Visual Strategy

In this piece we witness Amorette go through a wide range of emotions and we are also peer into her mind as well. Our overall approach to support this visually is to switch between both Hi Def and S16. We will be using S16 to shoot everything but the scenes where Amorette is recording her message to Etienne, this will be shot on Hi Def.

Visually for these sequences we will be creating a very narrow field of view. The framing will enhance and immediately reveal to the audience how the character sees herself in the world she lives in addition to how she sees her relationship to Etienne.

Lighting wise we would like a sense of a catatonic atmosphere, hollow like a cavern in the beginning but towards the end of her interview a sense of rebirth for Amorette. Sometimes when you are in a room the sunlight, when its not directed at window, can have this barren atmosphere but as it peeks in the edge of a window the feeling shifts to a more hopeful atmosphere. This progression definitely parallels through the emotional journey.

For Amorette's memories we will be taking full advantage of S16. Film has this organic feel which parallel's Amorette's experiences which are full of life. Visually we want it to contrast Amorette's interview with vivid color saturation, wide angles with our characters being more prominent in the frame as opposed to withdrawn. The camera will flow and move within the space gracefully which compliments Amorette's analytical sense as she takes us through her thoughts. The light will be diffused with detail in the highlights and shadows. Skin tones will glow. Overall the feeling would be warm which would contrast her feelings of questioning the involvement of Etienne.

The end result will yield a visual experience that will support our central character's plight.

- Jorge Urbina, Cinematographer

Storyboards

Before I begin describing the storyboards, let me preface this post by admitting my lack of artistry. I'm completely aware of how terrible these drawings are and would be first in line at the scribbles and stick-figure conference. So there.

Storyboard 1: The first sequence is probably the longest sequence, because I really want to introduce both Amorette and Etienne in an honest, yet humorous way. Remember, I want to utilize the 16mm film and include the reds, blues, and green hues as much as possible.

Storyboard 2: Sound cues are important in this short film. Since the scenes move along relatively fast, all the components need to interweave seamlessly.

Storyboard 3: Since the short film is primarily voice-over, I wanted to include interesting camera movements to tell the story (along with production design and costume). Therefore, Jorge and I have a very specific blue-print of how we want the cinematography to translate to screen.

Storyboard 4: Lighting will also play a huge part in the film. Many French films tend to have more theatrical lighting that furthers the inner-thoughts of the characters, so I wanted to subtly include that in A Note to Etienne.

Storyboard 5: Probably the most difficult scene is the park scene. We're incorporating a crane in a specific choreographed shot which will depict the isolation she's feeling.

Storyboard 6: The final scenes will sum up the story of love and loss -- or more specifically, Amorette's feelings for Etienne that never really disappeared. Their relationship was real, but the love they used to share is no longer there. Make sense?

Etienne's Costumes

The concept behind Etienne’s costumes was basic, simple, and straight-forward. I was aiming for guy’s guy – relaxed, yet comfortable. Etienne’s an oblivious character. He’s the type of man who carries on with his day-to-day activities and appreciates routine – a creature of habit. I wanted his costumes to reflect that. Button shirts, flannel patterns, and jeans. Finis!

Merci Bien!

A big THANK YOU to our most recent donors and Executive Producers!

• Steven Benavidez
• Dolorez Benavidez
• Joe Hernandez
• Rick Campbell
• Bev Campbell

We still have ways to go until A Note to Etienne is financed, so please support the film and its filmmakers and make a donation. Remember, every contribution is tax-deductible. So technically, you're lending the film a certain donation, and Uncle Sam is paying you back in April.

Donations of $500 or greater accredits you as an Executive Producer. That's IMDB, baby! ;) (P.S. If you help raise $500 or more from multiple sources (near and far), you get the Executive Producer's credit since you're, well, producing!)

Location - Amorette's House

In my opinion, finding the perfect location is on par of finding the perfect cast – it takes time, patience, and be prepared to see a lot of duds. However, the search for Amorette’s apartment was much simpler than anticipated. In fact, a friend who recently moved to Los Angeles suggested their place and it just so happened it was perfect. Below are the location scout photos of Amorette’s pad. (Special thanks to Tom Erickson and Kendall Anlian)

The Outside: This house was apparently made in the late 1800's and survived many refurnishes. Like Amorette, this house embodies so much character and personality.

