LARRY looks back behind him. SHOT 81 1S	The MONSTER is far behind, and receding. SHOT 82 1s	He turns back, but suddenly gets a fright. SHOT 83 1.5s
Ahead the Canyon narrows dramatically. We weave around a bit, as it threatens to narrow even further. SHOT 84 3.5s	All of a sudden LARRY'S engine starts giving out. It falters and the car's speed slackens. SHOT 85 1.5s	LARRY'S POV: Ahead: the Canyon still looks narrow. SHOT 86 2s

This the Magic Portal at its most Hitchcockian. Most of the storyboarding was executed during my first year film studies: I'd just bought Hitchcock by Truffaut, an excellent read that offered a pretty effective solution on how to cover all the action. The chase is taken from L's perspective, and seen through his biases and misconceptions too, especially those concerning ravenous, two headed Monsters. The audience is manipulated into seeing things a certain way with very little room to manoeuvre. It also crystallised something that seems blindlingly obvious to me these days: cinema is a language, like any other. All your elements, camera, sets, characters, lighting, editing, sound, grading, etc. are all expressions of that language in a multitude of different ways. The Magic Portal was my first big attempt to have a crack at expressing myself filmically.

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Last modified Thu, May 27 2004 by Lindsay Fleay