AVES
When a sudden encounter with a mysterious student triggers a painful memory for ornithology professor Abel Marks, he’s haunted by the vision of an attempted sexual assault and murder he witnessed while fighting in World War II. Compelled to seek out the student in hopes of assuaging his guilt, Abel quickly loses his grip on the reality he so delicately constructed. Ultimately, he’s forced to confront the dark truth of what actually happened – and who he really is.
Interview with Director of Photography Tianyi Liu
Congratulations! Why did you make your film?
Years ago, I came across Eli, and he pitched to me about this idea, and I really liked it. As the cinematographer for this film, my intention was to visually bridge the haunting memories of the past with the present turmoil faced by Professor Abel Marks. The traumatic events of World War II, especially those deeply personal and scarring moments like the one Abel witnessed, are seldom portrayed with the intimate psychological depth that this narrative demanded. Through my lens, I sought to juxtapose the serene world of ornithology with the visceral and haunting wartime memories. My goal was to craft a visual journey that would not only honor the historicity of the era but also resonate with the raw emotions, challenging our understanding of memory, guilt, and identity. The film presented a unique opportunity to experiment with lighting, color palettes, and camera movements to differentiate between the world of reality and Abel’s recollections, creating a profound cinematic experience.
Imagine I’m a member of the audience. Why should I watch this film?
You should watch this film because it's more than just a historical narrative; it's a deep dive into the human psyche, exploring the aftermath of trauma and the blurred lines between memory and reality. The cinematography, rich with visual nuances, beautifully interweaves the past and present, inviting viewers to experience the raw emotions and internal struggles of Professor Abel Marks. This film challenges our perceptions of guilt, redemption, and self-identity, offering a unique perspective on how the scars of war can linger and shape an individual's life. It's not just a WWII film; it's a poignant exploration of humanity, resilience, and the lengths one will go to find solace and closure. Whether you're a history buff, a lover of psychological dramas, or someone who appreciates the art of cinema, this film promises a captivating and thought-provoking experience.
How do personal and universal themes work in your film?
In AVES, both personal and universal themes are intricately woven to paint a portrait of memory and reality. From a personal standpoint, the story plunges deep into Professor Abel Marks' psyche. It provides audiences with an intimate exploration of the paralyzing effects of suppressed trauma and the lengths one might go to in an attempt to reconcile with haunting memories. This introspective journey of guilt and eventual redemption is one that deeply resonated with me, influencing the visual choices I made as the cinematographer.
On a universal level, AVES sheds light on the harrowing nature of war and its long-lasting scars on the human spirit. Countless veterans return from combat bearing silent burdens, a theme that has echoed across cultures and epochs. Concepts like the duality of human nature, the blurred boundaries between mere observation and active participation, and the labyrinthine nature of our memories are central to the film. These themes are ubiquitous, making the story poignant for anyone who's ever been entangled in the webs of their past or the contradictions of their character. In capturing these sentiments, our cinematography juxtaposes the stark realities of war with the subtler, but equally unsettling, nuances of Abel's present-day life.
How have the script and film evolved over the course of their development?
The evolution of AVES from script to screen was a remarkable journey, especially from a cinematographic perspective. Initially, the script presented certain challenges and opportunities, especially in authentically recreating the WW2 scenes. We wanted the film to not just be a recounting of history but to transport the audience to that tumultuous era. Collaborating closely with the VFX team, we undertook rigorous tests to create detailed 3D WW2 scenes that felt as authentic as the real locations.
The utilization of Unreal Engine 5 was groundbreaking for us. By recreating the set virtually, it allowed us to simulate shots and lighting setups before we even got on the actual set. This not only saved precious time during production but also enabled us to experiment, refine, and achieve visuals that might otherwise have been impossible or impractical to realize on set.
Our partnership with Panavision was another cornerstone in the visual evolution of AVES. With their state-of-the-art DXL2 camera, we were able to capture scenes with unparalleled clarity and depth. Yet, we wanted to infuse the story with a timeless character, which led us to redesign the classic Primo lens to be compatible with this large format camera. The melding of cutting-edge technology with the vintage aesthetic of the Primo lenses produced visuals that are both sharp and yet filled with character—echoing the film's narrative of revisiting the past within the present context.
In essence, as the script grew and morphed, so did our approach to visualizing it. Every technological advancement and every collaborative endeavor was channeled towards ensuring AVES was not only a treat for the mind but also for the eyes.
What type of feedback have you received so far?
We have got pretty phenomenal feedback. We have been selected for multiple major film festivals, and we have also won the grand prize at the Rhode Island International Film Festival.
Has the feedback surprised or challenged your point of view?