The Entry Way: The green struck me upon entering - it was like being in a different country. Amorette's the type of girl who'd paint every room a different color. Another huge plus, almost every room of the house had a gorgeous chandelier.

The Living Room: When scavenging for the perfect location, it was extremely fortunate to find a space w/ natural light and big windows. DP Jorge Urbina approved - the wooden floors and wide-open space also didn't hurt.

The Dining Room: Another chandelier, another great room. For Amorette's dining scene, it was important to find a space that wasn't completely devoid of personality since the scene's supposed to be light and inviting -- much like the color on the walls.

The Bathroom: This is how we'll be introducing Etienne (yes, through a bathroom). I love this point-of-view aspect and linoleum tile.

The Bedroom: My favorite room of the entire house. This room screams Amorette and embodies her character so much. Everything from the chandelier, the wooden floors, the wall colors and orange blinds -- simply amazing.

Meet the Crew - Volume 1

Meet the Costume Designer

Joslyn Sifuentes originally from New Mexico & Arizona has been working as an Entertainment talent manager for the past four years. She has overseen the careers of Frank Stallone, Malcolm David Kelley, Clifford Banagale, Samantha Bailey & Trey Carlisle to name a few. Prior to moving to Los Angeles, she also was a part of the Arizona International Film Festival as the Competition & Filmmaker Director. She has had various jobs within the film industry including managing several student films and interning for the BBC & History Channel. She has joined A Note to Etienne as a casting associate and Costume Designer.

Meet the Production Designer

Gilberto Vega, a graduate of the University of Arizona’s media arts program, has lived in Los Angeles for the past 6 years. He has worked on various projects including films and plays as an art director, set decorator, production designer and prop master. He's part of the independent production group, Cove Entertainment, who have produced various short projects and a feature film. Currently, Gilberto is producing music videos utilizing various techniques including live action photography and stop motion animation.

Meet the Casting Director

Dylan Jury moved from Philadelphia to Los Angeles in 2005, after earning a BA in Film and Media Arts from Temple University. He has spent the past 3 years working as the Casting Assistant on many films including The Dark Knight, Drag Me To Hell, and the upcoming Zombieland. A Note To Etienne marks his first credit as Casting Director.

Meet the Actor - Etienne

Lukas Delcourt was born in Bordeaux, a city in the West coast of France. His earliest recollection of wanting to perform was in Junior High where he was cast as Harpagon in L’Avare (a play by Moliere). From there, he went on to perform in various plays such as Hamlet, Phoebe and the Big Apple, and Grease. In 1998, he made cameos in over twenty movies and television shows including Dangerous Liaisons, Wazabi, and performed opposite Gerard Depardieu and Jean Reno.

In 2002, Lukas gained commercial representation and landed various bit roles until he landed his first prominent role in La Vie Devant Nous (the season’s finale). A year later, he gained notoriety from Star Academy (the French equivalent to American Idol) where 15 million viewers excelled him into the semi-finals, a 6-month tour, 2 million copies sold from an album created from he and the contestants, and an eventual solo contract with Universal Music. His first album, Tout Est Mal Qui Finit Bien’, was released in 2004, followed by the Prince cover, “Cream”.

At the end of 2005, he decided to devote himself entirely towards his acting career and landed a role in the critically acclaimed series, Sous Le Soleil (Saint Tropez) – a French show airing in 197 countries for an unprecedented 14 seasons. In 2007, he traveled to Guadeloupe to shoot the first season of Baie De Flamboyants, but decided to leave after the first season, pack his bags, and head to Los Angeles where was cast as Christian Audigier in the series West Hollywood among various other jobs including hosting gigs, commercials, feature films and music videos.

Although Lukas is fully aware of the risk it takes to start fresh in a new and unfamiliar country, it’s a risk he’s willing to take. He’s really excited to be a part of A Note to Etienne, and is touched by the passion everyone involved has put forth.