While it’s safe to say that there’s no set pattern as to where the inspiration behind the films we post to DN comes from, I’m fairly certain that a name check for Chaos Theory and Reductionism as idea generators is a first for us. Created by Adriano Vessichelli during his studies at Central Saint Martins, Agent of Chaos distills the theoretical into a relatable fleeting moment of ‘what if’ as two strangers play out the scenarios which see them both connect and miss their moment. We invited Vessichelli to tells us more.

When I first thought about a film to make for my second year at Central Saint Martins, I could not find anything more interesting than Chaos itself. Its theory studies the behaviour of dynamical systems that are extremely sensitive to initial conditions. Further to my research I also referred to Reductionism theory that boosted my imagination and helped me in the visual movements. Gradually, I realised that chaos behaviour is a reflection of biological order acting as a living organism in which human beings interact defining events and circumstances.

Inspired by this, my intent was to create a journey within the world of chaos adding a linear narrative to make it more real and less abstract. As the idea came along, I wanted the visual to be noisy unstable dynamical, almost unpredictable and reflecting somehow the features of a chaotic society. So I decided to portray it as a huge drawing apparently meaningless and disorganised, in which individuals are related to each other through persistent relations that can modify the surrounding environment in time and space. As part of this organism, human beings leave traces of their interaction changing the outcome of the present reality and begetting action and reaction. Therefore I described humans as the very soul of the world, acting as the agent of chaos.

In order to achieve this effect I followed the same technique I used in my first year film Odio, hand drawn pencil animation colored with digital brushes for the characters, while combining stop motion with crayon on rough paper the for background colors. Since I didn’t want to have any dialogue in the film, it was very important for me to have a very strong soundtrack that could follow the movement and emphasise the mood of the story. For this I have to say a big thank to Matteo Monero who created the perfect music to it, adding remarkable details and helping the visual flow. The whole process took more than three months of non-stop working, but luckily I had an assistant assigned for two weeks who helped me with many of the key scenes. It was quite hard, but I definitely had a lot of fun with it and I am very satisfied of the final outcome.

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