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Handcuffed behind the back close-up
If you love handcuffs behind the back, in arresting positions, and really good CLOSE-UPS, enjoy my shares. Handcuffs, ropes, even NO bondage; I only focus on women's hands shown behind "PALMS OPEN,"
and showing more femininity. None of this tied "PALMS TOGETHER. Prayer position" nonsense. where is the fun in that? 🤷
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Description
a poster designed for a movie score for a non-existent 'space opera' called mirror mirror.
soon to be printed. work done for NYmoon.com, where you can now listen to the score: [link]
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The original brief:
Mirror, Mirror
With Dana Chime and Ali Mustapha
Score composed by Wesley Harrison
Directed by TK
An Abyssinian space romance. This scene is from Act III and is the final conflict between the good guy and the bad guy, and the girl makes an appearance too. The girl I see very clearly in my mind and is a Queen of Sheba-type figure, thin, statuesque, Semitic in that East-African way, and regal.
The scene is supposed to be structured as the movie, kind of the movie in miniature. So it has three mini-acts, and towards the end you hear a scene-within-a-scene, which is essentially the scene itself in miniature.
It's meant to suggest a collage (even though none of it is found--all of it is me except for one canned loop--the percussion at the end). So I guess I have in mind something vaguely postmodern--like the Firefly series or Cowboy Bebop, but less comic book-y and more psychedelic and baroque.
Also, while it sounds like a variety of sounds, there's really only about 20 seconds of raw material that I cut up and re-combined (and piled some digital effects upon). And while parts of it sound like musique concrete, everything began either as musical sounds from a guitar, synthesizer, or drum machine or as a byproduct of recording those sounds (like my finger running down the fretboard or electronics noise on the digital recorder). I don't know if that is informing or not for the artist...
It's main structural device besides what I describe above is mirroring (most of what you hear goes backwards and forwards), so that ought to be a theme in the movie it came from (since this is the critical scene). The conflict itself is meant to be reflected in the tension between the more industrial, cacophonous bits and the more earthy, 5 tone, African-inspired bits. (The movie's actual conflict I have only considered in the broadest strokes).
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* thank you so much for the DD and all the wonderful comments and favorites! *
soon to be printed. work done for NYmoon.com, where you can now listen to the score: [link]
---------------------------------------------------------------------
The original brief:
Mirror, Mirror
With Dana Chime and Ali Mustapha
Score composed by Wesley Harrison
Directed by TK
An Abyssinian space romance. This scene is from Act III and is the final conflict between the good guy and the bad guy, and the girl makes an appearance too. The girl I see very clearly in my mind and is a Queen of Sheba-type figure, thin, statuesque, Semitic in that East-African way, and regal.
The scene is supposed to be structured as the movie, kind of the movie in miniature. So it has three mini-acts, and towards the end you hear a scene-within-a-scene, which is essentially the scene itself in miniature.
It's meant to suggest a collage (even though none of it is found--all of it is me except for one canned loop--the percussion at the end). So I guess I have in mind something vaguely postmodern--like the Firefly series or Cowboy Bebop, but less comic book-y and more psychedelic and baroque.
Also, while it sounds like a variety of sounds, there's really only about 20 seconds of raw material that I cut up and re-combined (and piled some digital effects upon). And while parts of it sound like musique concrete, everything began either as musical sounds from a guitar, synthesizer, or drum machine or as a byproduct of recording those sounds (like my finger running down the fretboard or electronics noise on the digital recorder). I don't know if that is informing or not for the artist...
It's main structural device besides what I describe above is mirroring (most of what you hear goes backwards and forwards), so that ought to be a theme in the movie it came from (since this is the critical scene). The conflict itself is meant to be reflected in the tension between the more industrial, cacophonous bits and the more earthy, 5 tone, African-inspired bits. (The movie's actual conflict I have only considered in the broadest strokes).
---------------------------------------------------------------------
* thank you so much for the DD and all the wonderful comments and favorites! *
Image size
648x864px 495.12 KB
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Comments49
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thx sweto 
