{"id":1849,"date":"2026-01-29T22:50:12","date_gmt":"2026-01-29T21:50:12","guid":{"rendered":"https:\/\/volkanartz.w23.fr\/?p=1849"},"modified":"2026-01-29T22:50:13","modified_gmt":"2026-01-29T21:50:13","slug":"la-dent-premiere-sequence-a-visionner","status":"publish","type":"post","link":"https:\/\/volkanartz.chauss.in\/en\/la-dent-premiere-sequence-a-visionner\/","title":{"rendered":"The milk tooth : first sequence"},"content":{"rendered":"

There are some good things to work on multiple projects, in parallel, but with limits as well.<\/p>\n\n\n\n

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The bright side is that you ever get bored and that you're less likely to feel (or fall into) the \"post partum effect\", a psychological state of decompensation that usually happens after delivering any project where one was deeply, personally involved.<\/p>\n\n\n\n

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But on the other hand, everything takes more time and projects are, from time to time, left on hold (sometimes for quite a while). \nActually, this maturation is much needed, as time helps to get the work done : it does filter and select the right things. In a word, it allows the creator to look at things more clearly and I admit that it is often a real help.<\/p>\n\n\n\n

Moreover, it is also true that any production is quite \"exclusive\".
Let\u2019s imagine all the necessary steps needed to produce, for example, a musical track : apart from the composition and arrangements, which actually both need some continuity, in order to get the work done, it is also necessary to rehearse on and on, so that one gets the track, not only in the head or in the ear, but also in the fingers, or so to say in the body.<\/p>\n\n\n\n

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https:\/\/teuxdeux.com\/blog\/flow-theory-a-deeper-dive-into-flow-states<\/a><\/p>\n\n\n\n

En substance, et dans cet exemple particulier, il faut parvenir au point de pouvoir d\u00e9connecter le cerveau et les yeux, pour faire confiance au flux de l’instant, sans filet. Bref, tout cela exige en g\u00e9n\u00e9ral une focalisation sur le projet en question, et ce pour une p\u00e9riode assez cons\u00e9quente.<\/p>\n\n\n\n

Et cependant, tout s\u2019\u00e9puise, y compris l’\u00e9nergie int\u00e9rieure et l’envie.
That is why it is sometimes a good idea to let a project on hold, and to get back to another one. \nThat\u2019s more or less what's been happening to me, recently during the recording of Babel #1, why I reactivated a short movie project, called \"the milk tooth\".<\/p>\n\n\n\n

The Milk tooth : first sequence<\/span><\/strong><\/p>\n\n\n\n

This short movie is - like most projects - quite specific : it evokes those \"first-times experiences\", but in a very light and gentle way, yet universal, with the loss of the first tooth.<\/p>\n\n\n\n

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Pour des parents, tout est toujours trop t\u00f4t et ils sont g\u00e9n\u00e9ralement pris de court. En l\u2019occurrence, ce n\u2019est certes pas trop grave et il s\u2019agit donc essentiellement d\u2019accompagner son enfant dans ce petit parcours, la douleur physique, cette premi\u00e8re perte – ce premier deuil en quelque sorte – et la renaissance qui s’ensuit.<\/p>\n\n\n\n

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Le parti pris est quant \u00e0 lui assez aventureux pour un format si court, et s\u2019inspire des documentaires : il s’agit d’une part d’un dialogue entre une petite fille et son p\u00e8re, offert \u00e0 l’\u00e9coute, tandis que l\u2019action visible n\u2019a – en apparence – rien \u00e0 voir\u2026<\/p>\n\n\n\n

I chose it for two main reasons:<\/p>\n\n\n\n

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  1. Tout d’abord, d\u2019un point de vue pratique, la jeune actrice a certes de belles capacit\u00e9s de jeu (par exemple, elle est capable de refaire une sc\u00e8ne encore et encore, comme si c\u2019\u00e9tait la premi\u00e8re fois), mais elle n’est pas encore en mesure de donner un texte simultan\u00e9ment. Ainsi, ce petit stratag\u00e8me permet de dissocier les deux moyens d\u2019expression : action verbale vs. action physique<\/li>\n\n\n\n
  2. Apart from this technical side, there\u2019s also an artistic dimension : even if it\u2019s a short form, this theme is very rich, and there would be a lot to say. By disconnecting the verbal action, which works as an introduction, from the visual side, we enlarge the whole thing, adding depth. Then, with the two following sequences, we'll get some perspective. Together, those 3 parts will act as a whole.<\/li>\n<\/ol>\n\n\n\n

    Warnings<\/span><\/strong><\/p>\n\n\n\n

    I'll let you now discover this first sequence. Please keep in mind that it's also a first version.<\/p>\n\n\n\n

    Some work still needs to be done with the sounds : some foleys and a certain stylization are expected. Indeed, the first dialog should take place, in the imagination of the audience, as a distant conversation : the girl is in the bathroom, looking at her mouth in the mirror, while her father lies on the couch in the living, looking at his smart-fucking-phone.
    In other words, this is a very banal scene, from the everyday life, each one being in its own little world\u2026 but the unexpected situation will, all of a sudden, bring them closer.<\/p>\n\n\n\n

    Please let me know what you think about it in the comments. It'd be very interested in your returns.
    Thank you.<\/p>\n\n\n\n

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