The aesthetic look of a film is paramount. Paradise Lost has been created with a tone and feel that will immerse the viewer into a believable world. It will connect and haunt audiences because it is based in reality, a reality that slowly splinters apart and reveals a world that we are not familiar with, a world that needs to co-exist to bring balance and order.
Nick, along with concept artist Brandon Hendroff, spent the good part of six months mapping out the world of Paradise Lost. Using Nick's vast amount of reference, technical research, and location scouting reference, Hendroff was able to construct the world of Paradise Lost to meet the scope and richness of the filmmaker's vision.
Along with this, various storyboards and animatics were created. This was taken a step further when Nick shot a trailer/proof of concept short to highlight the style and tone of the film.
The film will be beautiful to watch, both rich in design and texture. The photography will be moody and brooding, using visual elements like rain, shafts of light, shadows, etc.
Interesting locations will be chosen to create strong production value to enhance the unbelievable horror that follows. Nico's home will be family orientated, safe and peaceful. Daniel's home will show a steady breakdown of his world, picture frames turned over, locked doors, mess, clutter and disorganisation that contrasts the stability of a life he once had.
The church environment will be rich and colourful. Warm candle light will create an inviting and illuminating place of worship and safety. The church itself is one of the characters of the story, it will be extravagant and opulent, and stand as the foundation for tradition, faith, life and death. The church's exterior with its stone walls and statues, creates a foreboding feeling.
Dark and dingy alleyways of a city metropolis will be full of shadows, at the times when the characters are at their most insecure. When the characters are feeling good, the world around them will reflect this. The movement from light to dark will be both physical and mental. Daniel and Rose in the park, will possibly be the brightest section of the film - ethereal in design, as the light glares through the tree branches and surrounds them.
Dutched camera angles will create imbalance and conflict within the characters. Long lenses will be used to isolate the characters in their darkest moments. I will also use wide angle lenses to create dynamic frames within a 2:35 aspect ratio. Characters framed with a lot of 'negative space' around them, which is both dynamic and instrumental in the telling of the story. The open views of empty streets, as the characters walk their own lovely path.
Characters filmed slightly out of focus when their problems escalate and their minds and senses distort their understanding and feelings. Over exposure of images, jittering/shuddering camera and character compositions and slow motion will add to the myriad of styles and techniques to visually create a state of mind and tell the story.
