American Anamorphosis

I’m interested in the intersection of film (moving images) and still photography. The essential question being: What is cinematic? Can a still photograph be cinematic? And if so, what are the ingredients that make an image “cinematic”? What about aspect ratio? To be cinematic, does the image have to move? Does it have something to do with make believe – fantasy, sci-fi, based on true events (but with actors playing real people)? Perhaps, it’s about shallow depth of field? What about sound? Is it the juxtaposition of images through editing? I work in film, and I hear this word thrown about - “cinematic” “we want this to be cinematic”! Hence, I made a movie. American Anamorphosis Written by Kevin Fletcher 1. EXT. SUBURBAN HOME - DUSK We open on a stormy sky. The camera tilts down to reveal a garage that is lit so loud you can hear it. The light spills into the night. A man, early 50s, stands in front of the garage – the king of his own castle. CUT TO… 2. EXT. SUBARBAN NEIGHBORHOOD - DAY The sound of the neon light becomes less of a hum and more of a scratch - static. The camera (low to the ground) dollies in on an abandoned TV – a relic on the sidewalk. As we get closer to the screen - the image begins to flicker alive. The image on the TV becomes our next scene. TRANSITION TO… 3. EXT. THE MOUNTAINS – EXT. - SUNSET Weapons testing site. The camera dollies in and comes to a stop. CUT TO BLACK. 4. EXT. CITY - DAY Fading from black, we pull back to reveal The Golden Army, like statues, awaiting orders. The other man (in robes) sits close – what will happen to him? CUT TO… 5. INT. HOUSE - DAY The robot boy drinks his medicine. We all drink our medicine. CUT TO… 6. INT. SUBARBAN HOUSE - DAY The camera starts tight on Kevin’s face and slowly pulls back to a wide shot. He longs to be inside. He breaks the fourth wall –after staring at the camera, he turns and walks away. We hear the sound of birds. CUT TO… 7. INT. SUBARBAN HOUSE - DAY The sound of birds continues. The girl longs to be inside. She reaches her hand to the glass. The camera snap zooms into an overexposed white sky. MATCH CUT: 8. EXT. PLANET EARTH – THE FUTURE - DAY Match cut as the camera tilts down from a white sky. Standing in frame, a father and son pose for a portrait. You can hear the breathing through the filters. CUT TO… 9. EXT. TRUCKERS CHAPEL – EXT. - DUSK The rhythmic breathing sounds continue as we pull back on a wide establishing shot. CUT TO… 10.EXT. SUBARBAN HOUSE - DAY The breathing stops. The teacher is dead – he lies on the pavement in front of his car. It’s peaceful… It’s quiet. THE END A special thanks to Koerner Camera for the use of these vintage cine lenses, and to Swanson studios for the insurance that allowed me to take such special lenses into the world. Thanks to the many people who have participated thus far, and to those who will participate in the future. Shot on location in Portland, Oregon.