I always appreciated the more visceral part of a film. I was
always more BLADE RUNNER than STAR TREK. More Michael Mann's HEAT
than DIE HARD. The best shots always seem to have double meaning.
The music can also help elevate the 'poetry' by giving the shots
My latest film DO YOU TRUSS ME? is my attempt at doing a
'psychological thriller'. 'Psychological' is the important word in
that description. The film is meant to make you feel uncomfortable
in a direct, but also subconscious way.
First of all, the title (DO YOU TRUSS ME?) itself has double
meaning. At first look, you'd think it's a typo. But I would sure
as hell never call my film DO YOU TRUST ME?. The word 'truss' has
two meanings: One has to do with bridges, while the other has to do
with hog tying. Since my film has some S&M and kidnapping
elements, the latter meaning makes more sense. The film is also
about 'not trusting everyone around you', so the title is a play on
For the music of the film (download it here:
http://deeh.bandcamp.com/ ), I decided to keep myself from writing
any melodies (usually my strong point) and let the software do it's
bidding for once. The result is that the songs are very cold,
minimalistic and at times very dense. Of course, I cheated a little
and did write a few chords here and there, but I really wanted the
music to reflect the merciless unknown threat that the characters
The source music, on the other hand, is really varied. During
some of Carol's scenes, I used Smegma Sculpture (doom metal) to
show Carol's predatory side. A lot of Marion's scenes, have a
sweetness (and a sadness) to it and the music is a little warmer.
Ivan's music is the most varied, ranging from quiet desperate
soundscapes, to doom laden drones.
For William Zote's song, Le Baiser de L'Universe, I went very
kitch and very 50's. The song is meant to be ridiculous, but also
sound authentic. William Zote is loosely inspired by Rael (the head
of the alien cult The Raeliens) who used to be a singer songwriter
decades ago. His music was incredibly romantic and a little cheesy
not unlike Le Baiser de L'Universe.
Cinematography is extremely important to me, and I try to use
shots to express a feeling, rather than use dialogue. A lot of
filmmakers do this, of course, but I do it a little more than most
because I know I'm a better cameraman/director than I am an
actor/writer. This balance is what makes or breaks a scene for me.
Here are some shot examples:
My idea to have both actresses stare at each other through
the curtain was important. I wanted the scene to be sexy and
erotic, but also creepy. The curtain represents one's bubble
(intimate space). The curtain also makes the girl on the left look
more threatening (especially when she starts licking it).
The two characters are in a relationship. The crack in the
mirror represents their emotional separation. Marion (the girl on
the right) is bigger/closer because of her narcissism. Near the end
of the scene, the smaller girl on the left, walks over to the right
side of the mirror to be with Marion, representing hope in their
relationship and the girl's willingness to fix it.
This shot represents the human race/the world, and Marion's
detachment to it. Kind of an obvious shot, but effective.
I picked this location because I liked the steel fence in the
back. Since Marion was suicidal, I wanted to have a fence that
looked like it could fit in a cemetery.
This is one of the only scenes that we see Marion working as
a call girl. Since she's very good at it, I wanted to shoot the
scene in a glamorous way. So the lighting in back is very 50's film
The location originally had yellowish light, but I decided to
modify it to green to give Carol a more reptilian/predatory look.
This is another example of using a mirror to express duality
in a scene. The image in the mirror (on the right) is what's
happening between Carol and Marion (kind of like as if their drama
is playing on tv), while the image of her on the bed (on the left)
represents how she really feels inside (alone).
I picked this location because I wanted the characters talk
about corruption while to scenery had illuminati-type architecture.
I used a brown light ring ceiling panel to represent one of
Zote's dogma symbols. The 'joke' is that it represents an anus
(something the Zote are obsessed about). It also is a subtle 'fuck
you' to religions who some say are full of shit.
This shot of Marion kissing a hand is filmed as if she is
taking communion. The hand is making the Zote sign, which
represents an anus. In other words, she's kissing God's ass.
Most of Ivan dialogue in this scene is shot like this. It
represents Ivan's reluctance to show himself. It also represents
Ivan's dark side (see the ripped panels on the bottom right)
The light behind Ivan represents the All Mighty God. Ivan is
hugging a priest (his father).
The man talking man behind Ivan is blurred and only half in
the frame. It's the only time we see him. The reason I shot it like
this is because the mysterious bearded man represents the hidden
threat/evil we can't see (the government, terrorists, black ops and
The shot of this poster is Monica being strangled while
having sex. She's looking to the sky in a pose that is sort of
spiritual. The city lights in the background are kind of like
stars. This shot represents everything that the film is about: sex,
aliens, brutality, danger, faith and so on.
That's all for now!