Stalker

One of the sections in our film is based in the woods. Our main character wonders through aimlessly, the context is unclear. One of the reasons for choosing this environment was, first and for most because the scenery is very beautiful and it makes for a great setting for a dreamy sequence. Another reason is based on the idea that, without sounding too 'new worldly',  the woods can have an 'energy'. I think it is the fact that being in a very natural, peaceful place can be really refreshing.. but these ideas are connected with those in Tarkovsky's Stalker, in which the protagonist, the stalker, has a connection with 'the zone' and feels like this overground forest is the only place that he can be truly content. In the film, also, there is the notion that this environment is alive and moves and reacts to human presence instantly. The room that is the central intention of the journey the three men take also has a dream like quality to it. When the approach, there is the scene in which we see 'the writer' has a monologue in a room filled with sand. This bizarre, out of context sequence is something we are going to try and replicate in our own experimental film.