Tag: neverland project

The Neverland Project – Episodes 3 and 4 Breakdown

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TRIGGER WARNING: SUICIDE

Sorry about the delay on this article. I’m bundling episodes 3 and 4 together because these in particular follow a continuous story, because they pull a lot from BTS’s “Prologue” video, which has a fairly consistent narrative arc. To avoid rehashing the story and to leave certain things open to interpretation, I won’t be covering the story itself, just particular choices I made while editing this.

Starting with “Death in the Afternoon,” the title doesn’t actually reference a death that occurs in the episode, because no such death occurs. I have been maintaining a convention of using literary references to address plot points. “Death in the Afternoon” is a reference to a book by Ernest Hemingway, where he talks about Spanish bullfighting. However, Death in the Afternoon is also a cocktail, made up of champagne and absinthe, and invented by Hemingway. Absinthe is a highly alcoholic spirit, often associated with hallucinations (though this is not substantiated by scientific research.)

We actually see Namjoon drinking absinthe in “Blood Sweat and Tears” – absinthe is often vibrant green, and served with a sugar cube. Typically, you pour water over the sugar cube to dilute the absinthe and mix the sugar in. However, Namjoon lights the sugar cube on fire to melt it and we never see the water. This likely means that Namjoon did not dilute it and is drinking it effectively raw. This is not the first or last reference to mind altering substances in these music videos.

The second episode is called “Crossing the Water,” which comes from a poem by Sylvia Plath. Sylvia Plath was a brilliant poet who committed suicide in 1963. There is a line from this poem: “This is the silence of astounded souls.” As you’ve probably noticed, much of Neverland is done without dialogue, but in some moments there is almost complete silence. These are moments to reflect on what the story might entail.

Building on the idea of hallucination and alteration of the mind, there’s a scene in the middle of the episode that acts like a montage, set to “Run”. There are moments that occur squarely in reality, signified with a camera filter (we see Jin running around with a camera several times.) But then there are foggy, vibrant sequences, where characters are partying. It’s not so much that the scenes are not reality, but they’re not the same – it’s a perception of reality.

I also focused heavily on Jungkook and Jimin. This is because, as you’ll see in other episodes, they are often victims of circumstances caused by others. I hinted at this through a number of things – the blindfold sequence with Jimin, and Jungkook on the swing and drinking absinthe from his finger (and eventually flying.) Namjoon and V also get some screen time in this sequence, as Namjoon’s character falls into escapism and V is shrouded and self-isolated.

Building on the theme of perception, Jin is constantly flickering in and out of black and white. I have mentioned in other articles I use color as a means to tell story and say something about a character. Jin exists on a plane of existence separate from the others, as signified by the grayscale environments he’s seen in. But when he’s around the others, he flickers in and out, like a broken TV. This shows maybe he doesn’t see himself as being on a different plane, even though he is.

There are numerous moments where the colors attributed to Jin change in order to indicate an alteration of perception. In the museum scene, the painting and world around Jin turns black and white. When Jin is “summoned” to see the other members again in the normal plane, Jin’s black-and-white world turns vibrant and he begins to glitch out. He stays entirely black and white at night, and generally stays colorful at the beach. And when V knocks down his house of cards, once he sees the vision of V underwater, the people around him change into black and white as well.

The main plot point throughout this arc, however, is V coping with the death of his father in the previous episode. We start with him crying on the phone to someone, then move to him meeting his friends. They have fun for a while, and in another dream sequence, V sees a puppy, signifying his hope. But a cage falls around him, and the puppy leaves – he becomes someone without hope.

At the end of the video, V is on top of a tower by the beach. He looks towards his friends, then just before he jumps off, he enters the same plane as Jin – he turns black and white as well. As the video fades out, the colors become vibrant again.

As I’ve mentioned before, I intend to leave much of Neverland to interpretation for my viewers and readers. Do I have clear ideas of where I want it to go? Yes. But the thing about film, particularly fan films made out of existing material, is there’s fun in ambiguity. The symbols I pick mean something to me that could resonate differently for others. If you have your own theories or ideas of what the story says, you are welcome to comment, be it on this article or the videos. I hope that you are able to find your own meaning in this story, particularly as it unfolds in the coming installments.

The Neverland Project – Episode 2 Breakdown

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Please click here for the previous installment.

A new episode of Neverland is up! Without further ado, let’s dive into it!

This is the first time the opening sequence is showing in an episode – if you’d like to read my deep dive on the choices I made during the OP, please click here. We also get the title of this new episode: “City of Glass.”

This is a literary reference, though not to The Mortal Instruments book. Rather, it is a reference to City of Glass by Paul Auster, a mystery with heavy psychological undertones. Without getting into spoiler territory, the novel’s main themes are the perception of reality, child abuse, and language. I highly recommend reading the graphic novel version, which has been of huge influence to me as a visual artist and to how I have approached this remaster.

