Oh, man, "Riot Act" was so long ago I don't remember much of what I was thinking. I know I'd originally planned for the bridge to be the really quick repetition of the previous clips, and then ditched the idea, except where I didn't. I probably would either eliminate the repetition or make it more regular now, but to be honest I still love this section.
Basically, the idea was to convey a sense of urgency, of Riley fighting, which is one reason it's the fastest-cut section in the vid. It's everything that culminates in the fight with Jesse. That includes the betrayals by John and Jesse, which is why the moments of apparent tenderness are there. (Riley putting back her own hair always makes me so sad: like it's a self-comforting gesture, a gesture she copies from Jesse.)
The clips from the fight with Jesse are supersaturated to make them stand out. The fight is the center point; everything else in the bridge ends in the fight or is fall-out from it. (The extreme visual cue to make a particular subset of clips in montage pop is a trick that I carried over from my first vid.)
Here, even Riley's suicide attempt is an attempt to fight her circumstances. So she dances with Death, she breaks free of John, she picks up candy skulls; terminators are everywhere; everyone's a threat; doors close; the future/past runs down the drain and fires go out. I was really proud of messing with the clip of Jesse in the tunnels so that the camera move was the same abrupt jolting pan as in the clip of Cameron. I still really love the sequence of Jesse aiming the gun at her -> Cameron in a threatening stance -> Jesse in the tunnels in a threatening stance. I wanted the relatively still images right before the end fall like hammer blows. And then the hair stroking to make the sudden smash down of the vase -- and the next section, where Riley dies -- more terrible.
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Oh, man, "Riot Act" was so long ago I don't remember much of what I was thinking. I know I'd originally planned for the bridge to be the really quick repetition of the previous clips, and then ditched the idea, except where I didn't. I probably would either eliminate the repetition or make it more regular now, but to be honest I still love this section.
Basically, the idea was to convey a sense of urgency, of Riley fighting, which is one reason it's the fastest-cut section in the vid. It's everything that culminates in the fight with Jesse. That includes the betrayals by John and Jesse, which is why the moments of apparent tenderness are there. (Riley putting back her own hair always makes me so sad: like it's a self-comforting gesture, a gesture she copies from Jesse.)
The clips from the fight with Jesse are supersaturated to make them stand out. The fight is the center point; everything else in the bridge ends in the fight or is fall-out from it. (The extreme visual cue to make a particular subset of clips in montage pop is a trick that I carried over from my first vid.)
Here, even Riley's suicide attempt is an attempt to fight her circumstances. So she dances with Death, she breaks free of John, she picks up candy skulls; terminators are everywhere; everyone's a threat; doors close; the future/past runs down the drain and fires go out. I was really proud of messing with the clip of Jesse in the tunnels so that the camera move was the same abrupt jolting pan as in the clip of Cameron. I still really love the sequence of Jesse aiming the gun at her -> Cameron in a threatening stance -> Jesse in the tunnels in a threatening stance. I wanted the relatively still images right before the end fall like hammer blows. And then the hair stroking to make the sudden smash down of the vase -- and the next section, where Riley dies -- more terrible.