The Making of Monkey Business
As writer/producer/director your initial “vision” for a film quickly blurs in perspective due to the common complications that arrive with any production. I began production with the intention of framing the world of a successful advertisement agent who gets stuck in a monkey outfit through strong static shots with foreground and background elements to intensify the circumstance. This framework was to be juxtaposed with an animated element – the “Jungle Juice” cartoon advertisement, as originally scripted. Through Zameer’s cartoon like struggle in the defined business environment, the absent camera movement was meant to give the audience a sense of objectivity as they follow Zameer growing weary in his struggles with the monkey suit. When he begins to interpret his colleagues humor and commentary on his previous work as racist insults, the audience is meant to engage in the film to decide if Zameer interpretation is correct. The static framing presented a stage for the audience to formulate their own opinions on the office politics playing out before them. This was the writer’s intention.
As producer, I sought out to bring all the elements together, to infuse the writers vision with what was available for the production – primarily – location, casting and animation. We found an advertisement agency location, Saatchi Lab, within the Old School complex near Mount Sophia. This allowed us to shoot our primary scenes in one location near our production rental facility FEG, an added bonus considering the doorway dolly delivery and drop off. The authenticity of the ad environment with wall-to-wall black and white textures complimented our main prop, the Jungle Juice Monkey Suit. This enhanced the absurdity of an office executive walking through a black and white office space wearing a monkey suit. One could compare it to Jon Voight’s character in Midnight Cowboy, walking through New York in his John Wayne get up – ah, naturalism with a sense of humor.
Casting a Singaporean that understood the emotional arc of the ‘Zameer’ character became a difficult task. It was important for the actor to understand on some inherent level the depths of discrimination and how it could effect the psyche. I was unable to find an actor that I felt could reveal such an emotional shift although I did feel like they could identify with the discrimination, they just handle it differently, more reserved. So, after various interviews I decided to cast Sherard P.S. , a Canadian born Indian actor who did not claim to understand discrimination but had an engaging energy unlike the Indian actors I previously interviewed. Sherard’s energy breathed a different life into the script but completely changed the writer’s initial vision for Monkey Business. Monkey Business was no longer a commentary on perceived racism but an observation in office politics that dips quickly into a game of revenge. The Director of Photography and Director made the decision to change the aesthetic of the film to compliment the actors energy and the uncovered madness of the character Zameer. The camera movement progresses from wide static frames with minimal movement to a more aggressive approach with handheld movements. As Zameer’s emotions increase in intensity, so does our camera’s coverage.
With the writer retired and the production nearly in full swing there was only one unanticipated wrinkle with pre-production left unsolved, the animation process. No animator could turn around a short commercial in the time allowed. But it was important for the Director to have the ad agency world to be visually different from the “Jungle Juice” commercial. Enter the Panasonic AG-HVX200. The HD camera gave a sharp contrast to the ad agency world shot on the Panasonic DVX102B. Our primary concern was giving the image a cartoon like feel so the animation would not feel so out of the ordinary. We increased the R-G,-G-R, B-G settings on the HD camera giving the image a warmer quality.[1] The commercial was shot in an exterior setting with a rich warm color pallete. The sun in certain shots proved to be an asset on set, using the internal 1/8 ND filter to reduce its intensity of the direct sunlight in the distance increasing the depth of field, giving the foreground elements a since of space working along side of the framing of this space- the sun, the basketball, the background girls, and foreground players.[2] We highlighted our warm/loud colors of yellow, blue, green through wardrobe and the costume design of the monkey- a bright fiery orange which appears on camera. The “Jungle Juice” logo itself was designed in glossy green and orange similar to the color palate of a Nickelodeon logo. This image, seen throughout the film, is to remind the viewer of the commercial world Zameer has created.
The camera is locked in one position for all of the shots similar to Songs From The Second Floor, allowing the background and foreground elements to engage the scene. I believe this use of framing draws an audience into what is really happening in the film [this was my intention prior to casting for the entire film]. This also allowed the the graphic animation to be produced over the HD footage to visually appear seamless. During the explosive dunk within the commercial we are instantly brought into the conference room lit only by the projector, and an off camera inky to compliment the light. There is an immediate different look in textures naturally picked up by the DVX102B vs the HD footage. The projector lighting enhanced the environment and tone of the film. giving an ominous feel of a dark world where these commercials are created and viewed.
