Aeon Flux (1995) s02e04 Episode Script
Tide
Now this one, I actually This is a repeating figure.
I structured this, I composed this, very much like a piece of music, actually.
I had composed the storyboard as a grid almost like bars of music each one of exactly two seconds in duration.
So each one of these shots And every angle repeating, as well.
Yeah, it's a repeating series of 20 shots which repeat in the same sequence.
Just the position of the characters within those shots differs.
So, musically, it felt like the bolero, and that was my taking-off point.
But the idea was apart from saving me from having to draw a new background in every scene 'cause I could reuse them six times the idea was to try to create a structure which had a logic of its own which was independent of the action taking place within it.
So sometimes you have shots like that, which are completely empty.
And getting the story to seem to have coherence purely on a formal basis I kind of think of it very much the way poetry works the way rhyming words sort of bind words together and you create an associative meaning through the repetition of sounds.
And in this case, it's the repetition of these shots.
It's actually a very, very complicated story if you break it all down.
This is the one episode of the shorts that I did not write as a script because it would have been way too complicated to write it in words.
All the others I did, I wrote very detailed scripts in words.
This one, I just went straight to the storyboard.
I had all the structure worked out.
The thing that was the hardest to come up with was actually what was going to be in that locker when she finally opened it because I realized that it had better be good.
Or vague.
No, I don't think it's vague, Drew.
- I think it's - Initially.
Initially, until you understand what she has to do with it.
And I think that's its strength is that it is something ambiguous, initially even when she pulls it out.
When you first see it, you don't know what it is but I think that that last revelation I think, kind of I think, gives a lot more gravity to this situation than you might have imagined 'cause, it's a fairly apocalyptic ending.
- That was something that I always - Death number six.
wondered why you never see that happen.
You always see a guy run out of bullets, shooting at somebody and then throw their gun at the person but the gun never actually kills them.
And I thought for once I think throwing a gun at somebody and killing them I just wanted to see that happen.
At this moment, it's still ambiguous.
Even as she pulls it out, you're not really sure what it is.
And it makes a strange, kind of, rubbery plunger noise as it comes out.
Yeah, and then, finally, on these shots with She just chucks it and runs off.
The shots with the door opening you finally see what the point of those are 'cause you see Aeon lying dead on the ground.
And the fact that she's dead is revealed in those shots which, on previous iterations, were just empty.
And
I structured this, I composed this, very much like a piece of music, actually.
I had composed the storyboard as a grid almost like bars of music each one of exactly two seconds in duration.
So each one of these shots And every angle repeating, as well.
Yeah, it's a repeating series of 20 shots which repeat in the same sequence.
Just the position of the characters within those shots differs.
So, musically, it felt like the bolero, and that was my taking-off point.
But the idea was apart from saving me from having to draw a new background in every scene 'cause I could reuse them six times the idea was to try to create a structure which had a logic of its own which was independent of the action taking place within it.
So sometimes you have shots like that, which are completely empty.
And getting the story to seem to have coherence purely on a formal basis I kind of think of it very much the way poetry works the way rhyming words sort of bind words together and you create an associative meaning through the repetition of sounds.
And in this case, it's the repetition of these shots.
It's actually a very, very complicated story if you break it all down.
This is the one episode of the shorts that I did not write as a script because it would have been way too complicated to write it in words.
All the others I did, I wrote very detailed scripts in words.
This one, I just went straight to the storyboard.
I had all the structure worked out.
The thing that was the hardest to come up with was actually what was going to be in that locker when she finally opened it because I realized that it had better be good.
Or vague.
No, I don't think it's vague, Drew.
- I think it's - Initially.
Initially, until you understand what she has to do with it.
And I think that's its strength is that it is something ambiguous, initially even when she pulls it out.
When you first see it, you don't know what it is but I think that that last revelation I think, kind of I think, gives a lot more gravity to this situation than you might have imagined 'cause, it's a fairly apocalyptic ending.
- That was something that I always - Death number six.
wondered why you never see that happen.
You always see a guy run out of bullets, shooting at somebody and then throw their gun at the person but the gun never actually kills them.
And I thought for once I think throwing a gun at somebody and killing them I just wanted to see that happen.
At this moment, it's still ambiguous.
Even as she pulls it out, you're not really sure what it is.
And it makes a strange, kind of, rubbery plunger noise as it comes out.
Yeah, and then, finally, on these shots with She just chucks it and runs off.
The shots with the door opening you finally see what the point of those are 'cause you see Aeon lying dead on the ground.
And the fact that she's dead is revealed in those shots which, on previous iterations, were just empty.
And