I was pleasantly surprised to receive such positive feedback regarding the film's cinematography and overall aesthetic. Attempting a WWII project and trying to invent a whole new workflow with a lot of cutting-edge technologies was indeed a challenge for me. While I didn't believe I established a distinct look, I'm grateful for the compliments on the film's visual aspect. Regarding the narrative and its conveyance to the viewers, I anticipated some challenges. Admittedly, the message didn't resonate as universally as I had hoped. While some understood and were moved by the storyline, others had different takeaways. That's the essence of cinema, after all – everyone interprets and emotionally connects with films in their own unique way.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
AVES is a story that can reflect the reality of the War. And more people get to see it, hopefully, more people will realize how people who lived in the war age made the effort to gain a better life.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
As the cinematographer of this project, I think We Are Moving Images is a good platform for me to have more exposure, and prove to industry professionals that I am a solid cinematographer and storyteller who comes from an Asian Country.
What type of impact and/or reception would you like this film to have?
The film delves into the professor’s confused sanity and grip on reality as he desperately tries to find the student and assuage his guilt about something that may have happened in his past. We would love to have an audience to know that no one can escape their past, and it will catch up with you.
What’s a key question that will help spark a debate or begin a conversation about this film?
Is there good and bad in everyone?
Would you like to add anything else?
As we embarked on the production of AVES, the Unreal Engine 5 took on a crucial role in shaping the film's visual narrative. Given the intricate period-specific details required for a WW2 setting, conventional pre-visualization methods would have been immensely time-consuming and challenging to adjust on the fly. However, with Unreal Engine, we took a more dynamic approach.
The live simulation capabilities of the engine allowed us to recreate our sets virtually, down to the finest details. By doing this, we could rapidly experiment with different lighting setups and understand how they interacted with the environment and characters. This didn't just save us time during the actual shoot, but also ensured that every lighting choice we made was deeply informed, achieving the desired mood and emphasis for each scene.
Furthermore, this real-time lighting simulation facilitated a deeper collaboration between the director, VFX artists, and myself. The ability to immediately see changes in lighting, shadows, and reflections meant decisions could be made collaboratively, and any potential issues identified and rectified before they reached the physical set.
The pre-visualization process, enhanced by Unreal Engine, was a game-changer. It allowed us to approach each day of shooting with confidence, knowing that we had already addressed potential challenges and ensured the best lighting for the story we were telling.
What other projects are the key creatives developing or working on now?
Currently, I am working on shooting a feature film with horror elements in Louisiana which is going to be streamed in Blumhouse next year.
Interview: October 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
AVES
When a sudden encounter with a mysterious student triggers a painful memory for ornithology professor Abel Marks, he’s haunted by the vision of an attempted sexual assault and murder he witnessed while fighting in World War II. Compelled to seek out the student in hopes of assuaging his guilt, Abel quickly loses his grip on the reality he so delicately constructed. Ultimately, he’s forced to confront the dark truth of what actually happened – and who he really is.
Length: 18:49
Director: Eli Snyder
Producer: Shunchao Xu, Tara Austin
Writer: Eli Snyder, Kevin Sweeney, Hayley Tibbenham
About the writer, director and producer:
ELI SNYDER began his film career as a child actor in films such as 300 and Watchmen. He went on to study directing at UCLA's prestigious theatre, film, & television program. His undergraduate thesis film, Interlude, received awards at film festivals across the country.
TARA AUSTIN graduated from UC Santa Barbara with a BA in Film Studies. She also holds an MA in Film Studies from Concordia University in Montreal. Austin was the 1st AD on the independent action feature The Badge, assisted the lead actor and producer on both Riddick and Fast & Furious 6, and worked in the VFX department on Smurfs 2.
SHUNCHAO XU is from Wuxi, China. He received a BA in Film and Marketing at Emerson College. In addition to producing short films, he assisted the producer of the TV series April Star and the DP of the feature film The Legend Hunters. Shunchao has a rich bilingual production experience and he’s currently a 2nd year producing fellow at AFI.
TIANYI LIU is a Cinematographer and colorist baes in Beijing and Los Angeles. In 2016, he started to pursue his Undergraduate BFA Degree in Film Production, before he graduated from the School of Visual Arts in New York, he worked on over 30 productions including shorts, features, commercials and music videos in many different countries including China, Korea and the US. He graduated from the American Film Institute in the fall of 2022 with a MFA degree in Cinematography. His mentors include current ASC president, Stephen Lighthill, and Local 600 Vice President, Dejan Georgevich, ASC. Being a Cinematographer, Tianyi believes that it is very important to 100% express the emotions of the most touching moments to the audience and he believes that using light and color to paint an image is the most beautiful part of translating the script into an image narratively.
Key cast: James Morrison, Soma Chhaya, Christopher Stanley
Looking for: sales agents, distributors, film festival directors, journalists, producers, buyers
Instagram: @thef_blabla
Hashtags used: Germany, 1990s, thriller
Website: tianyi.lighting
Funders: Executive Producers: Zack Snyder, Deborah Snyder