"The Original Soundtrack" a #2wkfilm By Mike Peter Reed - Web Site
One of the most exciting aspects of a #2wkfilm project is seeing the amazingly creative things a filmmaker comes up with in order to get a feature film done within the time period. There are a number of very interesting and exciting things that Mike Peter Reed does and captures in The Original Soundtrack.
The first thing that you notice about the film is the soundtrack and the way he plays with the audio. The music is fantastic and really brings life to many of the scenes (the music is by Big Squirrel, Cooperboy, Major Melon who I will now definitely check out). I believe that his first brilliant stroke was starting with the music and using it as a sonic bed for the film in order to convey an amount of energy. I love the music. After the music, Reed removes all voice recording and uses subtitles for all of the scenes except for those that take place in a single room. This is great because it allows him to shoot quickly around the city with crowds, parks, beaches, and buildings, and really gave me a strong impression of the (island) city of Portsmouth UK. You eventually find out that there is a deliberate reason for the use of subtitles which is a clever aspect that clearly went into the conception of the film, but I won't spoil it for you here.
The next thing about the film that I really like is the visual motion technique accomplished through the camera, compression techniques, and/or motion smoothing that is used for filming moving cameras. When following the main character the outer edges and layer of objects pulse and warp, giving it a hyper 3D feel that emphasizes the protagonist's warped perspective on life. I love those shots and it gives me inspiration for ways to shoot in the future. Also, I love the way the film opens with a motivated upside down shot (after the initial intro)!
Another interesting aspect of the creative economy of filmmaking is the reuse and revisiting of scenes in order to reveal that a character's impression of what happened in a scenes was only a partial picture and that under further examination there are more pieces that need to be tied together. The story by Matt Smart with the screenplay by Smart and Reed uses this device as a cornerstone. A great use of getting footage and getting the most out of it within the production schedule.
There were definitely a few scenes in which I really liked the touch that Reed used in depicting a character's non-interaction with others that I thought worked really well. Nice reveals at the ends of these scenes.
I enjoyed the performance of the psychiatrist, played by Adrian Farrell, throughout the film, and the protagonist, played by Riyadh Haque, really was able to shine when he turned the corner in his life and was able to flourish.
One of the most exciting aspects of a #2wkfilm project is seeing the amazingly creative things a filmmaker comes up with in order to get a feature film done within the time period. There are a number of very interesting and exciting things that Mike Peter Reed does and captures in The Original Soundtrack.
The first thing that you notice about the film is the soundtrack and the way he plays with the audio. The music is fantastic and really brings life to many of the scenes (the music is by Big Squirrel, Cooperboy, Major Melon who I will now definitely check out). I believe that his first brilliant stroke was starting with the music and using it as a sonic bed for the film in order to convey an amount of energy. I love the music. After the music, Reed removes all voice recording and uses subtitles for all of the scenes except for those that take place in a single room. This is great because it allows him to shoot quickly around the city with crowds, parks, beaches, and buildings, and really gave me a strong impression of the (island) city of Portsmouth UK. You eventually find out that there is a deliberate reason for the use of subtitles which is a clever aspect that clearly went into the conception of the film, but I won't spoil it for you here.
The next thing about the film that I really like is the visual motion technique accomplished through the camera, compression techniques, and/or motion smoothing that is used for filming moving cameras. When following the main character the outer edges and layer of objects pulse and warp, giving it a hyper 3D feel that emphasizes the protagonist's warped perspective on life. I love those shots and it gives me inspiration for ways to shoot in the future. Also, I love the way the film opens with a motivated upside down shot (after the initial intro)!
Another interesting aspect of the creative economy of filmmaking is the reuse and revisiting of scenes in order to reveal that a character's impression of what happened in a scenes was only a partial picture and that under further examination there are more pieces that need to be tied together. The story by Matt Smart with the screenplay by Smart and Reed uses this device as a cornerstone. A great use of getting footage and getting the most out of it within the production schedule.
There were definitely a few scenes in which I really liked the touch that Reed used in depicting a character's non-interaction with others that I thought worked really well. Nice reveals at the ends of these scenes.
I enjoyed the performance of the psychiatrist, played by Adrian Farrell, throughout the film, and the protagonist, played by Riyadh Haque, really was able to shine when he turned the corner in his life and was able to flourish.
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