DIRECTOR’S STATEMENT

When I first decided to film the pond, I thought that I would become quickly bored and that I would need to impose a story or conceptual theme to enhance the images. But as I filmed reflections in the water over several years, I was captivated by the constantly shifting show of light and color. The film could have been organized in many ways, but I chose to structure it around a calendar year. That way, viewers would soon see where the film was going and likely end, and they could focus on, instead, the dramas within the sequences of images.

Filming was an experience of observing the changing light of the day, the weather, and the seasons over several years and becoming familiar with how different areas of the pond appeared under these different conditions. It was a process of allowing the pond to dictate when and what I should shoot. The film was shot with a Bolex. Though it is always possible to influence images by exposure and framing, no overt measures were taken to enhance or change on film what I observed in person. No filters or additional lights were used. With only a few exceptions, the film was shot throughout with the same daylight film stock.

In Watercolors the images reign supreme, and I chose not to distract visual attention with any soundtrack. Many composers would have gladly scored the film. Environmental sounds could also have been added. Instead, the silence allows the images to give visual cues that suggest sounds to the viewers — a music of air and water.

TECHNICAL INFORMATION

Shot and finished on 16mm film, in color and black–and–white, silent, projection ratio 1:1.33, running time approximately 13 minutes.

PRODUCTION CREDITS

Directed, filmed, and edited by
Ann Deborah Levy.