The connection with Neverland and City of Glass may seem superficial at first, but I wanted to communicate a similar disassociation from reality. The thing about music videos – particularly those in K-Pop – is the backstory is often told through bits and pieces, largely symbolic ones. The graphic novel version of City of Glass also uses highly symbolic elements to immerse you in a world inherently disassociated from reality. And, as you’ll see in this episode, a disassociation is beginning.

The first scene is from “Stigma”, the “Wings” teaser for V. V gets arrested (again) for vandalism, and is getting interviewed by cops. I didn’t do a whole lot of editing here because I genuinely really like the sequence as it stands; however, I did incorporate elements from later in the teaser, because I plan on using the rest of the teaser at a later point. The scene depicts V’s (presumed) father abusing him and his sister, using V getting beaten by an unseen figure to communicate this.

The line “I don’t have any.” is in response to the cop asking V about his parents.

The video then cuts into “I Need U” (the original version). V is sitting around, takes a walk, takes out his anger on a water bottle, then goes back to his house. Upon seeing his (presumed) father beat the sister, V goes and kills him. I made sure that the music ramped up intensity, and the diegetic sound design fades away as the stabbing continues. It cuts back to “Stigma” right at the end of the sequence, and V asks the cop if he can make one last call. Full disclosure, whether or not the sequence with the cop is in reality or not is entirely up to you. While I have my own intent with the scene, I structured the scene such that it can be interpreted either way.

We then cut away to Namjoon in the “Reflection” teaser. Namjoon tattoos a bird on himself (gotta admire those fine motor skills) then burns the drawing he was basing it off of and drinks the ashes.

He then passes out and the colors get more intense. I played with the sound design a bit here because I wanted to communicate a feeling of suffocation and, as said earlier, disassociation. Interspersed are clips from “Blood Sweat and Tears” that depict V jumping off a balcony.

When Namjoon finally comes to, he hears a phone ring and tries to get into a phone booth. Try as he may, he can’t get in. If the call is coming from V, this means he can’t reach one of the people he cares about so deeply.

The final sequence is back to Jin in the black and white room. Weird things start to happen, like the distortion of the world around him. He goes to open the window, and instead there is a mirror – and his reflection is in color. When he turns away from the reflection, he turns to color as well, and walks to the door. Once again, I want the absence of color to communicate something.

These are some of the most fun, and yet most difficult effects to do, because I have to layer different images one on top of the other to get the desired look.

Jin eventually walks down the hall and sees the same painting that Namjoon was tattooing. We see a number of flash forwards to events that will occur later in the series. He walks towards them, presumably to find something or someone, then we see on the floor of the black and white room – which is now in color – he has six photos, each representing another member of the group.

V is trapped in memories of something he did. Namjoon is removing himself from reality to the point where he can’t reach those he loves. And Jin can’t seem to fit into the black and white room. All three of them are trying to disassociate from their own actions, at some grave consequence. This is something I intend to play with further, but I think this is a good way to wrap up this analysis. The next episode will be up February 1st, 2020, and we will get more with all the members as opposed to vignettes.

But for now, I think we can leave this here. I welcome any constructive criticism, and I hope that you all enjoy the new episodes in the coming weeks!

The Neverland Project – Opening Sequence Breakdown

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At long last. Here we are.

Here is the opening sequence and breakdown for The Neverland Project, my fan project based on BTS’s music videos from “I Need U” through “Spring Day”. As someone who is seeking to educate through my blog, I think I would be doing a disservice if I didn’t give a rundown of techniques used on a project of my own. I will avoid spoilers as much I can for the actual project, but I may leave some hints scattered in – so keep an eye out!

Before I start, I want to say I’m not trying to “solve” the mysteries of these videos, or speculate as to what the originals are about. As far as I’m concerned, BTS made the videos with their ideas, and have even made comics in their universe and such. That is all unrelated to what I’m doing. I am telling my own narrative through this method. I’m using the members and their acting, and the various images, putting my own spin on them. Thus, I’m not really taking anything as “canon” or “not canon”, but creating a work that you, as viewers, can analyze and derive meaning from on your own.

I wanted to create an anime-style opening for Neverland, for a number of reasons. One was probably ego, since I wanted to flaunt my editing skills. But can you blame me? The other was a desire to use a lot of clips that I didn’t think fit in the actual narrative storyline. I particularly wanted to use BTS’s Wings Tour teaser, because I loved the experimental shots and general symbolism. I also have wanted to – even long after I stopped listening to BTS regularly – make a video using “Boy Meets Evil”, because I think it’s a song that climbs so beautifully. It ramps up tension extremely well. So, I figured, why not make an opening sequence? I’m doing an episodic structure anyway.

