Essentially, they're moral Yin and Yangs.
The film is partially about moral duality, and the two versions of Klatos physically embody that, sort of like two ends of a coin. "Klatos B" the darker mirror to "Klatos A;" "A" is outwardly compassionate and gentle, where "B" is outwardly fierce and destructive.
"B" is the embodiment of the darkest things "A" is secretly capable of.
The film is partially about moral duality, and the two versions of Klatos physically embody that, sort of like two ends of a coin. "Klatos B" the darker mirror to "Klatos A;" "A" is outwardly compassionate and gentle, where "B" is outwardly fierce and destructive.
"B" is the embodiment of the darkest things "A" is secretly capable of.
It actually started as a solution to a production problem, as the low budget meant the crew would not be able to achieve any visual effects to show time travel.
Instead the crew used a fast-cutting editing device, which is jarring in contrast to the film's frequent long-takes.
Instead the crew used a fast-cutting editing device, which is jarring in contrast to the film's frequent long-takes.
Because the budget was so low, that was actually NOT a visual effect; the orange filter was a practical affect, done in-camera.
The display graphics were added in later, as the budget increased during editing.
The display graphics were added in later, as the budget increased during editing.
The story is very complex in its timeline, as it switches back and forth on multiple different timelines with events occurring on each one simultaneously.
The director made one of the two timelines black and white, to make the story easier to follow. The different looks distinguish the two timelines, so the viewer knows which one they're in at any given time.
The director made one of the two timelines black and white, to make the story easier to follow. The different looks distinguish the two timelines, so the viewer knows which one they're in at any given time.
Being a found footage film, It's meant to match the fact the character is filming this with different cameras; such as a security camera, a VHS camera, and his "goggle-cam" so to speak.
Beyond continuity, it's also meant to make the viewer uncomfortable. Because the framerate constantly changes, the viewer never has time to get situated. This gives the viewer a sense of uncertainty, as before they can get used to something it switches to something else.
Beyond continuity, it's also meant to make the viewer uncomfortable. Because the framerate constantly changes, the viewer never has time to get situated. This gives the viewer a sense of uncertainty, as before they can get used to something it switches to something else.
FiLMiC Pro, an alternate recording software for iPhones, allows much more control over camera settings; You can control the frame rate and white balance and shutter speed and gain, and create presets so you don't have to manually adjust any of these.
Using this, the crew created three different presets: 1) a 12 fps "security camera," 2) a 24 fps "goggle-cam," 3) a 30 fps "VHS camera,"
For the "VHS" scenes, the footage was purposely overexposed in-camera. They were also the only scenes that didn't have any storyboards, to make the footage more "unprofessional" looking.
Using this, the crew created three different presets: 1) a 12 fps "security camera," 2) a 24 fps "goggle-cam," 3) a 30 fps "VHS camera,"
For the "VHS" scenes, the footage was purposely overexposed in-camera. They were also the only scenes that didn't have any storyboards, to make the footage more "unprofessional" looking.
He created two completely different sets of body language.
"I was very deliberate to make them physical opposites in any way I could. A looks at things with by moving his eyes, B looks at things by turning his head. A is always hunched over and focused on things, B is always laid back and disconnected. A has this nervous neurotic pacing in place he does, B has this loosy-goosy sway to him."
One is very enthusiastic and neurotic, the other is very depressed and exhausted.
"I was very deliberate to make them physical opposites in any way I could. A looks at things with by moving his eyes, B looks at things by turning his head. A is always hunched over and focused on things, B is always laid back and disconnected. A has this nervous neurotic pacing in place he does, B has this loosy-goosy sway to him."
One is very enthusiastic and neurotic, the other is very depressed and exhausted.
Mars Fargo reflected on how unsuspenseful time travel films had become, because the plot was always the same and so viewers were aware of the genre tropes.
Specifically, he observed how nearly all of them have the characters needing to prevent a time paradox, and ultimately succeeding. The viewers never feel any suspense, because they always know the characters will succeed in stopping it.
Thus, Mars Fargo got the idea to have a time travel film BEGIN with a paradox destroying the universe, so that viewers could finally see what would happen if one occurred.
Specifically, he observed how nearly all of them have the characters needing to prevent a time paradox, and ultimately succeeding. The viewers never feel any suspense, because they always know the characters will succeed in stopping it.
Thus, Mars Fargo got the idea to have a time travel film BEGIN with a paradox destroying the universe, so that viewers could finally see what would happen if one occurred.
Mars Fargo knew he would play both Klatos A and B, so he wanted to create a way to visually tell them apart. Thus "Klatos B" has a long hair and a beard, while "Klatos A" is bald and clean-shaven.
Because the budget was so low, Mars Fargo had do most of the major jobs himself. This included serving in the following capacities:
1) Screenwriter 2) Director 3) Composer 4) Co-Producer 5) Cinematographer 6) Sound Recordist 7) Caterer 8) Set Decorator 9) Costumer 10) Makeup Designer 11) Editor 12) Sound Mixer 13) Colorist
He also did uncredited work as a visual effects supervisor, taking over after Davis Chu was unable to continue working on the film.
1) Screenwriter 2) Director 3) Composer 4) Co-Producer 5) Cinematographer 6) Sound Recordist 7) Caterer 8) Set Decorator 9) Costumer 10) Makeup Designer 11) Editor 12) Sound Mixer 13) Colorist
He also did uncredited work as a visual effects supervisor, taking over after Davis Chu was unable to continue working on the film.
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