” a story for documentary film you are not writing a word for word script. You are more or less planning for shots, locations, and casting that will tell the story for you. Whether it be 30 day mcdonalds binge or the story of the national spelling bee. The people you cast to interview or not interview can create the story.

This makes the creative medium of documentary filmmaking a little different than just following people around with a camera. As I learned the majority of filmaking takes place without a camera in your hands. Planning, storyboarding, and casting. Casting being the most important.

This book was to me a savior of a manual and helped to drive my creation of this film.

This book played a major roll in the project that I had set out to make.

This is pretty much a manual on how to really “write” a story that will be told via a non-fiction media like a documentary film. Writing and story creation are so important when it comes to a documentary film, even more than I had origanally thought. This book pushed me to look deep at the ideas and notions I was trying to present. To not just think of the astetic and beautiful shots that I would go and get, but to look at story.

Story is the most important part of any film. It is what drives it. No matter the documentary thier is a sence of story. Wheter the story is told to you directly by the filmaker, through narration, or it is something you watch unfold and play out on screen. These stories had to have a initial concept. The filmakers needed to know before hand what the story was and wheter it would be interesting enough for people to watch.

While writing is very important some filmakers do get lucky and something unexpected really does play out right infront ouf thier lens and they are able to capture it. This thing may be so unexpected that it changes the entire direction of the story and a new story must be created. These things make for some of the most captivating documentaries that you can see.

Although luck can make a documentary great so can story. When you “write” a story for documentary film you are not writing a word for word script. You are more or less planning for shots, locations, and casting that will tell the story for you. Whether it be 30 day mcdonalds binge or the story of the national spelling bee. The people you cast to interview or not interview can create the story.

This makes the creative medium of documentary filmmaking a little different than just following people around with a camera. As I learned the majority of filmaking takes place without a camera in your hands. Planning, storyboarding, and casting. Casting being the most important.

This book was to me a savior of a manual and helped to drive my creation of this film.

This book played a major roll in the project that I had set out to make.

This is pretty much a manual on how to really “write” a story that will be told via a non-fiction media like a documentary film. Writing and story creation are so important when it comes to a documentary film, even more than I had origanally thought. This book pushed me to look deep at the ideas and notions I was trying to present. To not just think of the astetic and beautiful shots that I would go and get, but to look at story.

Story is the most important part of any film. It is what drives it. No matter the documentary thier is a sence of story. Wheter the story is told to you directly by the filmaker, through narration, or it is something you watch unfold and play out on screen. These stories had to have a initial concept. The filmakers needed to know before hand what the story was and wheter it would be interesting enough for people to watch.

While writing is very important some filmakers do get lucky and something unexpected really does play out right infront ouf thier lens and they are able to capture it. This thing may be so unexpected that it changes the entire direction of the story and a new story must be created. These things make for some of the most captivating documentaries that you can see.

Although luck can make a documentary great so can story. When you “write” a story for documentary film you are not writing a word for word script. You are more or less planning for shots, locations, and casting that will tell the story for you. Whether it be 30 day mcdonalds binge or the story of the national spelling bee. The people you cast to interview or not interview can create the story.

This makes the creative medium of documentary filmmaking a little different than just following people around with a camera. As I learned the majority of filmaking takes place without a camera in your hands. Planning, storyboarding, and casting. Casting being the most important.

This book was to me a savior of a manual and helped to drive my creation of this film.

This book played a major roll in the project that I had set out to make.

This is pretty much a manual on how to really “write” a story that will be told via a non-fiction media like a documentary film. Writing and story creation are so important when it comes to a documentary film, even more than I had origanally thought. This book pushed me to look deep at the ideas and notions I was trying to present. To not just think of the astetic and beautiful shots that I would go and get, but to look at story.

Story is the most important part of any film. It is what drives it. No matter the documentary thier is a sence of story. Wheter the story is told to you directly by the filmaker, through narration, or it is something you watch unfold and play out on screen. These stories had to have a initial concept. The filmakers needed to know before hand what the story was and wheter it would be interesting enough for people to watch.

While writing is very important some filmakers do get lucky and something unexpected really does play out right infront ouf thier lens and they are able to capture it. This thing may be so unexpected that it changes the entire direction of the story and a new story must be created. These things make for some of the most captivating documentaries that you can see.

Although luck can make a documentary great so can story. When you “write” a story for documentary film you are not writing a word for word script. You are more or less planning for shots, locations, and casting that will tell the story for you. Whether it be 30 day mcdonalds binge or the story of the national spelling bee. The people you cast to interview or not interview can create the story.

This makes the creative medium of documentary filmmaking a little different than just following people around with a camera. As I learned the majority of filmaking takes place without a camera in your hands. Planning, storyboarding, and casting. Casting being the most important.

This book was to me a savior of a manual and helped to drive my creation of this film.

