Underground

The greatest challenge in this script is to shed heaps of “light” on a story that’s plunged into darkness, so that the audience’s interest remains undiminished. The fact that we’ll avoid revealing what our lead looks like, so that the twist ending is successful, as well as his natural surroundings (buried into the earth), naturally create a static state, which arises from the environment where the story is set. So, creating a parallel world -outside and beyond that of the lead- is imperative, as it will function as an escape from the oblivion he experiences himself.

After all, the integration of the human world gives us the opportunity to develop images that sometime have to do with delayed actions happening overground, and sometime feed into the image and performance, depending on the emotional state the protagonist is currently in. Much like what happens in a fiction film, in “Underground”, the relationship and interaction of the secondary characters with the lead work in tandem and shape his course and emotional engagement in the story.