http://laroquodexperiment.com/in/chronolog/atom.xmlThe Laroquod Experiment in Chronology, JournalWhere I come from, there are no Arts. There is just one art. Of sequence.http://laroquodexperiment.com/favicon.ico2009-05-26T18:40:15-05:00tag:laroquodexperiment.com,2005:10120050322100443Paul Laroquod2005-03-22T10:04:43-05:00<![CDATA[Variation]]>FOLLOW FORK]]>tag:laroquodexperiment.com,2005:10120050322092933Paul Laroquod2005-03-22T09:29:33-05:00<![CDATA[Skylines]]>The Sound of Water. Some of my favourites didn't end up serving the needs of the storyline, but are shown here in the hope that someone might enjoy them and that they could make themselves useful in some narrative way.
]]>tag:laroquodexperiment.com,2005:10120050322091200Paul Laroquod2005-03-22T09:12:00-05:00<![CDATA[Nocturnes]]> It'll be difficult to use this shooting style in a narrative way without blurring all of the human subjects, which is a problem I've been mulling over...
]]>tag:laroquodexperiment.com,2005:10120050322084437Paul Laroquod2005-03-22T08:44:37-05:00<![CDATA[Bifurcation]]>FOLLOW FORK]]>tag:laroquodexperiment.com,2005:10120050321162013Paul Laroquod2005-03-21T16:20:13-05:00<![CDATA[The Sound of Water]]>here. I first considered producing photoquads simply to combine my obsession with the nuts and bolts of narrative with my interest in photography. And it's an idea I've resurrected now because, with every narrative beat requiring only a single flick of a shutter, it represents the cheapest possible visual exploration (in terms of production time) toward the goals of the Experiment.
]]>tag:laroquodexperiment.com,2005:10120050303144619Paul Laroquod2005-03-03T14:46:19-05:00<![CDATA[Trust]]> I say these things because I begin to understand that no intelligence will achieve the goals I've set in this Experiment I've made of my life.
]]>tag:laroquodexperiment.com,2005:10120050303143346Paul Laroquod2005-03-03T14:33:46-05:00<![CDATA[An Actor's Demo Reel]]> The final figure of a telephone number, for example, is not a number but a person. And when you dial it you had better count off 3-2-1-HUMAN in your head, because that's exactly what you're going to get. A person is a labyrinth of talent and desire, a root system that feeds a tree of skills diverged and intertwined to meet a unique series of opportunities. Wander it if you will. But don't expect to come out facing the same way you came in.
This is something that I've learned from Wendi Smallwood.
]]>tag:laroquodexperiment.com,2005:10120050303140916Paul Laroquod2005-03-03T14:09:16-05:00<![CDATA[The Illuminating Failure of An Untitled Interaction]]> I have modified my approach to my entire life in response to a particularly illuminating mistake I made called An Untitled Interaction.
]]>tag:laroquodexperiment.com,2005:10120050303133408Paul Laroquod2005-03-03T13:34:08-05:00<![CDATA[On the (un)Importance of Technology]]> I've heard independent filmmakers obsess at length about video vs. film, a debate that typically metastasises to encompass frame rates, progressive vs. interlaced, anamorphic lenses vs. HD modes, real steadicams vs. stabilisers vs. handheld. And then when the same filmmaker is on the set, and the actors, relatively neglected in the exercise of judgement, don't deliver the best they possibly could, the director gives vague instructions; does 12 takes, either all basically identical or each increasingly stiff with frustration; knows something is missing; becomes ever more aware of all the technical people waiting around on the set; and finally, at a loss for how to correct for anything but a 3:2 pulldown, convinces himself he's got enough, and moves on.
But he doesn't have enough. He doesn't have anything, and he will discover it as his heart sinks take-by-take in the editing room and his original vision evapourates, leaving a pixel-perfect string-puppet shadow version in its ruin.