We have a new design essay to start the week. Film-maker Lisa Stock tells us about the world building that went into her project Titania.
People are always curious about where I shoot my films. But when I tell them it was a state park, local beach, or neighbor’s backyard they seem disappointed that I haven’t said Oz, Gotham, or at least New Zealand. I’m thrilled though – because for me, that means I’ve effectively created a world they believe exists somewhere further than a few blocks from home.
World building is as important in fantasy film as character building. It not only holds and surrounds the action of your plot – but influences it. An actress said to me once, “I have terrible fears about the forest, nightmares since I was a child of being left alone in a forest.” Luckily, the film we’re working on together takes place entirely in a forest and I need for her to be frightened.
You might think that it was bad enough to be locked up on an automated spaceship and sent off on a one-way journey to an unknown destination in the company of people even nastier than yourself… but that’s only the start of it. Science-fiction meets horror meets prison drama in this game – and digging a tunnel to freedom is not an option.
Chapter 1: History sets the scene, explaining the political, historical and societal changes on Earth that have led to the development of this rather drastic solution to the age-old question of what do you do with those people too mad, bad or inconvenient to fit in to normal society. Based on rather dodgy psychological theory, people were assessed for their potential to commit violent crime and those deemed most likely to become violent got locked away before they even had a chance to do something wrong.
