The Visual Style
A Place to Fall Down is who I am; it’s the way I see the world. I have a very specific point-of-view that is easier for me to show you, than it is for me to tell you. It’s a sum of my experiences and the eras that influenced me the most. I grew up a product of the ‘90s – I was obsessed with skateboarding and music videos – it was an era that changed the way I see the world. I’ve always had a camcorder or camera within arms reach.
My favorites are the ones that feel like you’re there – that feel like you’ve lived in them. Some of them are soft, slightly out of focus, because they are snapshots, moments captured in time, and you don’t get a second shot. There’s authenticity in imperfections. We all experience the world this way.
Ultimately, my visual style is an attempt to create a look that feels lived in, experienced and honest.
My goal with A Place to Fall Down was to feature a really rich, cinematic story that feels simple and allowed the story and Clifton’s performance to flow naturally. I hoped that with each additional viewing, audiences would notice how complex and thoughtful the visual story actually is – there are a lot of little moments throughout the film designed to gently guide the viewer to an emotional place, without forcing them there.
The opening shot goes from light to dark, and as JOSE experiences a variety of emotional events throughout we use light and dark to add depth to the story in subtle ways. At the height of the tension, his daughter MARGO calls, and when he opens the door at her suggestion the space fills with light.
During pre-production, it was important to find a location that had tons of depth so we could build a set with varying layers of obstructions. I wanted the ability to see glimpses of JOSE, knowing he was stuck in his own thoughts and isolated, but also show how close he was to the outside world.
To amplify this, we also used small sound design elements like cars passing by, dogs barking, etc. The goal was to isolate JOSE, to paint him into a box using shadows and thoughtful lighting to highlight Clifton’s performance. It was a tricky balance, but we were able to achieve it because of our talented Director of Photography, Tobin Oldach and an extraordinary camera department, key grip and gaffer. Oldach has brilliant instincts and visual sensibilities, I knew if I shared my initial ideas he could take them and elevate them in extraordinary ways, and the rest of the team was just as impressive.
After an initial tech scout, they developed a way we could design the space to achieve our goals, and the end product was even better than I ever could have imagined.
Director’s Note:
My motivation as a filmmaker is to craft cinematic experiences that resonate deeply with audiences. I draw immense inspiration from the works of visionary directors like Terrence Malick, Richard Linklater and Sofia Coppola, whose ability to infuse human interest with breathtaking and groundbreaking cinematography is nothing short of extraordinary. In my own cinematic journey, I create stories that celebrate the human spirit, explore profound emotions, and capture the inherent beauty of the world around us.
At the heart of my creative vision is a commitment to visual storytelling and the power of cinematography. Just as Malick's films embrace stunning imagery to evoke a sense of wonder and spirituality, I use the visual medium to convey emotions and meaning beyond words. Whether it's capturing the ethereal beauty of nature's landscapes or the intimate subtleties of human expressions, I strive to make each frame its own canvas of artistry. Using various visual techniques, from long tracking shots to delicate close-ups, I strive to immerse the audience in a sensory experience that complements the emotional resonance of the film’s narrative.
