When working on storyboards I’m always reminded that cameras do not function like a theatre audience. Cameras can and should move: they should allow the viewer to be personally engrossed in the world built by your film’s narrative. Iwrote about this, in a dissertation no less, so you think it’d be clearer when sketching out how the shots will look. And yet it isn’t: scenes are defined by their actions rather than what we see. Some evaluation is in order.
And yet, is a subjective camera appropriate for an ostensibly conventional fairy tale, albeit one that revels in story-telling? Would setting the scene in a way to suggest other perspectives are possible? Or perhaps having a perspective in the initial moment would help make the difference between the later stories more acute. Certainly a camera bound by the island would solidify their helplessness at the absence of the wind. Of course, there are row-boats, but they’re not feasible for longer distances. Having the camera stuck on the island, looking forlornly out as the boats of their hopes for survival diminish into the distance would be a more effective image.