The Foal Media Kit - NewFilmmakers LA

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The locations of the film will make stark contrasts between each other, creating two different worlds. The first world is that outside the clearing, which is expressive of the dismal reality of Chloe's heartbreaking predicament. The second world is inside her sanctuary; the place that distracts her from reality. The bush land and sanctuary are full of rich, vibrant and saturated colors that inject life and excitement into the new world as Chloe escapes into wonder and beauty. The actual foal prop was constructed from expanded polystyrene and synthetic fur and hair. In its design, it was specifically chosen to be facing to the left as the human brain tends to read from left to right. When we first see the foal, it has only passed away less than one day before Chloe encounters it. For this reason, there is no decomposition over the entire span of the film. The decision was made, however, to have the foal's tongue bloated and slightly sticking out of its mouth. This works as a visual sign of death without going too macabre. Score The use of a musical score, much like the design of the film, has a strong purpose of helping to place the audience in Chloe's mind; the contrast between her fantasy world and the real world. The main inspiration for the music is the works of Chopin. When Chloe's interaction with the foal begins, the music will be calming and operatic, reflecting the true idea of the sanctuary. It is a place void of negativity; calm and relaxing. These scenes with the foal will contain an element of playfulness and innocence that truly capture Chloe's relationship with it. This eventually evolves into a slower and more nurturing mood as Chloe embodies the role of the foal's guardian. Once Uncle John has broken into the sanctuary, the music abruptly stops as the truth resurfaces. Cinematic Vision The most potent function of the cinematography in this film is to allow the audience to distinguish between Chloe's fantasy-like state of ignorance and the harsh reality of her situation. The shots in the film are very static with elaborative framing and, at times, movement is added to accentuate and instill the feeling of beauty and contentment. When Uncle John enters the sanctuary and discovers the foal, the truth clashes with Chloe's world, changing the camera technique dramatically to a realistic handheld style. This implies that he has somewhat broken and tainted Chloe's sanctuary. This change completely contrasts everything established before it, solidifying the idea that this is a major turning point in her journey. The lighting was biased towards using natural light. Not only were we trying to show the landscape in all its natural glory and beauty but we couldn’t afford to be spending long periods of time with our young actor being on set for only a certain amount of time.
The screen aspect ratio of 2.40:1 was chosen to emphasize the concept of Chloe's wide-eyed view of the world. Everything is new to Chloe. This is the first time she has ever been on a farm and using this screen ratio allows us to see the new experience just as she does. Using shallow depth of field is an important part to making Chloe's time with the foal as dream like as possible, visually expressing her ignorance to the world around her and the detachment from reality. Editing The film editing contrasts in areas from slow cuts in the opening scene, to the fast-paced and sporadic movement of Chloe running through the bush land. The edits in the sanctuary will be slow and delicate to push the idea of the calmness and tranquility in the atmosphere. When Uncle John breaks into the sanctuary, the cuts become faster and more aggressive as we get further and further into the struggle between denial and accepting the truth, dictating a more aggressive and emotionally hostile Chloe. I believe that The Foal has to potential to deeply affect audiences, causing them to reflect on their own losses in life, childhoods, innocence and the moments that have shaped them into the people they are today.
Page 2 and 3: CONTENTS Tag Page 3 One Line Synops
Page 4 and 5: PRODUCTION SUMMARY Title: The Foal
Page 6 and 7: The Foal by Jade van der Lei Post-P
Page 8 and 9: The bird flies off and Chloe rushes
Page 10 and 11: Chloe scratches Uncle John’s face
Page 14 and 15: DIRECTOR’S BIOGRAPHY JOSH TANNER
Page 16 and 17: Festival Screenings • 2011 - The
Page 18 and 19: T R a News Reviews Features Photos
Page 20: Translation of above article It alm

The Foal Media Kit - NewFilmmakers LA

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