Stills of Imagined Films
"Imagine each picture as a piece from a set of disconnected events”

Mark Peterman Posted by Mark Peterman on Oct. 23, 2019


By using stills to tell a story it exposed a void that doesn't exist in the linear storytelling of a film. By using stills only, the creative process is more reliant upon a single image to explain or hide information. Without the luxury of sound or motion I wanted to present the complexities of a character in a different way than I had ever done before. I wanted to express what was going on beyond the visual image. I felt it necessary to include text in some way to enhance the narrative. I found that simple scene descriptions as if from a screenplay weren't enough. I wanted to place the viewer inside the head of each character.

EXT. CITYSCAPE - MID-MORNING

She paused for a moment on the stairs, unsure of which direction to take. Just down the street, almost out of sight, she could see the tail lights of a car fade into the distance. Filled with a sudden clarity she continued along her way.

INT. LIVING ROOM - NIGHT

Awoken, paralyzed with fear, her dream had been intense. As faint memories from the previous night slowly trickled in, she knew her memory was playing tricks with her mind. Then she heard the sound of floorboards bending under the weight of a footstep.

EXT. CITY STREET - DAWN

This is where his morning began quietly in the shadows. The sound of the city filtered upwards. Above the street he was somehow disconnected from the world below. Soon he would understand that only after he'd lost everything eh would be free to do anything.

INT. SMALL APARTMENT - NIGHT

The echo of muffled voices slowly amplified from the vent in the wall. The sound seemed to fill the room although she couldn't distinguish words from sounds. She told herself, if she didn't hear the news, maybe it had not happened.

EXT. PUBLIC PARK - LATE AFTERNOON

According to the map, the road ended and just ahead was a footpath that led into the wooded park. Glancing over her shoulder she could hear a car behind her on the gravel road. While she knew that while she was leaving, she was no longer running away.

IN. HALLWAY - EVENING

The fluorescent lights hummed in the dimly lit rooms as he moved silently down the hallway. As he got closer to the room, he knew he could no longer go back and reason with his younger self.

EXT. CITY STREET - NIGHT

The streetlights flashed overhead as the car sped forward into night. For some reason, at that moment, she looked back at the silhouette of a familiar figure that appeared under the dim light of the phone booth.

EXT. CITY STREET - NIGHT

Everything seemed to glow in the hanging mist echoing the finality of their last conversation. He picked up the receiver and hesitated. His moment of indecision would cost him the chance to find out where she was headed.

INT. BEDROOM - LATE MORNING

With a pulse-like whisper the second hand on the clock continued to move although time stood still. The fact that no one was talking seemed to reinforce the facade that silence could hide the truth.

INT. LIVING ROOM - EARLY MORNING

She had returned home in the early hours of the morning, just as the sun was rising. Emotionally drained, the daylight now exposed everything the darkness had hidden.

- A 28 page soft cover 8.25" x 5.25" version of the book is currently available for purchase -

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More About Mark Peterman

Mark PetermanI'm an artist who explores narrative storytelling through photographs and multimedia using constructed realities that cross over into implied fiction. My work contains a graphic story-telling quality with a cinematic feel. I continue to experiment with new concepts as an approach to solving old problems and see refinement through perseverance as a way forward. My work has been featured in the American Photography Annual, PDN Photo Annual and selected for Center’s Review Santa Fe 100. My projects in book and print form have been exhibited at museums and galleries around the country.

More About Mark Peterman