The single source lighting, ie. Projector light, desk lamp, parking lot light, plays throughout the film and highlights the surreal experience of Zameer’s struggle. I felt a similar feeling through the projector scene in Midnight Cowboy. Once again not my original intention. We had sought out a location with a more interesting decor and practical lighting, but once the Saatchi Lab location was locked in we determined the best lighting scenario for each set up and the single source lighting clearly became apart of our primary aesthetic. In the close ups the use of the single source lighting is somewhat effective because ‘the features are hidden in the dark blending into a mysterious background.’ We intentionally placed the characters in the dark for this menacing appearance, giving the audience the since of danger soon to come. After reviewing in edit, I feel this could have been more effective if we highlighted the characters eyes directly[3]. We also experimented similarly with natural light in the beginning of Scene 3 where Zameer is alone in his dark office and is interrupted by Jimmy. The outcome was eery footage with highlights of natural or practical light from an exterior source. I’m not quite sure how I feel about the look. It definitely offers a different dimension in understanding the character’s world but I feel it may offer yet another layer which takes away from the consistency of the film.
Another differential from the single source lighting is in the common area cubical space. We used the practical lighting set up which give a full even light to all the characters in the ad agency world. It feels very general giving a sharp contrast to the dark worlds the lurks behind the office walls. This fell in line with the original script. The common area represented the polite office world where there is seemingly no discrimination.
The strength of the interior ad agency footage we shot using the Panasonic DVX102B is the handheld movements that increase as the film progresses. We chose to establish each location/space by using extreme high angles – i.e high tripod and a ladder with a high hat attached to it. Using the wide angle adaptor at the full range of the 4.5 lens allowed us to establish the rooms geography quickly and then move the camera into interesting angles while covering a scene. With out these angles we would not be able move in tight to cover the scene in what may appear to be unconventional coverage. Case in point, in two particular scenes we jump the 180 line to show an emotional transition in response to what is occurring. I believe the wide angle allows for the axis to be flipped keeping the audience grounded in the emotional change, but not confusing them of the geographical location.
We maintained the aesthetic of the wide angle adaptor while following actors through the environment. This increased the detail in their face allowing the audience to ground themselves in the subjects experience. We also use the wide angle zoomed in for long shots. This allowed for some blurring in the foreground creating a greater since of distance or depth of field. The wide angle helped in showing the struggle for Zameer to free himself from the monkey suit. We were able to keep foreground elements in contrast to background elements, which intensified the struggle. The out of focus foreground or background hopefully will draw the viewer in connecting the two objects. Example 1: Zameer begins to struggle with costume, Jungle Juice bottles in the foreground are in focus. Example 2: Zameer finally gets Monkey suit off, Monkey head is in focus in the background.
The effect of the combination of these choices makes for an interesting viewing experience but I feel it may be too many transitions that will distract the audience. Fortunately the script and performances are strong. There is a consistency in the single source light from one room to the next that plays well from scene to scene. Each activity is housed in each location. The two extreme styles of the commercial world and the advertisement world work well infused together in showing the two different environments but the third transition into the single source desk lamp world of the personal office space and eventually insanity, I fear may be out of reach for the audience. I am very interested in their response.
This says a lot about my personal style. I like a collage of imagery, as shown in my previous work as well, but my challenge for myself is working in pre-production with an editor to fully understand how these images will cut together to heighten the experience within the world.
[1] Wheeler, Paul – Digital Cinematography, Ch. 2 “Creating a Look” Pg. 10
[2] Alton, John – Painting With Light, “Outdoor Photography” Ch. 6 Pg. 125-26
[3] Alton, John – Painting With Light “Menacing Close Ups” Ch. 5, pg. 114
The Adaptation
The third project in the first year is a short narrative adaptation shot on digital video. This will be the first time as students the focus is on directing speaking actors. The adapted material is chosen to free the director from the burden of creating the outline of the story, from creating the characters. This, then, becomes a pure directing exercise.
Important questions to be addressed: What do I feel is the essential dynamic of the adapted story? How do I make that dynamic meaningful to me, and then to my audience? What tone do I seek for the film? How best achieve that tone? The following issues will be addressed: casting, locations, set design, props, rehearsing with the actors, camera approach to the places and the faces, blocking, wardrobe, mise-en-scene, commanding a set, collaborating with a larger crew, editing for story, dialogue, character, tone, and movement.
