Photography of ‘The Madones’ by Becky Parsons (2 of 2)

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number two of two: inspiration, frame and indie filmmaking

‘The Madones’ from my point of view offered a surreal space, an inner space, that I wanted to embrace throughout the photography. Reflections or duplicity in a frame was an element that guided some of the aesthetic photographic choices. A subtle layering of an image to feel a multitude.

Vertical lines, horizontal lines, defined lines, black, white; a play on entrapment. The paintings of Edward Hopper was given as a muse from Barrie.

Other visionary artists for inspiration included the surrealist Man Ray particularly when finessing the Day for Night scenes in the post suite.

We looked at Ansel Adams, a full grading of white to black.

Throughout the filming there was a conscious use of portraiture. The moments to be with one character, to evoke a separation, perhaps.

Wayne for me is partly an embodiment of the audience’s experience of watching these relationships and their dynamics unfold. For him I went dark at times and placed him in shadow or silhouette.

In true indie style interesting technical work-arounds occurred throughout production. Our most utilized location was a pizza and donair shop on the eastern shore of Nova Scotia and the question on the location scout was can this unique green room become Rosie’s bedroom set without the need to paint? For black and white it was to our advantage. In the post suite we easily isolated the unique green hue on the walls from each shot and tugged it darker adding to the oppressive illusion of the space.