Atmosphere, colour, light, camera. Aesthetic aim.

Atmosphere, colour, light, camera. Aesthetic aim.

The process of imagining a film, (literally figuring out images before the shoot), is a long one. For instance, Carla Simon initially thought of a fixed camera with rigid framings. However, she then figured that it didn’t conform to “my current notion of wanting to put my memories into images rather than speaking from the girl’s present”. She wanted to speak from the protagonist’s present and, therefore, needed another kind of camera. She therefore went back to the domestic pictures, with their imperfection and lightness but life impressions after all.

To imagine the film, Carla Simon needed to find the words and also, find the right pictures, be it from films, paintings, photographs, colours… To this effect she draws a document of “aesthetic intentions” for herself, so as to imagine the film on paper as well as sharing it with the DOP and art departments, lead by Santiago Racaj (DOP) and Monica Bernuy (art director). 

The text includes explanation notes -about style and emotions such as she did with the location notes- and visual references. They are organized as follows:

  • - Type of camera
  • - Atmosphere
  • - Light
  • - Rhythm
  • - Soundtrack

Colour palette

This was the original colour palette but when the art team (Monica Bernuy) and the costume team (Anna Aguila) joined in, they realized that along those 90 minutes there were many more colours present, both referring to clothes and the toys, too!

Estiu 1993: Creation process