The theme went through a number of iterations, because I couldn’t settle on the order of images and the colors. I also had way too much going on in way of commissions, schoolwork, and another project I’ve been working on that’s completely unrelated to K-Pop. So I figured that a teaser video could expand upon my concept while I work on finishing the rest of it. The work itself is half done, with the first episode needing a bit of fine tuning before its release.

So now that we have a bit of context for the production of this piece, let’s get into it!

The opening shot is from BTS’s “Spring Day” – it is a train entering a tunnel. Tonally speaking, I think this is the perfect shot for Neverland. I feel like the themes I play off of from BTS’s work include anxiety taking away the figurative light from the lives of young people. So, since both come up frequently in the work, and both are in this image, this is the perfect opener.

Then, I have V climbing up the tower. (Prologue) This will be a scene in a later episode. Notice that this is all in black and white – color is a motif I use frequently in all of my work. It communicates emotion and personality well. But the absence thereof also says something.

We see V look at the camera. (Wings) Things become color for a split second, before we move into Namjoon walking through the train. (Spring Day) When he opens the train back door, it’s the Omelas motel.

Interspersed with this is Jin staring up the stairwell. (Spring Day) He’s in full color, the rest is in black and white. As he pulls his hands up to frame the screen, the world becomes color, and when he puts them down, he himself becomes black and white. Once again, this is my way of playing with color to indicate certain plot points or themes.

This next sequence revolves entirely around V. It cuts between two shots – the first is V growing wings. (Wings) The second is him standing on top of the tower from earlier. (Prologue) Below the wing shots, I’ve added color images from “Stigma”, which show a confrontation with cops. This will come into play early in the story, so log these images. Also log the absinthe imagery (Blood Sweat and Tears) and Namjoon standing in the train. (Spring Day)

The incidental sequences with J-Hope, Jungkook, and Jimin are all crucially important to the story. I won’t say how, but note that J-Hope is in full psychedelic color, while Jimin and Jungkook are in gray with elements of color around them.

Another grayscale scene – just Jin watching his friends through the camera. (Prologue) It cuts to a full-color shot of fireworks. (Reflection) Things become very montage-heavy after this. I heavily edited and layered many of these images, but note that the elements of color start to get bolder and more experimental – and we amp up to full color as the music progresses. I did this to increase tension, since viewers will acclimate to one way the motif is being used, and this acts as a change of pace.

Note the rest of the images used throughout the opening. J-Hope is pulling at the walls in a padded room. (Mama) V falls on the ground, beaten by an unseen force. (Stigma) All of the boys have a pillow fight. (Run) Distorted retro images of Jin and other experimental elements flicker across the screen. (Epilogue) Jimin submerges his head in water. (I Need U) Jungkook runs towards the motel. (Spring Day) Suga is surrounded by fire. (Epilogue) Jin’s face cracks open as if he’s made of glass. (Wings)

All of these images will become important scenes later on. I don’t mean that each one will be game changing, pivotal etc. But, these images will have much more clarity in the future.

In the final moments of the opening, I have BTS walking through a field. (Spring Day) Yes this image has appeared already, and I probably will use this image at some point in the Neverland episodes. But I also added V smiling at the camera, with his wings wide, and Jin’s face cracking again. (Wings)

I should note that V is not a malevolent figure in this story, but as you will come to see, his actions do affect the story significantly. So, who is the protagonist? Is it him? Jin? Or one of the other members?

This concludes the breakdown of my edits for the Neverland opening. I welcome any constructive criticism – anything can help me to improve my work. I started this project because it posed a challenge – creating a story from a bunch of connected films that take on wildly different filmmaking styles is no small task. It’s even more difficult to communicate a feeling through these constantly shifting pieces. So this has been an adventure for me. There will be more episodes coming soon, starting January 1st and generally releasing every few weeks.

Hope you all enjoy it!

ANNOUNCEMENT – The Neverland Project

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This week I’m doing something a little different, and updating you all on a project I’ve been working on for a while. Before we do, however, I feel compelled to tell you all a story.

Like many artists, I have anxiety and ADHD. I choose to treat them like assets. ADHD allows me to be a perfectionist and tackle multiple projects from different angles. Anxiety acts like a motivator. However, while I am better adjusted now, throughout middle and high school I had difficulties with them. I usually expressed my anxieties through art, as it was what allowed me to connect with others – it didn’t matter whether or not someone had the same experiences I did exactly, but so long as the feelings could get across to my audience, I felt a sense of victory. Unsurprisingly, I became attached to K-Pop because of its unique way of expressing emotion.