For my museum visit, I went to the Seattle Art Museum because I knew they had a diverse range of artworks and had two of Joseph Cornell’s boxes and a few of his collages in their permanent collection. I was disappointed to find that after I looked through everything there and asked a guide, his pieces were not on display at the moment. I was so excited to see a Cornell box up close in person, but oh well. There were a few cool things to see there, along with a lot of, dare I say, boring crap. I tend to be very picky about the art that interests me and I found that a lot of what I was seeing at SAM was either pretty dull or I had a hard time finding the meaning in it or considering it to be “fine art”.  However, there was definitely some good work to see.

I was very excited to see four of Carrie Mae Weems’ beautiful black and white photographs. I know we’ve discussed her work around domestic space quite a bit in class, so it was really cool to see her prints so large and in person.

The piece that I found to be most relevant to my project was a black and white photograph entitled Coney Island Boardwalk, Man by Roy DeCarava. It had a nostalgic quality to it that reminded me of the reasons I wanted to use black and white photography in my work during this quarter.  I think it must be a pretty rare photograph too because I can’t even find it on Google; which kind of makes it even cooler that I got to see it at the museum. I’ve done a little research on the artist and many of his other photographs have a “home life” quality to them that appeals to me a lot. I think discovering him was the best thing I took away from going to SAM.

There was also a painting that I connected to that was called How My Mother’s Embroidered Apron Unfolds in My Life by Arshile Gorky. This abstract painting coupled with its descriptive title makes me think that is represents a memory or attempts to encapsulate a particular relationship within the artist’s life, which is basically what I aim to do in each of my boxes.

Another thing I enjoyed quite a bit was “The Porcelain Room” because it sort of reminded me of a giant assemblage. They pieced together a huge display of porcelain objects, all found from various time periods and places of origin. The display describes how porcelain was once very valuable but has become commonplace now and that this room is there way of making these artifacts special again. This is similar to the way I want to treat the objects in my work. 

So, basically, the point of this post is for me to say that they didn’t have what I went to the museum to see, but I ended up discovering some pretty cool new stuff instead.

For my museum visit, I went to the Seattle Art Museum because I knew they had a diverse range of artworks and had two of Joseph Cornell’s boxes and a few of his collages in their permanent collection. I was disappointed to find that after I looked through everything there and asked a guide, his pieces were not on display at the moment. I was so excited to see a Cornell box up close in person, but oh well. There were a few cool things to see there, along with a lot of, dare I say, boring crap. I tend to be very picky about the art that interests me and I found that a lot of what I was seeing at SAM was either pretty dull or I had a hard time finding the meaning in it or considering it to be “fine art”.  However, there was definitely some good work to see.

I was very excited to see four of Carrie Mae Weems’ beautiful black and white photographs. I know we’ve discussed her work around domestic space quite a bit in class, so it was really cool to see her prints so large and in person.

The piece that I found to be most relevant to my project was a black and white photograph entitled Coney Island Boardwalk, Man by Roy DeCarava. It had a nostalgic quality to it that reminded me of the reasons I wanted to use black and white photography in my work during this quarter.  I think it must be a pretty rare photograph too because I can’t even find it on Google; which kind of makes it even cooler that I got to see it at the museum. I’ve done a little research on the artist and many of his other photographs have a “home life” quality to them that appeals to me a lot. I think discovering him was the best thing I took away from going to SAM.

There was also a painting that I connected to that was called How My Mother’s Embroidered Apron Unfolds in My Life by Arshile Gorky. This abstract painting coupled with its descriptive title makes me think that is represents a memory or attempts to encapsulate a particular relationship within the artist’s life, which is basically what I aim to do in each of my boxes.

Another thing I enjoyed quite a bit was “The Porcelain Room” because it sort of reminded me of a giant assemblage. They pieced together a huge display of porcelain objects, all found from various time periods and places of origin. The display describes how porcelain was once very valuable but has become commonplace now and that this room is there way of making these artifacts special again. This is similar to the way I want to treat the objects in my work. 

So, basically, the point of this post is for me to say that they didn’t have what I went to the museum to see, but I ended up discovering some pretty cool new stuff instead.

For my museum visit, I went to the Seattle Art Museum because I knew they had a diverse range of artworks and had two of Joseph Cornell’s boxes and a few of his collages in their permanent collection. I was disappointed to find that after I looked through everything there and asked a guide, his pieces were not on display at the moment. I was so excited to see a Cornell box up close in person, but oh well. There were a few cool things to see there, along with a lot of, dare I say, boring crap. I tend to be very picky about the art that interests me and I found that a lot of what I was seeing at SAM was either pretty dull or I had a hard time finding the meaning in it or considering it to be “fine art”.  However, there was definitely some good work to see.

I was very excited to see four of Carrie Mae Weems’ beautiful black and white photographs. I know we’ve discussed her work around domestic space quite a bit in class, so it was really cool to see her prints so large and in person.

The piece that I found to be most relevant to my project was a black and white photograph entitled Coney Island Boardwalk, Man by Roy DeCarava. It had a nostalgic quality to it that reminded me of the reasons I wanted to use black and white photography in my work during this quarter.  I think it must be a pretty rare photograph too because I can’t even find it on Google; which kind of makes it even cooler that I got to see it at the museum. I’ve done a little research on the artist and many of his other photographs have a “home life” quality to them that appeals to me a lot. I think discovering him was the best thing I took away from going to SAM.

