The Piano.

Cinematography.

. camera distance. camera angle. aspect ratio. depth of field. lenses .

. frame composition. camera movement. shot duration .

All of these elements are just a short distance from the world I am used to.

but each intertwine like the black and white keys on a piano.

In this weeks screening of The Piano.

I was inspired to do a shoot, in an attempt to recreate a similar scene created by the relationship between Aida and her piano, Aida and Flora, & Aida and Banes. Low dim lighting, as vibrant and warm as I could pull from the candle light, as much skin as my muse could bare; as his fingers flow across the keys the soothing sounds ease tensions. Comparing back to one of Banes and Aidas most heated encounters, he sternly forces her to play anything she pleases, while he strips away layers of her clothing, he strips away layers of her fears, layers of bottled up emotions, and she begins to release as he frees her of these heavy burdens she bares.

and as the first sights of her pale skin peak through, she slowly becomes liberated.

As she escapes back to Banes to give more & more "piano lessons", we observe as she lets her hair down, becomes more playful with her daughter Flora, and plays her piano as if she is finally comfortable with her sexuality and unique means of communication.

The colors of the film turn from a cool gray to a warm and fiery palate of reds and golds suggesting the shift and growth beginning to take precedence in Aidas life.

As I began to think of how to compose this shoot, Feist came on shuffle. (For those of you have never heard of her, I suggest looking her up) her album Let it Die's cover photograph is what inspired the feel for how the photographs would pan out, their grainy texture represents the rawness that embodies the story line of the film, while the deep red screams heat, sex, and passion (& as we find out later in the film, sometimes blood).