My film teacher in high school gave me a great environment to work in, one in which I could escape from everything else that stressed me out. My freshman year I started editing with K-Pop music videos, particularly BIGBANG, for assignments. One of my videos took a month of work, a video art piece comprised of a number of pop culture references talking explicitly about my anxiety. Looking back on it, it was by far not my best work, but it was an important piece for me in my artistic development.

For the rest of high school I had a safe and secure outlet for everything happening in my life. I spent a lot of time editing K-Pop videos, molding them to match messages I wanted to communicate. My sophomore year, I made a two-part video art piece about the two sides of the K-Pop industry. One was emblematic of the poppy, bright, and happy side we were all accustomed to, the other was a darker piece that was explicitly about artists who either evolved in different ways or struggled to get to where they are (particularly BIGBANG and Super Junior, but with a lot of VIXX mixed in for their Error and Voodoo Doll concepts.) I ended up posting it under the pseudonym Romana Pond, one that I’ve had since I was fourteen to conceal my identity to avoid people finding my location online (there aren’t exactly a lot of people with the last name O’Hop in the United States.)

My anxiety hit its worst point when I was seventeen, for reasons best reserved for another day. However, my friends at the time were very protective me, and I entered therapy. At the same time, BTS was in their Most Beautiful Moment in Life phase. “Run” had just came out, and I sat with a friend at school and started running through all of the connections between that, “I Need U”, and “Prologue”. I watched a couple of theory videos online about what the plot may be, but I wasn’t quite satisfied with the stories that were being told. Not that there was anything wrong with them, I just didn’t connect with the fan interpretations in the same way I connected with the music videos.

Thus, Neverland was born.

Neverland was one of my first experiments in narrative filmmaking. I wanted to build a cohesive, concise narrative and tell the story I wanted to tell. Obviously, that’s hard with nonlinear music videos, all of which have different aesthetics. Not only did I have to base my story off of the existing motifs, I had to create my own. One of them turned out to be subtitling – I synced some subtitles with the music in the background or dragged them out longer for maximum impact.

The second motif, however, was much harder. I wanted color to be an important storytelling element, as a way of justifying and connecting the different aesthetics. This required me to go frame by frame and cut certain people out, making them grayscale to explain certain plot elements – particularly, deaths. I had tried a similar effect in my video art pieces before, but it’s a different situation when you have a 40 minute short film as opposed to a 6 and a half minute art piece. However, in spite of the difficulties, I enjoyed working on it. I ended up using this effect in another experimental piece in college, using clips from the K-Drama Blood to depict the relationship between the two main characters. I recommend watching it, but there are spoilers for the show, so if you do want to watch a vampire doctor crime show with an adorable romance…maybe save this video for later.

The editing process ended around the time BTS’s Wings came out. I spent a month trying to get support for the video at my high school, so I could have a screening. Finally, I got permission from the school to show it at a small lunchtime screening in early December. It got fairly good reception from my peers at my small high school. To get a wider audience, I posted it on my pseudonym account. Anyone who met me would know that I was the person behind it, but I was careful not to release that information elsewhere. Besides, I didn’t really care about glory or anything, the satisfaction of other people’s enjoyment was enough. The full movie is below.

Fast forward almost three years later. I’m about to start my third year at NYU Tisch School of the Arts as a Film and Television major. I’m not much of a BTS fan anymore – I just don’t particularly like their new music, and after seeing BIGBANG fall apart from one night to the next, I’m always skeptical when a band becomes that famous. This isn’t out of dislike for the members themselves, I have a lot of respect for them. It’s more about personal taste.

That said, I rewatched Neverland recently. I was still proud of everything I had accomplished, but I realized there was so much I had learned in two years of NYU Film that I felt I could do much better. The story still means a lot to me, and BTS’s music from 2 Cool 4 Skool through You Never Walk Alone will always be among my favorite K-Pop songs. I am still enough of a fan at heart to appreciate what they created.

I still have other projects: a documentary that will be officially announced shortly, and a number of scripts and commissions, not to mention updating Reel K-Pop. But there is a feeling of satisfaction that comes from K-Pop editing that I have honestly missed, since schoolwork tends to pull me away from the personal projects I want to work on. Now that I have time over the summer, even with summer internships, I wanted to get back to what I love: writing and editing.

Which brings us to The Neverland Project. The Neverland Project is a remaster of Neverland, this time in 1080p with (hopefully) better editing. I plan on doing it in episodes as opposed to one full movie, and updating this website on my progress. I’ll also give mini analyses on what my thought process was in how I edited the final product. I plan on uploading a teaser in the very near future, but again, since I have other projects going on and articles to write, that might not be for a while.

My aim with this work is not to take anything away from BTS – instead, I want to show where the heart of BTS’s work was, and where my heart is. I want to show people what K-Pop is, and also what it can be. I want to be an educational resource for film students and enthusiasts. And with any luck, my experience in creating this work will be useful to others who want to find their own voices.