There was also a painting that I connected to that was called How My Mother’s Embroidered Apron Unfolds in My Life by Arshile Gorky. This abstract painting coupled with its descriptive title makes me think that is represents a memory or attempts to encapsulate a particular relationship within the artist’s life, which is basically what I aim to do in each of my boxes.

Another thing I enjoyed quite a bit was “The Porcelain Room” because it sort of reminded me of a giant assemblage. They pieced together a huge display of porcelain objects, all found from various time periods and places of origin. The display describes how porcelain was once very valuable but has become commonplace now and that this room is there way of making these artifacts special again. This is similar to the way I want to treat the objects in my work. 

So, basically, the point of this post is for me to say that they didn’t have what I went to the museum to see, but I ended up discovering some pretty cool new stuff instead.

For my museum visit, I went to the Seattle Art Museum because I knew they had a diverse range of artworks and had two of Joseph Cornell’s boxes and a few of his collages in their permanent collection. I was disappointed to find that after I looked through everything there and asked a guide, his pieces were not on display at the moment. I was so excited to see a Cornell box up close in person, but oh well. There were a few cool things to see there, along with a lot of, dare I say, boring crap. I tend to be very picky about the art that interests me and I found that a lot of what I was seeing at SAM was either pretty dull or I had a hard time finding the meaning in it or considering it to be “fine art”.  However, there was definitely some good work to see.

I was very excited to see four of Carrie Mae Weems’ beautiful black and white photographs. I know we’ve discussed her work around domestic space quite a bit in class, so it was really cool to see her prints so large and in person.

The piece that I found to be most relevant to my project was a black and white photograph entitled Coney Island Boardwalk, Man by Roy DeCarava. It had a nostalgic quality to it that reminded me of the reasons I wanted to use black and white photography in my work during this quarter.  I think it must be a pretty rare photograph too because I can’t even find it on Google; which kind of makes it even cooler that I got to see it at the museum. I’ve done a little research on the artist and many of his other photographs have a “home life” quality to them that appeals to me a lot. I think discovering him was the best thing I took away from going to SAM.

There was also a painting that I connected to that was called How My Mother’s Embroidered Apron Unfolds in My Life by Arshile Gorky. This abstract painting coupled with its descriptive title makes me think that is represents a memory or attempts to encapsulate a particular relationship within the artist’s life, which is basically what I aim to do in each of my boxes.

Another thing I enjoyed quite a bit was “The Porcelain Room” because it sort of reminded me of a giant assemblage. They pieced together a huge display of porcelain objects, all found from various time periods and places of origin. The display describes how porcelain was once very valuable but has become commonplace now and that this room is there way of making these artifacts special again. This is similar to the way I want to treat the objects in my work. 

So, basically, the point of this post is for me to say that they didn’t have what I went to the museum to see, but I ended up discovering some pretty cool new stuff instead.

For my museum visit, I went to the Seattle Art Museum because I knew they had a diverse range of artworks and had two of Joseph Cornell’s boxes and a few of his collages in their permanent collection. I was disappointed to find that after I looked through everything there and asked a guide, his pieces were not on display at the moment. I was so excited to see a Cornell box up close in person, but oh well. There were a few cool things to see there, along with a lot of, dare I say, boring crap. I tend to be very picky about the art that interests me and I found that a lot of what I was seeing at SAM was either pretty dull or I had a hard time finding the meaning in it or considering it to be “fine art”.  However, there was definitely some good work to see.

I was very excited to see four of Carrie Mae Weems’ beautiful black and white photographs. I know we’ve discussed her work around domestic space quite a bit in class, so it was really cool to see her prints so large and in person.

The piece that I found to be most relevant to my project was a black and white photograph entitled Coney Island Boardwalk, Man by Roy DeCarava. It had a nostalgic quality to it that reminded me of the reasons I wanted to use black and white photography in my work during this quarter.  I think it must be a pretty rare photograph too because I can’t even find it on Google; which kind of makes it even cooler that I got to see it at the museum. I’ve done a little research on the artist and many of his other photographs have a “home life” quality to them that appeals to me a lot. I think discovering him was the best thing I took away from going to SAM.

There was also a painting that I connected to that was called How My Mother’s Embroidered Apron Unfolds in My Life by Arshile Gorky. This abstract painting coupled with its descriptive title makes me think that is represents a memory or attempts to encapsulate a particular relationship within the artist’s life, which is basically what I aim to do in each of my boxes.

Another thing I enjoyed quite a bit was “The Porcelain Room” because it sort of reminded me of a giant assemblage. They pieced together a huge display of porcelain objects, all found from various time periods and places of origin. The display describes how porcelain was once very valuable but has become commonplace now and that this room is there way of making these artifacts special again. This is similar to the way I want to treat the objects in my work. 

So, basically, the point of this post is for me to say that they didn’t have what I went to the museum to see, but I ended up discovering some pretty cool new stuff instead.